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From time to time we have customers and students ask us for advice on purchasing a used kiln. We liken this to asking whether it’s a good idea to purchase a used car … it will depend to a large extent on how well the kiln was maintained by the original owner and whether the kiln was manufactured by a reputable company. If you are considering a used kiln, we do have some helpful suggestions that may help you ascertain whether to make the purchase or give it a pass.
Before you waste your time (or the seller’s) makes sure you will be inspecting a kiln that has ALL the features you really want. In other words, if you want a fully programmable kiln, DON’T settle for a manual kiln by telling yourself you'll add a controller later – you won’t be saving any money, as add-on programmable controllers can run anywhere from $250.00 and UP!!
The first thing you will want to do is ask the owner whether there is still a warranty in place on the kiln and if so, ask whether the warranty is transferable. Next, inspect the kiln. We cannot recommend purchasing a used kiln sight unseen. You would not buy a used car without driving it and/or having your mechanic inspect it would you?? The same common sense would apply to the purchase of a used kiln. You want to see it in person, and examine it thoroughly, INSIDE and OUT!
When looking over the interior of the kiln, the kiln shelf should be removed so that you have a clear, unobstructed view of the kiln floor. Did the previous owner coat the kiln floor with kiln wash thereby protecting the floor from any “accidents” (like small glass pieces that wound up on the kiln floor during the course of a firing) or can you see exposed kiln brick, and if so, can you see any evidence that small bits of glass have become lodged in the brick? If glass has become lodged in the brick, this can be problematic as each time the kiln is fired, the same piece of glass becomes molten again, and continues eating it’s way further and further into the kiln brick. A large enough piece of glass, lodged in the kiln brick can, over time and repeated firings, eat its way through the brick causing a hole through the brick!
Next, examine the rest of the kiln brick, especially the brick surrounding the elements/heating coils. The electrical elements of the kiln are set into a groove or channel that has been specially cut into the kiln brick. If the brick surrounding the groove has been damaged, the coil/element can begin to sag (This is especially true when the elements are located in the lid of the kiln – those of us over 40 can appreciate the effects of gravity!). Now, remember kiln brick by its very nature has LOTS of tiny holes (sometimes they can be as big as ½ inch), so be sure you are making a distinction between a normal kiln brick and one that is crumbling!
Having mentioned the groove/channel into which the heating coils/elements have been placed, the next item to examine would be those coils/elements. It would impossible to predict the “life” remaining in the elements/coils without some cooperation from the seller. You need to ask them how LONG they have had the kiln, and about how OFTEN they fire it? A heavy user (daily) might expect the elements to last about two years (providing they are not holding high temperatures for long periods of time). A light user (once or twice a week or less) might expect the elements to last even longer. Knowing how the kiln has been used and how old it is, may give you a clue as to the life remaining on the elements/coils. Replacing elements/coils is a job that most folks can do quite easily with a little instruction. Replacing the elements/coils can cost anywhere from $25.00 (for a small table-top kiln) and up.
Next, have a good look at the EXTERIOR of the kiln. Again, examine the brick closely and look for dings or cracks in the brick. Is the metal jacket nice and snug or is it loose? Lift and lower the lid. Are the hinges sturdy or does the lid wobble and shift when raised and lowered? A loose lid is not fatal, it can be easily fixed, though this can be an indicator that the owner has not paid enough attention when it comes to maintaining their kiln. Be sure to have a good look on the UNDERSIDE of the kiln. Make sure the exterior floor of the kiln is without any cracks or gouges.
If you like what you are seeing thus far, then the next logical step would be to ask the owner to turn the kiln on. You want to see how efficiently/effectively the kiln heats, and in the case of a programmable kiln, you will want the owner to demonstrate the capabilities of the programmable controller. Ask the seller to walk you through programming the controller. Does it make sense to you? It is fairly easy to operate and will the controller meet your needs? In other words, if you are making six very different items in glass, and you have six very different firing schedules for each of these items, and the controller can only save FOUR programs, you will need to decide whether you can make peace with this, or keep looking.
Ask what items are being included with the kiln sale. You NEED a stand, a kiln shelf and kiln posts to support the shelf, so it makes sense to check and ensure that these items are available and included in the sale. The absence of any one or more of these items can cost you anywhere from $25.00 (a small shelf) and up!!
Another important consideration is HOW you will transport the kiln from the seller’s location to yours. We don’t recommend shipping a used kiln unless the seller is able and willing to have the kiln professionally packed. Packing and shipping a kiln can be a costly proposition and may be more than the purchase price of the used kiln itself, which is why we recommend that IF you are considering a used kiln, that you look for one within a comfortable distance of your home/studio.
Lastly, we are frequently asked, “How much IS a used kiln worth?” We wish there was a mathematical formula or a Kelly Blue Book for kilns, but alas there is not, which is why your careful assessment of the kiln’s condition is the most helpful factor in determining whether you are wanting/willing to consummate the sale. We also recommend that you do a little homework on line first, and find at least two NEW kilns that are similar in size and features to the used kiln that you are interested in buying. A well maintained used kiln with some remaining term on the manufacturer’s warranty could be worth between 25 and 50% (or more) of the value of its brand new counterpart. Your careful observations can help you negotiate the best possible deal!
Download the .PDF file for these helpful tips here! (Adobe Acrobat required for viewing)
Creating perfect channels through your fused glass art is really quite simple. Aside from a nice assortment of your favorite glass, your scoring tool and some pliers, you'll need a nice sharp pair of scissors or a utility knife and a ruler, some Elmer's Glue (the Two Lasses are specially fond of Elmer's Blue School GEL glue because we LOVE the way it stays put!) and some of our fabulous THICK Fiber Felt!
