We select pieces of coloured glass and crush it into various grades of "glass frit" from course bits to a fine powder.
Using this frit, we mix, arrange and layer it onto a background glass being careful to keep track of what we're doing as the colour intensity of powdered glass is greatly diminished in the crushing process.
We then fire the piece in a kiln at temperatures of up to 1700F for up to 24 hours to fuse it all together.
These steps are repeated as many times as necessary to achieve the desired results.
Using this frit, we mix, arrange and layer it onto a background glass being careful to keep track of what we're doing as the colour intensity of powdered glass is greatly diminished in the crushing process.
We then fire the piece in a kiln at temperatures of up to 1700F for up to 24 hours to fuse it all together.
These steps are repeated as many times as necessary to achieve the desired results.
FRIT PAINTING
colouredWe are always experimenting with new techniques in fused glass. One that I love doing is creating nature or wildlife scenes with the glass frit. An amazing amount of detail can be added by layering coloured powdered glass between multiple firings.
The Lynx pictured below is a good example of this technique.
This was an experimental piece where I used fine glass powder as my medium. Beginning with a double thickness layer of glass as my background, the image of the lynx was started by drawing an outline with black glass powder which I moved around with a razor blade.
Then into the kiln for the first of what would be many firings.
As each new layer of colour was added, I had to be meticulous in tracking where I was as in the design as in the powdered form, all glass is very pale in colour, and it became increasingly more confusing. After each layer of colour was added, it had to be re-fired to allow me to see where I needed to add more colour, shadow, etc.
After 50+ hours of creating and 170 hours in a kiln at temperatures of up to 1475F, it was at a point where I was happy with the results.
This has been my most complicated piece yet and I can't wait to see how far I can push this style of glass painting.
Pete Emmink.
The Lynx pictured below is a good example of this technique.
This was an experimental piece where I used fine glass powder as my medium. Beginning with a double thickness layer of glass as my background, the image of the lynx was started by drawing an outline with black glass powder which I moved around with a razor blade.
Then into the kiln for the first of what would be many firings.
As each new layer of colour was added, I had to be meticulous in tracking where I was as in the design as in the powdered form, all glass is very pale in colour, and it became increasingly more confusing. After each layer of colour was added, it had to be re-fired to allow me to see where I needed to add more colour, shadow, etc.
After 50+ hours of creating and 170 hours in a kiln at temperatures of up to 1475F, it was at a point where I was happy with the results.
This has been my most complicated piece yet and I can't wait to see how far I can push this style of glass painting.
Pete Emmink.
BOILED GLASS
Another exciting technique is boiling glass. Here we start by arranging various colours and densities of glass pieces on top of a base sheet of glass which is usually clear. They don't have to fit exactly like pieces of a puzzle rather, close is good enough.
Once all of these are in place, the gaps between are filled with clear or coloured glass frit. This helps offset the lack of glass volume due to the spaces and will minimize the distortion of the fired piece.
The piece is then fired at a temperature of 1700F and held there for several hours while the glass actually boils. During this process the higher density glass tends to sink while lower density glass rises resulting in a combination of amazing colours and patterns caused by the movement of the glass during the boil.
After almost 36 hours in the kiln the piece is cool enough handle.
It is then cleaned up, shaped on a diamond saw and fired again to soften the fresh cut edges. Now its ready to be slumped in to a mold or to be further processed to make jewelery.
Once all of these are in place, the gaps between are filled with clear or coloured glass frit. This helps offset the lack of glass volume due to the spaces and will minimize the distortion of the fired piece.
The piece is then fired at a temperature of 1700F and held there for several hours while the glass actually boils. During this process the higher density glass tends to sink while lower density glass rises resulting in a combination of amazing colours and patterns caused by the movement of the glass during the boil.
After almost 36 hours in the kiln the piece is cool enough handle.
It is then cleaned up, shaped on a diamond saw and fired again to soften the fresh cut edges. Now its ready to be slumped in to a mold or to be further processed to make jewelery.