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.

Adjusting Cut Runners

There are a number of types of cut running pliers.  These photos show some of them. 

The apparently most popular is this:

Cushions

It is frequently difficult to find replacements for the plastic cushions that come with a new pair of cut runners.  People resort to a number of means to provide a substitute.  Some wrap electrical tape around the jaws, others use fabric bandages (Elastoplast/band aids).  I have even used the liquid plastic that is designed for coating tool handles.

However, if you adjust the cut runners appropriately, you can use them to run your scores even without cushions.  The purpose of these cushions is only to compensate for too much pressure in running the score.

Use without covers

You can run the score without cushions by using the adjustment screw on the top jaw of the tool. Yes, it does tell you which is the top jaw without having to check the end of the runners, but it has a more important use.  It is not just a pretty cool way to tell which is up. 

Its purpose is to adjust the width of the opening so that it provides the appropriate amount of bending force no matter how much pressure you exert at the handles.  If you are running scores in three-millimetre glass, set the jaws to that width by turning the screw until the jaws are that width apart.

Place the jaws in line with the score, aligning the mark on the top jaw with the score line and squeeze the pliers.  As you squeeze, the curved jaws provide enough bending force to run the score without over stressing the glass.  It is the adjustment screw that limits the over-stressing of the glass during the running of the score. Yes, you may not be able to run the whole length of the score this way, but you can repeat from the other end and that is usually enough to complete the running of the score.

You can continue to use cushions of various sorts with this adjustment for thickness, but I found that these were not necessary when the runners were properly adjusted.  In fact, I found that soft cushioning made more difficulties than using them with the bare metal.  I discovered this during the period of using the liquid plastic coating as used for tool handles.  I dipped the jaws multiple times to give a cushioning effect and it worked fine.  The cut runners continued to work even after the coating had worn off.  It was then that I realised I could control the running pressure more directly than by having a cushion between the glass and the jaws.

Setting the spacing

An easy way to set the correct opening of the jaws is to test against the glass you are about to score and break.  Place one side of the jaws against the edge of the glass. Slide that corner just a few millimetres over the glass.  Turn the set screw on the top of the jaws anticlockwise until they are fitting the glass snugly.  Back off a half turn (clockwise) so the jaws move easily along the edge.  This is now set to run the score on this glass. 

Open the jaws and place the centre mark in line with the score.  Close them gently and you can observe the arc of the jaws above the score line. Squeeze the handles and the score will run along the line away from the cut runners.  As you have adjusted the opening, no matter how hard you squeeze the cut runners, you cannot add more pressure.  This means you avoid crushing the glass.

The principles

The curve of the jaws is designed to provide the bending force required to run the score.  The radius of the curve has been designed to provide the correct bending pressure for differing sizes of glass.  The most common ones are useful for glass up to, but not including, 6mm glass.  The screw adjustment provides compensation for differing thicknesses of glass.  Setting the width of the gap to match the thickness of the glass prevents the application of too much pressure.

Thicker glass

For thicker glass you need cut runners with wider jaws.  These usually are fitted with three points to apply the breaking pressure - one under the score and one each side of the score on the top.  Again, these are adjusted to be just less than snug to the glass before applying the pressure.

One example of  cut runners for thick glass.  There are a variety of others.

Lead Corrosion

There are three important versions of lead corrosion: Red, Brown and White.  In addition, there are other factors that can weaken the lead came.

Red lead is a corrosion product that appears as a bright red surface, is dangerous, and requires water, air and often wood, to form. Sometimes water in the manufacturing process can develop red lead.   The chemical composition of red lead (Lead (II, IV) or triplumbic tetroxide is Pb₃O₄ or 2(PbO^.PbO₂).  It is a bright red or orange crystalline or amorphous colour.

Red lead is virtually insoluble in water or in ethanol. But, it is soluble in hydrochloric acid as is present in the stomach.  When ingested, it is dissolved in the stomach’s gastric acid and absorbed, leading to lead poisoning. It also dissolves in undiluted acetic acid, as well as in a dilute mixture of nitric acid and hydrogen peroxide.