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You will want to begin with a base piece of glass (the Two Lasses used a 3" x 3" piece of dichroic). This will be the foundation upon which you will build your piece. Rather than using a tiny piece of glass for your base, we would encourage you to create one large piece that you fuse and then cut down into a few smaller pendant pieces, using a glass tile, band or ring saw.
You will need to cut a strip of our THICK fiber felt that will leave a large enough opening through which you can insert whatever chain, cord or neckwire that you are planning to use with your finished piece. You will also need to cut a piece of CLEAR glass that is 1/4 inch BIGGER than your base piece (allowing 1/8th of an inch overhang on each side). This clear glass will cap off the piece and the extra 1/4 inch is needed to ensure that the entire project will be encased properly.
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LASS TIP You want to cut the felt just a wee bit wider than the width you ACTUALLY need/want, because after you fuse your glass, you will undoubtedly want to re-tool and/or reshape it using a grinder. You may even want to cut it down to make several smaller pieces after which you will then need to FIRE POLISH your glass. When you fire polish your piece you will need to place another piece of felt back into the opening in order to hold the channel open during the second firing. The Two Lasses USUALLY begin with a piece of felt that is just over 3/8ths of an inch wide for the first firing and then use a piece that is just over a 1/4 inch across for the fire polishing process.
You want the length of the felt to hang off the edge of your base glass by a good half an inch on both sides! Once you have cut the felt to the desired width and appropriate length, you'll want to lay it on your base piece of glass to get an idea of where the channel will run through the piece. When making pendant pieces, be SURE to leave at least a half an inch from the top of your fiber felt to the top edge of the glass. You will need at least that amount of room if you need to re-shape or re-tool your piece after it has been fused. Once you have decided on the location of the channel, you will want to glue your fiber felt in place by running a bead of Elmer's glue along the felt strip and laying it on the base glass piece. We recommend that you allow this to dry completely before you begin arranging the other pieces of glass onto your base piece.
You do not have to use glue at all, but when you are first learning this technique, the glue DOES help hold the felt in place while you work around it.
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Now I think it is safe to say that we have all seen some fabulous warm glass pendant pieces with channels running through them, only to discover a huge and dare we say, UNSIGHTLY BUMP on the top of the glass that, in our opinion, ruins the whole look of an otherwise elegant piece. The "secret" to creating a nice, even channel through your glass without having a big lump on top is to layer the glass in pieces alongside the felt until you have built up enough layers of glass to become even with the top of the felt. This is CRITICAL!! You can see in the photo (above) that there are TWO more layers of glass on top of the base layer, and built up alongside the felt. You can, and probably would be wise to use glue (sparingly, please) to anchor a few pieces of glass in place. For this task, the Two Lasses can also recommend SUPER GLUE (generic brands work just as well as the original) but be careful because, as the commercials promise, SUPER GLUE dries SUPER FAST, and is SUPER strong!
Once you have built up your layers to lie flush with the top of the felt, you will need to decide whether you want to completely hide the channel (using an opaque piece of glass), or subtly disguise it (using perhaps a busy, patterned piece of glass), or embrace it, by using a matching silk cord that will enhance the beauty of the glass. For illustrative purposes, we have placed a strip of patterned dichroic on black over top of the fiber felt. You will then need to add yet another layer of glass pieces to meet up with the strip you have just set in place over the fiber felt.
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Once you have all your layers in position, you will want to encase the piece by placing that last piece of clear glass (the one you had cut 1/4 inch larger than your base piece), on top. If you haven't used any glue so far, this might be the time to place a small dab in each corner of your glass topper before setting it in place. We DON'T recommend SUPER GLUE for this one last job, as you may need to reposition the top piece of glass. Ideally, when looking directly down onto your piece, you should be able to see a thin "border" (measuring 1/8th of an inch) around the edges of your piece.
Remember it is VERY important that your piece is thoroughly DRY before you place it in the kiln for fusing, so if you have used glue, allow it to cure for at least 12 hours before firing! After firing your pieces, you will find that the fiber felt is EASILY removed with a gentle pull on one end, or by placing the channel under running water.
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As you can see from the photos (above) we fired the 3" x 3" tile and sliced it up into smaller "bar" pendant pieces. After cutting the tile into strips, we used the disk grinder to carefully grind flat, crisp sides on our pendants and then we did some fine tuning with our diamond sanding pads, to really smooth out the glass (the Two Lasses recommend polishing the pieces with 200 and then 400 grit sanding pads. After re-tooling our pieces, we gave them a good scrub with mild soap and water and a toothbrush or nail brush (to get rid of the micro-fine glass debris created while grinding), and dried them thoroughly before inserting a NEW piece of fiber felt back into the hole that was created during the initial fusing process. These bar pendants then went back into the kiln for fire polishing (to heal the abrasions caused by the re-tooling/re-shaping of the piece). It is CRITICAL that you remember to place another piece of felt into the channel before you put your glass back in the kiln for fire polishing! Failure to do so, will result in the collapse of the channel!
For those of you who are working with our wonderful THIN Fiber Felt, if you want precise glass pieces you will need to cut your glass very carefully as the THIN Fiber Felt cannot be re-inserted back into the channel for firepolishing and therefore you won't be able to re-tool your glass after it has been fired. FOr this reason, our THIN fiber felt is best used for creating irregular, abstract glass pieces that you will string together using nylon thread or beading wire (as shown in the photo below).
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A ceramic mold is an investment that will pay off many, many times over, providing you are willing to treat it with care. Here are a few tips ...
It is CRITICAL that before you begin fusing, you have coated your kiln shelf (and any mold(s) you maybe using) with kiln wash, also known as "primer". It is equally CRITICAL that the kiln wash/primer be thoroughly DRY before you begin fusing!
The simplest way to do this is to place the kiln washed items (shelf and/or molds) out in the sunshine and fresh air and let mother nature do her thing. This is my favorite way to dry a freshly washed shelf, and it's easy enough to do when the weather is cooperating and you have a nice breezy day with plenty of sunshine, but of course this is not always the case, so we have a couple of other options for you to consider ...
