Grinder Bit Chipping Glass

Credit: Techniglass.com

A new grinder bit chips the glass excessively, especially with a coarse grit. It can also be the result of a bare spot on the bit.  You need distinguish between these states.   Check the surface of the bit.  If there are any small bare spots, the bit needs to be replaced.

 

Credit: WWGrainger

The best thing to do with a new coarse bit is to treat it with a dressing stone.  This is a block of aluminium oxide which can remove high points on the bit, and clean up the spaces between the diamonds on the bit.  It is relatively inexpensive to buy and lasts a long time.  The dressing stone can be a brick, although it is not as efficient because it is much softer.  

If the grinding bit still chips off too much glass from the edge, you need  a finer grit.  It will not take glass off as quickly as the coarse one, but it eliminates or reduces the chipping.  The three common grades are: coarse, standard, and fine.  It is a good idea to maintain a stock of the medium and fine grit grinder bits as replacements for worn ones.

Fire polishing Bottles

“I've cut wine bottles horizontally and want to keep the boat shape but round the cut edges. [Will a tack fuse firing] do what I am wanting without changing the shape of the bottle? “

Temperatures

The softening point of bottle glass is around 720˚C. The temperature you have chosen for a fire polish is 730˚C. It will slump to some degree from about 700˚C.  That will not be high enough to fire polish the edges.  Reducing the soak time at 730˚C will reduce the slumping effect a little, but it will not polish or round the edges.

Ground edges

In addition, ground or sawn edges are so rough that fire polishing will not work well at any temperature, because the rough surface promotes devitrification.  To get a good fire polish, the edges should be ground to at least 400 grit, and 600 grit gives a more certain fire polishing result.

Cold Working

Fire polishing is not the most certain way to round and polish edges for a 3D object. Cold working with hand pads or grit is the low cost way to polish the edges.  The grinding will need to go through grits of 200, 400, and then smoothing pads and finally pumice or cerium oxide depending on the shine wanted on the edges.  This can be done by hand or by machine.  Paul Tarlow has an excellent eBook on cold working by hand, and there is some instruction in this blog. 

Changing Coldworking Grit Sizes

 

One of the difficulties of coldworking is when to change grits. Checking the completeness of one grit grinding visually is difficult. It is difficult to see the effect while wet. Even when dry it can be difficult to see that all the previous marks have been ground out. This is the background to the recommendation that each successive grind should be right angles to the previous. It is easier to see marks that are in a different direction than marks that are just wider or deeper than others.

 However, there have been aids developed by cold workers in the past that are relevant today. Use a witness at each stage of grinding. The best at present are paint markers. These are the kinds used by metal workers to identify the pieces, their dimensions, etc.

 The paint needs to be dry, or it simply washes off the glass surface as soon as it is placed on the grinding surface. So, there is a process to ensure this witness works as it should.

 On a dry surface, run the marker at random across the surface to be ground. Let it dry before putting on the grinding surface. You can test by putting your finger on the paint. If some comes off on your finger, it is not yet dry. When dry, grind the surface. When all the colour has been ground away, it is time to change grits.

 Dry the glass surface again and paint it. While the paint is drying, change grits, or discs and do any other cleaning up between grits that is required. Test for dryness. Grind at right angles to the first grind. Make sure absolutely all pinpoints of colour are removed. If they are gone, dry, and paint. While letting it dry, change grits, clean up, and do the other miscellaneous tasks. Then test paint for dryness and grind.

 Repeat this process with each grit until finished. If on occasion you find you have gone to a finer grit earlier than you should have, go back to the coarser grit with you painted glass and repeat the progress back from the immediately previous grit through to the finer grits.

This process of using a witness works whether hand or machine cold working.

Grinding out Chipped Edges

Sometimes the edge of a drop vase is chipped during the polishing process, or more frequently, during use. What to do?

 Grind the edges down until the chip disappears. This seems like an obvious statement. But it is often overlooked.

