Posted in fused glass, knitting, Warm glass, tagged Bullseye glass, experiment, float glass, fused glass, inclusion, knitting, swatch, yarn on March 29, 2009|
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My daughter dropped the knitting needles of the friend who got me started, and the stoppers broke. I decided that it was no job for glue: this needed Fimo. I liked the results, but then I had second thoughts (perhaps they are too heavy and/or too twee?) and so I bought new replacement needles for her. We’re keeping these.
Meanwhile, I think I just had a fabulous idea to combine my current obsessions.
If I knit a few swatches of different yarns, and then sandwich them between layers of glass, I can see what interesting results I can come up with. The possibilities are probably far greater than the reality will prove, but it has to be worth a try. Putting anything between glass like that is a tricky prospect: anything could happen, depending on how it combusts, how much air is trapped, what gases might be released… You can have a ghost image of your original object, bubbles, nothing at all…
Maybe the different fibers will react in different ways. This could be another way – not useful to the majority, I know – to test that unknown ball of “wool”. I know it won’t get into the knitting manuals: “Take your sample, layer it between glass and heat over six hours to 1400°. Cool for another six hours. Check results.” But, well – I’ll have a better idea once I’ve tried. Right now I’m envisaging elaborate tableware or coaster sests with a series of different lace patterns, or a service whereby people would send me their swatch (say of the wedding shawl they made) and I would return it included (in the technical sense of the term) in a bowl. But, I am getting ahead of myself. As I said, inclusions are notoriously quixotic.
I’m off to try a couple, though. Bt which glass to use? I could use the nice Bullseye, or some cheaper float (window) glass, although that has the disadvantage of softening at higher temperatures. I guess I should try both. A swatch of swatches? A meta-swatch?
Also, I’ve been stroking the angora I got on eBay a few weeks ago. I’m working up to winding it. And then working up to working out what to do with it (beyond stroking).
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Posted in Warm glass, tagged Bullseye glass, cherry blossom, compatibility, Etsy, firing schedule, float glass, frit, frit painting, glass on September 29, 2008|
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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.
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