You can also dry your kiln shelf or molds by placing them in your kiln. With the kiln's lid in a vented position (open about one to two inches), turn the kiln “on” and program your kiln to ramp up (heat) to 500 degrees at about 250 degrees per hour. At 500 degrees, you will take a look at the shelf and/or molds and make a visual assessment. You should notice that the kiln wash has lightened significantly in color, though a few dark spots may still remain on the shelf or molds. The darker spots are indications that some of the kiln wash is still wet/damp and IF this is the case, you will HOLD the temperature in the kiln at 500 degrees until you see that all the dark spots have disappeared completly. Once you see that the dark areas are gone, you may close the kiln lid, turn OFF the kiln and allow the internal temperature to return to room temperature. The kiln, the shelf and/or molds MUST be COMPLETELY cool again before you begin fusing.
Another method that you can use is a hair dryer. The hair dryer is best used to dry SMALL areas that you may have had to "touch up" on your kiln shelf or to dry a small earring mold. This is NOT the desired method for drying a whole kiln shelf or any medium to large ceramic mold because while the dryer may succeed at drying the outermost layer of the kiln wash, a ceramic mold may still retain enough moisture to cause serious problems (like cracking) when you put it in the kiln and begin firing. While not an ideal tool for curing kiln wash on a CERAMIC mold, a hair dryer CAN be very helpful in heating METAL molds and speed drying the kiln wash on these types of molds.
Ideally, it is in your best interest to PLAN AHEAD whenever possible and give your kiln wash/primer plenty of time to dry before you begin you warm glass project.
Leave it to Jan to find a brilliant way to have your cake and eat it too, or in this particular case, have your frozen dinner and build a “Drill Buddy”! What exactly IS a Drill Buddy you ask, and why would I want one? Well, it’s a nifty little device that you will need to build so you can core glass using a drill press and some diamond coring drill bits.
As you will soon learn when you read the next article in this series entitled, “How To Core Glass”, the two most important pieces of equipment for coring glass are a drill press and some diamond coring drill bits. However, in order to safely and successfully core glass, you MUST be drilling with the glass AND the coring bit UNDER water and this is where the Drill Buddy comes in handy.
First, you will take need a plastic container. You can use any plastic container (like an old Tupperware dish) providing the sides measure at least TWO and a half inches in height. (Jan and I have found that the frozen food isle at the grocery store yields a delicious assortment of plastic containers!) You will need to be sure that the bottom of your container is FLAT, and that the container is large enough to contain the size of the glass piece you are wanting to core.
You will then want to locate a piece of scrap lumber (about ¾’s of an inch thick) that will sit comfortably inside your container. So, if you have a plastic dish that measures 6” x 6” x 2.5” you should be looking for a block of wood that measures no more than 5.5” x 5.5” x ¾”. If you don’t have any scrap pieces of wood at home, stop by your local hardware store and ask for some. Usually, they are only too happy to have you take whatever you need!
Next, pick up a tube of silicone sealant (Liquid Nails makes a great product) and apply several thick beads to the bottom of your plastic container, before pressing the piece of wood in place. Apply enough pressure to press out any air that may be trapped under the wooden block. Then, using more silicone sealant, caulk another nice thick bead of sealant all around the base of the wood block, where it meets the base of the plastic container and allow this to dry thoroughly according to the manufacturer’s instructions (usually about 24 hours)!
Once the sealant has completely cured and your block of wood is firmly anchored to the base of your plastic container, your “Drill Buddy” is ready for action!
Many of you have written to ask, “How DO you make those perfectly circular cabochons?” and we’ve directed you to our fabulous sets of diamond coring drill bits, which has, in many instances prompted the next question, “How do you USE them?”, which has prompted the writing of this article.
Now that you know how to build a “Drill Buddy”, you are well on your way to being able to core glass; however you WILL need one other important tool, namely a drill press. Now, before your eyes glaze over at the thought of another “expensive” piece of machinery, let me put that myth to rest by assuring you that you CAN and SHOULD get a very nice drill press for UNDER $60.00!! I got mine for $49.99 at a wonderful hardware store called Harbor Freight, (click on this link and type "Drill Press" in the Search Box in the upper left of Harbor Freight's home page) but I’ve seen many other great bargains at Home Depot, Ace, Lowe’s and even those wonderful hometown hardware stores! You DON’T need a fancy drill press that has all the bells and whistles, so don’t be talked into buying a drill press that makes great martinis; you DON’T need anything THAT clever! By the way, since you may be making a trip (either virtually or in person) to the hardware store, make SURE you purchase a good pair of safety glasses and some hearing protection as well – you’re going to need them!
Okay, so now that you have purchased a drill press, you need to find a place to mount it. Yes, ideally you SHOULD mount the drill press to a work bench or table because it is a top-heavy piece of equipment and is designed to be semi-permanently mounted to a sturdy table.
Once the drill press has been securely mounted, you will want to lower the table (that’s the flat tray that slides up and down the column) so that it is out of your way before you insert a drill bit.
Inserting a drill bit into the chuck of the drill press is done just as easily as you would insert a drill bit into hand-held drill. You will first open the chuck to allow for the insertion of your bit and then manually tighten the chuck before using the chuck key to tighten the chuck securely around the shank of the drill bit. It is important that you make sure the drill bit is seated properly inside the chuck and that it is properly secured!
Now, place your empty (no water, no glass) Drill Buddy onto the drill press’s table and adjust the table height by raising it back up the column until the table gets to within about two inches of the drill bit. At this point you will need to tighten the table into position so you can check to see whether the height is sufficient for your drilling purposes. DON’T tighten the table to the point where it makes further adjustments more difficult, at this point you are fine tuning the position of the table, you can lock it into position later!
