Kilnforming Opalescent Stained Glass

The statement that a sheet of glass can be fused to itself is true in certain circumstances.  It applies to transparent and some streaky glasses best.  These forms of glass are more likely to fuse together successfully although not formulated for fusing.

Transparent and Streaky Glasses

Of course, the best practice is to test for compatibility.  I found in my early days of sticking stained glass together that it was beneficial to test. In doing so, I found Spectrum and Armstrong transparent and streaky glass to be largely consistent across many sheets.  I did not have access to much Kokomo or Wissmach.  I cannot comment on how their glass behaves in terms of compatibility across the production range.  Not all transparent and streaky glass remains stable at fusing temperatures. There are some glasses that opalise, some change colour, some devitrify. This variability makes compatibility testing important - even for the transparent form of stained glass.

Photo credit: Lead and Light

Wispy Glasses

The statement about fusing to itself is less applicable to wispy glass.  Not all the wispy stained glass from the same sheet can be fused.  It seems to be dependent on the amount of opalescence in any one area of the glass.  I found that it is possible - if you are very careful - to fuse certain Spectrum wispies with the clear fusing standard on top, but not on the bottom.  This should be applicable to other manufacturers’ wispy glass too.  There must be a marginal compatibility that is contained by the clear fusing glass on top, but I am not certain.

Photo credit: Lead and Light

Opalescent Glasses

The statement about fusing to itself is almost completely inapplicable to opalescent glass.  Stained glass opalescent glass does not have the compatibility requirements of fusing glasses.  They very often severely devitrify when taken to fusing temperatures.  This devitrification means that opalescent stained glass is often not compatible with itself.  So, no amount of twiddling with schedules will make stained glass opalescent glass fusible, even with itself.

Manufacturers have spent a lot of time and effort to produce fusing compatible opalescent glass.  It is as though there is a minor element of devitrification embodied in the opalising process.  Whether this is so, it becomes very apparent on doing compatibility testing that opalescent stained glass has severe devitrification at fusing temperatures.

Stock photo

Compatibility Testing

It is important to test for compatibility before committing to the main firing.  Some transparent and streaky glass changes colour, devitrifies, and some opalise at fusing temperatures. This applies with even more force to wispies.  They contain a significant proportion of opalescence within them.  Some opalescents are so unstable at fusing temperatures that the devitrification becomes so bad the glass crumbles.

The importance of testing pieces of the sheet for compatibility before committing to a firing is reinforced by these factors.

Slumping

Slumping temperatures are not so high as fusing, and it is often stated that single layers can be slumped.  Again, it is not always true.

Some glasses change colour at slumping temperatures.  A few opalise. It is not always certain what effect moderate temperatures will have on stained glass.  The compatibility testing will show.  Observe the test firing at slumping temperatures.  Also, you will learn if there are changes at moderate temperatures.

One element must be commented upon about slumping.  It is important to have the edges finished to the appearance that you want the final piece to have.  The regularity of the edges without bumps or divots, and the degree of polish need to be showing before the firing starts.  The slumping temperatures are not high enough to alter the shape or appearance of the edges.

Firing of stained glass to itself is normally a low risk activity, but with unpredictable results.  It can teach a lot about behaviour of glass at higher temperatures.  Slumping single layer pieces can give information about the way single layers of glass slump or drape.  But testing is important for fusing.  And can inform about how the glass will react at slumping temperatures too.

Differential Cooling of Transparent and Opalescent Glass

A statement was made on a Facebook group that transparent glass absorbs more heat than opalescent glass. And it releases more heat during cooling. The poster may have meant that the transparent heats more quickly than the opalescent, and cools more quickly.

Yes, dark transparent glass absorbs heat quicker than most opalescent (marginally), and it releases the heat more quickly (again marginally) than opalescent. The colour and degree of transparency do not absorb any more or less heat, given appropriate rates. They gain the same heat and temperature, although at slightly different rates due to differences in viscosity.

An occasional table

The rate of heating and cooling is important in maintaining an equal rate of absorption of heat. The temperature of both styles can become the same if appropriate lengths of heating, annealing, and cooling are used. The slightly different rates of heat gain can give a difference in viscosity and therefore expansion.  This slight mismatch during rapid ramp rates, might set up stresses great enough to break the glass. This can occur on the quick heat up of glass during the brittle phase (approximately up to 540ºC/1005ºF). In fact, most heat-up breaks occur below 300ºC/540ºF.

