Wednesday, 10 November 2021

Single Layer Circle with Decorative Rim


A question arose:

If you fuse a single 20cm diameter sheet of 3mm glass to full fuse, [with a decorative rim] what happens? … Would the lack of two layers in the centre be a problem for the 6mm rule?

This layup risks trapped air and a large central bubble.  The explanation involves the combination of volume control and weight.

Volume control

The volume control relates to the single 3mm layer in the centre.  The glass will thin in the centre and thicken at the perimeter.  This leads to the risk of thinning to the degree that bubbles are created in the centre.  The edges will also draw in as the viscosity - surface tension - of the glass pulls the glass toward a 6mm thickness.

Weight

The explanation is also about weight.  The decorative rim adds weight to the outside of the piece.  This weight will “seal” the rim of the glass to the shelf, reducing the possibility of air escaping from under the central portion of the piece.  This weight effect on the rim increases the risk of a large central bubble.

Profile

Another influence on the result of the fuse is the degree of fuse.  At full fuse the viscosity of the glass is less and so resists the force of expanding air much less than when cooler. Even at rounded tack fuse, the glass will be unable to resist the formation of bubbles. As the glass thins and viscosity decreases, any air at all will cause a bubble.

Changes for the future

Avoidance of bubbles in this piece relate to design, scheduling and technique.

Design

It is possible to design a piece of this nature to avoid the volume control issue.  The base piece could have a smaller circle or rectangle centralised on top inside the proposed perimeter.  The rim can then have the decorative elements placed.  If they are spaced widely, frit can be used to fill significant gaps.  The piece can then be placed in the kiln for a full fuse.

Scheduling

You can also fire the piece as originally described very slowly to a low temperature.  This uses the concept of heat work. By applying the heat over a long period, you can achieve the same effect as would be achieved by a faster rate of advance to a higher temperature. 

There are at least two ways to increase the heat work.  You can use a very slow rate of advance to a point slightly above the softening point of the glass.  This will be the lower end of the slumping temperature range of your glass.  The soak may be for hours.  You will need to observe when the effect you want is achieved.

You also can choose the same lower slumping temperature and reach it in your standard fashion.  This will require an even longer soak time to achieve the same result.

In both these low firing approaches, you will need to observe to determine when the piece is finished.

Technique

The “flip and fire” technique may also work on the single layer with an added rim.  To do this you build the piece upside down on the shelf.  It helps to draw an outline of design on Thinfire, or Papyros.  Place the decorative elements and cap them with the clear.  Take the whole to a rounded tack fuse.  When cool, clean well and fire to a tack fuse again.  This will give something less than a full fuse, but it will be more than a tack, as the heat work is cumulative.

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

Summary

A single layer piece with a decorative rim is most likely to produce bubbles in the centre.  There are some ways to overcome this: design, scheduling, and technique. Design is the most likely to be successful.

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