Heat Work

“Heat work” is a term applied to help understand how the glass reacts to various ways of applying of heat to the glass. In its simple form, it is the amount of heat the glass has absorbed during the kiln forming heat-up process.

There is an relationship between how heat is applied and the temperature required to achieve the wanted result.  Heat can be put into the glass quickly, but to achieve the desired result, it will need a higher temperature. If you put the heat into the glass more slowly, the reverse applies.

For example, you may be able to achieve your desired result at 816C/1500F with a 400C/hr (720F/hr) rise and 10min soak. But you can also achieve the same result by using 790C/1454F with a 250C/hr (450F/hr) rise and 10min soak. The same amount of heat has gone into the glass, as evidenced by the same result, but with different schedules. This can be important with thick glass, or with slumps where you want the minimum of mould marks. Of course, you can achieve the same results with the a rise and a longer soak at the lower temperature, e.g. a 400C/hr (720F/hr) to 790C with a 30 min soak, but you will have more marking and difficulty with sticking separators.

In short, this means that heat work is a combination of time and temperature.  The same effect can be achieved with: 
- fast rates of advance and high temperatures.
- slow rates of advance and low temperatures.

- long soaks at low temperatures.

You obtain greater control over the processes when firing at slower rates with lower temperatures.  There is less marking of the back of the piece.  There is less sticking of the separators to the back and so less cleanup.  There is less needling with the lower temperature.  More information on heat work is here.

The adage “slow and low” comes from this concept of heat work. The best results come from lower temperature processing, rather than fast processing of the kiln forming.

More information is available in the eBook Low Temperature Kilnforming available from Bullseye and Etsy.

Revised 1.1.25

Slump Point Test

At a time when we are all going to be trying a variety of glass of unknown compositions to reduce costs of kiln working, the knowledge of how to determine the slump point temperature (normally called the softening point in the glass manufacturing circles) and the approximate annealing temperature becomes more important.  The slump point test can be used to determine both the slumping point and the annealing soak temperature.  This was required when the manufacturers did not publish the information, and it continues to be useful for untested glasses.

The method requires the suspension at a defined height of a strip of glass, the inclusion of an annealing test, and the interruption of the schedule to enter the calculated annealing soak temperature.

A strip of 3 mm transparent glass is required.  This does not mean that it has to be clear, but remember that dark glass absorbs heat differently from clear or lightly tinted glass. The CoE characteristics given are normally those of the clear glass for the fusing line concerned.  The strip should be 305 mm x 25 mm.  

Suspend the strip 25 mm above the shelf, leaving a span of 275 mm. This can be done with kiln brick cut to size, kiln furniture, or a stack of fibre paper.   Make sure you coat any kiln furniture with kiln wash to keep the glass from sticking.

The 305mm strip suspended 25mm above the shelf with kiln furniture.

Place some kiln furniture on top of the glass where it is suspended to keep the strip from sliding off the support at each end. Place a piece of wire under the centre of this span to make observation of the point that the glass touches down to the shelf easier.

The strip held down by placing kiln furniture on top of the glass, anchoring it in place while the glass slumps.

If you are testing bottles, you may find it more difficult to get such a long strip.  My suggestion is that you cut a bottle on a tile saw to give you a 25 mm strip through the length of the bottle.  Do not worry about the curves, extra thickness, etc.  Put the strip in the kiln and take it to about 740C to flatten it. Reduce the temperature to about 520C to soak there for 20 minutes.  Then turn the kiln off.  

Also add a two layer stack of the transparent glass near the suspended strip of glass to act as a check on whether the annealing soak temperature is correct. This stack should be of two pieces about 100 mm square. If you are testing bottles, a flattened side will provide about the same thickness.  This process provides a check on the annealing temperature you choose to use.  If the calculated temperature is correct there should be little if any stress showing in the fired piece.

The completed test set up with an annealing test and wire set at the midpoint of the suspended glass to help with determining when the glass touches down.

