bluedog on sat 28 oct 00
I am working on a small grouping of cast pieces. As a leavening I would
like to include some cast glass.
I have been unable to find cullet. Does anyone know of a source near
North Carolina? I found some information in the archives but the source was
out west. And also helpful a book on casting glass (patte de verre)?
I found a book listed but it is out of print--we are going for cheap here as
I am a college student--a miracle in itself.
As for my spelling and grammer, I know it's bad. What is it with english
professors, they give you your paper all marked up then want it back in five
minutes. How is one supposed to learn from that? As a child they told me
that reading would improve my spelling, obviously they were wrong.
On a lighter note I have been tempted to check the arcives to see how many
of the spelling complainers spell silicone wrong...I'm willing to bet on
several. ;^)
Celia in NC
Marcia Selsor on sat 28 oct 00
The Icelandic artists I met are using crushed brikan glass. -just plain
old window pane.
Marcia
bluedog wrote:
>
> I am working on a small grouping of cast pieces. As a leavening I would
> like to include some cast glass.
> I have been unable to find cullet. Does anyone know of a source near
> North Carolina? I found some information in the archives but the source was
> out west. And also helpful a book on casting glass (patte de verre)?
> I found a book listed but it is out of print--we are going for cheap here as
> I am a college student--a miracle in itself.
>
> As for my spelling and grammer, I know it's bad. What is it with english
> professors, they give you your paper all marked up then want it back in five
> minutes. How is one supposed to learn from that? As a child they told me
> that reading would improve my spelling, obviously they were wrong.
> On a lighter note I have been tempted to check the arcives to see how many
> of the spelling complainers spell silicone wrong...I'm willing to bet on
> several. ;^)
>
> Celia in NC
>
> ______________________________________________________________________________
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at melpots@pclink.com.
--
Marcia Selsor
selsor@imt.net
http://www.imt.net/~mjbmls
http://www.imt.net/~mjbmls/spain99.html
http://www.silverhawk.com/ex99/selsor/welcome.html
Philip Poburka on sat 28 oct 00
Dear Celia,
I was in the 'Recycling' business in 1970/'71 etc..."Cullet" was the term I
recall to have been applied to crushed glass. We got our glass from Bottles,
'crushed' them in 55 gallon drums as-we-filled-them.
Ummm...depending on the 'kind' of glass you require, you might consider any
Commercial 'Glass/Window' shop. They allways have scraps, which generally
they will give you.
Take these and crush them up in a sturdy bucket, or steel drum...use a
concrete stake, Sturdy pipe, or whatever.
If you need 'exotic' or unusual colors, consider visiting Shops which
produce 'Stained Glass' windows. They too allways have scraps, and will give
or sell them.
The 'sources' are likely not too far from you...
Is this any help?
Regards,
Philip
in
Las Vegas, Nevada
------Original Message------
From: bluedog
To: CLAYART@LSV.CERAMICS.ORG
Sent: October 28, 2000 1:56:44 PM GMT
Subject: cullet
I am working on a small grouping of cast pieces. As a leavening I would
like to include some cast glass.
I have been unable to find cullet. Does anyone know of a source near
North Carolina? I found some information in the archives but the source was
out west. And also helpful a book on casting glass (patte de verre)?
I found a book listed but it is out of print--we are going for cheap here as
I am a college student--a miracle in itself.
As for my spelling and grammer, I know it's bad. What is it with english
professors, they give you your paper all marked up then want it back in five
minutes. How is one supposed to learn from that? As a child they told me
that reading would improve my spelling, obviously they were wrong.
On a lighter note I have been tempted to check the arcives to see how many
of the spelling complainers spell silicone wrong...I'm willing to bet on
several. ;^)
Celia in NC
______________________________________________________________________________
Send postings to clayart@lsv.ceramics.org
You may look at the archives for the list or change your subscription
settings from http://www.ceramics.org/clayart/
Moderator of the list is Mel Jacobson who may be reached at
melpots@pclink.com.
Stephani Stephenson on sat 28 oct 00
Laguna Clay sells glass cullet. In the catalog it is also listed as
multifil. Laguna has an East coast operation in New York. Number is
1-800-762-4354
Stephani Stephenson
Alchemie Studio
Leucadia CA
http://www.alchemiestudio.com
http://home.earthlink.net/~mudmistress/
DYAN777@AOL.COM on sun 29 oct 00
BlueDog,
Years ago I blew glass at a local community college. All of our hot glass
was recycled cullet purchased from glass factories out east. Here is a link
to G. A. S., The Glass Art Society. Their website has an extensive list of
suppliers. You may find what you need at
http://www.glassart.org/
Diane Ayers
Robbinsdale, Minnesota
USA
Howard Scoggins on fri 16 mar 01
Looking for glass cullet? Check out your local
water/waste water source.