When inhaled, lead (II,IV) oxide irritates the lungs. In the case of a high exposure, the victim experiences a metallic taste, chest pain, and abdominal pain.

High concentrations can be absorbed through skin as well, and it is important to follow safety precautions when working with lead-based paint.

This means that anyone dealing with read lead needs protection against skin contact, and breathing protection.  Methods need to be implemented to ensure no dust is raised, or that the area is thoroughly cleaned after dealing with red lead. Clothing should be discarded or washed separately from all others.

White lead corrosion, Lead(II) carbonate, is the chemical compound PbCO₃. It occurs naturally as the mineral cerussite.  It is a curious compound, as it is soluble in both acid and alkali.  It is possible, but rare, for excess whiting left on the lead to give rise to this form of corrosion. Generally, it will be neutralised by the weather.

Brown lead corrosion appears as a brown to dull red colour. 

Lead(IV) oxide, commonly called lead dioxide or plumbic oxide or anhydrous plumbic acid …, is a chemical compound with the formula PbO₂. … It is of an intermediate bond type, displaying both ionic (a lattice structure) and covalent (e.g. its low melting point and insolubility in water) properties. It is an odourless dark-brown crystalline powder which is nearly insoluble in water. …. Lead dioxide is a strong oxidizing agent which is used in the manufacture of matches, pyrotechnics, dyes and other chemicals. It also has several important applications [e.g.,] in the positive plates of lead acid batteries.    Source: wikipedia

Air, water and salt are needed to form brown lead. This means coastal areas and those with driving rain are prone to this kind of oxidisation. Lead dioxide also forms on pure lead, in dilute sulfuric acid.  So, with the acid rain that we are all subject to, it can form in almost any situation, but will be more obvious on areas exposed to the prevailing wind.  The corrosion is soluble in strong acetic acid.

Tin corrosion also has a brown, almost copper appearance, very similar to brown lead.  The tin corrosion will be confined to the solder joint and surrounding area rather than all along the length of the came. 

Corrosion resistant lead

The ideal composition of lead to resist corrosion is 98.5% lead with up to 1% tin. This, combined with fractions of a percent of antimony and traces of silver, bismuth and copper provides a combination of metals and trace elements to resist corrosion of the lead as well as stiffening it.  Conservators indicate that, for whatever reason, cast lead incorporating trace elements is the most resistant to corrosion.  This is evidenced by the longevity of medieval lead cames.

Solder composition

Conservators also indicate that the higher the lead content of solder, and the better the match it is to the lead came, especially the almost pure lead came, the more resistant it is to lead came fracture at the margins of the solder joints.

Stretching the lead came, rather than simply straightening it, not only weakens the lead, it leaves very small pits in the surface of the lead.   These small pits allow the elements of the environment to penetrate the lead’s surface and act as sites for the beginning of corrosion.

Stretching also causes stress points near the solder joint.  The stretching creates stress along the length of the lead.  When the lead is heated in the soldering process the molecules of lead sort themselves into a stress-free arrangement.  As heat does not travel far or fast in lead, there is a stress point formed a short distance from the soldered lead joint where the already stressed and the stress-free lead meet.

Conclusion

Clearly there are a range of factors that relate to the resilience of lead came.  98.5% lead with trace elements including tin and antimony provides the greatest strength and resistance to corrosion.  Stretching the came can lead to general weakness and introduce pits into the surface forming sites for corrosion. Stretching can also lead to stress points near the solder joints.

All these indicate that resilient leaded glass windows can be produced by:

the use of lead came with 1.5% of trace elements,

the use of high lead content solders, and

the straightening (rather than stretching) of the came.

Tapping Glass Scores

Many people tap the underside of the glass after scoring.  The purpose of this is to run the score.

However, this tapping is often unnecessary.  Running the score can be done in a variety of ways, some more suitable for one kind of score line than another.

Straight score lines can be run in several ways.