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Using the device with three arms, which I will hereafter refer to as the pilot feed lever (I’ve heard it referred to by many different names, such as capstan wheel, three-handled spindle and quill feed to name but a few), you will grasp one of the arms of the pilot feed lever and bring it slowly toward you so that the drill bit is lowered down toward the Drill Buddy. Does the drill bit connect completely with the block of wood in the drill buddy? If so, you can gently release the pilot lever arm and properly tighten the drill press’s table into position. If the drill bit does not connect with the block of wood, you will gently release the pilot lever arm and slide the drill press’s table a bit higher up the column and repeat this process until your bit comes in complete contact with the wood block. Remember, you need room to maneuver your glass pieces in and out of the Drill Buddy and you will also need to move the Drill Buddy on and off the drill press’s table, so the whole idea of adjusting the table is to allow ease of use! Take you time, this is an important step! Here’s a great illustraion of all the components of a drill press.
Once you have made all your adjustments, you will want to plug in your drill press but before you do, you MUST BE CERTAIN THAT THE ELECTRICAL OUTLET IS HIGHER THAN EIGHT INCHES FROM THE BASE OF THE DRILL PRESS!! Why you ask?? Well, let’s not forget you WILL be using water to core your bits and water and electricity are a dangerous combination! By making sure that the outlet for the plug is HIGHER than eight inches from the base of the drill press, you are ensuring that IF water should splash out of the Drill Buddy and onto the power cord, it could not travel into the outlet. This simple bit of common sense is too often overlooked!! Now, you may plug in your drill press!
We know you’re anxious to begin, but there are a few more important issues we simply must discuss, like safety glasses; you simply MUST wear safety glasses when working with your glass! We strongly recommend polycarbonate safety glasses with WRAPAROUND lenses (meaning that your eyes are safe from any objects that might enter from the sides). These are inexpensive and are sold at any hardware store! Your prescription glasses are NOT sufficient! Safety glasses are designed to fit OVER any prescription glasses. You may also want to wear an apron because this can be messy work!! If you have long hair, be SURE to tie it back securely! Do NOT wear gloves and DO NOT wear a shirt with droopy cuffs!! SAFETY FIRST!!
Now, your Drill Buddy is in place on the table of your drill press. You have checked to ensure that when the pilot feed lever is lowered onto the wood block it makes a complete connection (I’m just checking here). Your drill bit is well secured in the chuck and your table has been tightened securely in place. (Still checking!) You PROMISE you have assessed the situation with your electrical outlet and that there isn’t ANY chance that water could EVER make it into the outlet?? Got those safety glasses on?? Okay, then we’re ready to proceed to the next step.
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It’s now time to add water to the Drill Buddy. You can do this simply by filling an old Clorox bottle or milk jug with cold, clean water and dispense enough water into the Drill Buddy to cover the block of wood. Now, place your glass piece onto the block of wood and continue adding water until your glass is under water as well (at least 3/8ths of an inch)! Lass TIP – The colder the water, the better. If you can add ice water, or even a few small ice chips to the water in the Drill Buddy you will help preserve the life of your diamond coring drill bits! Keep that water handy as you WILL be adding water regularly! Now, remove your glass piece.
Before we begin coring, take a moment to familiarize yourself with the drill press’s ON/OFF switch. Go ahead and turn it on, then turn it off. Do this a couple more times, just so you’re comfortable. Ready to begin the actual coring process? Great! Place your glass back onto the wood block in the Drill Buddy and hold it down gently, but firmly against the block. DO NOT turn on the drill press yet!
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Before you begin coring you will need to get some idea of WHERE you want to make your first cut. While holding the glass firmly against the wood block, you will gently lower the pilot feed lever until the drill bit makes contact with the glass. At this point you may decide that you need to adjust the position of the glass and or the Drill Buddy in order to make the cut exactly where you want it on the glass. SLOWLY release the pilot feed lever (NEVER just let go of this lever) and reposition the glass and/or the Drill Buddy and repeat this process until you are satisfied that the drill bit will core a piece of glass in the desired spot. Once you’re satisfied with the position of your glass, DON’T let go, or the glass will move and you’ll be back to square one!
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Before turning on the drill press, check to make sure you have a good grip on your glass and that you are pressing it firmly to the wood block. You will need to be comfortable with the fact that you will be holding the glass while coring the piece, so make sure your fingers are out of the way! Ready? Turn ON the drill press and allow a few seconds before you SLOWLY lower the pilot feed lever toward the glass. When the bit first hits the water it will kick out a bit of spray, but just remember it is VITAL to ensure that your glass in UNDER the water while coring! When the bit first comes in contact with the glass you may hear a most unpleasant high-pitched squealing (aren’t you GLAD you are wearing some hearing protection?) Don’t be alarmed by the noise; just keep SLOWLY lowering the pilot feed lever as the diamond coring bit chews its way through the glass. The key here is patience. This is not a race! As the drill bit nears the bottom layer of your glass, you may hear a subtle “click” or “snap” and this means your bit has “broken” through to the wood block. Now here’s the most important part of all … SLOWLY release the pilot feed lever (while still holding on firmly to the glass) and then turn off the drill press. Do not attempt to move the glass until the drill press is completely OFF!
Now, in SOME instances, your perfect little glass circle is lodged up inside the drill bit (this happens more often with the larger CORING bits, as opposed to the very smallest bits that are only used to BORE a small hole through the glass). When this happens, you will need to remove the drill bit from the drill press and insert a mandrel (a metal rod about 1/16th of an inch in diameter) into the holes at the top of the in the drill bit and poke the glass out. The Two Lasses are now INCLUDING a mandrel with all our drill bit sales!
