A description of bioactive glass from Mo-Sci,Llc
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Image credit: Mo=Sci, Llc |
“I'm making 3mm French Vanilla sconce covers; …
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[initially they were] fine, but now 1.5"
bubbles form during the full fuse.
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I pop the bubbles and fill the holes with
frit and refire,
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[The]… edges draw in and distort the design…
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The shelf is flat,
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I fire on Bullseye paper, and
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the 13.5 hour long firing schedule [in F] is:
200 to 1150, hold 30 minutes.
50 to 1225, hold 30 minutes.
300 to 1490, hold 30 minutes.
9999 to 990, hold 60 minutes.
100 to 750, hold 1 minute.
Does anyone know what I can do to avoid the large bubbles?
A critique of the schedule.
This is for a single sheet of 3mm glass, so the hold at 621˚C/1150˚F is unnecessary as is the slow rise to and hold at 663˚C/1225˚F, because it is a single sheet and does not need the traditional bubble squeeze.
The hold of 30 minutes at 810˚C/1490˚F is excessive.
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The temperature may be too high.
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Ten minutes at top temperature is sufficient in
most cases.
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A soak of 1 minute would be enough.
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The anneal soak at 990˚F is most probably a
misprint for 516˚C/960˚F.
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The anneal soak is longer than the half hour
necessary, but not a bubble creating problem.
It
means the schedule could have been:
111˚C/200˚F to 796˚C/1465˚F for 5 minutes
AFAP to 516˚C/960˚F for 30 minutes
83˚C/150F˚ to 370F˚/700F˚, 0 minutes
Off
Different firing strategies are
possible.
These strategies can be mixed as desired,
and the reasoning for the strategies is:
Draping over a narrow or small supporting ridge with large areas of glass is difficult.
I have done a few experiments on rectangular moulds with 3mm and 6mm thickness. I could not eliminate dog boning with larger rims, slower rates, or lower temperatures in any combination - although they did reduce the effect.
Square single layers dog boned even with increased rim width,
and reduction of slumping depth made little difference in the amount of dog
boning.
Rectangular single layers shapes persisted in dog boning on
the long side regardless of the rim dimension, and exhibited more dog boning on
the long side than in the equivalent single layer square. Two layer slumping had a decrease in dog
boning with increased rim width, but with less effect on the long side.
In general, glass slumped in rectangular moulds is more
sensitive the shape of the rectangle than the size of the rim, and very
sensitive to symmetrical placing on the mould.
The depth of the mould has less influence than the size of the rim,
especially for single layers. The wider
the rim, the less dog boning, in general terms.
Deeper moulds, higher temperatures, longer holds, narrower
rims, all increased the dog boning. I conclude slumped square glass looks
better because the dog boning is symmetrical.
My solution is to make bigger rims and cut the piece square
after slumping. This approach needs cold work to the edges, of course.
The reason rectangular slumps dog bone is because the glass at the sides is drawn into the mould more easily than the corners, because there is more glass to draw in, just as in flat dog boning.
An alternative to the cold working is to round the corners
of the rectangles to reduce the amount to draw-in. A 1cm/0.375” radius curve will reduce the extent
of the dog boning, but does not eliminate the effect.
Will stress still show with polarised filters on cracked and broken glass?
It's not a straightforward answer.
I was looking at some broken fused float glass a few years
ago. I had always subscribed to the idea
that a fracture relieves the stress. Not always. The broken float glass had been slumped, and the pieces still showed stress. This turned out to be a compatibility problem, although
both layers were float.
The stress of inadequately annealed glass is likely to
remain visible through the filters, because inadequately annealed glass will
have stress distributed across the whole piece.
But glass that has been cooled too quickly and suffered thermal shock,
is more likely to show minimum stress because the break relieved most of it.
It is likely stress will show on the tree piece pictured because
it has not completely broken a[art. And even when it does break, it may still
show a residue of stress.
It is sensible when trying to diagnose the problem to
perform a strip test of the glasses for compatibility of the glasses concerned to
be sure what is happening. If no stress shows on the test strip, the stress showing
on the cracked piece is unlikely to be from incompatible glass, and other factors need to be considered.
Photo credit: Debi Frock-Lyons
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cordierite/mullite shelves |
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pizza stones |
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corelite shelves |
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A magnified view of a shelf surface that is not perfectly even |
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credit: timeanddate.com |
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Credit: Shutterstock |
“What are the pros and cons on turning up the max temperature slightly Vs. a longer hold time”? Lea Madsen
This is a difficult question
to answer, because there are variables such as
the temperature range,
the ramp rates, and soaks,
the forces acting upon the glass at a given temperature,
the process,
the desired outcome of the firing,
etc.
When talking about temperature vs. time, it is heat work
that we are considering. In many processes
time and temperature are interchangeable, although the temperature range is
important too. This is a brief
discussion of heat work in various processes.
