Fixing a Bubble

It is often recommended that large bubbles can be fixed by drilling out the hole if the raised part is thick, or by breaking the thin skin of the bubble and filling with a piece of glass or frit.

My experience leads me to say that "drilling and filling" is hardly ever successful. There always is a mark where the fill has been made, often there is a colour variation too.

There is another possible solution for small bubbles which are at the surface but not yet burst.

Turn the whole piece over and take to just below full fuse. This will allow the bubble to begin moving to the "bottom" of the final piece. Then flip over, clean really well and  fire polish - quickly up from bubble squeeze temperature and with no soak - to give a smooth surface, but not allowing it to get so hot the bubble comes back to the top. This will require observation to stop the temperature rise as soon as the surface is shiny.

Small burst bubbles

Small burst bubbles can be fixed by placing small “beads” of glass made from frit in the kiln. The appropriate sized bead can be placed in the hole and others arranged in a pleasant arrangement and all taken to a tack fuse. The beads are made by cutting small squares of glass 5-6 mm and taking them to full fuse. The glass will round up at the fusing temperature and give a number of completely rounded spheres with a flat bottom.

Prevention

Of course, the prevention of bubbles by inserting a bubble squeeze is the best solution.

revised 24.12.24

Resists

Avoiding bubbles between the resist and the glass on large sheets when preparing etching or other resist based processes is often difficult.

A trick learned from the firms that apply advertising vinyl to vehicles is to use a spray filled with slightly soapy water.

Their process uses pre-cut vinyl with an adhesive backing. So the first thing to do is to pick out the unwanted pieces. That is the pieces covering the areas that will be etched. Then you need to put a backing onto the front surface of the picked out vinyl – usually really wide masking tape.

Lay out the vinyl on the glass. Tape one end of the vinyl securely to the glass. This ensures that you get the vinyl correctly aligned over the whole area. Fold the whole piece of combined vinyl and backing back to the taped edge.

Carefully peal back the covering for the adhesive side making sure you do not pull off any of the isolated vinyl pieces. Spray the glass with a mist of soapy water to ensure all the glass is covered, do not have the glass running with liquid, but be generous. Too much liquid means that there will have to be a long wait for the vinyl to be firmly attached to the glass.

Start the application process by folding the vinyl onto the glass. Use a credit card or better, a large squeegee such as used for grouting mosaics. The tool you use must be smooth to avoid scratching the vinyl. Push the soapy water forward and to the sides as you move along the piece of glass. Keep pulling the protective layer evenly off the adhesive side as you work forward.

When completely attached, remove the backing from the vinyl. This will enable you to see any bubbles you may have left. Work out any bubbles by further pressing the soapy water out from under the vinyl to the edges. Where any remaining bubbles are in the way of the design, puncture them and work out the bubble of moisture through the hole. Cover the puncture with a small piece of vinyl.

Leave for a day for the vinyl to become firmly attached to the glass and then you are ready to do the etching.

Where you are going to cut the vinyl by hand, you do not need the backing. All the rest of the process is the same.

How Annealing Affects Slumping

It is often claimed that inadequate annealing of the fused blank can cause breaks during a slump firing.

If annealing is the cause, it is likely to break on the rise in temperature.  Once the piece has reached the annealing temperature, any breaks will be due to thermal shock on the way down.  An annealing break usually has a hook at both ends of the break, although this is more difficult to determine in a shaped piece.

Thermal shock tends to be along straight(ish) lines, often between thick and thin, or strongly contracting colours.  It tends to happen on the cool down. 

Breaks on the rise or fall in temperature are difficult to distinguish on slumps.  The temperature is low enough that there is little to distinguish the sharpness of the edges.  The real method of determining, is to try to fit the pieces together.  If they fit exactly, the break was during the cooling.  If they have even a little variation in fit, the break occurred on the rise in temperature.