The schedule will need to be a bit of guess work.  The reasons for the suggested temperatures are given after this sample initial schedule which needs to be modified during the firing.

In Celsius
Ramp 1: 200C per hour to 500C, no soak
Ramp 2: 50C per hour to 720C, no soak
Ramp 3: 300C per hour to 815C or 835C, 10 minute soak
Ramp 4: 9999 to 520C, 30 minute soak
Ramp 5: 80C per hour to 370C, no soak
Ramp 6: off.

In Fahrenheit

Ramp 1: 360F per hour to 932F, no soak
Ramp 2: 90F per hour to 1328F, no soak
Ramp 3: 540F per hour to 1500F or 1535FC, 10 minute soak
Ramp 4: 9999 to 968F, 30 minute soak
Ramp 5: 144F per hour to 700F, no soak
Ramp 6: off.

Fire at the moderate rate initially, and then at 50C/90Fper hour until the strip touches down. This is to be able to accurately record the touch down temperature.  If you fire quickly, the glass temperature will be much less than the air temperature that the pyrometer measures.  Firing slowly allows the glass to be nearly the same temperature as the air.  

Observe the progress of the firing frequently from 500C/932F onward.  If it is float or bottle glass you are testing you can start observing from about 580C. Record the temperature when the middle of the glass strip touches the shelf. The wire at the centre of the span will help you determine when the glass touches down.  This touch down temperature is the slump point of your glass.  You now know the temperature to use for gentle slumps with a half hour soak.  More angular slumps will require a higher temperature or much more time.

Once you have recorded the slump point temperature, you can skip to the next ramp (the fast ramp 3).  This is to proceed to a full fuse for soda lime glasses. Going beyond tack fusing temperatures is advisable, as tack fuses are much more difficult to anneal and so may give an inaccurate assessment of the annealing. Most glasses, except float, bottles and borosillicate will be fully fused by 815C. If it is float, bottles or borosilicate that you are testing, try 835C. If it is a lead bearing glass, lower temperatures than the soda lime glass should be used. In all these cases observation at the top temperature will tell you if you have reached the full fuse temperature. If not add more time or more heat to get the degree of fuse desired.

While the kiln is heating toward the top temperature you can do the arithmetic to determine the annealing point.  To do this, subtract 40C/72F from the recorded touch down temperature to obtain an approximate upper annealing point.  The annealing point will be 33C/60F below the upper point.  This is approximate as the touch down temperature is, by the nature of the observation. approximate.  

The next operation is to set this as the annealing soak temperature in the controller. This will be the point at which it usually possible to interrupt the schedule and change the temperature for the annealing soak that you guessed at previously. Sometimes though, you need to turn the controller off and reset the new program.  Most times the numbers from the last firing are retained, so that all you need to do is to change the annealing soak temperature.

The annealing soak should be for 60 minutes to ensure an adequate anneal. This may be excessive for 3 mm glass, but as the anneal test is for 6 mm, the longer soak is advisable. The annealing cool should be 83C/hr down to 370C. This is a moderate rate which will help to ensure the annealing is done properly. The kiln can be turned off at that temperature, as the cooling of the kiln will be slow enough to avoid any thermal shock to the annealing test piece.

When cooled, check the stack for stress. This is done by using two polarised light filters. See here for the method. 

Squares of glass showing different levels of stress from virtually none to severe
 (no light emanating for no stress to strong light from the corners indicating a high degree of stress.)

If the anneal test piece is stressed, there could be a number of reasons for the inadequate annealing. It could be that the glass has devitrified so much that it is not possible to fuse this glass at all. If you also test the suspended strip for stresses and there is very little or none, it is evidence that you can kiln form single layers of this glass. You now know the slumping temperature and a suitable annealing temperature and soak for it, even though fusing this glass is not going to be successful.

Other reasons for stress due to inadequate annealing could be that the observations or calculations were incorrect.  