•       Move the score line to the edge of the bench or cutting surface and use a controlled downward force on the glass off the edge while holding the remainder firm.  Works best if at least a third is being broken off.
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•      You can place a small object, such as the end of your cutter or a match stick, directly under the score and place your hands on either side and press firmly, but not sharply, down on each side at the same time.  This is good for breaking pieces off from half to a quarter of the full sheet.
•      Make your hands into fists with the thumbs on top of the glass and the fingers below.  Turn your wrists outwards to run the score. Works best if the glass is approximately half to be kept and half to be broken off.
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•      Take the glass off the cutting surface, hold in front of your knee at about 45 degrees and raise you knee quickly to the glass.  This will break the glass cleanly, but is only useful for moderate sized sheets and where you are breaking off about half of the sheet.
•      Use cut running pliers to run the score.  Be sure the jaws are adjusted for the thickness of the glass, and do not apply excessive pressure.  If the score does not run all the way, turn the glass around and run the score from the opposite end. Best where there are approximately equal thin parts to be broken away from each other and when the score line is no less than an oblique angle to the edge. It does not work very well for thin pieces or acute angles.
  
  
  
•      Use two grozing pliers nose to nose and flat side up at the score line and bend them down and away.  This works best on thin and or pointed pieces.
•      Breaking pliers can be used at intervals along the score. This is most useful on long thin pieces.

Curved score lines, of course require a bit more care but generally employ the same methods.

•     Gentle curves can be dealt with as though they are straight lines, although the breaking at the edge of the cutting surface is a bit risky. This means the two-fist, running pliers, two grozing pliers and breaking plier methods can be used.
•     Lines with multiple curves usually require cut running pliers to start the run at each end of the score.
•     Deep curved scores may require the running pliers whose angle can be adjusted to be at right angles to the score.  The ones I know are Silberschnitt, made by Bohle, although the ring pliers by Glastar work in the same way. This usually requires that the edge of the glass is not more than 5 cm from the score.  This blog gives information on a variety of cut running pliers. 

Tapping

After trying all these methods to run the score, sometimes the score is so complicated or deep into the glass that you cannot simply run the score.  Tapping may then be required, but it is a last resort.

Tapping, to be effective, must be accurately directed to places directly under the score line.  The tapping cannot be at random places under the glass. Each tap must be controlled – to be direct and to be firm. 

The impact needs to be directly under the score. 

•     Taps that are either side of the line will either not be effective, or will promote breakage other than along the score line. 
•     Tapping to either side of the score also promotes shells to either side of the score line.  These are not only dangerous when handling, but also require further work to remove these ledges of glass.

The impact also needs to be firm. Random impacts to the glass promotes breakage other than along the score line.

•     The taps need to be firm – neither light nor hard.
•     Each tap should be at the end of the run begun by the previous one.  This promotes a smoother run of the score with less opportunity to start a run off the score line. 
•     To avoid the incomplete running of the score that leaves parts of the score untouched you need care. As the glass begins to break along the score line, place the next impact at the end of that start to continue the run. 

Tapping the glass under the score should be a last rather than first resort in running a score.

Break Diagnosis in Slumping

The usual advice in looking at the reasons for breaks in your pieces must be considered in relation to the process being used.  Breaks during slumping need to be considered differently to those occurring during fusing.  

The advice normally is that if the edges are sharp, the break occurred on the way down in temperature. Therefore, the glass must have an annealing fracture or a compatibility break.  It continues on to say if the edges are rounded it occurred on the heat up, as it broke while brittle and then rounded with the additional heat.

This is true, but only on rounded tack and fused pieces.

When the process is a slump, there is not enough heat to round the edges.  So, the edges will be sharp whether the break was on the heat up or the cool down.

How can you tell in a slump process when the break occurred?

The first, but not obvious, way to tell if the break is on the heat up is to peek at about 260C/500F as most heat up breaks occur around that temperature, and again at the strain point, about 540C or 1000F.  These are the two critical heat up temperatures that will give the knowledge of when the break occurred.  If at either of these peeks, the glass has broken, the firing can be abandoned.  If the break is at the higher temperature, it needs to be annealed though.