The main impact of differential heat gain/loss is during cooling. Annealing of sufficient length eliminates the problem of differential contraction through achieving and maintaining the Delta T = 5C or less (ΔT≤5C). It is during the cooling that the rates of heat loss may have an effect. The marginally quicker heat loss of many transparents over most  opalescent glass exhibits different viscosities and rates of contraction. The stresses created are temporary. But they might be great enough to cause breaks during the cooling. Slow cooling related to the thickness and nature of the glass takes care of the differential contraction rates by maintaining small temperature differentials.

Significance of Differential Heat Gain/Loss

Uneven thicknesses and the tack fusing profile both have much greater effects than the differential cooling rates of transparent and opalescent glass. It may be that strongly contrasting colours (such as purple and white) are also more important factors in heat gain and loss than transparent and opalescent combinations.  Cooling at an appropriate rate to room temperature for these factors will be sufficient to remove any risk of differential contraction between transparent and opalescent glasses.

Characteristics of Some Glasses

This information has been taken from various sources. Some manufacturers may change the composition of their glasses or the published information about them from time to time. Therefore, this information can only be used as a guide. If the information about strain, annealing, and softening points is important, contact the manufacturer for the most accurate information.

The temperature information is given in Celsius.

Strain point – the temperature below which no annealing can be done.

Annealing point – the temperature at which the equalisation soak should be done before the annealing cool.

Softening point – the temperature at which slumping can most quickly occur.

Armstrong – Now made by Kokomo

Typical Borosilicate – nominal CoE 32

Strain point – 510 - 535C / 951 - 996F

Annealing point – ca. 560C/1041F
Softening point - ca. 820C/1509F

Blackwood OZ Lead – nominal CoE 92

Annealing point - 440C/825F

Blenko – nominal CoE 110

Annealing point – 495C/924F

Bullseye – nominal CoE 90

Transparents

Strain point - 493C/920F

Annealing point - (532C)  Note that Bullseye has changed this to 482C/900F for thick items

Softening point - 677C/1252F

Opalescents

Strain point - 463C/866F

Annealing point – (501C)  Note that Bullseye has changed this to 482C900F for thick items

Softening point - 688C/1272F

Gold Bearing

Strain point - 438C/821F

Annealing point - (472)   Note that Bullseye has changed this to 482C/900F for thick items

Softening point - 638C/1182F

Chicago – nominal CoE 92

Desag  Note that this glass is no longer produced

Artista – nominal CoE 94

Strain point – 480 - 510C / 897 - 951F

Annealing point – 515 - 535C / 960 - 996F

Softening point – 705 – 735C / 1302 - 1356F

Fusing range – 805 – 835C / 1482 - 1537

Float Glass (Pilkington UK)

