Sticking Fiber Paper

People are reporting different behaviours of their thicker fibre papers.  Mainly the difference is that small fibres stick to the glass after a full fuse or kiln carving firing.  There also seems to be a different smell from the burning binders.  This is most likely to be a body soluble refractory fibre paper that is being used.

It seems more suppliers are selling the body soluble versions of fibre paper. It sticks and it gives off a smell of volatile chemicals. I don't like it, but I may have to use it due to the unavailability of that more health risky stuff that worked very well.

There are several ways to minimise the fibres sticking to the glass.  They all relate to adding a separate coating of separator to the fibre paper before firing.  Among the coatings that can be used are kiln wash brushed on or powder dusted over, alumina hydrate, and boron nitride (Zyp is one brand name).  Some cut out Thinfire or Papyros to the shapes required.  (It seems to me that a single sheet of either of these placed over the whole area would do the job, as they turn mostly to dust upon firing).

Others have found that simply soaking in water overnight allows the fibres to be brushed off with stiff brushes.

Body soluble refractory fibre papers tend to stick to the glass at anything over low temperature tack fuses.  This requires an additional layer of separator to be applied over the paper.

It is each person’s choice, of course, but I will continue to attempt to get the older version of fibre paper.

Specific Gravity of Unknown Glass

(warning: lots of arithmetic)

Knowing the specific gravity of a glass can be useful in calculating the required amount of glass needed, e.g., for casting, and screen and pot melts, where a specific volume needs to be filled.

Most soda lime glass – the stuff kilnformers normally use – is known to have a specific gravity of approximately 2.5.  That is, one cubic centimetre of glass weighs 2.5 grams. 

If you have glass that is of unknown composition for your casting, you will need to calculate it.

Calculating the specific gravity of unknown glass.

Specific gravity is defined as the ratio of the weight of a substance to (in the simple case) the weight of water.  This means first weighing the item in grams.  Then you need to find the volume.

Calculating the specific gravity of regularly shaped items

For regularly shaped item this is a matter of measuring length, width and depth in centimetres and multiplying them together. This gives you the volume in cubic centimetres (cc).

As one cubic centimetre of water weighs one gram, these measurements give you equivalence of measurements creating the opportunity to directly calculate weight from volume.

To calculate the specific gravity, divide the weight in grams by the volume in cubic centimetres.

An example:

To find the specific gravity of a piece of glass 30cm square and 6mm thick, multiply 30 x 30 x 0.6 = 540cc.  Next weigh the piece of glass. Say it is 1355 grams, so divide 1355gm by 540cc = s.g. of 2.509, but 2.5 is close enough.

Calculating specific gravity for irregularly shaped objects.

The unknown glass is not always regular in dimensions, so another method is required to find the volume.  You still need to weigh the object in grams.

Then put enough water in a measuring vessel, that is marked in cubic centimetres, to cover the object.  Record the volume of water before putting the glass in.  Place the object into the water and record the new volume.  The difference between the two measurements is the volume of the suibmerged object.  Proceed to divide the weight by the volume as for regularly shaped objects.

Credit: study.com

Application of specific gravity to casting and melts.

To find the amount of glass needed to fill a regularly shaped area to a pre-determined depth, you reverse the formula.  Instead of volume/weight=specific gravity, you multiply the calculated volume of the space by the specific gravity.

The formulas are:

v/w=sg to determine the specific gravity of the glass;

v*sg=w to determine the weight required to fill a volume with the glass.

Where v = volume; w = weight; sg= specific gravity;

You determine the volume or regular shapes by deciding how thick you want the glass to be (in cm) and multiply that by the volume (in cc). 

For rectangles

volume = thickness * length * depth (all in cm)

For circles

Volume = radius * radius *3.14 (ϖ)* thickness (all in cm)

For ovals

Volume = major radius * minor radius * 3.14 (ϖ)* thickness (all in cm)

Once you have the volume you multiply by the specific gravity to get the weight of glass to be added.

Calculating weight for irregularly shaped moulds.

If the volume to be filled is irregular, you need to find another way to determine the volume.  If your mould will hold water without absorbing it, you can fill the mould using the following method.

Wet fill

Fill the measuring vessel marked in cc to a determined level.  Record that measurement.  Then carefully pour water into the mould until it is full.  Record the resulting amount of water. Subtract the new amount from the starting amount and you have the volume in cubic centimetres which can then be plugged into the formula.