• Of course, before doing any other work, you should check your arithmetic to ensure the calculations have been done correctly. I'm sure you did, but it is necessary to check.  If they are not accurate, all the following work will be fruitless.

• The observation of the touch down of the suspended strip can vary by quite a bit - maybe up to 15C.  To check this, you can put other annealing test pieces in the kiln.  This will require multiple firings using temperatures in a range from 10C/18F above to 10C/18F below your calculated annealing soak temperature to find an appropriate annealing soak temperature.

• If stress is still showing in the test pieces after all these tests, you can conduct a slump point test on a strip of glass for which there are known properties. This will show you the look of the glass that has just reached touch down point as you know it will happen at 73C above the published annealing point.  You can then apply this experience to a new observation of the test glass. 

Revised 30.12.24

Breaks after the Piece is Cool

People sometimes fire a piece only to have it break after it is cool.  They decide to re-fire with additional decoration to conceal the break.  But it breaks again a day after it has cooled.  Their questions centre around thermal shock and annealing. They used the same CoE from different suppliers, so it must be one of these elements that caused the breakage.

Thermal Shock

This is an effect of a too rapid heat changes.  Its can occur on the way up in temperature or on the way down.  If it occurred on the way up to a fuse, the edges will be rounded.  If it occurred on the way up to a slump the edges may be sharp still, but the pieces will not fit together because the slump occurred before the slump.  It the break occurs on the way down the pieces will be sharp.  The break will be visible when you open the kiln.  More information is here.

If the break occurs after the piece is cool, it is not thermal shock.

Annealing

Another possible cause of delayed breakage is inadequate annealing.  Most guidelines on annealing assume a flat uniform thickness.  The popularity of tack fused elements, means these are inadequate guides on the annealing soak and annealing cool.  Tack fused items generally need double the temperature equalisation soak and half the annealing cool rate. This post gives information on how the annealing needs modification on tack fused items. 

The annealing break usually crosses through the applied pieces and typically has a hook at each end of the break.  If the piece has significant differences in thicknesses, the break may follow the edge of the thicker pieces for some distance before it crosses it toward an edge. This kind of break makes it difficult to tell from an incompatibility break.

Compatibility

The user indicated all the glass was of the same CoE.  

This is not necessarily helpful. 

Coefficient of Linear Expansion (CoE) is usually measured between 20°C and 300°C. The amount of expansion over this temperature range is measured and averaged. The result is expressed as a fraction of a metre per degree Celsius. CoE90 means that the glass will expand 9 one-thousandths of a millimetre for each degree Celsius.  If this were to hold true for higher temperatures, the movement at 800C would be 7.2mm in length over the starting size.  However, the CoE rises with temperature in glass and is variable in different glasses, so this does not tell us how much the expansion at the annealing point will be.  It is the annealing point expansion rate that is more important.  More information is here.

• Compatibility is much more than the rate of expansion of glass at any given temperature.  
• It involves the balance of the forces caused by viscosity and expansion rates around the annealing point.

Viscosity is probably the most important force in creating compatible glasses. There is information on viscosity here.  To make a range of compatible glass the forces of expansion and viscosity need to be balanced.  Each manufacturer will do this in subtly different ways.  Therefore, not all glass that is claimed by one manufacturer to compatible with another’s will be so. 

All is not lost.  It does not need to be left to chance.

Testing glass from different sources is required, as you can see from the above comments.  It is possible to test the compatibility of glass from different sources in your own kiln.  The test is based on the principle that glass compatible with a base sheet will be compatible with other glasses that are also compatible with that same base sheet.  There are several methods to do this testing, but this is the one I use, based on Shar Moorman’s methods.  

If you are buying by CoE you must test what you buy against what you have.

If you are investing considerable effort and expense in a piece which will use glass from different sources or manufacturers, and which is simply labelled CoE90, or CoE96, you need to use these tests before you start putting the glass together.  The more you deviate from one manufacturer’s glass in a piece, the more testing is vital. 