Glass beads are used in the filtering process. I
used to get by the barrel from the plant in Austin.
Take it home and pour into a plastic pail of water
with a slug of muriatic acid for a few hours. Then
rinse it with clear water, dry and demolish it. I
ball mill until it passes a number 80 screen
If your want a load the plant may offer to pay you
to haul it away.
Howard
Howard
David Hendley on sat 14 jan 06
As I've mentioned on Clayart many times, I regularly use glass
cullet. I have a ball mill, so I make my own. I put bottles
in the firebox of my kiln at the start of a firing, and when they are
red hot I drop them in a bucket of water. This makes for
"coarse sand" - sized particles, which my ball mill can then turn
into powder in about 10 hours.
Don Goodrich has plans for a crusher made from pipes that
will also do the job of fine grinding glass, which he has shared
on Clayart many times.
Glass cullet is used quite a bit in the "developing" world.
I have no way of knowing, but the experts all say that the
formula for "cullet" is quite variable. I use the Cardew
Segar formula as a good set of numbers to plug into a glaze
calculation program.
I use cullet because, having no alumina, it allows me to introduce
great quantities of clay into my slip glaze recipes. I have a high-
soda high-clay mix with good rehology, drying, and shrinkage
characteristics, but not an over-supply of alumina.
Although it seems like it would be non-soluble, cullet does
seem to be slightly soluble.
Of course, testing is what is important and what really matters
when using variable materials.
David Hendley
Old Farmhouse Pottery
david@farmpots.com
http://www.farmpots.com
----- Original Message -----
> But I became curious and looked up CULLET both in Parmelee and Cardew.
> (Cardew discusses it as "container glass".
> Parmelee says cullet contains "approximately" 0.5 Na20, 0.5 CaO, Sio2.
> He also warns that it settles down quickly (something we can prevent)
> Cardew gives this Seger formula for cullet : 0.55 Na20, 0.22 CaO, 0.22MgO,
> 0.01BaO, 0.04 Al2O3, 2.655 SiO2.
>
> Obviously--and as both gents point out--cullet has too low an alumina
> content to stay on pots---but, it seems to me I'd give it a whirl could I
> not get neph., sy.
Dave Finkelnburg on sun 15 jan 06
Hi all,
David Hendley mentions cullet (ground glass) is water soluble. While we think of glass as being water-insoluble, a very small percentage does dissolve. The finer it is ground, the more soluble cullet is. The sodium dissolves most readily, so it has a tendency to deflocculate a glaze (anybody had a frit glaze settle ROCK hard?). David's high-clay recipe counters that.
My point--the solubility is a fact. It's not worse than other frits, just something to be dealt with.
Good potting,
Dave Finkelnburg
David Hendley wrote:
Although it seems like it would be non-soluble, cullet does
seem to be slightly soluble.
---------------------------------
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Joseph Herbert on mon 16 jan 06
As David Hendley points out, pre-existing glass is a great way to get
otherwise difficult to obtain materials for ceramic glaze use. I believe I
saw a glaze making process used by one of the North Carolina traditional
potters in which he ground window or bottle glass with the clay body used
for the ware and some wood ash. That was it. Glass makers supply places
(which must be relatively rare things) supply the material because most
glass makers don't start from zero. I don't know the particle size of the
commercially supplied cullet but perhaps some might be supplied in the right
range for ceramic glaze use.
Joseph Herbert
Lee Love on tue 17 jan 06
They are big on recycling here in Japan. (I visited Euan today and saw
his stacks of recycled tobacco crate wood he is heating his house with
and firing with. The re cycler is licensed to recycle this product. )
Our recycle center has a flea market once a year. Last time I
went, the glass recyclers were there with samples of cullet and the
products they are made into. The products include tiles, bricks,
pavers, pavement and even transparent china. I asked about buying
their cullet and they said they only sell to manufacturers. I later
talked to a friend and he explain to me, that the factories that produce
the bottles etc that the glass comes from has dibs on the recycled
products. I am not certain, but it may be because they pay a tax to
support the recycling.
