Mould Elevation

 

The expansion characteristics of glass and ceramics components

Many people advocate the elevation of moulds.  Mainly for air flow to equalise temperatures above and below the mould.  But also, to prolong the life of the mould.  My observation on these reasons for elevating the mould are that they are not harmful, but not necessary, except for investment moulds.

My experiments have showed insignificant differences in temperatures above and below whether elevated or not.  Since the air temperature under the mould is much the same whether elevated or not, it indicates that elevation of the mould has no significant effect.  But, of course, elevation of the mould does no harm either. 

More important than elevation of the mould, is consideration of the nature of the ceramic mould.  Ceramics have two expansion/contraction temperatures called inversions.  The first is at 226˚C/439˚F, and the second around 570˚C/1058˚F.  The ceramic expands rapidly at these temperatures.  There is a 2.5% increase in volume at 226˚C and a slightly more gradual 1% increase around 570˚C.

This a main reason to use slow ramp rates up to at least 570˚C/1058˚F.  Slower rates ease the ceramic expansion speed and reduces the risk of breaking.  So, slower rates will lengthen the life of ceramic moulds. The cool down for annealing and cooling is slow enough that it presents no risk for the ceramic.

There are occasions when the mould must be elevated, though.  These are when the mould is large, heavy, or damp.  This is to protect the shelf rather than the mould or glass.

 

Avoiding Slumping Breaks

Most slumping breaks are due to scheduling.  The piece to be slumped has survived the fuse, and with good practice will have been tested for stress. It has passed all the compatibility and annealing complications, so it is sound. 

There are things you should think about when determining the schedule for slumping. General considerations are thickness, and degree of fuse. There are many other factors to be considered – such as depth, mould detail, span, colour contrasts, etc. These will affect the scheduling in detail rather than the general approach.

Ramp Rates

In general, the scheduling for the first ramp rate is done by taking note of profile (degree of fuse), and so, its effective thickness.

Each profile of fused glass has its own considerations.  Full fused pieces can be fired at the rate recommended by the many schedules for slumping fused items. Tack fused and other glass configurations need further precautions.

The ramp rate for slumping should be no faster than a rate to ensure the glass is evenly heated throughout the rise to the slumping temperature. I recommend that this rate of advance should be a steady single rate all the way to the slumping temperature.  There is no need for soaking at any point during this temperature rise. 

But as much of the breaking of glass occurs below 300°C (573°F), a precaution can be added. An additional slower first ramp can be inserted with a 20-minute soak at 260°C/500°F before proceeding. This also helps protect ceramic moulds which have a cristobalite inversion at that temperature. 

The rates for moulds that are large relative to kiln size, that are heavy, or may be damp, should be considerably slower than for other glass. 

Force of Breaks

If the glass has broken during the forming process, take note of the distance between the pieces.  The amount of space between the broken pieces shows the relative force that caused the break.  Greater space is related to more stress; lesser space or only partial cracks indicate lower levels of stress.  The separation distance indicates the degree of change required in scheduling. A small parting of the glass requires only a little reduction in the rate.  Large spaces indicate that much slower rates are required, and possibly a complete rethink of the schedule.

This approach can be used for breaks on the heat up or the cool down.  Whether the glass is rounded or sharp, the force of the break will still be an indicator of the degree of change required.  On a rounded edge break, it is the heating rate that needs to be slowed.  Sharp-edged breaks indicate that the anneal soak needs to be lengthened and the anneal cool slowed.  The rounded versus sharp edges are more difficult to establish at these low temperatures and need to be combined with how well the formed pieces match.  Of course, there will be some experimentation required to determine the exact amount of change needed. 

“It hasn’t happened before” Scenario.

Often people experience breaks even though the set up was similar and the schedule was the same for successful pieces in the past.  There are two responses to this – “what did you change for the setup and firing of this piece from others?”, and “You have been skating on the edge of disaster for a while”.  Glass behaviour is predictable. Since the break occurred when the setup was similar, and the schedule was the same, something else has changed.

Consider what was different.  Review the differences in set up of the piece – colours, arrangement, thickness, volume of material used – everything that might be different at each stage of the layup.  Note these differences and review them one by one. 

• ·   Could have any one element been sufficient to make the firing conditions different? 
• ·   Could a combination of these differences have been significant? 
• ·   Are there any differences in the firing schedule? 
• ·   Have you made any little tweaks in the schedule? 
• ·   What is different? Different times of the day, different power supply, plugs in or out, venting, peeking, different shelves (or none) – any small thing that could have introduced a variable in the firing conditions. 

For each of these differences consider what needs to be altered, if anything, for a successful firing.  Combine these small tweaks into a full schedule and run it as an experiment.

Simultaneous Fusing and Slumping

“I sometimes slump at the same time as I do a tack fuse. Is slumping at this higher heat bad for the mould? “

Image credit: Creative Glass

Mould

 It is possibly not bad for the mould, but it does depend on your temperature and heat work.  Ceramic moulds are typically fired to 1200° or 1300°C so higher kilnforming temperatures are unlikely to affect the moulds.  The speed at which the target temperature is reached is of concern though.  Ceramics have what is called quartz inversions.