 

The other way to tell if the break occurred on the cool down is that if you can put the pieces of the slump back together and they fit perfectly, the break was on the cool down, as the piece was already fully formed at the time of the break.

If the pieces do not fit together perfectly, the break was on the heat up.  This is because the break occurred, and then the two (or more) pieces slumped independently, thus leaving slightly different shapes at the break line.

There is a special case here, of course.  Sometimes the break is only a split in the bottom, that does not come all the way to the top of the piece. This split (or splits) occur when the heat up is too fast.  The theory goes that the top became plastic while the bottom was still brittle/stiff.  The weight of the hotter, more pliable glass overcomes the strength of the cooler and heat stressed bottom, causing it to split.  

Another theory is that the layers of glass were not fully fused together, so forming a thermal break between the upper and lower pieces, again allowing the top to heat more quickly, but causing thermal shock to the lower part.

More information is given in the blog post Diagnosis of Breaks, and a full discussion in the ebook Kilnforming Principles and Practices available from Bullseye.

There is also extensive information on diagnosis of breaks in this blog entry on slumping cracks.  

Float Annealing Temperatures

Float glass annealing temperatures vary quite a bit from one manufacturer to another; and even within one manufacturer’s product line.

Comparisons of various float glasses

Some companies are more informative that others.  Pilkington are one of the more open of European glass manufacturers on various bits of information.

Pilkington Float

CoLE 83 *^10-5

Softening point:  715°C

annealing point:  548°C

strain point: 511C

Pilkington Optiwhite ™

Softening point:  ca. 732°C

annealing point:  ca. 559°C

strain point:  ca. 526°C

There is a difference of 11C between two of the Pilkington product lines for the annealing points.  The softening and strain points are slightly wider.

Glaverbel, a Belgian company, restricts their information to CoLE and the softening point.

CoLE 91 * 10^-5

Softening point: 600°C

Saint-Gobain, a French company, shows some more of the variation in the product lines, although they do not give specific annealing points for the different products.

CoLE 90 * 10^-5

annealing range:  520 - 550°C

Low E glass

softening – 840°C

strain - 617°C

R glass (sound reducing)

softening – 986°C

strain - 736°C

D glass (decorative)

softening point – 769°C

Compatibility

Even this small sample of float glasses shows there is a significant difference between manufacturers for the softening, annealing and strain points.  This means that, unless you are sure of the glass merchant’s source of glass, you will need to test each batch of glass for compatibility with previous batches, if you are combining from different suppliers.

I included the CoLE numbers (which all the manufacturers specified as an average change in length for each degree C increase in temperature from 0 to 300°C) to show the variation and to challenge anyone to find Bullseye and Saint-Gobain or Glaverbel compatible with each other.  My experience has shown that the Optul coloured frit and confetti is more likely to be compatible with Pilkington than the other two.

Annealing

I have been beginning my annealing of float glass at 525°C.  This little bit of literature research shows that my annealing soak should be starting higher, possibly at 540°C, certainly no lower than 530°C.  Other areas of the world may find their float glass has significantly different annealing ranges.

Frit by thermal shock

Frit can be created by thermal shock.  You will still need to do some manual breaking up. The principle is that you heat the glass and then cool it rapidly, causing the glass to break into pieces from the thermal shock.

There at least two approaches depending on the type of kiln.

Clamshell and front opening kilns

Place the glass in a stainless steel bowl and heat as fast as possible to 300C – 400C. Turn the kiln off and pull out the bowl, using heat resistant gloves and dump the hot glass into a large bucket of water. 

Lidded and deep kilns

Place the glass, in a stainless steel colander, into the kiln.  Retrieve the hot glass with a hooked pole to lift the container out of the kiln and lower it into a bucket full of water.

