Lisa Vogt Art Adventure Blog

Friday, May 5, 2017

Blue Drop Out Vase Made Easy

Excerpt from my Creative Slumping Webinar

My favorite thing about glass fusing is its limitless possibilities. Beyond the basics, there are countless ways to work with this medium and get surprisingly unique results every time. There’s always something new to try and learn.

Another thing I love about glass is the three-dimensional aspect. We have the power to change the shape of our art and take it from flat to fabulous. Drop out molds are great props you can use to express your artistic flare in exciting, new creative ways.

What makes drop molds different?

When fused glass is slumped into a typical mold we retain the original design unchanged but now with a gentle three-dimensional shape. Whereas the process of reshaping glass by allowing it to fall through the hole in a drop out ring changes, and adds to the visual features of the design. As the glass drops through the ring the design elements blend and stretch which gives the illusion of movement in the finished project.

Drop out mold do’s and don’ts.

As the glass falls through the mold it stretches. As it stretches, the side walls in the vase become thinner. If they become too thin the project is very fragile and may not be able to support its own weight. To prevent this, the fused glass is made with five layers of glass. The five layers of glass are contained with fiber paper during the fusing process to maintain the desired size. Without the fiber paper the glass would grow. We’d lose our size, shape and thickness needed to make a successful vase.

Because dropping glass adds detail to the pattern, I’ve found that when it comes to the vase design less is more. Keep the design simple. An overcomplicated pattern makes the vase look clumsy and heavy instead of graceful and light.

To make the glass.

Cut five 7-inch glass circles. Vary the design on the layers. Stack the 5 layers in the kiln on a primed or fiber covered shelf. Wrap the stacked glass with Thin Fire fiber paper and 1/8” thick fiber paper to maintain the desired thickness and shape during the fusing process. Hold the fiber paper ring in place with kiln posts.

Fire to a full fuse temperature using the guide below.

To Make the glass base and riser.

Base: Cut two 4 inch circles, one black glass, one clear dichroic glass. Stack and full fuse.

Riser: Cut two 1 ½ inch circles out of clear glass. Stack and full fuse.

Drop out mold set up.

The round, ceramic drop out mold is 9-inch-wide with a 5-inch-wide hole. Cover the mold top with 1/8-inch thick fiber paper. This keeps the glass from slipping off the mold as it drops. If handled carefully, the fiber paper can be reused over and over.

Support the mold with four 5-inch-tall kiln posts. Cover the kiln bottom, below the glass with fiber paper.

Fire the glass to drop it through the mold using the firing guide below.

Cutting the rim.

Cut the rim off with the 2 inch EverRun Sintered Diamond Slitter and Dremel. Grind and polish the rim. Glue the vase on the riser and base with E6000 adhesive.

Kilns fire differently.

Test fire these guides. Take notes and make adjustments as needed.

Firing Guide – Full Fuse

Segment Rate Temp/Degrees Hold/ Minutes

1 300 1300 60*

2 300 1465 10

3 9999** 960 40

4 500 800 10

5 Let cool to room temperature

*This hold prevents bubbles from forming between the glass and kiln shelf.

**As fast as possible.

Drop Ring

Segment Rate Temp/Degrees Hold/Minutes

1 500 1200 30

2 200 1300 60***

***Peek at 30 minutes and again at 45 minutes to monitor the drop.

When the glass touches the fiber paper lined kiln bottom go to the next segment.

3 Flash Vent 1000 0

4 9999* 960 40

5 500 800 10

6 Let cool to room temperature.

*9999, As fast as possible.

**These firing guides are for System 96. They work equally as well with other COEs

Supplies & Materials

5 glass circles cut to 7 inch across

9 inch round ceramic drop out ring with a 5 inch hole

5 inch kiln posts

1/8 inch thick fiber paper

Thin Fire fiber paper

Tools & Materials

2 inch EverRun Sintered Diamond Slitter

Available at: His Glassworks www.hisglassworks.com

Variable speed Dremel with flexible shaft

Water source

Holding Tray

Grinder

Excerpt from my Creative Slumping Webinar

See it on YouTube Video

https://www.youtube.com/watch?v=sThARy3e0V4

Want more innovative ideas?

Join me Tuesday for my Creative Slumping Webinar!

There’s still time to register.

As Seen in Creative Slumping Webinar,Tuesday

Creative Slumping Webinar

May 9, 2017

https://www.glasspatterns.com/glass-patterns-quarterly-store/product/1093-creative-slumping-with-lisa-vogt-may-9-2017.html

Webinars are a wonderful way to stay connected to other fusers and keep the creative flow strong between hands-on workshops. In this webinar, I show you how to use materials you likely already have in innovative ways to make new and unique shapes. You’ll be amazed at how simple combinations can transform ordinary shapes into sculptural works of art. I hope you’ll join me for this fun and informative live event.

Meet me in West Palm Beach!

Glass Quest 2017

May 26, 27 & 28, 2017

West Palm Beach, Florida

For more info http://www.mcmow.com/glass-quest-2017/

A weekend of education, inspiration and engagement for glass enthusiasts of all types. Incredible networking opportunities, as well as overall engagement in the evolving world of art glass education & advocacy! Meet & partner with other glass artists as we push the boundaries of Glass as a Contemporary Art Form!

Back by popular demand

Upscale Fusing Webinar

July 25, 2017

https://www.glasspatterns.com/glass-patterns-quarterly-store/product/1122-upscale-fusing-with-lisa-vogt-july-25-2017.html

Advanced Glass Fusing Workshop

September 26-29, 2017

4-Days, Hands-on,

Wesley Chapel, Florida

You’ll love the concentrated, in-depth study and creative momentum you’ll gain while actively producing, nonstop for four consecutive days.