Optiwhite

Strain point – 525 - 530C / 978 - 987F

Annealing point – 559C/1039F

Softening point – 725C/1338F

Optifloat

Strain point – 525 - 530C / 978 - 987F

Annealing point – 548C/1019F

Softening point – 725C/1338F

Float Glass (typical for USA) nominal CoE 83

Strain point - 511C/953F

Annealing point - 548C/1019F

Softening point – 715C/1320F

Float Glass (typical for Australia) nominal CoE 84

Strain point - 505-525C / 942 - 978F 

Annealing point – 540 -560C / 1005 - 1041F

HiGlass “GIN” range – nominal CoE 90

Annealing point - 535C/996F

Gaffer colour rod – nominal CoE 88

Gaffer NZ Lead – nominal CoE 92

Annealing point - 440C/825F

HiGlass

Annealing point - 495C/924F

Kokomo – nominal CoE 92 - 94

Cathedrals

Strain point - 467C/873F

Annealing point - 507C/946F

Softening point - ca. 565C/ca.1050F

Opal Dense

Strain point - 445C/834F

Annealing point - 477C/891F

Softening point – ca. 565C/1050F

Opal Medium

Strain point - 455C/834F

Annealing point - 490C/915F

Softening point – ca.565C/1050F

Opal Medium Light

Strain point - 461C/863F

Annealing point - 499C/931F

Softening point – ca.565C/1050F

Opal Light

Strain point - 464C868F

Annealing point - 502C/937F

Softening point – ca.565C/1050F

Kugler – nominal CoE

Annealing point - 470C/879F

Typical lead glass – nominal CoE 91

Lenox Lead – nominal CoE 94

Annealing point – 440C/825F

Merry Go Round – nominal CoE 92

Moretti/Effetre – nominal CoE 104

Strain Point: 448C/839F

Annealing Range: 493 – 498C / 920 - 929F

Softening Point: 565C/1050F

Pemco Pb83 – nominal CoE 108

Annealing point – 415C/780F

Schott Borosilicate (8330) nominal CoE 32

Annealing point - 530C/987F

Schott “F2” Lead – nominal CoE 92

Annealing point - 440C/825F

Schott “H” & “R6” rods - nominal CoE 90

Annealing point – 530C/987F

Schott “W” colour rod – nominal CoE 98

St Just

MNA

Strain point - ca.450C/843F

Annealing point – ca. 532C/ca. 991F

Spectrum

System 96 – nominal CoE 96

Transparents

Strain point – 476C  +/- 6C  /  890F +/- 11F

Annealing point – 513 +/- 6C  /  956C +/- 11F

Softening point – 680 +/- 6C  /  1257F +/- 11F

Opalescents

Annealing point – 505 -515C  /  942 - 960F

Spruce Pine 87 – nominal CoE 96

Annealing point – 480C/897F

Uroboros system 96 – nominal CoE 96

Transparents

Strain point - 481C/899F

Annealing point - 517C/964F

Opalescents
Strain point - 457C/855F
Annealing point - 501C/935F

Uroboros - nominal CoE 90

Transparents

Strain point - 488C/911F

Annealing point - 525C/978F

Opalescents

Strain point - 468C/875F

Annealing point - 512C/955C

Wasser - nominal CoE 89

Annealing point – 490C/915F

Wissmach
Wissmach 90
Annealing point - 483C/900F
Softening point - 688C/1272F
Full Fuse - 777+

Wissmach 96
Annealing point - 483C/900F

Softening point - 688C/1272F

Full Fuse - 777+ / 1432+

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Viscosity of Colours

“I have been advised in the past, that blue fires quicker. I was told this by a Master glass maker.”

Viscosity has some relation to colour and intensity.  But you should note black & stiff black are both of the same intensity, and are fusing compatible, but have different viscosities.  This shows that colour is not the only determinant of viscosity, as the stiff black shows the viscosity can be adjusted within the same colour.  The quotation above indicates that the reasons behind any declarative statements need to be investigated.

Some factors in viscosity

Opalescent colours tend to be more viscous than their transparent counterparts.

It is the metals that develop the colours that produce much of the difference in viscosity.  The same metal can produce different colours in different furnace conditions, so viscosity cannot be assumed to be directly related to colour. 

Some people in the past have done their own tests on viscosity and colour relationships, but I have no access to them.  More recently Bob Leatherbarrow shows (Firing Schedules for Kilnformed Glass, 2018, chapter 7.2.5, p.88) some slumping tests done with opalescent glass. It shows how much less viscous black is than white, and that white is the most viscous.  The other results show red a little less viscous than white, then some greens, yellows and oranges, other greens, purple, pinks (in that order) and of course, the least viscous is black.

Transparent glasses tend to be less viscous than opalescent glasses.

How does this information relate to kilnforming practices?  It indicates that a piece with the less viscous glasses requires lower temperatures or less heat work to complete the forming of the glass than more viscous glasses.

When you have a combination of more and less viscous glasses in a piece you need to fire more slowly to ensure all the glass is thoroughly heated through and will deform equally.  You will need to observe and be prepared to move the piece on the mould to straighten it up.

Do your own viscosity tests

You can do your own tests for viscosity differences by arranging 10mm wide strips all the same length (about 30cm) of different colours. These should be placed on a kiln washed pair of narrow batts set parallel to each other 25cm apart and about 15cm high.  Fire at about 150°C per hour to about 650°C, setting the soak to 30 minutes.  Observe at intervals from 620°C.  Stop the firing when the least viscous has almost touched the floor of the kiln. When fired all together at the same time you can see the relative viscosity of the colours tested.  You can label these and store them, or tack fuse these labelled curves to a piece of base glass for future reference.

Separators sticking to Opalescent glass

It is worth thinking about how fast you fire pieces, especially where your current working temperature and rates of advance are giving difficulties.  One common difficulty is where opalescent glass picks up kiln wash or fibre paper and partially incorporates it, requiring a lot of work to remove it. 

At higher temperatures opalescent glass seems to incorporate some of the separator, especially near the edges.  It does not seem to matter whether kiln wash or fibre papers are used – there is frequently a little pick up.

The difficulty is achieving the profile you want without the higher temperatures.  This is where heat work concepts can assist.  Glass reacts to the heat applied, rather than simply the temperature.  Heat is a combination of time and temperature.  Rapid rates of advance require higher temperatures than slow rates of advance to achieve the same effect.

These facts should make you consider slower rates of advance to achieve the work at a lower temperature and so pick up less of the separators.  Perhaps you could consider a rate of advance of 150°C or 200°C instead of 330°C once you have passed the bubble squeeze temperature.  This would allow you to have a full fuse at ca. 800°C or even a little lower instead of 816°C (for Bullseye).  You will need to observe to find what is the appropriate temperature for the effect you want.  This will apply both with different rates of advance and with different lay-ups.