Dry fill

If the mould absorbs water or simply won’t contain it, then you need something that is dry.  Using fine glass frit will give an approximation of the volume.  Fill the mould to the height you want it to be.  Carefully pour, or in some other way move the frit, to a finely graduated measuring vessel that gives cc measurements.  Note the volume and multiply by the specific gravity.  Using the weight of the frit will not give you an accurate measurement of the weight required because of all the air between the particles.

An alternative is to use your powdered kiln wash and proceed in the same way as with frit.  Scrape any excess powder off the mould.  Do not compact the powder.  In this case, you must be careful to avoid compacting the powder as you pour it into the measuring vessel.  If you compact it, it will not have the same volume as when it was in the mould.  It will be less, and so you will underestimate the volume and therefore the weight of glass required.

Irregular mould frames

If you have an irregular mould frame such as those used for pot and screen melts that you do not want to completely fill, you need to do an additional calculation.  First measure the height of the frame and record it.  Fill and level the frame with kiln wash or fine frit.  Do not compact it.  Carefully transfer the material to the measuring vessel and record the volume in cc.

Calculate the weight in grams required to fill the mould to the top using the specific gravity.  Determine what thickness you want the glass to be.  Divide that by the total height of the mould frame (all in cm) to give the proportion of the frame you want to fill.  Multiply that fraction times the weight required to fill the whole frame to the top.

E.g. The filled frame would require 2500 gms of glass.  The frame is 2 cm high, but you want the glass to be 0.6 high.  Divide 0.6 by 2 to get 0.3.  Multiply that by 2500 to get 750 grams required.

Regular mould frames

For a regular shaped mould, you can do the whole process by calculations.  Find the volume, multiply by specific gravity to get the weight for a full mould.  Measure the height (in cm) of the mould frame and use that to divide into the desired level of fill (in cm).

E.g. The weight required is volume * specific gravity * final height/ height of the mould.

The maths required is simple once you have the formulae in mind.  All measured in centimetres and cubic centimetres

Essential formulae for calculating the weight of glass required to fill moulds (all measurements in cm.):

Volume of a rectangle = thickness*length*width

Volume of a circle = radius squared (radius*radius) * ϖ (3.14) * thickness

Volume of an oval = long radius * short radius * ϖ (3.14) * thickness

Specific gravity = volume/ weight

Multiple Firings of Kiln Wash

Many people report that they fire multiple times on kiln wash that has not been renewed.  Most add coats over existing kiln wash.  They only remove all the kiln wash when it begins to crack, stick to the glass or gets divots.

We all know that kiln wash fired a second time to full fuse is likely to stick to the glass.  We also know that kiln wash fired to slumping temperatures lasts almost indefinitely.  Somewhere between the two temperatures the kiln wash undergoes a chemical change that makes it more likely to stick to the glass on the next full fuse firing. 

credit: Immerman Glass

Some people continue firing without adding additional layers of kiln wash until cracks, divots, or sticking occurs.  This leads to creating a fix after the failure of the kiln wash. This requires both finding a means of cleaning the kiln wash residue from the glass, and fixing the firing surface.

Others paint a layer of kiln wash on top of the existing separator before high temperature firings. This continues each firing with a fresh layer of kiln wash.  However, the same cracks, divots, and sticking occurs at some point, requiring a complete re-coating of the shelf, and getting the kiln wash off the glass.

credit: Sue McLeod Ceramics

Re-coating of a shelf takes a couple of minutes and can be done with simple tools.  A broad scraper will remove most of the kiln wash.  This can be followed by rubbing with an open weave sanding sheet as used for plaster board or other dry walling.  If you are worried about the dust – which has less risk than fibre papers – you can dampen the surface before beginning the cleaning process.

If the kiln wash has been on the shelf for many firings, it is more difficult to remove, requiring more effort than a single firing.  High temperature firings as for melts also make the kiln wash more difficult to remove. But the same process is used in these cases.

       

Kiln wash in firings at slump and low temperature tack fuses can be reused as many times as it remains smooth and undamaged since the temperature is not high enough to cause the chemical changes.

The ultimate benefit of renewing kiln wash is that not only less effort is required to clean and re-coat, than to fix pieces with kiln wash stuck to them, and also the cost of kiln wash is significantly less than fibre papers.

Removing kiln wash

Applying kiln wash

Including Incompatible Glass

The question on whether incompatible glass can be included in a piece gets a range of positive and negative responses.