If the annealing of the slump is marginally inadequate, it may break hours, days, weeks after cool.  The less stress the longer it will survive.  This will not be the result of any inadequate annealing of the fused blank. Only the last annealing is relevant to the soundness of the piece.

How can you ensure the annealing on a slumped piece is adequate?

You need to check the fused blank for stress before slumping to ensure it has no or very little stress.  The anneal for unstressed items needs to be at least equivalent to, or longer, as for the fused blank.  Testing has shown that annealing for one layer greater than the calculated thickness results is less stress than annealing for the thickest part.

Fire more slowly than usual for blanks with moderate stress to avoid thermal shock during the first ramp.  Anneal the slumped piece for one layer more than was done for the blank.  There is no other requirement for slower annealing.

Pieces with significant stress need to be returned to the kiln to be annealed.  Fire them up significantly more slowly than you normally would for a piece that thick.  This may be one half or less the speed used on the un-fused pieces. Anneal as for a thicker piece.

Patina Application

The application of patina to solder and other metals consists of three stages, cleaning, application, protection.

Clean the solder bead

Both flux residues and contaminants are left after soldering. Cleaning can be a combination of cleaning with abrasives and also with alkaline materials. Baking soda – sodium carbonate – can be used to neutralise any of the acidic flux left. It bubbles in the presence of acid, so gives a visual check on the amount of acid left. Since it is an alkaline substance, it will react with the acid of the patina to weaken the reaction. It is important to rinse the baking soda off with plenty of clean water.

Abrasive cleaning with materials such as steel or copper wool can be used. Some advise against this as metal residues can be left. However the abrasive scrubber used in scrubbing pots can be used to finish the cleaning without leaving metallic residues.

Apply the Patina

As patinas work by chemical reactions, they are specific to various metals. Those designed for solder work by reaction with the tin mainly, those for lead obviously react with lead, and those for zinc react with zinc - while each of these may work with other metals, they work best with the metal they are designed for. Too much rubbing while the patina is wet simply interferes with the action of the acid. Application of enough patina to allow it to "soak" - actually time to react with the metal - is much better than rubbing. To repeat, it is a chemical reaction, not a buffing process.

Once the patina is dry, you can use the baking soda solution again to neutralise the remaining acid on the metal. Rinse well. rub gently with a dry cloth to assist the drying, do not scrub. When dry again you can wax the metal.

Protect the Patina

Some allow the waxed piece to sit for 24 hours and then re-wax it. The applicator should be a soft object such as a cotton bud or soft cloth. Do not polish it until it no longer is showing black. Rather allow it to sit undisturbed for several days. The patina will get darker and smoother over time. Don't worry too much about getting it pitch black, or birght copper the first day.

Home Made Billets

You do not always have to buy cullet for casting or billets - you can make your own. Billets lead to less veiling and bubbles than just putting in your old cullet into the mould.

Create a mould by using dams or pouring investment materials around something like a plastic salad tub to make a billet – the shape is not usually critical. Place a reservoir such as a terracotta flower post above. Take the temperature to the 650C – 670C region for a 1- 2 hour soak followed by a long soak at 830C.

Normally, the higher you allow the glass fall, the fewer bubbles, but you're usually limited as to how high you can go in the average glass fusing kiln. You'll get some bubbles, but if you then put your new billet as a single piece in a reservoir for your casting you'll get the second flow that removes more of the bubbles.

All the glass must be thoroughly clean before being put into the pot for making the billet. Do not use iridised glass as it reduces the clarity of the billet. Do not use glass that has been ground as that will cause hazing in the billet. Instead, cut off the ground sides before washing the remainder and including in the melting process. Do not include the ground off-cuts.

Based on information from Cynthia Morgan (Morganica)

More information here

Metal supports

It is often desirable to have supports that terminate inside the glass rather than clasping or otherwise holding the glass.  However, metal that would survive the firing and be strong enough to support a substantial piece would be of such a size that it would break the glass due to the differing expansion and contraction of the two materials.