Once the glass is cool, pour off the water and dry the glass.  When dry, you can break the crazed glass into smaller bits just as you would with other glass.  Note that pouring water over the glass has two disadvantages – one, it does not completely thermal shock the glass, and two, the large amount of steam released is very dangerous.The advantages of this quenching method of obtaining frit are that you can create frit with less effort.  You also get less fines and powder with this method. And less effort is required to smash up the glass.

Some indicate that ice cold water to quench the glass is a good idea.  This is because warm water will not provide enough of a shock to the glass to craze it throughout.  But if you have a large bucket of water, there is no necessity, as the volume of water will cool the glass quickly enough.  Of course, if you are planning another quenching, you need to renew the water, as it will not be cold enough to thoroughly craze the glass.

You can, in part, control the size of the resulting frit.  Firing at 300C/573F results in larger frit than firing at 400C/753F.  However, firing at 500C/933F does not provide even smaller frit.  The best results are between 300-400C/573-753F, although frit can be made at 200C/392F as well.  Experiment with temperatures to get the frit you want.

Once you have dried the frit, you can begin to break it up. Some can be done by hand, but the pieces are often sharp, so gloves are essential.  The other standard methods of breaking up glass to make frit are applicable. But it does not take as much effort as breaking from cullett.

revised 7.2.25

Hard Spots in Moulds

Hand pouring of slip into a mould

Some ceramic moulds have small areas where the kiln wash does not seem to adhere as well as on the rest of the mould.  This comes from the manufacturing of these slip cast moulds and this blog post explains how it occurs.  The question is what to do to make the mould separate from the glass after firing.

Coat the mould as usual, which shows up the area where it seems no kiln wash is sticking.  There is some coating the area, but not in the same amount as the rest of the mould.  You can add a little extra kiln wash to the area once first layer has dried, but be careful to avoid creating a ridge against the rest of the kiln wash. If one does appear gentle smoothing with a finger can disguise the transition.

Another approach is to abrade the spot a little to make a more textured surface for the kiln wash to attach.  This needs to be done carefully and by hand to avoid creating a shallow divot in the mould.

The safe approach is to coat as usual and slump a sacrificial piece of glass to ensure the glass does not stick to the hard spot.  If it does not, the spot has enough separator to be useable, although I would continue to add kiln wash to that spot for several firings.

 

Tack Fusing Considerations

Initial Rate of Advance

Tack fuses look easier than full fusing, but they are really one of the most difficult types of kiln forming. Tack fusing requires much more care than full fusing.
On heat up, the pieces on top shade the heat from the base glass leading to uneven heating. So you need a slower heat up. You can get some assistance in determining this by looking at what the annealing cool rate for the piece is. A very conservative approach is needed when you have a number of pieces stacked over the base layer.  One way of thinking about this is to set your initial rate of advance at approximately twice the anneal cool rate. 

Annealing 

The tacked glass us loosely attached rather than fully formed together.  So, the glass pieces are still able, partially, to act as separate entities, meaning excellent annealing is required.

Effects of thicknesses, shapes, degree of tack

1. Tack fusing of a single additional layer on a six millimetre base

1. Rectangular pieces to be tack fused

1. Sharp, pointed pieces to be tack fused

1. Multiple layers to be tack fused

1. Degree of tack – the closer to lamination, the more time required

Glass contracts when it's cooling, and so tends to pull into itself. In a flat, symmetrical fuse this isn't much of a problem. In tack fuses where the glass components are still distinct from their neighbours, they will try to shrink into themselves and away from each other.  If there is not enough time for the glass to settle into balance, a lot of stress will be locked into the piece that either cause it to crack on cool down or to be remarkably fragile after firing.  In tack fusing there also are very uneven thicknesses, making it is hard to maintain equal temperatures across the glass.  The tack fused pieces shield the heat from the base, leading to localised hot spots during the cool down.

On difficult tack fuses it's not unusual to anneal for a thickness of two to three times greater than the thickest part of the glass.  That extended cool helps ensure that the glass has time to shift and relax as it's becoming stiffer, and keeps the temperature more even throughout.