 

 

The grinding can be at a slight angle to the length or parallel to the base of the piece. The angled grinding removes less glass but needs a jig of some sort to keep the angle consistent. The difficulties of obtaining a consistent angle grind, makes grinding a flat edge simpler.

 You can do this flat grinding and polishing by hand in only a half hour or so. Although a flat lap or belt sander will enable you to do it more quickly.

 You have to be careful while griding, especially when using the rough grits, to avoid small chips on the new edges. One trick I learned is to make a small bevel or chamfered arris the edge before doing the flat grinding.

 

Credit: www.pavingxpert

 If it is a large or deep chip you are grinding away, you will need to do it in stages.

 You do not want a large arris at any stage. It is possible to create such a large arris that you have to grind more glass away than the original chip would have demanded. When the grinding comes close to the end of the arrised edge, stop. Make a small arris on the edge again before continuing to grind the face. Repeat this as often as required until the chip is removed. 

 Make this arris at the start of every finer grit. The arris will not need to be so big as for the first, rough grinding. You are not taking off as much glass on the surface. But the arris will prevent tiny chips appearing at the edge of the polished surface.

 I give a final arris the polished edge. This gives a pleasant roundness to the edge. It also keeps the edge from being delicate and subject to further chips.

 

 

Grinding direction

There is a suggestion that the glass being ground should be passed along the in the direction opposing the spin of the grinding bit.

The grinder bit rotates in a clockwise direction as you look down on it.  This means the grinding surface is moving toward the left.  The recommendation is that you will get more efficient grinding by passing the glass to the right, against the rotating direction of the bit.

This is more theoretical than practical. In practice, the bit is spinning so rapidly that only a minor difference, if any, can be perceived.  Without a noticeable difference, there is no reason to be concerned. Move the glass you are grinding in the directions that you find convenient.  You will find a little more resistance when you move the glass from left to right, rather than the other way.

You are much more likely to damage the bit and grinder motor by excessive pressure against the bit than by any directional movement.

Fitting Glass in Leading

Even though you think you have cut the glass exactly to size, it always seems that some adjustment is needed to areas of a piece to fit both into the lead came and be within the lines of the cartoon.

The temptation is to trim the glass to the amount of overlap of the cartoon line.

Note the extent of the overlap of piece #7 on the right.

In the above photo it would seem to be easy to just trim the straight line off the piece.  If you look carefully at the left side of the piece, you will see a gap between the glass and the lead came.  This means something more is happening than just being too large.  If you were to cut the glass down to fit within the cartoon line at this point you would find it too small in the end.

To find out what is going on underneath the lead came, you will see that I have made a line with a felt tip pen at the edge of the came.

When pulled out from under the came the line shows there is more glass under the came at the lower left than the middle left.  This indicates that the lower left needs to be adjusted rather than the right edge.

Groze or grind the glass to an even amount of glass between the felt tip line and the edge of the glass. This may have to be done several times to get the proper fit.  In this case I used the grinder because of the extreme texture of the glass.

This photo shows the glass fits at the bottom right, but needs more adjustment at the top right.  But it does fit under the came at the left side now. The amount of adjustment can be judged by marking the glass and grinding a portion away to fit.

An alternative example of the advantages of checking the glass is fully fitted within the came is shown here.

Here the blue piece shows it is slightly too large at the top.  The temptation is to refine the edges and reduce the size slightly.  Before doing that, it is advisable to check on how the glass is fitting into the came.  Again, run a felt tip marker along the edge of the came before pulling it out to adjust the size.

This shows there is a little bit of glass not broken off at the left side of the bottom tip.  Also, there is a larger space between edge and felt tip mark on the right than the left.

The first thing to do is to take off the excess glass on the lower left of the bottom tip and try the piece again.  That may be enough to allow the glass to fit into the came and match the cartoon.

The excess glass was ground away and a little taken from the bottom right side too.

This shows that just removing that small piece of glass has allowed the blue piece to fit correctly into the came and to fit the next piece of came to be placed without causing the panel to grow in size.