In the past, people found ways of combining glass that was not necessarily compatible, by different layering, various volume relationships, etc.  But the advent of manufacturers’ developing compatible lines of glass eliminated the need to do all that testing and experimenting.  While the fused glass market was small, there were only a few companies producing fusing glass.  When the market increased, the commercial environment led to others developing glass said to be compatible with one or other of the main producers of fusing compatible glass.

An incompatibility break may occur in the kiln, or it may occur days, months or years later.  Typically, the break or crack will be around the incompatible glass.  The break or crack may follow one edge of the incompatible glass before it jumps to an edge.  The greater the incompatibility, the more likely it is to break apart.  Smaller levels of incompatibility lead to fractures around the incompatible glass pieces, but not complete breaks.

If the break occurs some length of time after the piece is cool, it can be an annealing or a compatibility problem.  They are difficult to distinguish apart sometimes.  There is more information about the diagnosis of the causes of cracks and breaks here.

The discussion above shows that even with the best intentions, different manufacturers will have differences that may be small, but can be large enough to destroy your project.  This means that unless you are willing to do the testing, you should stick with one manufacturer of fusing compatible glass. 

Do not get sucked into the belief that CoE tells you much of importance about compatibility.

Revised 30.12.24

Effects of Annealing at the Top End of the Range

It is possible to begin your annealing at any point in the annealing range.

The annealing point is the temperature at which the glass most quickly relieves the stress within.  This occurs at the glass transition point. 

The  annealing range is between the softening point and the strain point of the glass.  No annealing can be achieved above the softening point, nor below the strain point.  This range, for practical purposes can be taken to be 55°C above and below the published annealing point.  For thick slabs, Bullseye has chosen to start the anneal 34°C below the published annealing point of 516°C.

High Annealing Point

A high annealing temperature, even up to 571°C, the approximate strain point of the glass could have been chosen, but this is impractical.  The effect of this is a greater slow cool range and so an extended anneal cool.  The reasons are as follows:  

• The anneal cool range is greater as the first rate of cool needs to be maintained to the strain point.
• The anneal cool has to extend to at least just below the strain point.
• The highest practical annealing temperature is determined by the viscosity of the glass.  Any soaks above that temperature are ineffective in production of soundly annealed glass.
• The purpose is to get all the glass at the same temperature in preparation for  cooling.  It is more difficult to maintain the small differentials in temperature achieved by the annealing soak over a large range of temperature.

Low Annealing Point

Starting the anneal cool closer to the strain point requires a slightly longer soak to ensure the glass is all at the same temperature (+/- 2.5°C, often called the Delta T=5C) before the anneal cool begins.  Typically, this initial soak would be for an hour before the initial cool begins (for a 6mm/0.25" thick piece).

Effect of the Differences in Approach

The advantages and disadvantages centre around the need to:

• soak long enough to get all the glass to the same temperature, and to 
• cool slowly enough to maintain the delta T throughout the glass.

Example

If you think of an example of a piece of Bullseye glass 12mm/0.5" thick, it will show the differences in approach.

High temperature soak

A soak of 120 minutes at 571°C/1060°F (the highest possible start for an annealing soak) is still required to even the temperature.  To ensure the temperature differentials in the glass do not deviate from the Delta T, the cool needs to be at 18°C/32°F per hour down to 427°C/800°F.  It is possible then to increase the speed to 36°C/65°F per hour down to 370°C/700°F.  This gives you a total annealing cool of just over 11.5 hours.

Low temperature soak

Starting the anneal at 482°C still requires a two hour soak followed by a decrease in temperature of 18°C/32°F per hour to 427°C, and an increased rate of 36°C/65°F to 370°C/700°F.  This gives an anneal cool time of just over 6.6 hours.

The example shows how, although the annealing result may be the same, there is considerable time saved (and especially for thicker pieces) in using the lower part of the annealing range to begin the annealing.  It also will save some electricity.

