Paul Kirwin on wed 19 jun 02
I am just starting to play with glass fusing, and was wondering if =
anyone out there has fused and slumped in your ceramic kiln. I have a =
skutt KM-27 (digital controlled). Please let me know what you have =
done, and how it has worked out with using your kiln. thanks.. Barbara
Michelle Lowe on wed 19 jun 02
At 08:07 AM 6/19/2002 -0400, you wrote:
>I am just starting to play with glass fusing, and was wondering if anyone
>out there has fused and slumped in your ceramic kiln. I have a skutt
>KM-27 (digital controlled). Please let me know what you have done, and
>how it has worked out with using your kiln. thanks.. Barbara
>
>_
I have done a bit of glass molding (melting into bisque molds), but I don't
have a digital controller or computer, so I had to anneal manually (always
fun). It worked, but took a bit of practice. I use my pyrometer to guide
me, and information from friends and websites- check out-
www.warmglass.com
Another local potter friend has been fusing and slumping in her kiln,
manually, she was kind enough to share her process with me. I know others
who use digital (ceramic) kilns to fuse/slump and it seems much easier with
a controller! Fun stuff that hot molten glass...
Mishy
-----------
Michelle Lowe potter in the Phoenix desert
http://www.desertdragonpottery.com
Mishy@desertdragonpottery.com
mishlowe@amug.org
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Arnold Howard on wed 19 jun 02
Paragon held a glass fusing seminar in 1984. Other than reading
books, it was our first exposure to glass fusing. Boyce Lundstrom
taught the two day class here in Mesquite, Texas.
We used A-82B kilns to fire fairly large projects. (The A-82B is a
side-fire, 8-sided kiln, 17.5" wide x 22.25" deep.) The pieces
turned out beautifully, so I know that an 8-sided ceramic kiln can
fire glass. (I don't know first-hand about 10 & 12-sided kilns.)
But the kiln operator was an expert. Boyce Lundstrom knew how fast
to fire, and how to space the shelves. Those are two of the
critical aspects of firing glass in a ceramic kiln.
Some types of glass work are best fired in a small ceramic kiln.
For example, glass casting and crucible work.
To fuse glass in a ceramic kiln, I would suggest starting out with
small test pieces. You may have cool spots in your kiln. Learn to
arrange the shelves to avoid those spots, or use them for pieces
designed for a lower stage of fusing.
Arnold Howard
Paragon
--- Paul Kirwin wrote:
> I am just starting to play with glass fusing, and was wondering
> if anyone out there has fused and slumped in your ceramic kiln.
> I have a skutt KM-27 (digital controlled). Please let me know
> what you have done, and how it has worked out with using your
> kiln. thanks.. Barbara
>
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Cl Litman on thu 20 jun 02
On this topic, has anyone slumped wine bottles? I've seen a few people
(secretive ones) who have been slumping wine and liquor bottles and
selling them as cheese cutting boards. I'm curious what temp, cooling
and heating cycle to use as a starting point to give this a try. The
info I found on the web was more for using Bullseye materials and stained
glass. I suppose that's always a good starting point. Just hoping
someone has actually done this.
Cheryl Litman - NJ
cheryllitman@juno.com
On Wed, 19 Jun 2002 08:07:36 -0400 Paul Kirwin
writes:
> I am just starting to play with glass fusing, and was wondering if =
> anyone out there has fused and slumped in your ceramic kiln. I have
> a =
> skutt KM-27 (digital controlled). Please let me know what you have
> =
> done, and how it has worked out with using your kiln. thanks..
> Barbara
>
>
_________________________________________________________________________
_____
> 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.
>
Jim Bob Salazar on thu 20 jun 02
hey guys,
wow, this is pretty timely. i will be leaving this weekend to attend a workshop at
bullseye glass in oregon. it is a week long workshop touching on projects,
supplies and teaching glass in a ceramics studio. i will be teaching a beginning
glass class in the fall and the university is sending me up for this workshop.
i'll be off list while i'm gone but when i get back i'll let you know what i found
out. you all have a great day.
jim bob
islandplace on thu 20 jun 02
www.crestmolds.com/ has slump molds for bottles
----- Original Message -----
From: "Cl Litman"
To:
Sent: Thursday, June 20, 2002 6:12 AM
Subject: Re: glass fusing in ceramic kiln
> On this topic, has anyone slumped wine bottles? I've seen a few people
> (secretive ones) who have been slumping wine and liquor bottles and
> selling them as cheese cutting boards. I'm curious what temp, cooling
> and heating cycle to use as a starting point to give this a try. The
> info I found on the web was more for using Bullseye materials and stained
> glass. I suppose that's always a good starting point. Just hoping
> someone has actually done this.