When a piece of glass is too large in leading, you need to check that it is fitted properly within the came, before adjusting the outer edges.  A method to do this accurately is described.

Renewing the Grinder Bit

When to replace the grinding head?

An obvious time is when the grinding becomes much slower than previously.  Adjusting the bit up or down to expose a new diamond grinding surface is the obvious first step.  When there is no more adjustment available it is time to replace the whole bit.

Another time to replace the bit is when a bare spot appears.  

One style of wear on these bits is not just the general, even wear all the way around the bit, but where all the diamonds are lost, and the metal is exposed.   

This bare spot can be observed upon inspection.  But most of us do not regularly inspect the bit before turning the grinder on.  There is another way to tell something is amiss.  What you may notice is an unexpected vibration during grinding.  When you experience this vibration, it is time to inspect the bit.  You will most likely find a patch of bare metal.

You do not have to throw the bit out.  If there is space above or below the bare spot that will provide a grinding surface for the thickness of glass you are grinding, you can do something to extend the life of the bit.

Simply raise or lower the bit until the bare spot is below the surface of the grinder grid, or in the case of this illustration, raise it sufficiently high to be above the thickness of the glass you are grinding.

Why do the bare spots appear?

It may be due to manufacture. The bonding of the diamonds may not have been completely even.  But it can also be due to grinding while there is little water – when a paste appears.  This leads to heating of the grinding bit as much or more than the glass.  A hot grinding head, especially those which are resin bonded, can lead to loss of diamonds either in one spot or generally around the bit.

Large Tiles for Kiln Shelves

Pizza stone in use

People frequently wonder if other materials than mullite can be used for kiln shelves.  Mullite is used for its strength and very small expansion, even at high temperatures, as used in ceramics firing.  There are other materials that can be used in kilnforming of glass such as refractory fibre board, and ceramic pizza stones,  the best of which are made from mullite.  This post is about using ceramic floor tiles.

An unglazed floor tile, 11 x 11 inches

Structural Soundness

A major element in obtaining and using a floor tile is how sound it is.  Tapping the tile to determine whether the sound is a low toned ring or a dull thud is important.  There may be invisible cracks within the tile.  A dull thud is an indication that the whole tile has one or more cracks in it, or that it has not been fired high enough to completely vitrify the clay. A low frequency tone indicates there are no cracks and that it has been fired sufficiently high.

Flatness

The first thing you need to do is make sure the ceramic tile is flat and without undulations before using it. To test this, get a straight edge and move it along the tile to look for any slivers of light coming through underneath the straight edge. Any light or variation in the amount indicates depressions that can produce bubbles during the firings. Do this test at least twice at right angles to each other.  Take note of the depressed areas (or even possibly high areas) to know where these uneven areas are to work them out of the tile. 

You can do the above test in the showroom.  Another more accurate means of checking is more difficult to do in a sales area.  Place a line of dark powder, say black glass powder, and with a straight edge held vertical to the shelf, drag the powder across the shelf.  Where there are dark patches is an indication of depressions.  The area and depth can be seen from the spread of the visible powder and to some extent the density of the colour.

Making Shelf Flat

If you buy two of these large tiles, you can rub them together face to face in circular motions. The abrasion marks will show the high spots, with the low spots clear of those marks.  This will indicate the amount of work needed to get the whole surface even.  The smaller the unmarked areas, the less grinding will be required. You can add an abrasive with some water to form a slurry and continue to grind until everything is even. The use of water with the abrasives is important to eliminate dust which might be harmful, and to ease the grinding process.

The above is a manual process.  If you have a large enough flat lap, you can mechanise the flattening process.  Using decreasing grit sizes, you can grind the shelves level with a high degree of smoothness. You do not have to use a grit of less than 200, as the tile structure is even more coarse than that.

