Glass is made from sand, limestone and sodium carbonate. To get stained (colored) glass, other minerals are added.

Glass Pigments

Compounds	Colors
iron oxides	greens, browns
manganese oxides	deep amber, amethyst, decolorizer
cobalt oxide	deep blue
gold chloride	ruby red
selenium compounds	reds
carbon oxides	amber/brown
a mix of manganese, cobalt, iron	black
antimony oxides	white
uranium oxides	yellow-green (glows!)
sulfur compounds	amber/brown
copper compounds	light blue, red
tin compounds	white
lead with antimony	yellow

Because these minerals are in the glass, they can react with one another when they come in contact. Some products have been developed for just that purpose. Oceanside has frit and glass called Red Reactive transparent and Red Reactive opal. It will react with any glass that has copper in it. It will give a deep reddish color where the reactive frit and copper-bearing glass intersect. Oceanside Compatible Red Reactive Opal Coarse Frit 96 COE (stainedglassexpress.com) Oceanside Compatible Red Reactive Opal Frit Fine 96 COE (stainedglassexpress.com) Oceanside Compatible Red Reactive Opal Frit Medium 96 COE (stainedglassexpress.com) Oceanside Compatible Red Reactive Opal Powder Frit 96 COE (stainedglassexpress.com) Oceanside Compatible Red Reactive Transparent Frit Coarse 96 COE (stainedglassexpress.com) Oceanside Compatible Red Reactive Transparent Frit Fine 96 COE (stainedglassexpress.com) Oceanside Compatible Red Reactive Transparent Frit Medium 96 COE (stainedglassexpress.com) Oceanside Compatible Red Reactive Transparent Frit Powder 96 COE (stainedglassexpress.com) Oceanside Red Reactive Opal Stringer 96 COE (stainedglassexpress.com) Oceanside Red Reactive Transparent Noodles 96 COE (stainedglassexpress.com) Oceanside Red Reactive Transparent Stringer 96 COE (stainedglassexpress.com) Sulfur-bearing products will also react with copper bearing products. The link below will bring you to Oceanside’s Reactive charts. Reactive Guide – Oceanside Art Glass (oceansidecompatible.com) Vanilla Cream is a high sulfur content glass that is also reactive, it even changes from within. After full fusing the inside of the glass stays its pre-fused off-white color while the outside brightens to a vivid warm white. Oceanside Vanilla Cream Opal Glass (stainedglassexpress.com) Bullseye also has reactive products. Bullseye Reactive Cloud Opal Frit- Medium 90 COE (stainedglassexpress.com) Bullseye Reactive Cloud Opal Frit- Powder 90 COE (stainedglassexpress.com) This is a link to the Reactive Potential of Bullseye Glass. It is truly amazing and very fun to play with these combinations. Reactive Glass Chart.pdf (amazonaws.com)

SPECIALITY FRITS

Frit is crushed glass, ranging in particle size from a fine powder to fine, medium, coarse and mosaic. It is made from crushed, screened and cleaned COE tested sheet glass. It is used by artists as a coloring agent or used to created decorative effects when blowing glass or fusing. Often used to achieve the effect of painting on glass.

Metallic Irid Frit

Metallic Frit is to give a silver/gold metallic shimmer in fused work. Doesn’t look like much in the bottle but once fused it will stand out. It IS different from rainbow irid frit. It looks best over dark colors or black to achieve the dramatic multi-layer metallic shimmer. It is available in Medium, Coarse and Mosaic sizes.

Clear Rainbow Irid Frit

Rainbow Iridized adds a mother of pearl shimmer to your fused work. It is made from Iridized glass which has a surface treatment where a layer of metallic oxide is bonded to the hot glass surface just after the sheet forming, resulting in a colorful, shimmering effect.

Red Reactive Frit

Comes in both opal and transparent. This frit works with chemistry and heat to create stunning effects. Red Reactive has elements that will react to the metal content in other colors and create unique color shifts and rings. A normal reaction would be a very thin line in a reddish hue around the added glass embellishments. Reactive Guide – Oceanside Art Glass (oceansidecompatible.com)

DICHROIC FRIT

(this info from Coatings by Sanburg)

Dichroic coating is made by melting Quartz Crystal and Metal Oxides. These Materials are vaporized with an electron beam gun, and the vapor then attaches and condenses onto the surface of the glass, forming a crystal structure comprised of as many as 30 layers. Dichroic frit is not sheets of glass with a dichroic coated smashed up. It is already frit and then it is coated with a dichroic coating. That means that more of the surface is coated. Approximately 80%. It also comes in colors but the black and the clear are the most popular.