However, an anneal of two hours at 516°C with a cool of 18°C/32°F per hour to 427°C/800°F and 36°C/65°F to 370°C/700°F will still give a perfectly adequate anneal for 12mm thick pieces even though it will take about 2 hours longer.

Revised 30.12.24

Glass Volume for a Frit Mould

There are several ways to determine the volume of a mould. 

Calculation of the weight of glass needed

Calculate the amount in the metric system of measures, as that gives much easier calculations. Cubic centimetres of volume times the specific gravity of glass (2.5) will give you the number of grams of glass required.

This works best on regular geometric forms.  Rectangles and parallelograms are easy to measure the length, width and depth in centimetres.  Multiply together and you obtain cubic centimetres.  That times the specific gravity – 2.5 – will give the number of grams to fill the mould.  The frit will of course be mounded above the levelled surface, because of the air spaces between the frit pieces.

Example of a small frit mould

Irregular shaped moulds

The moulds which are irregular in shape or depth are more difficult to calculate. 

You can determine the volume by starting with a measured amount of water.  Quickly fill the mould to the surface, so that no water is absorbed into the mould. Empty the water from the mould into the drain so it does not become soaked. The difference between the starting and finishing amount of water is the volume of glass required to fill the mould. 

You can use that volume in cubic centimetres times the specific gravity (2.5) to get the number of grams of glass required.

However, it is much easier to put the frit into the water until the measure shows the same amount as before the mould was filled. Then you only need pour off the water and allow glass and mould to dry.  No calculation required.

This post gives some alternatives.

Revised 30.12.24

Annealing Strategies

This is a power point presentation I gave a few weeks ago to a group.  It may be of interest to others.  There is no commentary.

 

Rehearsing Special Cuts

For difficult cuts you can increase your confidence by rehearsing the score with a feather light movement of the cutter on the glass along the score line. Make any adjustments shown to be necessary by this rehearsal before beginning the score.

It is important to remember the basic scoring tips as they become even more important with difficult cuts:

• Keep an even/constant speed during the scoring.
• Keep a consistent pressure - less than 3kg/ 7 lbs is all the pressure required.
• Make sure the cutter is vertical – eye the cutter from top to wheel to cut line.
• Stand behind the direction of the cut line.
• Use your body to turn, do not use the wrist or arm.

Start with the most difficult score first. Any break-outs or mistakes will not waste much work or glass.

Break out each score as you make it. You can store up trouble by making multiple scores before starting to break. The score lines can run across the main piece when breaking off the scored glass. Any inaccuracies will also be magnified by making all the scores before breaking.

More information is given in these blog posts:

Diagnosis of cutting

Scoring Glass

Testing Scoring Pressure

Opalescent Glass

Revised 30.12.24

Slumping a Form Flat

There are a variety of reasons that you might want to make a formed piece flat again for another kind of slump or drape.  There are a variety of things to think about when preparing to make a shaped piece flat.  I am going to assume there are no large bubbles in the piece and there are posts on Large bubbles and Bubble at bottom  including the causes.

There are five groups of things to consider when contemplating flattening an already formed shape.

Shape/form

• Shallow forms with no angles have the fewest difficulties.  Take it out of the mould, put it on the prepared shelf and fire to the slump temperature.  Observe when it is flat and proceed to the annealing.
• Forms with angles or multiple curves are a little more difficult.  If the piece has stretched in some areas to conform to the mould, you will have some distortion in the pattern and possibly some thinner areas.  It should be easy to flatten pieces on a prepared shelf with the same schedule, but a slightly higher top temperature than in the previous slump.
• Forms where the sides have pulled in will become flat, but continue to have curved sides.
• Deep forms are possibly the most difficult.  The glass may have stretched, giving thin areas.  It may be that the process of flattening the glass will cause a rippled effect as the perimeter of the piece is a smaller size than the original footprint.  These deep forms are the least likely to flatten successfully.

Orientation

• Which way up? Upside down or right side up?  Shallow forms are easiest to flatten by placing them right side up on a prepared shelf.  For deep or highly formed pieces, it may be best to put it upside down to allow the now higher parts to push the perimeter out if it is necessary.