In general, tack fused pieces should be annealed as though they are thicker pieces. Recommendations range from the rate for glass that is one thickness greater to at least twice the maximum thickness of the whole item.  Where there are right angles - squares, rectangles - or more acutely angled shapes, even more time in the annealing cool is required.

It must be remembered, especially in tack fusing, that annealing is much more than the annealing soak.  The soak is to ensure all the glass is at the same temperature, but it is the anneal cool that ensures the different thicknesses will all react together. That means tack fusing takes a lot longer than regular fusing.

  

The more rectangular or pointed the pieces there are in the piece, the greater the care in annealing is required.  Decisions on the schedule to use varies - some go up two or even four times the total thickness of the piece to choose a firing schedule.

A simple way to determine the schedule is to subtract the difference between the thickest and the thinnest part of the piece and add that number to the thickest part. If you have a 3mm section and a 12mm section, the difference is 9mm. So, add 9 to 12 and get 17mm that needs to be annealed for. This thickness applies to the heat up segments too.

Another way to estimate the schedule required is to increase the length the annealing schedule for any and each of the following factors:

The annealing schedule to be considered is the one for at least the next step up in thickness for each of the factors. If you have all five factors the annealing schedule that should be used is one for at least 21mm thick pieces according to this way of thinking about the firing.

 

4 – Testing/Experimentation

The only way you will have certainty about which to schedule to choose is to make a mock-up of the configuration you intend in clear.  You can then check for the stresses.  If you have chosen twice the thickness, and stress is showing, you need to try 3 times the thickness, etc., which can be done on the same piece.  You can reduce time by having your annealing soak at the lower end of the annealing range (for Bullseye this is 482C, rather than 516C).

You will need to do some experimentation on what works best for you. You also need to have a pair of polarisation filters to help you with determining whether you have any stress in your piece or not. If your piece is to be in opaque glasses, The mock-up in clear will be useful.

First published 18.12.2013

Revised 29.01.25

Over Annealing

 I hear the comment "you can't over anneal" all the time. Is it true?

My response to this may be controversial, and I do expect there will be some dispute with aspects of what follows.  My view of the statement “you can’t over anneal” is that it results from a lazy approach to thinking about the process.

The short answer is, in my view “yes, you can over anneal”.

• ·         Lengthy anneal soaks can induce stress in certain circumstances. More later.
• ·         Excessive annealing soaks waste time and money.
• ·         Annealing is more than the soak.  It is a combination of equalisation of the heat within the glass (not just temperature) and the gradual cooling of the glass to below the lower strain point to ensure the glass does not incorporate differences of temperature of plus or minus 5°C.

There is both tradition and research to assist in determining the length of the anneal soak.  The tradition seems to embrace 30 minutes anneal soak for each 3mm-layer of glass. The research has been done by Bullseye and they have developed a table to assist in accurately determining annealing soaks for thick glass. 

It informs users of the relationship between thickness and annealing soaks and cooling.  The table starts at 6mm/0.25" thick, and goes up to 200mm/8" thick.  The annealing soak temperature used needs to be altered for glass other than Bullseye, but the soaks, rates, and temperatures remain valid for all fusing glasses. Use the research, rather than tradition.

Other considerations include the nature of the kiln.  If your kiln has significant temperature differentials across the shelf, long annealing soaks will incorporate those differences during the annealing cool and result in a stressed piece. You do know the temperature distribution within your kiln, don’t you?  This Tech Note #1 from Bullseye will give you the information to test for the temperature distribution. Using this information will enable you to avoid the cool spots when placing your pieces and utilise the areas where the heat is even.

Economy is another reason that it is possible to over anneal.  Soaking at the annealing temperature uses a significant proportion of the electricity consumed in a firing.  This means an overly long temperature equalisation soak will use more electricity than necessary.  It also uses more kiln time than necessary, by delaying the anneal cooling and the following natural cooling rate of the kiln.

It is possible to under anneal, of course.