One of the most confusing issues in the industry is mold prep. Part of this confusion has come from the elimination of some products and the decision on what to substitute. One of the recent questions I've had (and hear often) is What the difference is between the Hotline primers? These are used on your kiln shelves and some molds. Here's a breakdown: The Original Used according to directions, shelf primer is the best insurance that your fused work will not stick to the kiln shelf. It's a high temperature, low-fluxing clay and alumina mixture formulation which contains suspension agents and a color-coded dye that burns off at 800 degrees F (427 degrees C). Primo Primer Hotline Primo Primer fires to 1550 degrees F (843 degrees C) and higher. Glass does not stick to the shelf. Primer does not stick to the glass. It removes from shelf after firing by brushing or by wiping with a damp sponge. No more tedious and messy scraping. Packed in easy access plastic containers. Hi-Fire A special formulation of alumina and low-fluxing clays developed to withstand the high kiln temperatures required for raking. Contains a dye which burns off when firing. It leaves an excellent smooth finish between the glass and kiln shelf. Hi-Fire Shelf Primer is also excellent for coating mandrels for beadmaking. HOW TO PREPARE DIFFERENT TYPES OF MOLDS Bullseye Molds Can generally be prepped with kiln wash/primer. Colour de Verre Molds You can tell if you have a Colour de Verre mold because they put their name into the mold on the underside. These can be primed with Hotline Primo Primer or ZYP. Colour de Verre has some great information about preparing molds with Primo Primer and with Zyp. Creative Paradise Molds Creative Paradise recommends that you use MR97/ZYP for their molds. You can tell if your mold is from Creative Paradise because it says CPI right on the underside of the mold. Do not use Slide or kiln wash. Stainless Steel Molds FIRST: If the mold is new, it might still have the oil on it from production. The oil must be removed. You can simply put the mold in the kiln at the temperature you will be using it and fire with no glass. That will burn off the oil and the mold will also change color. Another method to get the mold ready for priming is to rough up the metal surface to provide texture for the kiln wash to stick to. Sandblaster is best, but if you don’t have access to one you can use 80 or 100 grit sandpaper. To prime, first heat the mold. Put tin foil or a cookie tray on the lid of a kiln while it is firing and put the mold on it. When the mold is heated apply kiln wash with a brush. It may not totally cover on the first coat. Let dry and apply again on the bare spots. Do at least three coats once you have the first total coat. It will be good for several firings. When you must recoat, scrub the mold with warm soapy water and a scrubber. Apply a coat or two of primer, let the primer dry and you are ready to slump.

There is a lot to chat about when it comes to glue in glass fusing. Let’s start with these cute little owls with wonky eyes. They started out with the pupils glued to the white nugget eyes. Since the glue cooks off at about 450F, the eyes just slid off the nuggets and landed where they wanted during firing! Solution? Drill a bit of a hole and the little dots will stay put and you will have sweet little eyes like the one in the second picture (done by Liz Watts of Rocky Coast Treasures). There are many different glues that behave differently and have different uses. Let's take a look at a few! GlasTac Blue Gel This blue gel has a thick viscosity and minimizes slipping even when not dry. GlasTac Pink Use the pink glue on something already set in place. The pink glue is runny and if you squeeze a tiny drop next to the element it will wick under the glass. Aloe Vera This is good for when you don’t want it to “set up”. It keeps pieces stable, but you can keep moving them about. Best to use generics because the name brands have added ingredients that can cause trouble. Hair Spray When do you use hair spray on your hair? When you are done! Same with using it on glass. It is a top-down adhesive. You spray to keep something as you have it, especially little things like fine frit. Buy it cheap with a pump. HoneyDoo Glue A gel consistency with quick set times and a clean bond. It has a stiletto tip nozzle which allows precision. Great for glass fusing. Super New Glue Our favorite super glue here at Stained Glass Express, it is formulated to dry clear. It comes in a tiny bottle so you don't have to worry about it drying out before you get a chance to use it! SOME GLUING TIPS: Put glue close to the edge of the top piece so that it can dry quicker. Stuck to the wrong place? Hopefully you put the glue near the edge! Use a razor blade to carefully scrape at the glue. Superglue that is not specifically designed for fusing may not dry clear and can give off toxic fumes during firing. Here is some helpful info. How do I unstick my fingers? (This section reproduced from How Stuff Works) Let's say you're repairing some broken pottery and before you can say "Whoops," you've glued your index finger to your thumb! The recommended first aid treatment for this is:

1. Scrape off any excess glue. Don't use cloth or tissue -- a chemical reaction between the fabric and glue could potentially cause burns or smoke.
2. Soak the bonded fingers in a bath of warm, soapy water.
3. Don't try forcing the fingers apart, or you'll tear the skin.
4. After soaking, use dull, rounded utensil to carefully wedge the fingers apart.
5. If you see no immediate success with this, drop a little acetone (found in nail polish remover) on the area. Again, try wedging the digits apart.

At first, the thought of someone getting Super glue on his or her mouth seems outlandish. But let's face it a lot of us have a bad habit of using our teeth to wrench or twist off particularly stubborn caps. Say you do that with the top of the tube of glue and, presto, you've given an entirely new meaning to the phrase "zip it." In order to unzip those lips, your options on what to do are a little more limited:

• Since you're dealing with an area on the face, do not use acetone.
• Using a wide coffee cup or bowl, immerse your mouth in hot water.
• You will also want to dampen the bonded skin from the inside of your mouth as much as possible.
• Once you sense a loosening of the grip, use a dull, rounded utensil to wedge your mouth open. Be careful not to force it, or you will tear the skin.

Of course, glue is made for keeping things together; researchers have modified super glue to become less toxic, making it an ideal replacement for stitches (even veterinarians use it!) So if you've got yourself stuck and find the instructions above aren't working, we recommend you seek professional medical help! What's your favorite type of glue for fusing? Have you experienced any kiln disasters that eventually came down the type of glue that was used? Let us know in the comments below!

Info taken from Spectrum Glass System 96 Getting Started with Kiln-fired Glass

1. WHAT IS FUSING

Stacking two or more layers of compatible glass to make a design and then melting it by placing it in a kiln. You can flat fire or slump. Bring the kiln to 1300 - 1500 decrees F to flat fuse. Create a tile, trivet, suncatcher, coaster or art. You can leave your piece flat or slump it into a mold or drape it over a mold to get a 3-D piece such as a bowl, tray, platter or vase. 2. COMPATIBILITY This is very important. Only glass that is compatible can be fused together. Glass expands when it is heated and contracts when it cools. Glass from different manufacturers have their own rate. This is called Coefficient of Expansion (C.O.E.). Most common are 96 and 90. Youghiogheny, Wissmach and Oceanside all produce 96. Bullseye is commonly thought of as 90 but they call themselves Bullseye compatible. 3. TOOLS AND SUPPLIES If you are already doing glass work you may have many of glass cutting tools like a cutter and pliers (breaking, running, grozing). You will also need glue (lots of types available), kiln paper, molds, primer, shelves. brushes. https://www.stainedglassexpress.com/fusing_supplies/ PLANNING YOUR DESIGN You can use a pattern. There are lots and lots available. You can design your own. There are lots of on-line ideas on Pinterest, Instagram and Facebook. Another technique is called Frame Focus, Fill. Create your frame or your base, create a focal point (a central element that draws the eye. The Fibonacci sequence (which our logo is) is a great one to follow. 4. MAKING THE PROJECT There are lots of fun things to add to yur projects called accessory glass. Rods, pebbles, frit, stringers, noodles, ribbons, precuts, dots and millefiori. ASSEMBLE YOUR PROJECT Gluing does help to hold things together until they are in the kiln. Use it sparingly. to keep from using too much apply with toothpick. "Over the counter glues" like Elmers can char if you use too much and "Super Glue" (Not Super New Glue) does not always burn off clear. Klyr-Fire gives you time to work and burns off. GlasTac blue has viscosity and keeps things from slipping when not dry. GlasTac blue can be applied after something is in place. Squeeze a drop next to the element and it will wick under. Super New Glue is great and easy to use. Lots of good options. https://www.stainedglassexpress.com/fusing_supplies/ 5. FIRING Load the Kiln Keep projects 2" from elements The Center is the most evenly heated. Deep or difficult should go there. Most molds have to be elevated on kiln furniture 6. PROGRAM THE KILN With a glass kiln you ramp and hold. Kilns come with a controller where you can program in what you wish. It is a three part. You enter:

• The Ramp. The rate in degrees per hour, that kiln temp will rise or fall during the segment
• The Goal Temp. The temperature the kiln will seek during each segment.
• Hold Time. the number of minutes the kiln will stay at the Goal Temp, once it is reached.

It is wonderful if you can purchase a kiln, but if you cannot, you can rent kiln space at a glass store. BASIC PROGRAMS

• Tack Fuse: glass is joined with little change beyond the softening or rounding of glass edges.
• Contour: The glass edges are soft and rounded, yet the project surfaces retain a degree of dimension.
• Full: Works best on two layer projects containing an even amount of glass on each layer. These will melt together completely and smooth surface.
• Slump: This is a second trip to the kiln and it is taking what you have created and put it in a mold to "slump" into the shape of the mold.

There is MUCH, MUCH, more we could go into but this is just the basics.

On May 7, 2020 Youghiogheny and Oceanside announced a partnership where Oceanside will continue with the Spectrum line and accessory glass and Youghiogheny will take on the manufacturing of the Uroboros line. It is exciting to have the Uroboros line again. With Youghiogheny manufacturing the Uroboros line, we not only will get the glass we will see more options in the accessory glass line. I am taking a leap here, but I believe that this collaboration will bring back the "96" term which Oceanside has not been using. Both companies are saying the System 96 brand will be back. That is exciting news. No question that Y-96, Oceanside and Uro fusible will be compatible.

Here is the official announcemnt.

Our industry is long overdue for an announcement of excitement and positivity, so we are pleased to be the bearer of good news. Youghiogheny Glass, together with Oceanside Glasstile, is announcing the acquisition and launch of Uro by Yough, a resurrection of the Uroboros line of both traditional art glass and 96 compatible fusible glass. The machines and all of the equipment have arrived at our Connellsville factory, and we are just about ready to start production. We would like to thank Oceanside Glasstile for approaching us with this opportunity. Their transparency and cooperation throughout the entire process has resulted in a second thrilling announcement; a collaborative resurrection of the System 96 brand of fusible glass and products including Oceanside Compatible, Uro by Yough, and Y96!! So what this means is that Youghiogheny Glass will produce URO by Yough and will collaborate with OGT to resurrect the System 96 brand. The new agreement will allow for the most comprehensive product selection of hand rolled art glass And a complete line of System 96 compatible fusing glasses and accessories. The last 5 years have been tumultuous. Our passion for glass and the industry drove us to fill product voids created from the upheaval and expand Youghiogheny's palette. We viewed this time as an opportunity for growth and expansion into the 96 fusible market with our Y96 product line, even though the future seemed uncertain. In less than a year from the release of Y96, we unveiled the True Dichro line of Art Glass. This had been a 10 year experiment and an outstanding breakthrough in art glass manufacturing science. This was quickly followed by a line of Textured Streaky Art Glass and then Art Glass Irids. Finally, we expanded color options in Y96, more than doubling the original offerings. At the end of 2019, we thought we had done it all. However, opportunity arose once again when we were approached by Oceanside GlassTile regarding Uroboros production and System 96. Youghiogheny has a long history of producing high quality, handmade sheet glass and is the ideal landing spot for the products previously produced by Uroboros. Our niche and strengths are the perfect complement to OGT’s continuous ribbon and accessory products in order to expand the System 96 palette. The name Uroboros Glass carries a heavy weight with us. The brand and legacy created by Eric Lovell is of the highest quality and held in the highest regard. We consider it an honor and great challenge to properly reintroduce Uro, by Yough. An undertaking of this magnitude for our company will be a challenge, one of excitement and optimism. This is an area where we ask for your help. Any insight that you can provide us with from your previous years of experience with the Uro line of glasses will be helpful. The expansive line of art glass, with the many combinations of colors and textures, has many products that are very similar or identical to items currently produced within our existing product lines. Uro by Yough is striving to recreate the most sought after products previously manufactured without creating duplicates of what is currently available. With your valuable input we will be able to determine a production starting point more quickly. We thank you for your continued support and loyalty and look forward to providing you with even more excellent products. Stay Well, Tristan and Leanne Triggs

