Thanks so much Dana for your
Thanks so much Dana for your reply. I understand completely what you are saying. I will definitely go and look at the references you listed and do some research on damming. I did purchase an Inland grinder and am looking into some glass breakers as well. The pieces I’ve made so far are quite thick and cutting them has been challenging. I’ve practiced on a few of my “experimental-not so great” pieces and one I was able to break although not straight and the other one…well lets just say I mutilated it. I won’t touch my good ones until I figure this out because I actually like them and want to complete them.
There was only one thing from my original list that I was not exactly clear on from your post – can my dichro pieces (whether thick or thin) if they have a black backing – can that be the base bottom or does it have to be put on another piece of glass. My preference is for the piece to not be so thick and if I’m able to use the full piece of black-backed dichro as the bottom layer (in instances where I’m not cutting and designing) and not have to add that extra layer – I’d like to do that. However, all my research shows/tells you to put on top of a base layer (i.e. black, clear, colored glass, etc.)…You’re right dichroic glass is expensive – so I don’t want to experiment with what I have – I thought I’d just ask. I did purchase 10 lbs of scrap glass so I have plenty of regular glass to play around with.
Some of the things that I’ve purchased is a small Skutt Firebox 8 kiln which is a pretty awesome little kiln I have to say. I researched for days before I bought it and bought it knowing that I would eventually go back and get a controller. After using my kiln 3 times now – I wish I had invested in the controller from the beginning…whew! Nothing like babysitting a kiln for hours. The pyrometer is great, but it would be nice to program and walk away! I also purchased the Contemporary Fused Glass book by Brad Walker and following his firing schedule which is a slow ramp, then bubble squeeze, then fusing (which this is where I think I’m messing up because I’m not leaving it here long enough because the edges aren’t smoothing out) then annealing and cooling. I think I get nervous at the fusing stage because I’ve read this is where you can mess your piece up so to watch it closely. So – should I leave it longer since the common thread throughout the few pieces I’ve done is that I have raw edges on all pieces? My notes say to hold at this stage for 10 minutes (1450 to 1500 degrees)..do you have any suggestions?
Okay, I’ve typed a novel…I’m just so excited to get these last few questions answered so that I can play. Thanks again Dana! I can’t wait to see your response!