Thickness

• Thick glass will flatten more quickly than thin glass when using slower ramp rates, so you need to keep a watch on the progress of the work to avoid excess marking of the surface of the glass.
• Very thin pieces are likely to develop wrinkles as they flatten.  Even if they do not, there will be thick and thin areas which might cause difficulty in subsequent slumping.
• Tack fused pieces are likely to tend to flatten at different places and times due to the differences in thickness and therefore weight. This makes observation of the flattening process more important.

Temperatures

• In all these processes, you should use the lowest practical temperature to flatten.  This means that you will need to peek at intervals to see when it is flat.
• Your starting point for the top temperature to use will be about the same as  the original slump, normally.  The amount of time may need to be extended significantly. The reason for this is to avoid as much marking on the finished side as possible.
• Shallow forms and thick pieces will flatten more quickly than others, so a lower temperature can be used.  You will still need to observe the progress of the flattening.
•  Angled shapes and deep forms will need more heat and time than the shallower ones. 
• Thin pieces may require more time than thick pieces.
• Tack fused pieces need more attention and slow rates of advance to compensate for the differences in thicknesses.

Separators

• Kiln washed shelves are usually adequate for flattening.
• Thinfire or Papyros are needed when flattening upside down to ease any sliding necessary.
• Powdered kiln wash or aluminium hydrate can be dusted over the kiln washed shelf when it is felt the form will need to slide on the shelf while flattening.

It may be that after all this, you feel it is not worth it to flatten.  It certainly is worth the effort, if only to learn about the characteristics of the form and its behaviour in reversing the slump or drape.

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 a granular surface.  This is distinct from the effects from an unstable glass or the crizzling as in a ceramic glaze. Devitrification can occur within the glass, but normally is a surface effect as oxygen is required.

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 in the composition of the glass, acting as a flux.

Visible devitrification generally occurs in the range of approximately 720°C – 830°C/1330F - 1525F, depending to some extent on the type of glass.  This means that the project needs to be cooled 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, causing movement in the glass and so working against any crystallisation.  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 develop.

Medical research into using a glass matrix to grow bone has shown that devitrification begins around 650C/1200F, but only becomes visible after 700C/1290F.  This has implications for multiple slumps.  Devitrification is cumulative, so the devitrification that may have begun on the flat piece will be added to in the slumping process and may become visible.  For me this has appeared as a haze on the edge of the slumped piece.  Avoidance of this effect is by thorough cleaning of the piece before placing it in the mould.

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 edges to fit.  Even though the ground edge is cleaned, it may still be rough enough to promote devitrification.  The edge must be prepared for fusing by grinding to at least 400 grit (600 is better).  Alternatively, use a fine coating of clear powder to give a new surface to the whole piece.

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

Other sources of information:
Temperature range for devitrification
Homemade devitrification solution
Frit to fill gaps
Low Temperature Kilnforming at Etsy and Bullseye

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

[entry revised 28.12.24]

Cleaning Materials and Solutions

You need to clean glass that is going into the kiln to avoid devitrification on the surfaces.  This can be a greater or lesser problem for different individuals.  It is probably related to the studio practice and the amount of oils in or on fingers.

The first things to consider in cleaning glass for kilnforming are what you are trying to eliminate from the glass, the chemical nature of glass, and how to avoid putting further contaminants on the glass.

Cleaning is to remove surface deposits

The sensitivity of glass to minor contamination is shown by the fact that the small amount of oil from your finger tips can provide sources of devitrification.  This means the glass needs to be really clean and free from any deposits.  You need to remove oils and dusts and anything you may have added during assembly to leave nucleation points for devitrification. This includes any minerals in the water used to clean the glass.

