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Opals and enamels

For discussion of processes related to using Bullseye glass, including kilnforming and kilncasting, torchwork, blowing and stained glass.

Opals and enamels

Postby nateriverkira6 » Mon May 14, 2018 5:11 am

Hello,
So a couple of weeks ago I watched that great presentation from one of your conferences... Is it better to be dead than red ... something like that anyway. Went through it a number of times since my favourite colour is red and have had lots of issues with its use in all glass mediums:-) Brilliant presentation great presenter no matter what he thinks:-)
Anyway there was also an interesting point about cutting ... that its easier on the side with the thin clear layer... having looked more closely I could see it and used it... and it did improve my ability when scoring and running that side of my white circles...
Anyway it got me thinking... should I also take note of that thin layer when I am painting with enamels... sometimes I paint on clear and sometimes on white, (different whites too...).
And then use your enamel firing and then the full fuse firing too... sometimes I have been testing with upside down etc trying to minimise the bubbles (even with bubble squeeze) ... anyway so I was wondering if paints enamels on the side with the clear vs the side without the clear, might there be changes to the flow , reactions or anything? Is it better to use one side or the other?

I know that different enamels fir at different temps ... some need a lower temp than others even when it comes to high fire enamels like Color line... but I understood from some of your information that different glasses have different stiffness's (viscosity at full fuse) and I assume that the same could then be said for the side with that thin clear layer vs the side that doesn't... what you think? (am I just being silly:-))
Thanks for your time,
nateriverkira6
 
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