Once you have freed your little gem from the drill bit, you can place the bit back into the chuck, tighten it into place and repeat the process. Check your water levels each time before you begin and when the water becomes too murky (from the glass sludge), you should dump the “swill” in the Drill Buddy and add a fresh batch of water.
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You WILL need to do a bit of fine tuning with either a diamond sanding block and/or a grinder in order to smooth out any little rough spots before fire polishing. I think you will see that the results are WELL worth it!
One last little tip, BEFORE you begin coring pieces of expensive dichroic glass, practice on some inexpensive scrap to help you get acquainted with the process. And let me add that while all of this “sounds” very complicated, it really is not. Much of this article is devoted to your personal safety and is written in great detail, so that you can core glass with confidence!
When photographing your glass for consideration or review for an art show, you must make your strongest presentation. The competition is stiff and the way in which you present your work can often make the difference between being invited to the show or staying home!
The Two Lasses are regularly asked how to cut circles as if it was a process as mysterious and controversial as crop circles in an Iowa corn field! There’s good news! You won’t need to employ alien assistance to cut glass circles, just some helpful tips from the Lasses!
The successful cutting of circles requires the right tools. The Two Lasses recommend the GlaStar Stripper and Circle Cutter because we believe it is by far the easiest and most efficient circle cutter on the market! Running pliers (we recommend and use Fletcher Running Pliers) are used routinely to break, or "run" all types of cuts whether straight or curved, and a good cutter (the Lasses extol the virtues of the Toyo Glass Cutter) are the only other tools you will need to cut PERFECT circles!!
Before you begin, you will want to clean your glass, to ensure that any small pieces of debris or residual glue from a price sticker have been removed. Remember, you are counting on your cutting wheel to make a clean score, which means you need clean glass!
Next, the Two Lasses would encourage you to clean the cutting surface (the place where you will lay your glass for the purpose of cutting) which is important for two reasons. First, you don’t want any residual glass pieces from a previous project scratching up the surface of your new glass and second, you want to provide a nice, flush surface on which to cut. An “irregular” cutting surface can cause a cutter to “skip” which may then result in a bad break!
Okay, so now you have clean glass, a clean working surface and you’re scared to death (we hear this all the time)! RELAX! You don’t have to call ten friends and steal out to the corn field under cover of darkness to create your circle, just a few more pointers and you’ll be making circles without any assistance from the Mother Ship!!
It’s time to decide how big a circle you are planning to cut, and so you’ll need to follow the manufacturer’s directions on your circle cutter in order to adjust the size of your circle. Depending on the brand of circle cutter you are using (again, the Lasses recommend the GlaStar Stripper and Circle Cutter), you may need to position your cutter into a special slot and secure it in place with a set screw. The GlaStar Stripper and Circle Cutter already HAS cutting wheels built right in, eliminating the need to place your cutter into a slot, adjust the position, and them remove it again!
Once you have the circle cutter set in place on the glass, you will want to make a “test pass” to see if you are satisfied with the size of the circle and to ENSURE that the cutter will remain ON the glass during the entire sweep! Many a circle with one flat edge was the result of poor planning, which is why that “test sweep” is so important! When making the “test pass” you MUST make sure that the cutter is NOT in contact with the glass!
Once you are sure you are pleased with the size of your circle and you know that you have enough surface area to complete an entire sweep, you are ready to begin. The most important piece of advice we offer you at this point is: once you begin to score the circle, you MUST apply consistent pressure while making ONE CONTINUOUS SWEEP of the cutter! Remember, you aren’t drilling for oil, so don’t push too hard or you risk causing stress fractures!
Now you have a circle scored on your glass and you’re ready to “break free”, here’s another little tip for success: cut a piece of cardboard in a square that is roughly two inches bigger than the piece of glass on which you have scored your circle. You can use any cardboard, as long as you have a nice, flat, clean piece! Now, turn your glass over (cut side DOWN) onto the cardboard and, using your thumbs, apply gentle, even pressure ON the score line, as you make your way around the entire circle. You will see (and if you can’t, for goodness sake, get some glasses) and perhaps you will even hear the glass “run” as you apply gentle pressure to the score line.
Now, turn the glass back over (cut side UP) and, using your glass cutter (which you may have to “free” from the circle cutter), you will make several score lines FROM the circle OUT to the edges of the glass. The Two Lasses refer to these scores as “escape scores”. It is imperative that you DO NOT score from the edge of the glass in toward the circle!! Next, using your running pliers, you will apply gentle pressure on each of these “escape score lines” breaking away small pieces of glass until only the circle remains. To smooth your edges to a flawless finish, the Two Lasses recommend our fabulous Diamond Sanding Block which can be found on our Materials and Supplies page under “Tools”. The super-fine diamond abrasive on these sanding pads will allow you to remove any rough spots or snags without a trip the the grinder!
So, now you have a fabulous circle that any self-respecting alien would be proud to produce (and we think it was probably a lot easier too)! Beam us up, Scotty!
Murrini are small glass wafers or “slices” that are created from fusing multiple layers of colored glass strips, rods or stringers into one long cane that is then cut into smaller disc-like slices. Millefiori, which means "a thousand flowers" in Italian, is a specific type of murrini with a flower-like pattern which is viewable only from the ends of the cane.
Using a murrini mold (see our Materials and Supplies page under “Molds”), artists can create seven uniquely different rods of glass that can then be cut into hundreds of individual pieces of murrini or, if you are a lampworking artist, these canes can be pulled over the torch flame to create fabulous beads infused with swirling color combinations!
Begin by cleaning the mold with a lightly dampened cloth. Ceramic residue or dust can become trapped in the corners of the channels and could be problematic if not removed.
Apply at least three coats of kiln wash to the murrini mold, and be sure to coat the corners in each channel carefully and thoroughly as glass will stick permanently to any part of the mold that has not been adequately coated.