Other than basic opalescent and cathedral glass, there are further breakdowns of glass types under these two main headings. Opalescent is mixed with white and cathedral is see-through. Every manufacturer has its own variation of how it has handled these variations, so we end up with an industry filled with amazing options.

OPALESCENT

Opalescent glass was first developed and patented by John La Farge in 1879, but it was Tiffany who created the masterworks in glass using this type of glass. The Tiffany studio would often create a piece of glass just for the particular piece they were currently working on. So within this category, there are the following variants: Mixes. You can have a mix of one color and white. You can have a two- or three-color mix, or even a mix with more colors. The more colors that are mixed, however, the more difficult it is to not end up with a muddy glass. Mixing many colors with success is certainly a skill. Iridized. Many manufacturers were adding an iridized coating to their glass. This is very thin metallic coating that gives the glass a mother-of-pearl effect (or for those who don’t care for it, an oil-slick effect). Textured. There are many textures that can also be added to glass, such as flemish, granite, hammered, ripple, starburst, vertigo, corella classic and moss. Again, different manufacturers produce slightly different looks and may call them something different. Solid Opals. Glass that is a solid color.

CATHEDRAL

This glass has been around a long time. References as early as 675 A.D. talk about colored glass in buildings. Textured: There are many different textures of glass available. Some examples would be waterglass, reeded, English muffle, artique and Celtic. Streakys. This style of glass is still a bit see-through. Some color is mixed with clear.

Courtesy of Bullseye Glass

You can create nicely rounded cabochons from stacks of 0.75" (20 x 20 mm) squares, thanks to heat, gravity, and the 6 Millimeter Rule. But be careful...they’re addictive!

Some Design Layer Possibilities

• Blue/Vanilla part sheet: Scatter Steel Blue Opalescent coarse frit (000146-0003) onto a base of 3-mm Clear sheet glass, then sift a heavy layer of French Vanilla powder (000137-0008) over the top to cover. Fire to a full fuse. Maximize depth by arranging the Clear side toward the top of the stack.

• River Rock Reaction (See Quick Tip: River Rock Reaction)

• Pieces of Citronelle Opalescent (000221-0030) and

• Turquoise Blue Opalescent (000116-0030).

The Stack

Top (6 mm): A “lensing” layer of Clear. This layer will stretch considerably. Middle (3-4 mm): This “design” layer will stretch and be visible through the top layer. Use part sheets or pieces of 3-mm sheet glass. Bottom (6 mm): Typically not visible from the front. This layer will stretch the least.

Tips

• 6-mm Tekta Clear is a natural for this project. It’s more efficient, with fewer pieces to cut, clean and assemble!

• Measure and score a grid of 0.75" squares, then run them using the Rule of Halves. Two layers of 3 mm will also work.

• A dab of GlasTac Gel will keep the stack together before firing.

• The stacks flow out to about 1.25" (32 mm) in diameter, so give them room.

• For the cleanest release, we recommend firing on ThinFire.

Cabochon Firing Schedule

Rate Temperature Hold

1 400°F (222°C) 1225°F (662°C) :30 2 600°F (333°C) 1525°F (829°C) :30 3 AFAP 900°F (482°C) 1:00 4 100°F (56°C) 700°F (371°C) :00 5 AFAP 70°F (21°C) :00 Note: This heatwork goes beyond what the glass is tested for. Some styles may opalize and/or shift in compatibility. Test before making multiples.

Please adjust hold times for the size of your project.

Remember, this is only a guide.