If you can't find unglazed floor tiles, you need to look at the back of the tiles.  Many floor tiles have a grid pattern on the back to ensure sufficient adhesive is used.  This makes getting the back, unglazed side flat more difficult or time consuming, because they will need to have the grid ground down to the lower surface.  In this case, it may be that you need to sandblast the glazed side before making sure it is flat.  The sandblasting can make a flat tile uneven by unequal times spend on various parts of the tile, so you have to check after sandblasting for the flatness.

Recovering from Devitrification

An explanation of what devitrification is, can be found in the link.

Mild devitrification is generally a smeary appearance on the surface.  Most often this can be corrected by either removing the surface, adding a flux or putting another surface over the piece.

mild devitrification
photo credit: Bullseye Glass Co.

Removing the devitrified surface

Sandblasting and grinding are two common methods of removing the surface. If you have access to a sandblaster, this is the easiest method of removing the surface.  You can remove the surface with manual methods too.  You can use wet and dry sandpapers, starting with coarse ones and proceed through grades to at least 400grit (0.037mm).  The flexibility of the sandpapers is that they can conform to uneven surfaces that tack fusing provides, to remove devitrification in depressions as well as the high bits. Diamond hand pads and sheets do the job more quickly, but are more expensive.

Acid etching is another surface removal method. There are various etching creams on the market which will remove the surface. You need to apply and leave for a long time to allow the acid to work on the glass surface.  It is best to keep the acid paste damp to enable the acid to work over a long period.  A piece of cling film will work well.

Making a new surface

You can provide a new surface by using devitrification sprays.  There are both commercial products and do it yourself ones that work.  The do it yourself product is a borax solution.  The method for making the solution is given here.

Borax powder

You also can give the devitrified surface a new one by covering it with clear powders.  Powders sifted evenly over the surface until there is a thin covering over all the piece will give a new surface concealing or covering the devitrification.  Fine frit does not work so well, as more needs to be sifted over the surface.  This will not be applicable to tack fused pieces, as the whole piece needs to be taken to a contour or full fuse to make sure the powder or frit is completely smooth.  This will make the tack fused areas flat.

Left to right - devitrified surface, powder covering, fired piece
Photo credit: Bullseye Glass Co.

When dealing with devitrification, the whole of the surface should be treated, not just isolated areas.  Treating isolated areas will most probably leave a difference in appearance between the treated and untreated areas.  It is not worth the risk of having to fire yet again.

Dealing with devitrification usually involves removing the devitrified surface or making a new one.

Polishing with Cerium Oxide

If you want to go beyond cork in your polishing, cerium oxide will give an optical polish.

You need to grind your glass at 800 or higher grit, or use the cork belt after 400grit. Any rougher surface will not give a smooth polished surface. It will only polish the high spots.

Many do not like to use cerium oxide as it is messy. Especially so on a wet belt sander as the speed is really too fast for the use of polishing pastes. The speed sprays the slurry all over the place.

You need a felt wheel or belt to which you apply the cerium oxide. First you mix the cerium with water to a yoghurt consistency and apply that to the wheel or belt. Begin polishing and add more water and cerium paste as the polishing surface dries. You will notice this as the glass will begin to drag. Do not delay, add more of the paste before continuing. Otherwise you will heat up the glass and risk breakage.

His Glassworks has good descriptions and videos on use of cerium oxide.

It is helpful to mark the glass with a paint or china marker before starting the polishing process to show the areas that are to be polished. This enables you to see what work has been done without completely drying the piece.

For large surfaces you will need to use a horizontal grinder with a polishing pad attached, or a hand held polisher.

An alternative is to use “trizact” belts that are about 4000 grit. These achieve a polish that is very good, if not as optical as with cerium oxide.

Paint Markers to Identify Scratches in Grinding

As you pass from one grit to another, it is often difficult to tell if you have really removed the grinding marks from the previous grit.

By using a paint marker, you can mark at random over the ground surface. Let it dry before you began the next grit.

As you grind with the finer grit you will be able to check that you have removed the glass down to the depth of the deepest scratch by the absence of the paint. Of course drying the glass and making a visual check of the surface will provide insurance. If you are satisfied with this stage, paint again before changing to a finer grit. This allows the paint to dry before you begin grinding again.