>
> Cheryl Litman - NJ
> cheryllitman@juno.com
>
> On Wed, 19 Jun 2002 08:07:36 -0400 Paul Kirwin
> writes:
> > I am just starting to play with glass fusing, and was wondering if =
> > anyone out there has fused and slumped in your ceramic kiln. I have
> > a =
> > skutt KM-27 (digital controlled). Please let me know what you have
> > =
> > done, and how it has worked out with using your kiln. thanks..
> > Barbara
> >
> >
> _________________________________________________________________________
> _____
> > 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.
> >
>
>
____________________________________________________________________________
__
> 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.
>
Sharon Pemberton on fri 21 jun 02
I started fusing glass in ceramic, cone fired (no kiln sitter even) kilns in
1978. Been doing it ever since and teach it in my hot glass classes. I didn't
even have matching COE glass. Then I discovered GNA, then Wasser, then the
big guys.
Sharon
Roger Graham on sat 22 jun 02
This one is for Cheryl, who was asking about slumping wine bottles in a
ceramic kiln. Yes indeed, and it's fun. Easier with a front-loading kiln
with a generous big spyhole, since you'll want to peep in from time to time
to see how the glass is slumping. For a first-time trial run, paint a clean
kiln shelf with a smooth coat of bat-wash (50/50 kaolin and alumina works
OK). Lie a single bottle on its side on the shelf, positioned where you can
look in the spyhole and see what happens. Heat the kiln reasonably slowly,
say 150 Celsius degrees per hour (that's about 270 Fahrenheit degrees per
hour, if that's what you use). Expect a typical green or amber wine bottle
to show signs of slumping at about 550 degrees C. By about 600 C the body of
the bottle will be pretty well flattened, though the neck might still be
round. A final temperature of 630 degrees works just right for the bottles
we've been using. All this takes about 4 hours from switch-on.
Now you can just switch off and let the kiln cool on its own, and the
finished bottle will probably be OK. But for some improvements, next time
around:
(1) The neck of the bottle will form a convenient handle for the finished
item if you don't just let it flop down flat onto the shelf. Make a little
clay saddle like an inverted U shape, about 20 millimetres high and 50
millimetres wide. Doesn't even have to be bisque fired, just green-ware dry.
Put the little saddle under the bottle neck to support it in a graceful
curve when it slumps.
(2) The surface of the bottle may or may not stay shiny and smooth. It might
become "devitrified" as crystals form in the glass. To avoid this, it's best
to cool the kiln fairly fast ("crash cooling" they call it) as soon as
slumping is complete. Open the door, or blow air in the spyhole, or
whatever, until the temperature falls to about 450 C
(3) From about 450 C down to about 380 C, cool slowly. Say 35 Celsius
degrees per hour, so it will take about 2 hours for this to happen. Below
this temperature, just let it cool naturally. Read more about this
"annealing" stage somewhere, e.g. on the Warmglass website www.warmglass.com
(4) If you want the sides of the bottle to stand up a little instead of just
lying flat, make a little slump mould from clay, from a slab say 8
millimetres thick. Suggested size, 330 mm long, ends not turned up, just
left flat. Edges turned up say 20 mm. Width, edge-to-edge 100 mm interior.
This size is just right for the usual kind of bottle that measures 75 mm
diameter. Again, the mould doesn't have to be bisque fired. Just dried
green-ware. It bisques OK beneath the bottle, and of course you can use it
again and again.
(5) Clean bottles work best. No sweaty fingerprints on the surface. No dregs
of dried wine inside.
(6) Want patterns underneath the finished bottle? That's another story.
Email me off line if you want to follow this up.
Roger Graham. http://members.optusnet.com.au/~rogergraham
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