The real answer, as indicated by the diversity of responses, depends on where you start, and what assumptions are being made.  However, responses such as "Less than 10% of area is ok" are not helpful because they take no account of the conditions.

Degree of compatibility

How incompatible are the two glasses?  The greater the difference, the less can be used. If you have two test pieces of glass that show a little stress upon viewing with a set of polarised filters, 

you can attempt to combine a greater area than if the test pieces show significant stress.

Mass

The relative mass of the two glasses are important.  Thin Bullseye confetti placed sparingly across an Oceanside glass of 6mm thickness and 300mm diameter will usually survive, although there will be some stress visible through polarising filters.  If you are placing a large or thick piece on the disc, you will have much more trouble.

Placing

The placing of the incompatible glass has an effect too.  The nearer the incompatible glass pieces are to the edge, the more likely a fracture is to develop.

Shapes

The fourth consideration is the shape of both the base and the added incompatible glass.  A circular base can contain more stress than a rectangular one.  An angular incompatible inclusion will show greater stress than a circular one.

With included incompatible glass you are asking the main piece of glass to contain the stresses.  The factors affecting the ability of the base glass to contain the stress are:

The degree of difference in stress between the pieces

the mass of glass applied to the base

the shapes of the base and the inclusions

where the incompatible glass is placed.

These all affect how well the main or base glass can contain the stress.  If the piece is at all important to you, do not include incompatible glass at all.  If it is really important, test all the glass you will be using.

Making Thin Sheets

The question of how to make thin sheets arises from time to time.  Unless you are a glass manufacturer, it is unlikely you can make large, thin glass sheets.  But you can approximate making thin sheets by two methods that I know.

Sintering

One of these is sintering.  This is firing the glass to a low temperature and soaking for a long time.  The common form of this is powder wafers. 

By using a screen to deposit an even layer of glass powder you can make very thin, but delicate sheets of glass.  The procedure I would use is a screen of about 45 – 60 threads per inch.  This is coarse enough to allow the powder through, but not so fine as to “reject” large amounts of the coarser particles. 

You can screen the powder directly onto a kiln washed shelf, or onto Thinfire or Papyros.  You will not be able to move the unfired powder on a sheet of paper or fibre paper without changing the thickness and shape of the screened powder.  It must be laid down onto the separator directly on the shelf.  You can of course, move the shelf to the kiln if you can get in without tipping it.

Method

Support the screen about 3mm above the surface to allow the powder to fall through.

Make a ridge of powder at one end of the screen.  Using a smooth straight edge wide enough to cover the whole of the screen, lightly spread the powder from the starting end to the other. Then repeat drawing the powder to the starting end.  Make about five repeats of this – that is 10 passes, to get enough powder laid down to form about 0.5 to 1mm sheet.  You will need to experiment with the number of passes to get what you want.

Do not try to press the powder through the screen.  That will only wear the screen out quickly and may tear it.  Each pass should be a light spreading of the powder.  It is heavy enough to fall through the screen without additional force.

You could, of course, just sift the powder over the area you want to cover and judge by eye how even the layer is.  It is possible that your observation is good enough, but it is more likely that you will have thick and thin areas.  Often even at sintering temperatures, the thin is pulled toward the thicker, leaving small or large holes.   By screening the powder, you know you will have an even layer

Firing

The kind of schedule to use to sinter the glass particles together without changing their structure is the following:

220°C to 482°C , soak for 60 mins
55°C to 593°C, 10 minutes
28°C to 665°C for 5 mins
as fast as possible to 482°C for 30 mins
28°C to 427°C, no soak
55°C to 370°C, no soak
110°C to 50°C, no soak

This will work for most fusing glasses.

This slow firing allows enough heat to penetrate the glass grains that they will stick together without changing shape or developing holes.  I admit the anneal cool is very cautious.  You can experiment with quicker cools if you want to speed the process.

  

Pressing

This is a technique of thinning already existing sheets of glass.  Typically, you will have a 6mm or thicker piece of glass that you want to be 3mm or less.  Paul Tarlow has described this kiln pressed glass very well in his books and on the fusedglass.org site.

In essence, you use a pair of kiln shelves.  Kiln wash both shelves.  Place the glass to be thinned on one shelf.  At the outer edges of the shelf put down spacers of the thickness you want the glass to be after pressing.  This will keep the upper shelf from settling down too much and more importantly unevenly.  Place the other shelf, kiln washed side down, on top of the glass.  Be sure the spacers are in places where they can support the upper shelf.