The wire or rod to support the fused or cast piece does not have to be incorporated at the point of kiln forming.  Instead you need to plan for these supports and keep the glass open at the support points during the kiln forming.  It is relatively easy to wrap short pieces of appropriately sized stainless steel rod with fibre paper, or coat with kin wash and build the glass around these, keeping the ends free of the glass.  You can of course, use other metals, although most – except brass – are likely to spall quite a bit, so wrapping them with fibre paper is best.

When the kiln work is finished, the short rods are pulled out.  Clean the cavity formed for the rods. If the glass is transparent or translucent, I like to have the cavity as clear as possible, so I prefer wrapping the rod with fibre paper what ever metal is being used. This provides a clearer surface when clean. Kiln wash leaves a white deposit that is difficult or impossible to clean away completely, although citric acid is good at getting rid of most of the deposit. Of course if the glass is opalescent, it does not matter whether there is a white deposit.

The cavity does need to be as clean as possible to enable the glue to stick to the glass. The support rods need to be secured with a silicone or other flexible glue to avoid any expansion problems in the future.

Information on inclusions of metals:
copper
Wire
Silver foil

Revised 5.1.25

Fusing with Rocks

Rocks contain a lot of water and so require a long gentle drying process of days or weeks to avoid steam building up within the rock and breaking the rock and so also breaking the glass in any attempt to fuse the rock into the glass.

Rocks and glass have radically different expansion rates and viscosities from glass. Also rocks are not consistent in their characteristics as they are made up of different proportions of materials even within one site. So fusing rocks to glass is likely to be unsuccessful.

However, you can use the rock as a master for a mould. Make a mould of the rock, then pour investment material into the mould and use that to drape the glass around. Then glue the rock into the shaped glass.

Using Scraps

There are a number of ways to use fusing compatible cullet, also known as scraps. There are probably many more ways to use cullet in kiln forming processes, but these are the ones I use.

Arrange the cullet in a pot or over a mesh for a pot melt or a mesh melt and use the result on the shelf or container for elements in other fusing. 

Boil the glass. This involves arranging the cullet on the shelf – normally dammed – and taking it to around 925C with a significant soak. The resulting bubbles that rise and break leave patterns in the glass.

Pattern bars can be made through arrangement of the pieces in a dammed area to make long rectangular bars.

Cut or arrange the cullet into strips, curves and other shapes. Shingle them into appealing patterns without being concerned about gaps. The result can be presented as panels or, when slumped, as vessels.

Crush the cullet into frit and sort into various sizes for subsequent use. Use a dust mask while doing this.

Use as cullet for casting. Then you don't need to crush the pieces.

Sell it.

Sands for Texture

Firing on sand can give an even stippled texture. It can also provide immediate, free form textures and shallow shapes. You can use different sized grains for variations in texture size. So it can be a quick, responsive medium to give textures and shallow shape to the glass.

Although you can fire on sand, you must use a separator. When I fire directly onto the sand for texture, I dust alumina hydrate over the sand. People who watch me dust it through a sock have a laugh, but it does work to provide a fine layer of separator, so that any sand picked up by the finished glass can be removed as it is not fused to the glass. Sometimes it takes a bit of cleaning effort.

There are a number of sands that you can use, although all require a surface separator.

Silica sand is the kind of sand found on a beach and is the most commonly used sand. It is the most commonly used sand because of its great abundance and low cost. Its disadvantages are high thermal expansion and low thermal conductivity which requires caution in annealing the glass.

Olivine sand is a mixture of orthosilicates of iron and magnesium from the mineral dunite. Its main advantage is that it is free from silica, although a separator is still required. Other advantages include a low thermal expansion, high thermal conductivity, and high fusion point. Finally, it is safer to use than silica.

Chromite sand is a form of magnesium aluminium. Its advantages are a low percentage of silica, a very high fusion point, and a very high thermal conductivity. Its disadvantage is its cost.