When we first visited Japan in '93, there were more glass
containers. Now, everything has switched to recyclable plastic.
--
Lee Love
in Mashiko, Japan http://mashiko.org
http://seisokuro.blogspot.com/ My Photo Logs
"Simplicity is the ultimate sophistication."
--Leonardo da Vinci
David Hendley on tue 17 jan 06
Hi Joe,
A few years ago, I made a 15-tile tri-axial blend of:
homemade glass cullet
wood ashes from my kiln
clay from the pond
I call them my "free for all" glazes.
From among these 15 blends, I have access to every glaze
characteristic I might want:
dry matt, to satin matt, to semi-gloss, to shiny crackle, to the
typical wood ash look of a matt background with running
rivulets, to runny clear.
The color range is limited, but, should Armageddon come
and ceramic supplies were no longer available, I could still be
formulating and firing glazed pottery.
I also have a good supply of cullet made from blue bottles
(free cobalt), so I could still have a reasonable substitute for
Mother-in-law blue.
David Hendley
Old Farmhouse Pottery
david@farmpots.com
http://www.farmpots.com
----- Original Message -----
> As David Hendley points out, pre-existing glass is a great way to get
> otherwise difficult to obtain materials for ceramic glaze use. I believe
> I
> saw a glaze making process used by one of the North Carolina traditional
> potters in which he ground window or bottle glass with the clay body used
> for the ware and some wood ash. That was it. Glass makers supply places
> (which must be relatively rare things) supply the material because most
> glass makers don't start from zero. I don't know the particle size of the
> commercially supplied cullet but perhaps some might be supplied in the
> right
> range for ceramic glaze use.
Joseph Herbert
Elizabeth Priddy on tue 17 jan 06
Burlon Craig had a set-up for making cullet that was
a see-saw type of water mill that ran off of a stream.
the bucket would fill, lifting a heavy rock on the other end,
when it tipped, it pounded the glass held in a mortar
beneath the rock.
With free found bottles and labor from the stream, he
made traditional glazes with the addition of ash and
ball clay.
I think this is who you are talking about.
There is a PBS movie about him. I am not sure how
you could get it, though.
E
Joseph Herbert wrote:
As David Hendley points out, pre-existing glass is a great way to get
otherwise difficult to obtain materials for ceramic glaze use. I believe I
saw a glaze making process used by one of the North Carolina traditional
potters in which he ground window or bottle glass with the clay body used
for the ware and some wood ash. That was it. Glass makers supply places
(which must be relatively rare things) supply the material because most
glass makers don't start from zero. I don't know the particle size of the
commercially supplied cullet but perhaps some might be supplied in the right
range for ceramic glaze use.
Joseph Herbert
______________________________________________________________________________
Send postings to clayart@lsv.ceramics.org
You may look at the archives for the list or change your subscription
settings from http://www.ceramics.org/clayart/
Moderator of the list is Mel Jacobson who may be reached at melpots@pclink.com.
Elizabeth Priddy
Beaufort, NC - USA
http://www.elizabethpriddy.com
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Bonnie Staffel on thu 19 jan 06
Hi Clayarters,
Back in the beginning of time when I started in clay, studio glass
blowing was introduced at the Toledo Museum of Art in a garage on the
grounds. Harvey Littleton and Dominick Labino built the studio
equipment, with two furnaces, and all the necessary things. We had two
benches for working. Since the Toledo Museum was funded by the Libby
Glass conglomerates, we naturally had their assistance in this project.
The LOF Fiberglas arm gave us glass cullet in the form of balls about 1"
in diameter. These formed the clear glass melt. In its third year of
operation I decided to take the class taught by Fritz Dreisbach. What a
magic time that was with this "new" craft in my life. The Museum guards
were old time glass blowers who worked for Libby and on retirement due
to new machinery in the factories, found work. So they would come to
the garage occasionally and give us a great demonstration of their
manipulation of the glass and some great lessons.
Dominick Labino had almost a life long affair with working in glass,
doing a lot of lampworking at Museum functions. He was the inventor of
much of the machinery used to create the glass used in paint for Stop
signs and road marking paint, as well as other inventions relating to
glass such as glass fiber. Our class had the opportunity to visit his
studio in Grand Rapids, OH, and were allowed to blow glass from his
furnaces. He made his glass from scratch and when I worked with his
glass, it blew as smooth as silk, in comparison to the cullet we used at
the museum which was rather stiff and tough.