Slumping
temperature is generally in the range of 620˚C-680˚C/1150˚F -1255˚F *, which is
below the devitrification range. This
allows the exchange of time for temperature without risk, allowing more time
rather than more temperature. Higher temperatures cause more marking from
the mould since the bottom of the glass is softer than at lower ones. Lower temperatures give higher viscosity, so
the glass is stiffer, resisting marks.
Sharp tack fusing, freeze and fuse, some pate de verre
processes, and sintering occur in the 650˚C
-720˚C /1150˚F - 1320˚F range, risking devitrification only at the upper end of this
range. Extending the time rather than
the temperature is important to maintain detail in these processes. Higher temperatures will smooth the surface, risking
loss of detail.
These are within the devitrification range making the
choice between time and temperature a balance of risks. In my experience, it takes about an hour for
visible devitrification to develop. This
means that you can extend the time, if the total time between the end of the bubble
squeeze and the working temperature, including the hold time, is less than an
hour. It has the advantage of a more
secure attachment between the pieces of glass, without altering the surface
much.
But if extending the soak time increases the time in the
devitrification zone to be more than an hour, it is advisable to increase the
temperature, rather than time. Devitrification
develops in the presence of air, so reducing the time in that range reduces the
risk of devitrification developing. The
glass is moving during rapid ramp rates, reducing the chance of devitrification.
This includes drapes, and other free forming processes. Kilnformers will be observing the progress of
these firings, making it easier to balance temperature and time. There are already long holds scheduled for
the processes, so it is a matter of getting the right temperature. If, after half an hour at the scheduled top
temperature, the glass has not moved much, it is time to increase the
temperature by, say 10˚C/18˚F and observe after another half hour, repeating the temperature increase if
necessary. Be aware of thinning the
glass at the shoulder by setting a high temperature. Free drops may take as much as 6 – 8 hours,
so patience and observation are important to get good results.
At full fuse try to
get the work done in 10 minutes to avoid complications with
devitrification. So, increasing the
temperature rather than the length of the soak seems best.
Whether frit stretching, making pattern bars, pressing, etc.,
low viscosity is important. Viscosity is
closely related to temperature, so increasing the temperature is the better
choice. Increasing time without
increasing temperature does not change viscosity much.
Extending time at top temperature seems
best for open face casting, as the temperature is already high. A slow ramp rate to that top temperature may make
adding time unnecessary, because the heat work will be increased by the slow
rise. Experience has shown that a rate
of 200˚C/360˚F is enough to avoid devitrification. With enclosed castings devitrification is not
such a risk, so time can be added without concern.
In all these processes it is advisable to observe
the progress of the firing by quick peeks to determine the effective
combination of temperature and time.
Also note that heat work is
cumulative, making for changes in profile with repeated
firings.
* The softening point of float glass is around 720°C/1328°F, so
the slumping range is about 700°C/1292° to
750°C/1382°F.
“I've made this stencil out of rigidized SilkeMat. Can I fill it with powder and/or frit and leave the stencil on the glass when I fire it to a full fuse?“
SilkeMat is thicker,
with greater insulating properties than shelf paper. The base glass will be
insulated in two ways. The frit in the spaces of the stencil will insulate the
heat from reaching the base under it. The SilkeMat will have even greater
insulating effect on the glass it covers. So, the proposed layup would create
three heat areas on the base layer - the area insulated by the SilkeMat, the
portion under the frit, and the uncovered areas. These three heat areas are a
big problem for the glass to cope with, as they each will heat differently.
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An illustration of cutting holes in SilkeMat to form a stencil with thick edges Credit: Katie Chapman (not the origin of the question) |
At full fuse the SilkeMat
or any other refractory fibre blanket will mark the glass and may stick in
parts. Adding weight will only increase
the marking and sticking, as well as further insulate the covered area. The most important problem with
leaving refractory papers on top of the glass during a full fuse, is the
insulating property of SilkeMat or any other refractory fibre paper, creating
large temperature differentials, which require extremely slow heat ups, long
anneal soaks, and very slow cooling. If it were to be fired with refractory fibre paper on
top, in spite of these warnings, I would fire it as though two inches thick.
A much better approach is to make a
card stencil that is stiff enough to lift easily without spilling any excess
powder as it is removed. Apply multiple
thin layers of powder, firing between each application. Careful application and firing to a low
temperature tack fuse each time will give a crisp edge to the powdered
image. This can be glossed with a full
fuse firing after the last application.
A silicone rubber colour pusher or stiff
brush can move the powder, either to the powder image or away and off the base
to give a crisp edge to the image.
If you have not already built the
piece in the kiln, powder and frit are heavy enough that they will not be
disturbed easily on the way to the kiln. An aerosol adhesive that drifts down onto the
powder will be enough to hold it in place if concerned about movement.
But best of all, is to create a powder wafer where the thickness and crispness of the image can be controlled, and then placing it onto the base glass. This avoids the risks of temperature differentials being created by the refractory paper