Thanks Bob

 I recently met Bob, a fused glass artist, at my screen printing class. Bob is very interested in screen printing designs onto glass using enamel and binder and then fusing the glass. We had quite a few conversations about glass and glass fusing.


Bob has been kind enough to give me a large dish mould   in a shape and size that I haven't used before (it measures 30cm X 20cm) so I have tested the mould using float glass. There's no point in designing a piece using expensive glass if I make a mistake with the first fusing. 

First I drew a template of the dish and cut two pieces of float glass, grinding them to shape. Next I flat used the two pieces up to 842 degrees c (1547.60 degrees f) and then put it back in the kiln to fire polish the edges.

Finally I slumped the glass piece in the mould so that the glass would slump down into the shape of the dish. I also tested a new soap dish mould in the same firing.

Glassprimitif will be exhibiting at the Makers' Fair as part of the Saltaire Arts Trail in May 2012. Find out more about the Makers' Fair HERE. 

Fresh from the kiln

Glass tiles ready for slumping

I'm so happy that I have finally got my Bullseye fusing programme right after lots of adjustments including holding temperature, full fuse and annealing temperature.

Tiles on slump moulds

Of course, having a larger kiln means that I can now fire larger pieces and more of them too. In the past it would take a week to fully fuse four coasters as I could only fire two on the kiln shelf - now it takes me 2 days to fuse 16 coasters! Yay! 

A small dish would take 3 days to make, fuse and slump. Now I can slump four dishes at once and make glass panels up to 30cm in size. OK, so not huge but big enough for me. 

My lovely large kiln arrived last year, courtesy of Northern Kilns, who did a fantastic job of wrestling it up two flights of stairs and installing it in the attic. It's just the right height and runs off the ordinary electric socket and, most importantly, the heat elements are in the lid, sitting in transparent onyx tubes. So no more cold spots on the kiln shelf. 

Adrian from Northern Kilns

My tiny jeweller's kiln

Come and See Me

at Saltaire Maker's Fair in Victoria Hall from 5th to 7th of May 2012. Visit Saltaireartstrail.co.uk for more information and to find out who else will be there. 

Who else will be there? 

Bell Amour

Dove Street Pottery

Dizziebhooked

Prefab Designs

Kitschen Sink

Alice Fox Textiles

InkyLinky

My Poor Thumb!

Working with glass is very hard on my hands because the processes involve handling, cutting, grinding and washing glass, not to mention the exposure to harsh chemicals and sharp objects.

Last Sunday was particularly bad for my thumb which I managed to cut, embed a small piece of glass, burn on the iron and super glue to my forefinger! I suppose these would be classed as industrial injuries but, for me, this is just part of being a glass artist.  There are plenty of hazards with glass and it is wise to have a healthy respect for the materials. Acid etch paste is particularly toxic and powdered kiln wash should not be inhaled. Then there's the possibility of ground glass being  ingested and sheet glass severing arteries (!) but these are the worse case scenarios. 

Although there is only one person with access to my studio (me) I still keep a stock of plasters and some eye wash to hand. I always make it a policy to wear work boots, never bare feet, slippers or open toe sandals and only handle large sheets of glass wearing cotton gloves. But, even though I rigorously brush my work mat down after cutting glass, there are still occasional small shards that stick to my palms. The annoying thing about cutting myself is that I have to stop what I'm doing to dress the cut and clean up the blood but at least I can't damage my work.


I'll always remember what my quilting friends would say when I pricked my finger with a needle - "don't get blood on the quilt"! Very sympathetic....

Getting Ready

I'm really busy fusing new glass at the moment in readiness for the fairs and events I will be attending in 2012.
I was lucky enough to be selected for this year's Maker's Fair at the Saltaire Arts Trail in May and I want to have a new range of glass ready. I have been trawling through my Image file of Sold items to gauge which designs have been most popular and I have resolved not to make any more experiments this year until I have built up my stock.  

Beach Huts

I've also bought some larger moulds so that I can make bigger dishes. As PVS Glass in Calverley has now closed they have been selling off the moulds and I bagged several bargains. 

Patchwork Quilt

Then there's my table display. My skills in interior design and product placement have always let me down in the past so I am planning a simple display that will, hopefully, show the glass off to its advantage - which means Less is More!

Cool Squares

It's been two years since I showed my glass at the Saltaire Maker's Fair so I need to research and revise my retail pricing. Fusing glass has become so expensive now that to manufacture glass dishes in the UK means a struggle between costs of raw materials and customer affordability. Having bought two sheets of clear 2mm Bullseye Glass this week, I sometimes think it might be cheaper to just emigrate to Portland, Oregon where it's manufactured.

Bright coasters

I've been reassessing my glass fish - which have always proved to be one of my best sellers - but I need to rethink the design. Back to the drawing board.