I am the fortunate possessor of a piece of his almost solid bubble glass
form which we traded for one of my pedestal punch bowls glazed in the
browns that were the favorites of the time.
When I took a trip to North Carolina, I visited Harvey Littleton's
studio which was a beehive of activity. He also made his glass from
scratch and I believe sold it to studio glass blowers all over the
country. He also was an inventor and created a plate for working in
lithographs. He invited printmakers to come and work with this new
material. A long time friend of mine, Bob Freimark, was invited and he
gave me a print from one of these plates.
I have lots of stories about those early days when we were fledgling
artists finding our way in Toledo art circles. I have been attempting
to chronicle them for my family and that is a daunting job.
Thanks for listening.
Bonnie Staffel
http://webpages.charter.net/bstaffel/
DVD Throwing with Coils and Slabs
DVD Beginning Processes
Charter Member Potters Council
Hank Murrow on thu 19 jan 06
On Jan 19, 2006, at 10:21 AM, Bonnie Staffel wrote:
> Since the Toledo Museum was funded by the Libby
> Glass conglomerates, we naturally had their assistance in this project.
> The LOF Fiberglas arm gave us glass cullet in the form of balls about
> 1"
> in diameter. These formed the clear glass melt.
Dear Bonnie;
That cullet was soda lime glass, which has a narrow working range and
is tough to work.
> Dominick Labino allowed us to blow glass from his
> furnaces. He made his glass from scratch and when I worked with his
> glass, it blew as smooth as silk, in comparison to the cullet we used
> at
> the museum which was rather stiff and tough.
Remember, it was soda lime cullet. Labino's was doubtless based on lead
or barium, or something else more tractable. While at Anderson Ranch in
the early 70s, I built all the glass facilities because the teacher
couldn't build equipment, and having a glaze background, I made up
glass recipes. My favorite was based upon barium, with a manganese and
nickel colorant. It was the most beautiful blue with reddish tones, and
a lonnnnng working range, though higher in temperature than the lead
based ones.
I must say, however, that it was a huge relief when we turned off the
furnaces for the last time! The quiet in that pristine mountain valley
was profound.
Cheers, Hank
www.murrow.biz/hank
terryha on fri 20 jan 06
so, has anyone used red-colour cullet as red-color glaze?
i ballmill wine/beer glass bottles to make crackle glazes.
green, blue, tan, ... the color survives thru cone 9-10 firing,
but not red. red glass glaze turns white after firing, at least
in my limited experience.
i'm looking for red glass that makes red crackle glaze.
btw, when i used mouton cadet bottle glass to make green crackle glaze,
i occasionally got scarlet dot(s) in green surface after reduction firing.
i'm not sure if i got Cu in the glass or in the kiln.
terry
terry hagiwara
terryha@sbcglobal.net
http://www.geocities.com/terry.hagiwara
http://www.terryha.com/pottery
Bonnie Staffel on fri 20 jan 06
At the time I took Glass Blowing at the Museum, we were not concerned
with the formulation of the glass. This was in the early 50's in the
beginning. As the cullet was available, it was used and probably to get
the whole new studio glass movement started in those early days. I only
took the class for one year and after getting into it, figured it was a
whole new system of learning and that my clay work would suffer. I also
was just getting our studio started in Charlevoix and being naive about
it, thought it would be a good attraction for customers to our new shop.
I believe it was the best choice for me. I am glad that I experienced
the process. In ensuing years, the Museum built a fabulous glass
studio.
Thank you for the information on glass formula though, as that explains
the difference in the blowing consistency of the two glasses.
Hank wrote:......
>That cullet was soda lime glass, which has a narrow working range and
is tough to work.
>> Dominick Labino allowed us to blow glass from his
>> furnaces. He made his glass from scratch and when I worked with his
>> glass, it blew as smooth as silk, in comparison to the cullet we used
>> at the museum which was rather stiff and tough.
>Remember, it was soda lime cullet. Labino's was doubtless based on lead
or barium, or something else more tractable. While at Anderson Ranch in
the early 70s, >I built all the glass facilities because the teacher
couldn't build equipment, and having a glaze background, I made up glass
recipes. My favorite was based upon >barium, with a manganese and nickel
colorant. It was the most beautiful blue with reddish tones, and a
lonnnnng working range, though higher in temperature than >the lead
based ones.
Warm regards,
Bonnie Staffel
http://webpages.charter.net/bstaffel/
DVD Throwing with Coils and Slabs
DVD Beginning Processes
Charter Member Potters Council
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