Allow the mold to dry completely, either naturally in the air, or in the kiln at 500F. If you have heated the mold to dry the kiln wash it is critical that you allow the mold to cool completely before you begin laying your glass in the channels.
You may fill the channels with glass noodles, stringers, and/or hand-cut strips an/or frit until the glass pieces are level with the top of the mold. Remember that if you are using stringers you can create very intricate patterns by carefully arranging the stringers within the channels – this is how Millefiori is created
When cool, nip the canes into slices using mosaic nippers and use your fabulous custom-made murrini to add an interesting design element in other fused glass creations! Your imagination will dictate how you will use your murrini! Have fun!
She’s gone mad, you’re thinking … first it was the pantyhose thing, and now she’s babbling about eating soup, but bear with me a moment more, and all will be revealed!
Most fusing artists we know love to experiment with molds and in the interest of “full disclosure” we felt you should know that ANY steel or stainless steel item (bowl, cup, plate, cylinder, etc.) is a mold in disguise looking for a fusing artist! This is where the soup comes in, because I believe in having my mold and eating it too! Next time you venture forth to do the weekly shopping, keep an eye out for your favorite soup, because the can will do nicely as a mold long after you have enjoyed the soup! Now there are a few simple “rules” which you will need to know in order to make the right choices, so take note!
First, you’ll need to take along a magnet when you go shopping because you’ll have to make sure you have an honest to goodness steel can and the best way to do that, is to test it with a magnet. So grab a magnet off the fridge and take it with you to the grocery store. If the magnet sticks to the can and you like the contents, then you’re ready for meal and a homemade mold! The best part about this exercise is, that you’ll have to eat the contents of your steel can first, so please, be my guest! And, if you haven’t already read the article entitled “How to Apply Kiln Wash to Metal Molds” now would be the ideal time … there’s nothing like feeding the body AND the mind!
Next, let’s clean that can thoroughly and peel off that paper label too! It’s time to get to work! The first thing to do is to drill two or three small holes (about 1/8 inch or smaller) in the bottom of your can, evenly spaced around the edge. This will allow air to circulate throughout the mold. Now it’s time to heat your can to about 450F and follow the instructions on how to apply kiln wash to a metal mold. As an alternative to heating your can in a conventional oven or kiln, you can heat it with a blow dryer, but this process is generally a great deal slower, as you will only be able to heat portions of the can at one time. Once your can is nice and hot, you will remove it from the oven or kiln (with gloved hands) and set it on a heat proof surface while you apply at least four coats of kiln wash/primer. You can apply it with a brush, or a spray bottle. If the primer isn’t sticking to the can, it may need more heating. Just return the can to the oven or kiln and repeat the process until the can is well coated with kiln wash/primer. Let the primer dry thoroughly! This may take some time and you can set the can back in the oven, or kiln, (which you have since turned “OFF”) and allow it to slowly cool down and dry out. ** Lass Tip – if you want a quick and easy way out, wrap the can with Bullseye ThinFire Paper and secure the paper at the open end of the can with some high temperature wire (which you can find on our Materials and Supplies Page) **
Now here comes the easy part … find a piece of glass and decide if you want to cut it into a particular shape (square, oval, circle, triangle, etc.). Once the kiln has returned to room temperature (if you used it to heat your can) and your can is dry and cool, you want to turn the can upside down on the kiln shelf (which I trust, has also been adequately coated with primer) and lay the piece of glass you have chosen on top. If you want a balanced-looking piece, you will want to center the glass on the base of the can (using a ruler, if you feel so inclined). Otherwise, if you want a more random, abstract look, you will set the glass on the can in any way that pleases you, and resolve to be pleasantly surprised by the results!
You are then going to close the kiln and begin firing, as you would any other fusing project (at a rate of roughly 500-600 degrees per hour) until you reach slumping temperatures in the range of about 1250-1325F. You will need to keep an eye on your project at this stage as timing is critical. You are watching to see the side of the glass begin to droop down the side of the can. Don’t rush this, it WILL happen and it’s best to “hold” or “soak” your glass at the temperature at which you begin to notice the glass droop, than to increase the temperature. The temperature at which the glass begins to move will depend on the glass you are using and the number of layers in your piece (you CAN use more than one; just make sure you are using COMPATIBLE fusing glass). Once you are pleased with the droop and the way the glass has moved around your can (uh, I mean mold), you will turn off the kiln and flash vent back to 1000F. ** Lass Tip – you DON’T want to let the glass droop to the point where it is hugging the can too closely on the sides, as this will make it very difficult to remove the glass from the can! You are looking for a gentle droop, much like that of a well starched handkerchief! **
Once the temperature has reached 1000, close the lid and walk away. The annealing process has begun and it is important NOT to peek! Peeking, even through your peep hole, can create enough of a temperature change inside the kiln to cause stress fractures in your work!
Once the kiln has returned to room temperature, you may open the lid and marvel at your creation! There may still be some residual heat in the glass and the can, so before you pick it up, check it first! Gently twist the can while carefully pulling it away from the glass. Your piece will need to be washed thoroughly to remove any kiln primer/wash residue. ** Lass Tip – our Wash Away solution makes it fast and easy to remove stubborn primer residue and can be found on our Materials and Supplies page **
You should now have a lovely and/or uniquely shaped vase or bowl, perfect for a candle, or potpourri or flowers or anything else you can come up with! The can is recyclable, and can be used again, or sent to the curb with the trash! Happy fusing!
Click here for electrical receptacle information for your special-order kiln!
The Two Lasses have had LOTS of questions relating to this sticky subject! Just how does one affix a jewelry finding to a piece of fused glass and make it PERMANENT?? It’s really NOT that difficult, but it DOES require some preparatory work to ensure a good, lasting bond.