Devitrification

What is it? When does it happen? Why does it happen? These are frequent questions.

Dr. Jane Cook states that devitrification is not a category (noun), but a verb that describes a process. Glass wants to go toward devitrification; a movement toward crystallisation.*

Mild devitrification is the beginning of crystallisation on the surface of the glass. It can look like a dirty film over the whole piece or dirty patches. At its worst, the corners begin to turn up or a crackling can appear on the granular surface.  This is distinct from the effects from an unstable glass or the crizzling as in a ceramic glaze. Divitrification can occur within the glass, but normally is a surface effect.

Differences in the surface of glass promotes precipitation of the crystal formation of silica molecules.  This fact means that two defences against the formation of crystals are smooth and clean surfaces. There are other factors at play also.  The composition of the glass has an effect on the probability of devitrification.  Opaque glass, lime, opalising agents, and certain colouring agents can create microcrystalline areas to "seed" the devitrification process.  One part of the composition of glass that resists devitrification is the inclusion of boron.

Devitrification generally occurs in the range of approximately 700°C – 840°C, depending to some extent on the type of glass.  This means that you need to cool the project as quickly as possible from the working (or top) temperature to the annealing point, which is, of course significantly below this range.

There is evidence to show that devitrification can occur on the heat up by spending too long in this devitrification range, and that it will be retained in the cooling. Normally this is not a problem as the practice in kilnforming is for a quick advance on the heat up through this range.  The quick advance does not (and should not for a variety of reasons) need to be as fast as possible.  A rate of 300°C per hour will be sufficient, as time is required for devitrification to occur.

The devitrification seen in typical studio practice results more often from inadequately cleaned glass than from excessive time at a particular temperature, up or down through the devitrification range.  

It is often seen as a result of grinding to fit shapes.  Even though the ground surface is cleaned, it may still be so rough as to promote devitrification.  The surface must be prepared for fusing by grinding to at least 400 grit (600 is better).  Alternatively, use fine frit of the same colour as the darkest glass to fill the gaps. This normally is applied in the kiln, so the pieces are not disturbed.

Dr. Cook suggests three approaches to devitrification:*
Resistance through:
 - Schedules
 - Flux
Dealing with it:
 - Cold work
 - Acids
Embrace it:
 - Allow it
 - Use it

Temperature range for devitrification
Homemade devitrification solution
Frit to fill gaps


* From a lecture given by Dr. Jane Cook at the 2017 BECON

[entry revised 25.9.19]

Changing Grits on a Belt Sander

When to Go to a Finer Grit on Belt Sander?

If you change the direction the belt moves along the glass with each step it will be easier to see if you have removed each of the previous step's scratches. If you see marks at another angle than your present direction, you need to continue the current step a little while longer.


A second method that I use more often is to use a paint marker to show up the areas not ground. You need to dry the piece before applying the paint marker and let the paint dry before continuing with the next grit. The paint should be applied thinly to avoid transferring the paint to the belt, which reduces the efficiency of the grits. Any low spots or scratches will show up as white areas or lines on the surface.

The process of drying and painting also helps to provide a break in the sometimes tedious process of grinding and polishing.


These two methods can also be used for cold working by hand.

Fire Polishing

Polishing of glass can be done in the flame, in the kiln, by acids or by grinding with successively fine abrasives depending on the nature of the piece and the equipment available.  Fire polishing in the kiln is widely popular as it utilises existing equipment, avoiding purchasing additional cold working equipment. This post indicates some elements about fire polishing in the kiln. 


Fire polishing is the technique most often available to kiln formers. This is the process of heating the glass to less than a full fuse to achieve a smoother texture on the glass. It is often used after sandblasting or hand sanding a piece in order to give a smooth shiny surface to the glass without extensive cold working with successively finer grits to get a polish. It also can be used to give a variety of textures from a sealed but almost unchanged sandblasted surface, through a satin-like finish to a very subtle difference between full polish and slightly textured surfaces in the same piece.