 Two of the constituents of ceramics – cristobalite and quartz – have significantly large expansions at 226°C and 570°C / 440°F and 1060°F.  Rapid rises through these two temperatures risks breaking the ceramic mould.  This is not the case with steel moulds, of course.

Glass

 There may also be effects on the glass.  Slumping typically ranges between 620°C to 677°C (1150°F to 1250°F).  Tack fusing typically is done in the 740°C to 790°C (1365°F to 1455°F)range.  This is a significant difference even at the higher end of the slumping range and the lower end of the tack fusing range. 

 Some of the effects are:

·        The marking of the slumped glass will be greater at tack fusing. 
·        The glass will slip down the mould more. 
·        Any pieces applied to the base are likely to slide during the slumping process.
·        There is a risk of creating an uprising or bubble at the bottom as the glass slips down the side of the mould. 
·        There is more risk of creating needle points at the edges.

 Performing two processes at the same time risks difficulties.  Inevitably, compromises will need to be made between slumping and tack fusing.  Eventually, it will come to a time when the two process won't work together.

  

A slump taken to tack fusing temperatures is at risk from uprisings at the bottom, needling at the edges, excessive marking on the back, slipping down the mould and thickening

Thermal Shocking Ceramics

When firing glass in ceramic moulds, and especially ceramic pots for pot melts, you should be aware of the temperatures at which the ceramic material quickly expands and contracts.

There are refractory ceramics which are not as sensitive as the kind of ceramics we are using in most kiln work.  The ceramics we use are not refractory materials and contain, among other things, quartz and crystobalite. These two elements are important, as they have considerable effect on the survival of the pot or mould during the firing.

The effects are called inversions.  This is because the rapid expansion experienced upon the heating is reversed as rapid contraction on the cooling of the ceramic.

The first element to be affected by the heat up is crystobalite.  This element has a sudden expansion of 2.5% at 226°C.  This does not seem to be much, but compare it to the expansion of glass at this temperature - .0085% - almost 300 times that of glass at the same temperature.  And of course, the ceramic contracts by that amount when it reaches 226°C on the cooling.

The second element affecting the heat up is quartz.  There is quite a bit of this in clay.  The critical temperature for this is in the 570°C to 580°C range.  The expansion and contraction is not so great here – only 1% - but it is still more than 100% that of the glass, and in a critical range for the glass on the cooling.   

More information on the quartz and crystobalite inversions are given here.

The importance of these inversions for us are to remind us to be careful at these temperatures of about 225°C and 570°C - 580°C to prolong the life of the ceramic pots and moulds that we use.  

It is probable that 150°C per hour is as quickly as we should increase the temperature when using ceramic moulds or pots.  Some thought should be given to the cooling of the moulds too.  They should not be taken from the kiln while hot nor subjected to draughts of relatively cold air.

Quartz Inversions and Conversions

You need to know about this in both casting and when using ceramic pots in the kiln.

Quartz
Crystalline solids are rather temperamental and quartz is no different. Quartz is a crystalline form of silica in that it has a three dimensional regular pattern of molecular units. These form naturally in nature because lengthy cooling times allow arrangement. Quartz is made of a network of triangular pyramid (tetrahedron) shaped molecules of silicon combined with four oxygens.

Unfortunately, the quartz delights in changing the orientation of the tetrahedron shaped molecules with respect to each other, thus loosening or tightening the whole mass (and thus changing its total size). It exhibits twenty or more “phases”. A change to another phase is called a “silica conversion”. The most significant phases are quartz, tridymite, crystobalite, and glass.

Inversions
Changes which occur between these are reversible, that is, the change which occurs during heat-up is inverted during cool down. These changes are thus called “quartz inversions”. These inversions, unfortunately, often have associated, rather sudden, volume changes. That means that quartz conversions are something to consider when optimizing the fired properties; quartz inversions are something to consider when firing to prevent cracking losses. There are two important inversions you need to know about because of their sudden occurrence during temperature increase and decrease.

Quartz
The first is simply called ‘quartz inversion’ and it occurs quite quickly in the 570°C range (1060°F). In this case, the crystal lattice straightens itself out slightly, thus expanding 1% or so. This is therefore an important temperature in casting as it is an expansion on the heat up and a contraction, “grabbing” the glass on the way down. This is the reason for various modifiers when silica or flint is used as the strengthener.

Crystobalite
The second is crystobalite inversion at 226°C. This is a little nastier because it generates a sudden change of 2.5% in volume. This material has many more forms than quartz, so it is complex to say the least. However, while all bodies will have some quartz, you won’t have a problem with crystobalite inversion unless there is crystobalite in your body. Crystobalite forms naturally and slowly during cooling from above cone 3 (1104-1149°C). It forms much better if pure crystobalite is added to the body to seed the crystals or in the presence of catalysts (e.g. talc in earthenware bodies). Thus, this element exists in most ceramic moulds and moving slowly around 226°C should be observed when firing containers made of ceramic materials.