Avoid soaking in acids

Glass is an alkaline (or basic) material.  This means that acids can affect the surface of the glass – at the microscopic level – enough to provide those nucleation points for devitrification to develop.  An odd thing about the way vinegar attacks glass is that the more dilute it is, the more etching it does of the glass.  This has to do with the greater amount of oxygen to transfer from the vinegar water to the glass, leaving microscopic etching as the minerals encased in silica are released from the glass surface.  This is visible as mild dulling in the shine of the surface.

If acids are used to clean the glass, rinse immediately in an alkaline solution such as baking soda.  You need then to get rid of the chemical reaction products formed by the neutralisation of the acid.  This should be done by immediately rinsing with running clear water. Follow this with a polish dry using unprinted paper towels.

Cleaning with spirits

My recommendation is to avoid spirits, especially those with additives such as rubbing alcohol. The amount of oil that is to be removed from the glass is small, so application of large amounts of spirits is not necessary.  It is reported that some aggressive spirits may affect the surface of the glass by combining with the minerals or the silica of the glass – this is not proven. If you do use spirits make sure they are thoroughly cleaned off and polished dry.  It is all too easy to leave residues.

What can I use to clean the glass?

The simplest cleaner is water.  A drop or two of dish washing liquid can provide a break to the surface tension, allowing the water to flow smoothly over the whole surface.  Then polish dry with clean unprinted paper towels.  Often this will not be sufficient to clean all the oils and chemicals from the glass and the best alternative is to use isopropyl alcohol neat or diluted 1:1 with water.

In many areas, the public water supply is hard – i.e., has an appreciable level of minerals.  Calcium and iron are two common minerals in any water supply. Some water supplies have other additives such as chlorine, fluorine and other purifiers. Chlorine and fluorine react strongly with glass, so air drying is not a good choice in drying glass in areas where there are these chemicals in the water supply.  Iron is another strong reactor with glass.  In high iron areas it may make it difficult to use water as the cleaning element.

It is suggested that distilled water can be used instead of the public water supply.  Yes, it can.  But it is expensive and not necessary.  Instead there are a few commercial cleaning agents that work well.  In North America Spartan glass cleaner is recommended.  In Europe Bohle glass cleaner is recommended.  I use isopropyl alcohol as my final rinse.  

After applying these glass cleaners, you still must polish to squeaky clean and dry.

Revised 28.12.24

Breaks in Slumping - diagnosis

Diagnosis of breaks during slumping processes is often difficult because the temperature is not high enough to be able to apply the usual rule of 

• sharp edges indicate breaks on the cool down; 
• rounded edges indicate breaks on the heat up.

www.warm-glass.co.uk

This not a universally applicable diagnosis.

At low slump temperatures, the edges will be sharp in both a break on heating up, and on the way down in temperature.

The best test to determine when the break occurs is to observe periodically during the heat up.  You will be able to see if the piece breaks before the top temperature.  If it is whole at top temperature, the break occurred on the way down.

If you have been unable to observe the progress of the firing, you will need to diagnose when the break occurred from the clues left.  The test here is not whether the edges are rounded or sharp, because at normal slumping temperatures, the break will be sharp in both cases. 

If the break occurred before the top temperature, the pieces will shape separately as the will be on different parts of the mould. Therefore, If the pieces no longer fit together, the break was on the rise. If they do fit exactly, the break was on the way down.  Place the pieces very carefully together to see if they form part of a continuous curve.  If they do, the break was on the cool down.  If they almost  match, or do not match at all, then the break was on the rise in temperature.

In general, when the break is on the cool down, there has been an overhang of the flat glass onto the mould which causes the break.  But the most common break of a slumping piece is caused by a too quick rise in temperature.  The distance the pieces are apart will give an indication of the force of the break.  The farther apart the pieces are, the slower the ramp should be - either up or down.

For a flat 6mm piece, the slump temperature rise should be less than twp thirds as quick as the rise for the fusing.  If you have a tack fused piece to be slumped you should reduce the rate of advance to at least half of that for a smooth, flat piece of 6mm.  Thicker glass with tack fused elements will need to be even slower.

Draping is another story.

Revised 28.12.24