Begin by taking a piece of medium grit sandpaper and rough up the back side of the glass where you plan to adhere your finding. The surface of the glass is so perfectly smooth, that the glue needs something to grab onto. By sanding the glass, you are creating tiny ridges where the glue can then make a good, solid contact.
You must then rough up the corresponding surface to which you are planning to adhere the glass (i.e., the top of a box, the back of the brooch finding, or earring post). Then, using a TWO-PART, FIVE MINUTE EPOXY that is recommended for glass (which can be found at your favorite hardware store for about $4.00), apply small, even amounts of glue to the cab and affix it to your finding, using gentle even pressure.
** WARNING ** Until the glue has set (FIVE MINUTES), the finding may "slip" on the surface of the glass, or vice versa, so it is IMPORTANT to keep an eye on you project to ensure it does not "shift” position until the glue has set up. When possible, you may even choose to use painter’s tape (the dark blue tape with a mildly sticky surface) to hold your project in position while the glue cures. Nothing however, can take the place of vigilance!
Dichroic Glass is created when multiple layers of Quartz crystal and metal oxides are vaporized by an electron beam gun in an airless vacuum chamber using a highly technical process. The resulting vapor then floats upward and first attaches, and then condenses on the surface of the glass in the form of a crystalline structure. The colors obtained through this process are the result of as many as 30 layers of these vaporized crystals and oxides applied in carefully controlled thicknesses.
Typically, a piece of dichroic glass has two very distinct colors; transmitted and reflected. The "transmitted color" is the color we see when we gaze through a clear piece of dichroic glass. The "reflected color" is the color we see in a clear or opaque piece of dichroic glass when light bounces off of the surface of the glass.
The Two Lasses have often commented that Dichroic glass could, in some instances, be known as Trichroic as there is yet another “perceived color” that we are able to view when the glass is held at a 45 degree angle. This third shade is often referred to as the “shift” color.
On our Materials and Supplies page, we list the dichroic glass exactly as the manufacturer specifies. Most of the colors are listed with the transmission color mentioned first, followed by the reflective color. For example a "Blue/Gold" coating on clear glass will transmit blue and reflect gold. However, when black or opaque glass is coated with the same “Blue/Gold”, you will only see the reflected shade of Gold with very subtle hints of blue when the glass is held at a 45% angle.
In some cases the glass is coated with multiple shades referred to as a “rainbow” or “mixture” coating. The rainbow coating applies to the rainbow shades that are deposited on the glass in graduated stripes (just like a real rainbow – see Tiny Dots on Clear) …
whereas the mixture coating has multiple layers of the same rainbow colors deposited one on top of the other (see Mixture Balloons on Clear) …
So now you know the mystical secrets of Dichroic Glass. Happy Fusing!
Lubrication is a key element in making nice clean cuts in your glass, so in order to make great cuts each and every time, the Two Lasses want to share our secret for a simple little device you can make at home with an old pill bottle (a small one, will do nicely) and a bit of scrap felt!
Thoroughly clean and dry the plastic pill bottle (a wide mouth bottle is ideal) and then cut a small piece of felt to sit at the bottom. Thoroughly saturate the felt with quality cutting oil. Before each and every cut, be sure to dip your cutter in the bottle, which will deposit a nice coating of oil on the wheel. The best part about this “oil dispenser” is that it is completely spill-proof! Check the felt from time to time and add more oil as needed. Be sure to run you cutting wheel over a clean cotton cloth from time to time to release any glass debris that can get caught in the wheel well.
By keeping the wheel lubricated and free of glass debris, you will ensure that yours will be the kindest cut of all!
When working with dichroic glass you will need to know which side is coated so here’s a simple test method for you to employ. Take a toothpick and gently touch the surface of the glass. If you can see the reflected image actually touching the surface, you are touching the coated surface. If you see the image of the toothpick with a small space (approx. 1/16th of an inch) between the tip of the pick and the glass, you are touching the non-coated side. The dichroic coating is susceptible to scratching until it has been fused, therefore one should use care when handling the glass and always cut on the NON-coated side.
Are visions of spiraling electric bills keeping you from owning a kiln or from upgrading to a larger one? The Two Lasses are here to offer you an easy and reliable way to calculate the monthly cost of operating your kiln. Here’s the formula:
First you need to know the volts and Amps of the kiln in question.
Take the volts of the kiln and multiply by the Amps to discover the Watts (Volts x Amps = Watts)
Then, take the Watts and divide by 1000 which will give you the Kilowatts (Watts div. by 1000 = Kilowatts)
Next, check your household electric bill to determine the amount of money your utility company charges you PER KILOWATT HOUR and multiply that amount by the number of Kilowatts you determined are used by your kiln and you will know exactly how much money you are spending per hour to operate your kiln.
Example: My Jen-Ken Bead Annealer with Digital Controller has 120 volts and 13 Amps 120 x 13 = 1,560 1,560 Watts divided by 1000 = 1.56 My electric company charges me $0.055 cents per kilowatt hour 1.56 x 0.055 = .08 cents per hour
Given that the average kiln firing program for fusing glass is no more than three hours in duration, and IF you were to complete one firing per day each month, you would spend roughly $7.20 per month. Are you surprised at how economical your kiln is? We were!!
We’ve had our fair share of customers and students who ask, “How DO you get kiln wash to adhere to a metal mold?” so here’s the trick...
First, you will heat your mold to about 450 degrees and you can do this either in your conventional oven, or in your kiln. IF you are planning to heat the mold in your kiln, be sure to place the mold ON a kiln-washed kiln shelf.
Next, WITH your KILN MITTS ON, you will carefully remove the mold from the kiln or the oven and set it on a heat-proof surface (like another kiln shelf, or a brick) where you will then apply kiln wash with a haike brush or with an air brush in nice even strokes.
The kiln wash will make a sizzling sound as the water in the wash evaporates leaving the chalky residue sticking to the mold. You should make certain that your mold has been coated thoroughly before you return it to the oven or kiln to complete the drying/curing process.