Fire polishing range

The temperature range that this occurs between slumping and tack fusing. The normal range is 650C to 750C depending on the glass, the soak time and the speed of advance.  The purpose of this kind of firing is to get the surface of the glass hot enough to form the desired surface without soaking long at higher temperatures, as this is also the devitrification range (700C - 760C).  Normally there would be a minimal or no soak at the top of the temperature range.

When to fire polish As this temperature range is above the slumping temperature, fire polishing should be done after fusing and before slumping. As this will be the last operation before forming, you also should do any work to shape the edges and deal with any other imperfections, before fire polishing. After doing any grinding or other work on the edges or surface of the piece, thoroughly wash and polish the piece dry.

Methods
You can take the fused piece that has been treated to remove the devitrification up at the same rate as for slumping the piece to the tack fuse temperature.  The higher you go, the less soak time is required. Of course, the higher you go, the longer you are in the devitrification zone.  

Some people advocate a quick fire polish.  This is achieved by firing at a relatively slow rate until a low slump temperature is achieved.  Then fire very quickly to the tack fuse temperature with no soak and return to annealing temperature as quickly as possible.

The quick fire polish does achieve a minimum of time in the devitrification zone, but it eliminates all subtely in the surface.  A long soak of up to 90 minutes at a moderate slumping temperature will give a satin appearance to an abraded or sandblasted surface.  A shorter soak will seal sandblasted work without eliminating the texture of the sandblasted image.

In all the cases of fire polishing you need to peek at intervals to determine when the desired surface has been achieved.  This requires careful placement in relation to the place from which you will be able to peek at the surface.  For a fully polished piece, you will see the reflections of the elements.  For more subtle textures, you need to think about what you want to see, peek, close the lid or observation port and think about what you saw.  If it is not yet what you want, peek at another interval in the same way, until you observe the surface you want.

Combining fire polish and slumping It is sometimes possible to fire polish and slump at the same time, but this is a risky technique often leading to changes in shape or an uprising of the glass at the bottom of the mould. It is possible to fire polish glass as low as 630 with a long soak – 60 minutes or more. If you are determined to fire polish and slump at the same time, it's essential that you watch the piece very carefully to prevent over-firing.

Fire polishing already slumped items Similarly, re-firing already slumped items to a fire polish rarely succeeds. Distortion of the piece is more likely than achieving a fire polish on an already slumped item.

Again, in these more difficult circumstances, you must observe at intervals to ensure you do not over fire and distort your piece.

Schedules
The reason that no indicative schedules are given is that different glasses, and different lay ups require different firing conditions.  These are dealt with elsewhere in the blog.

Alternatives Alternatives to fire polishing include acid polishing, which can present a health hazard, and is normally an industrial process. The other common method of polishing is to cold work the piece. This often requires specialized equipment, but can be done by hand if you have the time.

Grinding to Fit

In copper foiling, a considerable amount of work goes into getting the pieces to fit with just enough space to accommodate the copper foil and a thin space for the solder fin to join both sides.  This of course, promotes consistently narrow solder lines without the solder melting through to the opposite side.

Grinding to pattern

Many times it is necessary to grind to fit pieces together with this degree of accuracy.  Those who draw onto the glass or stick pattern pieces to the glass, often grind to the template or the drawn lines.  This can lead to inaccuracies in relation to the cartoon.

The object in scoring and breaking the glass is to be as accurate as possible.  This reduces the amount of grinding required.  It saves time. It makes the whole process easier.  Still, we all have to grind relatively often.

Grinding to cartoon

In my view, when grinding to fit, you should be trying the piece out against the cartoon, rather than the template or the drawing on the glass. This will tell you how well the current piece fits in with the rest of the pieces you have already fitted to the cartoon. 

The cartoon drives the assembly of the whole piece.  Thinking you can just make small adjustments as you work along, creates increasing difficulties in making the whole fit together.  If you follow this principle of fitting to the cartoon, you are judging the accuracy of the piece against the cartoon lines, rather than any template or drawing on the piece of glass.  This means that the fit will be correct and the whole will go together with the minimum of difficulty.