Batt Wash Sticking to the Glass

The main reasons that kiln wash sticks to glass are:

1. Firing at too high a temperature. The higher the temperature, the more likely the kiln wash will stick to the glass.

2. Firing with opalescent glass against the shelf. Kiln wash sticks to opalescent glasses more easily than to transparent glass.

3. Re-using kiln washed shelves that have been to fusing temperatures already.

4. Using kiln wash with high amounts of china clay makes for more sticking. Thus some brands stick more frequently than others.

Firing at too high a temperature is probably the worse culprit. The second is using opalescent directly on the kiln shelf.


Strategies to avoid this sticking are:

1. Fire at the lowest temperature you can to get the result you want. This often requires slow rates of advance and extended soaks at the working temperature

2. Use Bullseye kiln wash. It is among the best.

3. Have a transparent glass as the bottom layer.

4. Use iridised glass, with the iridised side down to the shelf, as the iridisation acts as a separator. Do not do this with Thinfire, as it can lead to large cavities in the glass.  Fire onto kiln wash.

There are ways to get the kiln wash off but it's easier to avoid it. Using an iridised sheet on the bottom is probably the most effective prevention.  

Multiple firings of kiln wash

Specific Gravity, CoLE, and Colourants of Glass

I’ve been asked the question “is there is differential in specific gravity as related to COE or colorant used in the glass (white opal v clear)”? 

Using the typical compositions of soda lime glass (the stuff we use in fusing), both transparent and opalescent and combining the specific gravity of the elements that go to make up the glass, I have attempted to answer question - the last part of the question first.

Difference in specific gravity between transparent and opalescent glass

Transparent glass

Typical transparent soda glass composition % by weight (with specific gravity) Material                         Weight        S.G. Silicon dioxide (SiO2)           73%         2.648 Sodium oxide (Na2O)            14%         2.27 Calcium oxide (CaO)               9%         3.34 Magnesium oxide (MgO)          4%         2.32 Aluminium oxide (Al2O3)          0.15%    3.987 Ferrous oxide (Fe2O3)               0.1        5.43 Potassium oxide (K2O)             0.03       2.32 Titanium dioxide (TiO2)            0.02        4.23

There are, of course minor amounts of flux and metals for colour in addition to these basic materials.

The specific gravity of typical soda lime glass is 2.45.

Opalescent glass

Initially opalescent glass was made using bone ash, but these tended to develop a rough surface due to crystal formation on the surface.  The incorporation of calcium phosphate (bone ash) and Flouride compounds and/or arsenic became the major method of producing opalescent glass for a time.

The current typical composition by weight (with specific gravities) is:

Silicon Dioxide (SiO2) –             66.2%,     2.648 SG

Sodium Oxide (Na2O) –            12%,        2.270

Boric Oxide (B2O3) –                10%,        2.550

Phosphorus pentoxide (P2O5) –  5%,         2.390

Aluminum Oxide (Al2O3) –         4.5%,      3.987

Calcium oxide (CaO) –              1.5%,      3.340

Magnesium oxide (MgO) -         0.8%,      2.320

The combined specific gravities are within 0.03% of each other -  a negligible amount.  So, the specific gravity of both opalescent and transparent glass can be considered to the same. For practical purposes, we take this to be 2.5 rather than the more accurate 2.45.

Other glasses exhibit different specific gravities due to the materials used, for example:

Lead Crystal Glass

Lead Crystal glass contains similar proportions of the above materials with the addition of between 2% and 38% lead by weight.  Due to this variation the specific gravity of lead crystal is generally between 2.9 and 3.1, but can be as high as 5.9.

Borosilicate glass

Non-alkaline-earth borosilicate glass (borosilicate glass 3.3)

The boric oxide (B₂O₃) content for borosilicate glass is typically 12–13% and the Silicon dioxide (SiO₂) content over 80%. CoLE 33

 

Alkaline-earth-containing borosilicate glasses

In addition to about 75% SiO₂ and 8–12% B₂O₃, these glasses contain up to 5% alkaline earths and alumina (Al₂O₃).  CoLE 40 – 50

 

High-borate borosilicate glasses

Glasses containing 15–25% B₂O₃, 65–70% SiO₂, and smaller amounts of alkalis and Al₂O₃

All these borosilicate glasses have a specific gravity of ca. 2.23

Correlation between CoLE and and specific gravity?