If you are thinning from 6mm to 3mm, normally you do not need any additional weight on top of the upper shelf.  But the thinner you want the glass to be, the greater the weight needs to be.  It could be another shelf, fire bricks or steel weights.

When scheduling the annealing remember you must take account of the mass of the weight on top of the glass.  You will need a much longer temperature equalisation soak and a much slower annealing cool.  

Further information is available in the ebook Low Temperature Kiln Forming.

Keeping Bottles from Rolling

A common problem in firing bottles is that they may roll into one another and stick, making both bottles useless.

One way to overcome this is to let the bottle find its heavy point by setting on smooth and level surface. It will gently roll to one direction before slowly coming back in the other. When it stops this oscillation, the heaviest part of the bottle will be on the bottom.  Mark the bottle in some way so you can move to the kiln in that position. If after this, it rolls in the kiln, then your shelf is not level. 

Additional assurance against rolling is putting a small piece of thin fibre paper (1 or 2 mm)at each side of the point the bottle touches the shelf.  Thinfire and Papyros are not enough to ensure there will be no movement. But the small bumps of fibre paper are enough to stop the bottle from rolling.

Sometimes you want a particular part of the bottle up or down, but it won’t stay in place.  Then you need to put a slightly thicker piece of fiber paper against the bottle on each side.  It is better if it is not Thinfire or Papyros as they tend to disintegrate above 400C, long before the bottle begins to distort enough to keep it in place.

Other materials you can use to prevent the bottle from rolling are crumbled chalk, whiting, kiln wash, or even a few grains of sand.

Preventing bottles from rolling in the kiln is about finding the natural heavy spot, or propping the bottle in place with a variety of heat resistant materials.

Long Annealing Soaks

You Can’t Anneal Too Long.

Can you anneal too long?

Yes, you can.

It’s not just the possible temperature differences in the kiln.  If you have temperature differentials across your kiln, any piece that crosses those boundaries will have temperature differences locked into the glass.  If you know you have temperature differentials and your glass by circumstance must be in both the cooler and the hotter regions, you need to do a standard length of soak only.  Then reduce the rate of cooling a little more than normal, so that a slower cool occurs.  This should avoid most of the stress that can be induced by very long soaks in a kiln with hot and cool spots.

The other factor against annealing too long has been revealed by Bullseye research on annealing.  This video at about 13:00 minutes into the film explains.  This complicating factor in annealing is about the difference in temperatures of the surfaces of the glass.  The research shows that the longer you anneal the greater the differential in temperature becomes between the upper and lower surfaces of the glass.  This means that you can introduce stress across the whole piece, rather than just a section as in an unevenly heated kiln.

This comes from the recording of a typical long annealing cool during my testing.

What is more, the longer you soak, the cooler the bottom becomes in relation to the top.  The reported research does not state the reasons for this.  It just commented this as an observational fact.  It can be assumed that the air temperature differences are the cause.  Even during cooling the air is hotter on top of the shelf than under.  This would allow the bottom surface to cool more than the top. This assumption is borne out by the fact that the effect is reduced or eliminated by having elements under the shelf.

There are two reasons to avoid long soaks. Uneven temperatures across the surface are locked into the glass.  And long soaks at annealing induce an unwanted temperature differential between the top and the bottom of the piece.

More information is available in the ebook Low Temperature Kilnforming; an evidence based approach to scheduling.

Altering Annealing Temperatures

Sometimes  it is discovered that a kiln is firing hotter than other kilns, and you need to alter your process temperatures from the generally presented ones.  That your kiln is firing hotter than others is when you recognise the tack fusing profile of your tack fused piece is rounder than expected. 

Altering process temperature and soak times

There are two things you can do.

1)  Reduce the time at the temperature.  If the recommended schedule has the process work being done at 780°C for 15 minutes and the glass is too rounded or more like a contour fuse, you can reduce the soak time to 5 minutes, depending on how over-done the pieces are. 

2)  If the reduction in soak at process temperature does not work, then you can begin to reduce the process temperature.  Often only 5°C with a 10-minute soak is enough.  For some kilns it may be as much as 20°C again with a 10-minute soak.

Remember that the speed at which you advance to the process temperature will have an effect.  The slower you go the lower the temperature can be.  The faster you go, generally the higher the temperature needs to be.  There several factors combining to determine which is the right process temperature and soak.  Experimentation and record keeping are required to find just the right combination.

