Stained Glass… Can it be fused? Picture Glass… Can it be fused?

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    I have a lot of stained glass setting around. Unfortunately, soldering was too difficult for me to grasp, and so it sets. Some of this glass is Kokomo Glass, and the rest I purchased at Hobby Lobby. Can I place stained glass in my electric kiln without it harming my kiln? Can stained glass explode and splinter the walls of the firing chamber? I am wanting to use one piece of stained glass by itself for a particular project instead of combining the glass with another and layering. I plan to do a full or tack fuse and then slump it over a plate.

    I also want to use stained glass on top of lava cloth. Will this work (if stained glass is truely fusible.) or must I use kiln wash or fiber paper to protect the shelf? Is lava cloth easily removed from stained glass?

    If these types of projects can be done with stained glass are there any specific firing schedules I should use? For example, does it melt at a higher or lower temperature than that of fused glass (I use all COE90)? Does it require a slower ramping when being heated and cooled? Longer or shorter holding times? Most of my fused glass is Bullseye. It full fuses in my Paragon kiln at 1425 degrees, tacks at 1400 and slumps at 1375. 

    I was given a piece of broken glass that had been used in a picture frame. Is picture glass fusible? Is it considered a “float”? If picture glass can be used for fusing projects, is there a problem if it is that of a non-glare type? Will it melt at a lower degree than COE90?


    Thanks for all of your expert advice!


    I’d love to have a firing schedule if someone has one.


    Yes, you can fuse stained glass.  I have made several “coral bowls” using strips of stained glass. I don’t mix colors, or even the same color from different sheets.  Theoretically if it came from the same sheet, then it should have a uniform COE even if you can’t determine what that number is.  In other words it should be compatible with itself.  Variations in the manufacturing process could cause similar sheets from different runs to be incompatible.

    I also found that it is best to load my kiln with all one kind of glass even if it isn’t full for firing.  This is because there was variation in the time/temperature when different types of glass were done.  My first couple attempts contained 3 different projects each using a different color glass.  I ended up sacrificing 2 of them because I could tell through the porthole that the red one was perfect and it was the one I wanted most.  On subsequent attempts I learned that all the pieces would be successful if they were consistent.

    Temperatures – it seems like the more white there is in the glass the higher you have to go to melt it, but I’m not too sure about this.  Maybe my perception is off.  My red glass was a red/orange streaky.  I forget what the manfuacturer or product number was.  It was not opaque or opalescent.  You could see through it.  It fused at 1435.  I had a 15 minute soak programmed, but stopped it after 10.  It was done.  We ramped up slowly, vented the kiln and then went through a slow anneal as well.  this turned out very pretty with no devit and nice soft, rounded edges.

    I have some other glass that I tried to do the same thing with and it hasn’t worked at all.  It is a very hard blue and white streaky.  Completely opaque but not opalescent.  I am trying to slump this stuff into a mold and have had it all the way up to 1475 without success.  All it has done is dimple in the center a little bit.  I have fired it twice and I’m not going to try a third time.

    Sorry not to be able to give you any specific advice for firing schedules or the like.  We just started off with the schedule we use for slumping wine bottles and tweaked to get to results we liked.  Make sure you keep your log!

    Cherrie J


    PS – Did you practice lots of soldering?  The reason I ask is because I despaired of ever being able to solder attractive beads too, but I kept practicing.  Lots of practice.  The other day I put an early project from a year ago next to one from last week and could see that I have improved more than I realized.  It has finally become easier to count the mistakes than to count the “good places”!





    I recently asked this very question at a workshop I went to and the tutor said not to put stained glass in your kiln as the glass has a metal coating that will leave unwanted residue in your kiln and could be toxic,

    kind regards




    I’ve fired stained glass in  my kiln. As someone mentioned you have be to concerned with compatiblity issues so I will only fuse peices from the same sheet of glass or I will slump or drape with a single sheet of glass. I’ve slumped over a stainless steel cone and also slumped a single sheet on a plaster candle mold. One thing I’ve noticed is that you have to be concerned with devitrification (sp). You may have to use a over spray to reduce devit or a borax spray.

    The picture frame glass that you mention is considered float glass. There are lots of artist that specifically work with float glass as a medium of being green. With float glass you need to identify the tin side of the glass and always face that down. Again sometimes with float you need to be concerned with devitrification. I have been successful using float glass with youghioghney glass. They seem to have the same coe. I’ve also taken a 1/4 in sheet of float glass and slumped it into a mold using fiber paper in the mold to create interesting designs in the glass.

    Of course when fusing you need to use fiber paper and when slumping you need to use a mold that has been prepared.

    Good luck

    Albert H



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