This comparison of different glasses shows that the materials used in making the glass have a strong influence on the specific gravity.  However, there does not appear to be a correlation between CoLE and specific gravity in the case of borosilicate glass.  If this can be applied to other glasses, there is no correlation between specific gravity and CoLE.

Correlation between specific gravity and colourisation minerals and CoLE?

The minerals that colour glass are a very small proportion of the glass composition (except copper where up to 3% may be used for turquoise).  The metals are held in suspension by the silica and glass formers.  That means the glass is moving largely independently of the colourants which are held in suspension rather than bring part of the glass structure. There is unlikely to be any significant effect of the metals on the Coefficient of Linear Expansion.  The small amounts of minerals are unlikely to have an effect on the specific gravity.  So, the conclusion is that there is no correlation between CoLE, specific gravity, and colouring minerals.

The short answer

This has been the long answer to the question.  The short answers are:

·         The specific gravity of soda lime transparent glass and opalescent glass is the same – no significant difference is in evidence.

·         There appears to be no correlation between specific gravity and CoLE.

·         There is unlikely to be any correlation between colourant minerals and CoLE or specific gravity.

Diagnosis of Cutting

If your scoring and breaking of your glass is not going well, you need to diagnose the reasons.  There are always a lot of suggestions that warming the glass will solve the problem. Yes, warming glass may help. A discussion of the effect is here. But it will not overcome any faults in the basic skills of scoring.

A lot of images, shown on the internet, of straight line scores failing to break along the score, indicate some possible elements in scoring that lead to these unwanted break-outs. 

One possibility is you are using too much pressure. A discussion of the amount of pressure required is here.  You should be scoring to the pressure required, rather than any sound that may come from scoring.  This is emphasised when cutting opalescent glass.  The correct scoring pressure makes almost no sound or only a gentle rumble as it cutter moves over the undulations of the glass.  The most frequent reason for more difficulty in breaking opalescent glass is excessive pressure while attempting to get the same sound as from transparent glass.  There are even a few transparent glasses that make little or no sound when being scored with the correct pressure.

Another common problem in scoring is keeping an even pressure throughout the score.  It can be difficult to keep the pressure even on complicated cuts.  When the cartoon has multiple curves or deep concave lines, it can be difficult to keep the pressure even as you move your body around to follow the line.  One piece of advice I received early on in my learning was to rehearse the score allowing the cutter wheel to move along the score line with virtually no pressure.  This shows how the piece of glass needs to be oriented to ease your movement around the glass to make the score.

Slowing the cutting speed can help to keep the pressure evenly distributed along the score.  Straight lines are often scored quickly.  But, even on straight lines, slowing the speed can make the pressure more even throughout the score.  It can also avoid variable speed during the scoring, which leads to different forces being placed on the glass.  The pressure may be consistent, but the effective pressure is greater when slow than when fast scoring is used.  If the speed is variable, the effective pressure differs along the score line.

A fourth thing that may be happening on straight lines is that the cutter wheel is at an oblique angle to the direction of the score.  This will often be heard as a scratching sound as you move along the score line.  This can be overcome by a gentle pressure against the straight edge you are using to align your score.  Of course, the straight edge needs to be held firmly to avoid having it move.  Allowing the head of the cutter to have a little freedom of movement also helps keep it parallel to the straight edge.

All this is merely speculation about your scoring practice.

You need to get someone to observe you scoring.  They do not need to be experts, nor other glass artists.  They just need to be observant. Tell them what you are looking for in each of the four elements of scoring and have them observe only one thing at a time.

First get scales that you can zero when you have a small piece of glass on it. Score without touching the glass. Have the observer tell you if the pressure was consistent throughout the score, and if you are in USA, whether the pressure was above 7 pounds or below 4 pounds. (For the rest of the world 3kg to 1.8kg). Practice until you can score consistently at about 2.2kg (ca. 5 pounds).

Second, have the observer stand a little distance from you. Score toward the observer. They need to observe whether your cutter is perpendicular to the glass while scoring and if there is any variation.

Next, they need to tell you if your head was directly above the cutter all the way through the score. They will be able to see whether your eye is directly above the cutter

Is your body behind the cutter, or do you use your arm to direct the cutter?  The observer will be able to tell that when you are scoring curves. The most consistent speed and pressure is delivered when the cutter is steered from your torso, rather than your arm and wrist.  It slows the scoring action, gives smoother curves, and more even pressure.

The last element, you can do yourself.  Once you are doing all the things above, you will be able to hear any scratching noise, rather than the gentle creaking noise of an even score with adequate pressure.  If the scratching noise is intermittent or only at one point, the likelihood is that you are twisting the cutter head, so the wheel is not in line with the score line.