Annealing temperatures in a “hot” kiln

If your kiln fires hot, you do not need to alter the annealing soak temperature.  I have seen the recommendation that when you need to reduce the process temperature you also need to reduce the annealing temperature by the same amount.  This is not so for several reasons.

The first is that reducing the temperature of the annealing soak runs the risk of trying to anneal below the acceptable range.  These are a few paragraphs to explain.

Annealing occurs over a range.  The annealing point is the temperature at which annealing can most quickly occur.  But there is a range during which annealing can occur.  It is generally around 43°C either side of the annealing point.

If you follow the recommendations to anneal in the lower end of the annealing range, it is possible that you will start the annealing soak at too low a temperature by reducing the annealing soak temperature in line with the reduction of the top temperature.

The second is that the temperature measurement is of the air, not the glass.  On cooling, the glass is hotter than the air temperature in the kiln.  The recommendations for the annealing temperature take that into account.  So, reducing the temperature risks straying outside the annealing range.

Example of the annealing of a tack fused piece comparing temperatures of the air to the under tack stack and exposed base during the anneal soak and first cool

You should note that if you are using the Bullseye recommendations to do the anneal soak at 482°C, you already are in the lower end of the annealing range.  The average annealing point of Bullseye remains at 516°C. This new recommendation for the annealing soak is 34°C below the annealing point and any reduction of more than 9°C will put your anneal soak outside the annealing range, meaning that your anneal will be inadequate, no matter how long you soak there.

The third element relates to the annealing range.  The anneal soak can occur anywhere within that range. But the practical measure is to soak at, or below, the annealing point.  If your kiln fires hot, you do not need to alter the annealing soak temperature.  It will not matter if the glass is in fact hotter at the annealing soak than in some other kilns. 

It does not matter, because the soak at the annealing point, or lower in the range, is to equalise the temperature throughout the glass piece. The annealing point is not some magic number or temperature that sees to producing a sound piece of glass.  The soak at annealing point is to equalise the temperature to + or - 5°C within the glass.  This is referred to by the technically minded as Delta T = 5°C, or in symbols as Δ T = 5°C.  Bullseye has published a table that gives practical information on the length of soak required for this temperature equalisation for different thicknesses.

Once the temperature is equalised within these limits, you can begin the anneal cool.  This is an essential part of annealing and is designed to maintain the equality of temperature differentials during the cooling.  The rate of cooling is directly related to the length of the temperature equalisation soak required for the piece which in turn is related to the thickness of the piece.  This forms the fourth reason that starting the anneal soak slightly higher than recommendations, will not affect the annealing process adversely. The first slow cool is essential to achieving a sound piece as it maintains this small differential in temperature during the early part of the cooling into the brittle phase of the glass.

Annealing Temperatures in a Cool Kiln

Exactly the same reasoning process is applied to both hot and cool firing kilns.  You do not need to alter the anneal soak, even though it means you will start the temperature equalisation at a slightly lower temperature than the published schedules.  This is because you have to increase the top temperature to get the effect you want and so would also be annealing in a cooler kiln.  Since you are measuring the air temperature, the glass temperature will be above the air temperature and will still be in the safe annealing range.

Summary

The reasons annealing temperatures do not need to be altered if you kiln fires hot or cool are related to:

·        annealing range

·        air temperature measurements

·        rate of the anneal cool

More detailed information is available in the e-book: Low Temperature Kilnforming.

Uneven Slumps

A common problem in kilnforming is that the glass slumps into the mould unevenly. Several of reasons are given in this post about high temperature or fast slumps for uneven results.

There are two other things that can be done to alleviate uneven slumps.

Place the mould in the centre of the kiln to reduce any uneven heating of the glass.  Uneven heating is a common cause of off-centre slumps.  Where you have persistent uneven slumping with a mould it may be better to fire it on its own so the conditions can be best for it.  Sometimes it is more economical to fire a single item rather than a crowded kiln shelf where the firing conditions must be for an average rather than the optimal firing schedule and conditions for one mould.  Less of the resulting slumped glass is disappointing.