Push the boundaries art glass imposes. Explore innovative approaches to design and combine multiple advanced techniques to construct original art that reflects your own personal style. Enjoy: the one-on-one instruction, making large scale projects, the well-equipped classroom, and the intimate class size.

Advanced Glass Fusing Workshop

November 14-17, 2017

4-Days, Hands-on,

Wesley Chapel, Florida

Inspiration! Knowledge! Confidence! Get the tools you need to create exceptional glass art here. You’ll love the concentrated, in-depth study and creative momentum you’ll gain while actively producing, nonstop for four consecutive days.

Saturday, April 29, 2017

Prime Time – Kiln Shelf and Mold Prep Tips You’ll Love

As seen in Fused Vessel Sinks with Lisa Vogt Video DVD

We are an ever-growing community. The wonderful thing about glass fusing is you can jump right in and start making beautiful projects with little or no experience. It’s this ease of fabrication that attracts so many new artists to the medium. Building the projects is the fun and easy part. Successfully firing and slumping the projects is where a little background knowledge comes in handy.

For the experienced glass crafter, with an established firing routine, this material may be a review and confirmation you’re on the right track or it might give insight into a new, possibly easier method you were overlooking.

If you’re a learn as you go beginner, or fresh out of an introductory class, this information will give you a deeper understanding of the importance of kiln shelf and slumping mold preparation.

As seen in Fused Vessel Sinks with Lisa Vogt Video DVD

Let’s get started.

What you need to now.

It’s necessary to apply and even coat of shelf primer (also known as kiln wash or separator) to the firing surface prior to fusing or slumping glass on that surface. Shelf primer acts as a separator. It prevents the super-heated glass from sticking to the kiln shelf during the fusing process, or the mold, during the slumping or draping process.

There are several different brands of shelf primer. Some come dry and are mixed with water. Others come premixed in a spray can. They all work equally as well, but some are better suited for specific techniques than others. For example, if a primer is intended to work up to 1550 degrees it wouldn’t be a good choice for glass combing which is done at 1600 degrees. You’ll find this kind of information on the product label. It’s always a good idea to refer to the manufactures suggested specs for guidance prior to use.

As seen in Fused Vessel Sinks with Lisa Vogt Video DVD

When I full fuse glass, I prime the kiln shelf, whether it’s a ceramic or fiber board shelf, every time I use it. That way I’m certain the glass won’t stick to the surface.

When fused glass sticks to a ceramic shelf the project breaks because the glass is more fragile than the ceramic shelf. When fused glass sticks to a fiber board shelf the project remains intact. But the glass pulls a chunk out the shelf and leaves an ugly hole behind, then you have to scrape the chunk of shelf off the backside of the glass. The residual shelf often leaves an unattractive haze on the back of the project, so it’s worth avoiding.

As seen in Fused Vessel Sinks with Lisa Vogt Video DVD

To prime a ceramic or fiber board kiln shelf I mix the dry primer with water according to the package directions. When preparing a pre-used shelf, I apply the primer in one direction with a wide natural bristle brush. A second coat is applied in a different direction. And then a third coat is added. I’m looking for a smooth, even colored coating.

If in doubt, add another coat of primer, it won’t hurt. If the primer begins to clump and isn’t going on smoothly any longer you’re on the verge of over doing it. Stop. Let the shelf dry and then hand rub the shelf to smooth out the surface.

Brand new shelves are more porous and require more coats of primer the first time they’re prepped. It may take as many as 5 or 6 coats to get the same even coating and smooth surface.

On pre-used ceramic shelves, I prime right over the spent primer. However, if the primer is chipped or flaking I sand or scrape the old coating completely off. Once the old primer is removed, I re-prime the shelf as previously described.

For fiber board shelves, I prime right over the spent primer even if it has chips, flakes or cracks in the old primer. The fresh coat of primer re-seals the shelf and smooths out the blemishes.

Priming molds.

Glass fuses at 1465 degrees. Glass slumps at 1265 degrees. I use the same primer on my kiln shelves as I do on my slumping molds. The primer is designed to go to temperatures higher than 1600 degrees.

When we slump glass at 1265 degrees we’re well below the primer’s top temperature. I use my ceramic and stainless steel slumping molds multiple times before re-priming them. I re-prime them when the old primer shows signs of wear. Signs of wear would include thin patches, exposed mold surfaces, cracks, chipping or flaking. When these flaws are visible, I sand the mold down to the bare material and then apply three coats of primer until I get a smooth even coating.

Good housekeeping.

The primer I use is pink before firing and white after firing. I have multiple shelves for each of my kilns. If a primed kiln shelf sits around for a while the pink color can fade. It makes it difficult to tell if the primer is new or not. To keep track of my prepared shelves, I store my primed shelves leaning against the wall, behind the kilns they fit in. After a shelf is used I lean it against a different wall in my studio. When the stack is thick, I prime all the used shelves at one time. The newly primed shelves are then stored behind the kilns. It’s a simple system, but it works.

My slumping molds are stored on shelves. Because they’re used multiple times before re-priming, their primer color is white, not pink. Coming out of the kiln, if I determine a mold needs to be re-primed, it doesn’t go back on the shelf until it is re-primed. Then when I reach for a mold off the shelf I know it’s ready to use.

The more you know about glass fusing and the procedures that lead to successful kiln operation, the more likely you are to delve deeper into the craft. With the working knowledge taken care of you can focus on the fun stuff, creating.

Get going!

Happy fusing!
Lisa

See priming a shelf and mold on YouTube

Prime Time with Lisa Vogt Tips for Shelf and Mold Prep

https://www.youtube.com/watch?v=0rDxPIojSpY

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