Be certain that you have turned your oven or kiln OFF before returning the mold for the drying process. You may, if you prefer, leave the kiln washed mold out in the open to air dry, but it is imperative that all kiln washed molds be thoroughly dry BEFORE you slump or fuse.
If, after you have prepared your metal mold with kiln wash, you discover a small area where the wash did not adhere properly, you can take your hair dryer and apply hot air directly to the bare spot to heat the metal. Remember metal conducts heat, so wear a kiln mitt so you can keep a good grip on your mold! Then, with a small paint brush, dab a bit of kiln wash on the bare spot and then apply more hot air from the dryer to cure the kiln wash.
Any new mold warrants close inspection to rule out any flaws or defects that may cause problems. Next, give the mold a thorough wipe with a dampened cloth to remove any debris that may be present.
The Two Lasses recommend that you inspect your molds before each firing, checking to ensure that there is a smooth even coating of kiln wash on the mold, and that the kiln wash has thoroughly dried/cured. The use of a haike brush is essential to applying several even applications of kiln wash to your mold. The Lasses recommend four coats of kiln wash to ensure a smooth working surface.
When working with small molds that have concave or convex surface areas (such as paperweights or barrette molds), the Lasses have found it can be difficult to apply a consistently even coating of kiln wash (and here’s where the pantyhose come in, as if you weren’t just dying to know)! With an old pair of worn out pantyhose, you can have a near perfect finish on your mold. First, apply kiln wash to the mold as carefully and evenly as possible and allow it to dry thoroughly! Once the kiln wash is dry, you can smooth out the finish by balling the pantyhose up into your hand and GENTLY buffing the surface of the mold/kiln wash until you are satisfied that you have removed any unwanted irregularities. The pantyhose will allow you to remove small imperfections but should not be considered a cure-all for a sloppy application of kiln wash! DO be careful to ensure that you have not been overzealous in your buffing, and accidentally exposed the “raw” surface of the mold, as glass will permanently adhere to any surface that has not been properly and adequately primed with kiln wash!
Wherever you have located your studio, be it a garage, basement or even a building near your home, there are a number of things you can, and SHOULD do to make your studio safe!
First on your list should be equipping your studio with FIRE and SMOKE detectors as well as a CARBON MONOXIDE detector(s). The instructions on the detectors will advise you as to how many you may need for the size of your room and where they should be placed.
The next item on your list should be a FIRE EXTINGUISHER! Yes, accidents happen, and you should be prepared by having a fire extinguisher located within reach of your kiln.
Proper electrical service for your kiln MUST be available! It is UNSAFE to operate your kiln using an extension cord! Invest a few dollars and have an electrician run the service you need to a location that allows you to plug the kiln directly into the power box. NEVER let the power cord come in contact with the kiln.
Next, we need to address the issue of where to place your kiln. The kiln should be located in good sized room with sufficient air circulation and ventilation in order to remove heat and vapors that may be released during the firing process. Think about the "traffic flow" in your studio and place your kiln in a remote location that is removed from other work areas. The best and safest place for any kiln is on a cement floor, but if this is not possible, the kiln should then be placed on a STURDY FIRE-PROOF structure that will more than accommodate the weight of the kiln. The kiln should be situated in the center of this FIRE PROOF supportive structure AT LEAST ONE FOOT from the nearest non-combustible wall or object.
The area surrounding the kiln should be free from any combustible materials (paints, paper products, gasoline, etc.) and DO NOT store anything on shelves above the kiln.
The Two Lasses recommend that you take the time to address all these important safety issues to ensure that you have many safe and happy hours in your studio!
The Two Lasses are health and safety conscious and, to that end, we feel it is important to remind our students that they should be wearing an approved respirator (NOT a paper dust mask) whenever they are preparing a batch of kiln wash, scraping old kiln wash off the kiln shelf, cleaning kiln wash off the back of their glass and sawing or grinding their glass! Silicosis is a disease of the lungs caused by inhaling silica dust (glass). There is NO cure! ALWAYS use your respirator!
Whenever the Lasses are in a “sticky wicket” they rely on Elmer’s Blue Gel School Glue! Yes, the Lasses have found that a little dab of blue gel glue applied sparingly with a toothpick, does a wonderful job of steadying a stack of glass prior to firing. Best of all, the lasses have found that the gel-like consistency means the glue goes EXACTLY where you want it and STAYS there! True, there are a number of excellent glass glue products on the market, but the Two Lasses are “sticking” with Elmer’s Blue Gel School Glue. Go ahead, give it a try, you WON’T be disappointed!
High-temp wire is perfect for using with fused glass because it will remain intact at temperatures of up to 2000 degrees Fahrenheit! Using your hands and/or jeweler’s pliers, high-temp wire can easily be formed into virtually any shape, then secured with glass fusing glue (in between layers of glass) and fired in the kiln in order to create mini-cabochons suitable for an assortment of jewelry creations. If you have the steady hands of a surgeon you can assemble your creation directly on the kiln shelf and position the wire in between the layers of glass thereby avoiding the gluing process.
As the glass begins to slump in the kiln, the wire will become permanently encased within the layers of glass. After firing, the wire will appear somewhat discolored and dull, at which time a gentle buffing with some steel wool will quickly restore the luster. The projecting end of the wire can then be used to attach the fused glass piece to just about any kind of jewelry finding. For example, straight lengths of wire of 2 to 3 inches in length can be fused into small glass cabochons in order to create some fabulous earrings. Beads can then be added onto the wire above the cabochon (post firing) and a small loop made at the end of the wire in order to attach it to an ear wire.
Cut lengths of high-temp wire with small wire cutters or jewelry nippers and use chain-nose jewelry pliers to form the loops required to attach the wires to the findings.