There is an alternative. Cut the glass so the fused piece will be slightly smaller than the mould top. This will allow the glass to sit inside the mould rather than on top. Frequently there is evidence of the glass hanging up on the side of a mould.  Sometimes there are spikes where the glass stuck and stretched. (Another reason for Low and Slow)

A third method has been suggested, but I have not tried it.  This is to lightly bevel the underside of the piece to be slumped.  The basis for this suggestion is that a bevelled edge will fit the mould better by having a slope rather than a relatively sharp edge resting on the mould surface.  I do know the other two suggestions work, but not this one, although it sounds logical.

More detailed information is available in the e-book: Low Temperature Kilnforming.

Slumping sizes

A question about slumping into a bowl mould.

·        Will the end result always be that the glass drops down into the mould and so the bowl size is smaller than the mould?

·        Does the firing schedule affect the outcome?

You need to think about what is happening to the glass in the slumping process to understand what the outcome of a slump will be.

During slumping, the glass is being bent rather than stretched (very much) into the mould.  In other, higher temperature processes the glass is being both stretched and thinned.

The reason for using low temperatures is to reduce the thinning effect while obtaining the shape of the mould.  If you use higher slumping temperatures, the glass will slide down the mould more than at low temperatures, and will begin to thicken, or create an uprising, near the lower portion of the mould.

Take the simple case of a ball mould. One which has no flat bottom but a simple curve from edge to edge.

If the glass was 300mm diameter when flat, it will still be (approximately) 300mm from edge to edge on the bottom.    If you put a flexible tape measure around the bottom from one side to the other, it will be very near the 300mm diameter around the curve.

This means the new diameter of the rim will be smaller than the flat diameter.

Steep moulds have less change in diameter, but greater change in the height of the piece in relation to the mould.  Again, the glass measured from side to side on the bottom will be about the same as the flat piece.  To achieve this, it will slide down into the mould more than a shallow one.

More detailed information is available in the e-book: Low Temperature Kilnforming.

Anneal soaks

An odd concept was presented recently.  This in summary was that if you have long soaks on the way up to top temperature you do not need to have such a long anneal soak as normal.

This is a fundamental misunderstanding of the physics of glass.  As the glass temperature rises above the upper strain point (about 55°C above the annealing point), the molecules become disordered.  No amount of soaking at any temperature on the way up to the top temperature will change that. 

The glass (and the molecules of it) will need to be cooled relatively quickly from the top temperature to avoid crystallisation of the glass.  This is the reason for the fast cool to the annealing soak.  It is also a reason to avoid a soak at approximately 50°C above the annealing point – there is a slight risk that crystallisation could form.  This would appear as scum marks on the surface, rather than in the interior.

Whatever soaks you have performed on the way to top temperature, you will need the full length of soak for the full or tack fuse.  And you will need it for the slump too.

No amount of soaking on the way up to top temperature in kilnforming will have any effect on the requirements for the annealing soak at the cooling part of the schedule.  The soaks in the early part of the schedule, no matter how many or how long, do not change the annealing requirements.

More detailed information is available in the e-book: Low Temperature Kilnforming.

Convex Shapes for Wall Hangings

The most common shapes for wall hangings seem to be the “S” or wave form in various sizes, and flat pieces of what ever outline supported by stand-offs.

There is another possibility.  You can produce a shallow domed shape which can work well for either landscapes or abstract pieces.  They will be best if circular, although rectangular forms can be used.

The usual resistance to doing this is that the surface will be marked, or that the tack fused surface will be flattened.

There is a way to do this without either effect.  Place the work upside down on a mould of appropriate diameter or dimensions and fire the piece slowly to a low temperature. 

Raise the temperature more slowly than you usually would for a slump in the normal way – top side up.  This allows both surfaces of the glass to be at the same temperature at the same time.  This equalisation of heat throughout the piece will protect against any breaks or splits on the underside of the glass – which will become the top surface.

Set the temperature for about 620C, depending on the span of the piece.  This temperature will be suitable for pieces of 300mm to 400mm and 6mm to 9mm thick.  Pieces with a smaller span will require higher temperatures or longer soaks.  Larger pieces will need a lower temperature.

You should set the soak at about 45 minutes. You will need to observe at intervals until you have the amount of depression you wish.  You will also need to know how to advance to the next segment of the schedule when that point is reached, so that you do not over slump the piece.

Since the piece only touches the mould at the rim, and you are not allowing much movement in the glass, you will not mark the glass with the mould. 

This process of making a domed wall piece will be unusual, although it will not be appropriate in all circumstances.

More detailed information is available in the e-book: Low Temperature Kilnforming.