Full Fuse

• From room temp to 1,000F at 300 degrees per hour, hold 10 minutes
• From 1,000F to 1,250F at 300 degrees per hour, hold 20 minutes
• From 1,250F to 1,425F at 300 degrees per hour, hold 15 minutes
• Crash from 1,425F to 950F, hold 60 minutes
• From 950F to 800F at 200 degrees per hour, hold 10 minutes
• From 800F to 150F at 300 degrees per hour
• Natural cooling to room temperature

Tack Fuse

• From room temp to 1,000F at 300 degrees per hour, hold 10 minutes
• From 1,000F to 1,250F at 300 degrees per hour, hold 20 minutes
• From 1,250F to 1,350F at 300 degrees per hour, hold 10 minutes
• From 1,350F to 950F AFAP, hold for 60 mins
• From 950F to 800F at 200 degrees per hour, hold 10 minutes
• From 800F to 150F at 300 degrees per hour
• Natural cooling to room temperature

Slump Fuse

• From room temp to 1,000F at 300 degrees per hour, hold 30 minutes
• From 1,000F to 1,225F at 200 degrees per hour, hold 10 minutes
• From 1,225F to 950F fairly quickly, hold for 60 mins
• From 950F to 800F at 200 degrees per hour, hold 30 minutes
• From 800F to 150F at 300 degrees per hour
• Natural cooling to room temperature

REQUIRES EYE CONTACT.

REMEMBER, THIS IS ONLY A GUIDE.

FUSING GLASS BOTTLES OR “HIDING THE EVIDENCE” Don’t you just hate to throw out those wine and liquor bottles? They are quite nice with the graceful shapes and the beautiful colors. Make them into fused art! First (and most important) step is to clean them. The labels and any glue must be completely removed to be sure that no residue is fused onto the glass. Use very hot water with ½ cup baking soda and 1 tablespoon of dish soap. Submerge them in the water and let them soak for 10 minutes then add 2 cups of white wine vinegar. Roll your bottles around so the vinegar mixes in. Let them soak until you can get the labels off. Once the bottles are clean you have some options. You can just lay it in the kiln and full fuse it. This one just has a little decorative wiring and some etching. You could add a decorative knife and have a nice little gift. Another option is to use a bottle mold. There are all types available. See the full collection here. There are textured molds. The one above has a lovely Tree of Life motif. Drop molds, such as the one above, make an interesting shape. You also can use a textured flat mold, such as the one below, and then slump it into a bottle mold. You may get devitrification with some bottles. To prevent it, spay with a divit spray like Spray A.