You need to learn about the effects of your project on annealing requirements, because it is possible to under anneal.  The research on annealing is based glass of uniform thickness. The most popular style of kilnforming appears to be tack fusing of one degree or another.  This is unfortunate for the novice, as it is the most difficult of styles to anneal adequately. There are a lot of factors to consider when setting the annealing schedule for tack fusing. 

I feel this is the origin of “can’t over anneal” thinking.  Instead of thinking about the specific annealing difficulties, many seem to just add more time in a generally random manner.  The post on tack fusing considerations (the link above) is designed to help in thinking about the requirements of the lay-up of your piece. The cumulation of factors can easily triple the annealing soak time and slow the rates by three times. 

What is the anneal?

Another problem is that most often annealing is thought of as merely a soak at the annealing point of the glass.  It is much more than that.  The annealing point is usually the temperature at which the heat within the glass is equalised in preparation for the anneal cool.  This is because the annealing temperature is that at which the glass will most quickly anneal.  Since the anneal is temperature sensitive, the equalisation of the temperatures within the glass will be most successful at getting a good anneal throughout the cool.

For two-layer flat fused items, the annealing point can be used as the heat equalisation temperature.  The soak is to get the glass within 5°C/10°F throughout the piece.  The annealing, especially with thicker or more difficult pieces, is done closer to the lower strain point. The reasons for this is to save time in the annealing cool, it is easier to maintain the small difference in temperature, and it has been shown to produce a more dense (therefore stronger) glass.  If you look at the Bullseye annealing chart, you will see how slowly thick pieces need to be cooled, so starting 35°C/ below the annealing point can save many hours of cooling.

Once the glass has equalised in temperature, the object is to cool the glass at a rate that ensures the internal temperatures do not vary more than plus or minus 5°C/10°F across and through the piece.  The rate can increase by 1.8 times the initial cool rate after the lower strain point has been reached.  This second stage rate should take the glass to around 370°C/700°F, where the rate to room temperature can be doubled as much as six times the initial cool rate.

Difficult pieces

Tack fused and other pieces with uneven thicknesses require more care in the annealing to ensure even cooling of the whole without a greater variation in temperature than +/- 5°C.  As said above, tack fusing is one of the most difficult of styles to anneal adequately and the blog entry indicates some factors requiring more careful annealing.

As an example, a piece 6mm thick, with two layers of rectangular and pointed pieces that are just barely rounded.  This adds five factors of complications for the fusing - two levels of tack fusing, rectangular pieces, pointed pieces, laminated tack fusing.  This number of complications increases the practical thickness to 21mm – 6mm of flat base, 3mm each layer of tack (6mm), 3mm for rectangles, 3mm for pointed pieces, 3mm for laminated fuse.  Because this is tack fused, the next practical step up in the table needs to be used. That is the one for 25mm, which requires a four-hour temperature equalisation soak, and 15°C per hour initial anneal cool rate.

Of course, a simpler method can be used, as it has been researched and practiced by many people.  That is simply double the thickest part of the piece and use that thickness for the anneal soak and cool.  Sharp tack profiles need to be annealed as though 2.5 times thicker, and contour profiles only need 1.5 times the thickness.

Glass other than Bullseye

It is possible to apply these times and rates to any glass of which you know the annealing point.  The annealing soak can be set above the lower strain point, which to be safe, can be taken as a point 35°C/63°F below the annealing point.

E.g., if you are annealing a 12mm slab of float glass, the annealing point of which (in the UK) is 540°C, you chose a temperature of 505°C to do your two-hour soak, followed by a cool rate of 55°C/100°F to 427°C and then 99°C/178°F per hour for the second stage cool to 370°C/700°F.  The final cool of 330°C/595°F.  So, you can see the soak times, rates and target temperatures remain the same regardless of the glass type.  

More information on long annealing soaks in a video at 13:00 minutes.

More discussion on annealing and cooling is given in the ebook Low Temperature Kilnforming from Bullseye and Etsy.