Zircon sand is a compound of approximately two-thirds zircon oxide and one-third silica. It has the highest fusion point of all the refactory sands, a very low thermal expansion, and a high thermal conductivity. However, it is expensive and not easily available

Chamotte sand is made from previously fired clay. It has a relatively high fusion point and has low thermal expansion. It is the second cheapest sand, however it is still twice as expensive as silica sand. Its disadvantages are coarse grains.

Cut Running Pliers

Cut running pliers are intended to assist with the running of long straight or gently curving scores.  Sometimes they are referred to simply as running pliers.

There are a wide variety of these made for different purposes.  The following are illustrations of some of the styles.

This plastic cut runner is an economy version of the metal one below

 To use these cut runners, you align the raised line on pliers with the line of the score and squeeze gently.  The single line on the bottom jaw acts a fulcrum, allowing the two raised parts on the upper jaw to provide pressure to the score and run the break along the score line.

Metal cut running pliers

The metal cut runners are pliers with curved jaws. When looking at the pliers from the nose toward the handles you will see the curve like a down turned mouth. These assist the breaking of the score by putting tension on the glass.

Cut running pliers almost always are supplied with covered jaws. This are normally two pockets of flexible plastic that fit snugly onto the slightly flared, curved jaws. Keep these on. When worn they can be replaced by buying more, or by wrapping the jaws with tape using "liquid plastic" or sometimes even using them bare.

There is a spacing screw on top which allows adjustment for different thickness of glass. It is intended that the jaws should not close completely – which can place excessive pressure on the glass – but be adjusted so that there is about 1mm less opening than the thickness of the glass. So when cutting 3mm glass there would be a 2 mm gap. On 4 mm glass the gap would be 3 mm, and so on. experience will show what relationship is best for you. The principle is that the pliers perform a gentle tensioning of the glass. Using your hands exerts more tension on the glass and cannot be so delicate.

Use

Align the centre of the top of the jaws - often the pliers have a centre line on the top to assist – along the direction of the score. Squeeze gently and the score will begin to run.

I have found my best success when using cut running pliers is to avoid trying to run the whole score from one end. With a bit of practice you get the feel for how much pressure you should be applying and so when to stop. Then turn the glass around and start the run from the other end. Usually the open ends of the score will meet and the break is completed. Occasionally the two runs will not meet. Then it depends on how complicated the curve is as to whether you use your hands to complete the break or start tapping the score line to finish the break.


More that one tool

There is a second variety of cut running pliers designed to run long scores near the edge of the glass.  These can be used in the same way as the cut runners pictured above.

The Ring Star cut runners

These cut runners made from plastic have a pad with a central raised point on the bottom jaw and a circular pad on the top jaw.  Placing the point directly under the score line will begin running the score.

 A more durable, but also more expensive version is the Silberschnitt cut runner.

Moveable pad oriented to run scores in line with the pliers orientation

The advantage of these is that the upper pad can be rotated to accommodate any angle, allowing shallow curves to be broken out.  If progressively deeper curves are scored, this too can assist in breaking out deep inside curves.

Pad oriented at about 60 degrees for running score at an angle to the plier's orientation

This allows a score to be run gently over a long distance. This is especially advantageous when the score is a curving one.  

Use
The upper pad is rotated so that it is at a right angle to the score.  The lower pad has a point to act as the  pressure point when the pliers are squeezed.  As you move along the score, you continue to adjust the upper pad to maintain a right angle to the score.  This is a much more gentle breaking action than the standard cut runners and runs the score in shorter distances.  However these short runs make it more certain to run the score successfully. 

Tools for Thick Glass

There are a variety of tools for breaking thick glass - usually 6mm and thicker.  Some examples are illustrated.

Note: these running pliers are pictured upside down.  The two plastic pads should be on the top of the glass.

These are used in the following fashion:

Adjusting cut running pliers for different thicknesses of glass.