Q: When I fuse my projects, sometimes I get medium to small bubbles. What causes them and how can I prevent them? A: Bubbles can be caused by many different things. First, uneven stacking of glass can result in air trapped between layers. To prevent this from occurring, check the placement of all the glass pieces and insure they are sitting properly on the base. Since the edges of the glass fuse before the center of the glass, cut your base glass 1/8” larger than the top layer to allow air to escape. Second, check the glass prior to fusing. Some glass may already have contained bubbles inside the glass, which may or may not affect the outcome. Q: After I fuse my pendants, I get uneven areas around the edges. What’s happening with the glass? A: You did not fire it long enough or to a high enough temperature for a full fuse. Try firing for a little longer time. Q: Sometimes my glass pieces look like a porcupine with spiky edges. What causes the glass to spike? A: Spiky edges can be caused by over-firing your piece. The spiked edges are caused by the glass grabbing as it is trying to shrink. Q: What caused my layered glass pieces to flatten? A: If the glass piece has flattened out too much, you have over fired the piece. To prevent this from happening, reduce your power and shorten your time. After your first firing, open the microwave and using Fireworks Hot Mitts™; carefully lift the lid to inspect the fuse piece. If the desired results have not been achieved, continue firing in 30 seconds intervals. Q: I tried to make a 1 inch pendant with embellishments, however after I finished fusing, the glass shrunk. How can I prevent this from happening the next time? A: Glass naturally wants to be ¼ inch thick when heated. Your glass will shrink or expand to obtain this depth. A good tip to remember is that if your piece is less than ¼ inch when you start, it will shrink up to reach this depth. If your piece is larger than ¼ inch when you start, it will want to flatten out to reach this depth. Q: What causes two pieces of dichroic or iridized glass to blow apart in the kiln? A: Repelling glass will occur with dichroic and iridized coatings. The coatings can’t be placed together for fusing purposes, because they repel each other. The only way to avoid this is to encase the coated glass with a non-coated glass, such as clear. This will cause the coated glass to be encased and sealed. Q: Yuck, this film appeared on my fused glass. What is it and how can I prevent this from happening? A: This dull white crystalline substance on the surface of your glass is known as devitrification. This is one of the most talked about glass fusing problems around. It can occur when your glass remains in a temperature range 1000ºF-1300ºF too long. You need to minimize the time spent in this temperature range. Gray or Scummy Edges - Gray or scummy edges can occur on pieces that have been fired once and then cold worked before refiring. Cold working involves using either a grinder or glass saw on a piece of glass. These can be avoided by thoroughly cleaning the glass before refiring the piece. Keep a bowl of clean water near your work area and soak the glass right after doing the cold work procedure. This will keep the edges damp and allow the piece to be cleaned easier. Scrub completely and let dry before proceeding with the refiring process. Q: My glass cracked! What happened? A: Cracking glass either during or after firing can be caused by a several things: thermal shock, heating up the glass too fast and compatibility. Thermal shock occurs either by taking the piece out of the kiln too soon, or by opening the kiln and exposing the hot glass to cool air. If the glass cracked in the kiln and it has an “S” shaped crack, the piece has heated too quickly. Slow down! Finally, if the crack occurs along the line where the two pieces of glass meet, then the two touching pieces are not compatible. Make sure the glass you are using have the same COE (coefficient of expansion). Q: How can I prevent my glass from shattering? A: Glass Shattering in pieces over 1” with more than 1 layer may sometimes shatter. To prevent this from occurring, reduce the power. This will allow the glass to heat slower and will be less likely to shatter. Next, make sure your glass is clean and dry before firing. Q: My fusing instructions say to clean my glass before firing, can I use a glass cleaning spray or detergent? A: We don’t recommend it. Detergents, dish soaps, multi-purpose cleaners, some window cleaners, ammonia and even denatured alcohol should NOT be used to clean glass. These can actually promote devitrification. We suggest diluted white vinegar or rinsing your glass with distilled water. Q: Every time I put my fuse glass project together, the pieces roll off before I can get it to the microwave. What can I do to prevent this from happening? A: To hold your fusing project together, mix one drop of glue. Apply a very thin amount on the back of the glass using a brush and allow the glue to dry thoroughly before firing.

This was fun! A customer came in with a stainless bowl that she had slump a thick piece of glass over. It stuck! She broke the ruined bowl off, but a very thin layer of glass remained on the mold. That prompted a discussion on how to get the rest of the glass off the mold and why it stuck anyway. First to get it off. She was first going to try fusing it off and if that did not work, she was going to sandblast the stainless. One or the other should work. Then she said she posted a picture of it on a facebook fusing group and prompted a discussion about prep of the stainless. Here is the surprise! Some people do not prep it AT ALL! I went to Facebooks Fusing 101: Any and Everything you Wanted to Know But Where Afraid to Ask. I said “Recently I heard that some people do not kiln wash stainless molds. I would be interested to hear what people think of this.” There were some differences of opinion to be sure..

• Cover with fiber paper or ZYP
• Spray with Boron Nitride (ZYP)
• If you use ZYP you rarely have to do it again
• I don’t use anything on stainless steel. As long as the glass is NOT an opal glass in contact with stainless steel and it is good quality, it is fine. You get a real shiny finish on the surface in contact with the stainless steel.
• It is minimal work to use a barrier. I would rather be sure instead of concerned.

My own fusing teacher was emphatic about using something. She suggested Slide because it is cheaper than most boron nitride products and it is easier than kiln washing. https://www.stainedglassexpress.com/boron-nitride-hi-temp-spray-coating.html?category_id=571 More inexpensive, but more labor, is to use kiln wash. The problem is that it slides off the mold easily. Here is the trick. Wash the mold with alcohol and then heat it in your kiln to 1200 degrees F for about ½ hour. Cool it. Then heat again to just under 500 degrees F and brush or spray on the wash in thin even coats. Allow the coating to dry completely between each application. Coat it until covered. After the first time this is done (and it does last a long time) we will just coat it put it on top of a hot kiln. Seems to work fine.