Really exciting: I had a frit painting work commissioned the other day, from a woman who had bought something off me through Etsy and had seen one of my bowl there. I have done a couple of plates and a small bowl in a Japanese-inspired cherry blossom design, and now I need to make a larger bowl. This design relies on a quite nice pinky-purply medium frit that is float compatible and came with the kiln. The woman I bought Kelvin off only used float glass – no wonder she got bored and moved onto lampworked beads. It turns out that while the base glass is cheap as chips and readily available, all the “float-compatible” stuff costs a fortune and is pretty hard to source, and mostly, it’s not that interesting.
At the risk of sounding like an advertising feature for them, I do think Bullseye glass is spectacularly nice to work with. The range of colors is fantastic, and the glass has depth, texture and character to it: it is prone to tiny bubbles that give it individuality. I love it. I love it. I love it. I just wish it were less expensive (relative to – say – Spectrum glass, which is boring and looks dead).
So, anyway, I mostly used the float stuff for a while, largely because I was never quite able to bring myself to invest in costly glass, mostly because I felt so much at the bottom of a very steep learning curve that it didn’t seem reasonable to do so. But eventually I did buy glass, as I’ve said recently. One of the first things I bought was black powdered frit, for painting. I was originally planning to use it to outline Babar the Elephant for a bowl for my daughter, but I haven’t got around to that yet.
Meanwhile, I thought if I used a very tiny amount, it should be compatible enough with float not to cause a problem. I think I got this idea from a lampworker talking about the 5% rule (up to 5% non-compatible glass being OK). I’d have to say that the cherry blossom design uses way less than 5% and looks alright, but I did push it a little further recently with some white Bullseye frit on a float and float-compatible stringer plate and it was not at all fine. The plate cracked after about an hour, and I really didn’t use that much. I should have photographed it to have some kind of record, but of course that’s the kind of thing you only think of a week after the glass has gone to the recycling…
The other thing worth noting was that the three-layer arrangement I’ve been using in the kiln doesn’t work half so well with float glass. I’ve been sticking something to slump on the bottom, something to slump or fuse in the middle, and something to fuse on the top. When it’s all Bullseye, that’s been fine, even with a top temp as low as 1325°, but when it’s all float… At 1400° for 15 minutes, the frit decor on the disc on the top shelf is well fused, but the middle shelf is barely tack fused, and the bottom – while slumped – is quite hard-edged. Still I think it’s come out quite nicely in the end. Since it was a commission I am doing a spare, or back-up dish a day behind the first one (so fused on the top shelf last night and set to slump tonight) to be on the safe side and I will send the client whichever comes out better.