Flat shelves

Can I use a pizza stone or a tile for the shelf?

Yes. but, you need to be consider how flat the stones are.

Choose the flattest, smoothest stones you can find.  Take a ruler or other straight edge with you to select the flattest.  Hold the straight edge vertically, and look for light coming from between the edge and the surface of the stone.  Choose the ones with the least light showing.

Determining how flat the stones are

You can make the stones very flat and smooth when you get them to your studio.  Put the surfaces together face to face and move one against the other in a circular motion.  After minute or so of grinding, lift and take note of the areas which are showing the effects of the grinding. Where the stone has not been affected, are the low spots.  The number and depth of the low spots will determine whether you wish to continue to even out the variations in the surfaces.

Grinding

You can speed the grinding by putting a slurry of grit between the two surfaces.  You can use a coarse grit of 100 or less in the grinding. Place a small pile of the grit and make a depression in which to put the water.  Mix into a runny paste.  And place the other stone on top and begin to move the upper stone in multiple directions.

Keeping the grinding surfaces damp will prevent any dust from the grinding getting into the air. You will hear a difference in sound when the slurry begins to dry out.  This is the time to add a spritz of water to the grinding materials.  As you check from time to time, you will see the areas that already are ground and those that are not yet evened.  The grit will remain in the depressions and be clear from the higher areas.  Push the grit onto those clear areas to continue the smoothing and flattening process.  Continue until the surfaces of both stones are smooth and flat.  This probably will not take much more than a quarter of an hour.

It is advisable when smoothing ceramic or glass materials to wear a dust mask. The dust from both are irritants, although not carcinogenetic.

Drying

When the stones are smooth, they need to be carefully dried.  If you have the time, you can leave them to air dry for a few days.  Even then you need to fire them to just below the boiling point of water and soak there for several hours.  Keep the vents open, or the door/lid propped open slightly.

Firing

It will continue to be important to fire up slowly to keep the stone from breaking from thermal shock.  The most rapid expansion of the ceramic is in the 200⁰C to 250⁰C range. This means that the rate of advance of firings should be slow until 250⁰C has been passed, no matter what the glass might survive.

Preventing Devitrification on Cut Edges

“Question-when cutting up a Screen Melt, using a tile saw. How do you NOT get devitrification when laying the slices cut sides up?”

Devitrification occurs where there are differences in the surface.  This means that the surfaces exposed to the heat must be both clean and smooth.  It is not enough for only one of these to be the case, both are required.

First, the sawn edges need to be clean.  A good scrub with a stiff bristle brush is essential.

Second, devitrification sprays of whatever kind do not seem good enough to prevent the devitrification. This is probably due to the thin covering of the differences (scratches, pits, etc.) on the surface.

Beyond that, I know of two ways to prevent or reduce devitrification. That is, providing a smooth surface to resist devitrification.

1 – Grind

This can be done with hand pads, grit slurry or machines such as a Dremel with damp sanding pads or belts, wet belt sanders, or a flat lap.  The grinding should go down to at least 400 grit before cleaning and arranging to fire.

2 – Clear glass

This method relies on putting a layer of clear glass that is less likely to devitrify than the cut edges over the whole surface.  You could use a sheet of glass, although that would promote a multitude of bubbles due to the spaces between the strips and the naturally uneven heights of the strips.

Placing a layer of fine frit on top of the arranged pieces before firing is a way of allowing air out and forming a smooth upper layer by filling the gaps. It is best to avoid powder, as this promotes a multitude of fine bubbles, giving a grey appearance. The layer you apply needs to be an even layer and at least 1mm thick. If you are concerned at getting lots of bubbles, you could use medium frit instead.  In this case, the layer will need to be thicker than 1m to get an even coverage. The whole of the surface of the piece needs to disappear under the layer of frit, and that may be a good guide to the thickness of frit to apply.