Fusing Tips

I just got my Delphi 15 6 EZ Pro kiln and have had some trouble with the clear base glass, which I thought was also 90 COE as is the glass pieces placed on it. When I finished the programmed schedule for 90 COE FUSE, there were big bubble holes where there was no layer. What do you recommend in the 90 COE for the base clear glass? Is there something else I'm doing wrong?

problem: proper way to put oil in studio pro or any cutters. even the smallest amount seems to leak out thru sides. this is for student work. Is it even necessary to use oil?

Thanx for any tips-the kids keep blowing thru cutters, heads, etc. while trying to learn.

Lori

Thank-You Julie for your advise , I'm going to try it again  Deb

Hi Deb, I'm sorry to hear about your trouble. Slumping over ceramic is challenging!  Ceramic molds are nice because of their cost factor over stainless steel.  However, the problem is the way that ceramic reacts to heat and cooling.  Generally you should slump "into" ceramic and slump or drape "over" stainless steel. The reason for this is that glass can shrink tightly around the clay. When using the ceramic molds for draping, it is important to use at least a 1/8" fiber paper and to use a schedule that will give you a loose drape.  Do this by watching the glass after it has reached the draping temp of 1150 degrees - 1250 degrees F. Keep a journal of all of your firing schedules so you know what works and what doesn't. All kilns heat differently, the only way to know what works in your kiln is to watch what is happening. Remember, don't open the kiln while it is moving into the annealing zone as this will result in cracking.

I need help ,I purchased the small ceramic vase slumper mold ,I've kilned washed it . First attempt was to make a small candle holder ,using 2 peices of glass offset ,fired to book beginners guide to kiln fired glass pg45.The result was glass stuck and cracked.Next time I used 2 peices of kiln paper ,slowed down the fire schedule same result.Third time I used 3 peices of kiln paper changed the fire schedule completely very slow with the same result. Can anyone help?  I've done some reading on the net and it was suggested that the mold will cool at a slower rate- therefore glass cracking.   Thanks Deb

I should have referred to a specific problem.  My reply, #11, has to do with your work not releasing from a ceramic slumping mold.  It works with a stainless steel mold, too.

Please accept this as a reply for problem #1.

When that happenes to me,  I immerse the entire thing, mold and glass, into water.  All the way in.  Cool it first, of course.  After a little while, the glass can be removed.  It has worked out this way every time.  Good luck.

Thanks for the help with the origami bowl.   I'll give it a try this weekend!

Judy

 I have used the origami mold and have included the firing schedule.  It was

done with 2 layers of glass. We feel that one layer of glass will pull in

too much and you will not reach the bottom of the mold as this mold has a

tendency to do that.  We used a slow firing schedule to allow the glass to

drop into the mold while maintaining the upper edge.  Hope this helps.

Origami Bowl Slumping Schedule

4 Segments - GM1414 Skutt Kiln

Seg. 1 300 Degrees per hour to 1000 Deg. Soak 10 min.

Seg. 2 150 Deg. To 1200 Soak 20 min.

Seg. 3 150 to 1225 Soak 30 min.

Seg. 4 Full to 900 Soak 30 min.

I recently purchased the 7" origami bowl mold.  I have a piece of 96 glass I would like to use.  I was wondering if I had to fuse it to a piece of clear (96) or can I slump it with a single layer of the glass.

Thanks!

Delphi recommends doing a minimum of four washes with the kiln wash for any mold; (up & down/side to side/diagonal one way, then the next making an “X”) allowing each coat of wash to mostly dry before adding the next. For any casting mold we always suggest the Primo Primer (48325). This product is specifically designed to allow glass to release from the steeper sides and carved details of casting molds, as well as not breaking down at the higher temperatures needed for the glass in casting molds. Standard kiln wash occasionally works for these molds, but because it’s not dependable in this situation using it is risking your glass and your mold.

If there is ever an issue or questions on a product or a project, Delphi is here to help. 

Delphi has a 30 day money back guarantee.

The dish is made with Effetre sheets and millefiori in 104 Coe.  We have found that effetre sheets tend to devitrify when going up to those high fusing temperatures. I would start out fusing this using a 90 Coe fusing schedule and use Super Spray to prevent it from devitrifing.

I would like to know what fireing schedule you use for the Clear sheet moretti with the Millifiore's.  I have tried a couple but generally make a mess, it appears to not need as much heat.  What did you use for the dish shown by the Morettie Sheet glass page.

Have lots of Milli's to use.

Thanks Helen

Unfortunately the issue is most likely not with your fusing schedule. The main reason this product disappears during the fusing process is because the ink used to print the picture does not contain enough metal. You must have a black and white Laser Jet printer with an ink cartage that contains Iron Oxide. Most commercial printers will say their company can print these off for you, but we have found they do not work, so do not waste your time/money going to a professional print shop. Check the Material Safety Data Sheet (MSDS) for the printer cartage you are using in your laser jet printer. (You can ask an office supplies store associate for this sheet which gives you a list of the content of the ink.) The ink must contain iron oxide for the image to remain. The metal content of the ink is what is left behind on the glass to create the image while the other binders/components burn away.  

I have recently purchased the photograph paper and have tried firing it with a photo on it and cannot seem to get it to work.  I have used my regular Full Fuse, Tack Fuse and Slumping kiln settings and the photo is still disappearing...

Has anyone had luck with this and if so, what firing schedule are you using?  Any help woud be greatly apprecited!  

Frustrated in Iowa...    

Even if you did use kiln wash on the mold when slumping OVER ceramic molds you MUST MUST MUST use fiber paper as a release not just kiln wash. (2 pieces of thin fire, or 1 pc of thicker fiber paper.) Because of the expansion/contraction difference between ceramic and glass it is best to always slump INTO ceramic, not over…yet we have several molds that break this rule (nightlights, business card, floral slumpers). Using just kiln wash does not allow the extra wiggle room needed to remove glass off of ceramic, the glass has clamped down on to the ceramic during the cooling process.

You can break your glass, or break your mold (or both) to remove them from each other.

You might try putting the glass/mold back in kiln (flipped) with glass on bottom, (place on kiln washed surface or fiber paper) fire it to slump fuse again hoping that the glass will pull away from the mold if you wish to try to save them both. Good luck!

I need help.  I've fused a piece of glass then slumped it over a night light mold.  It is STUCK!  I'm sure I used kiln wash on the mold before slumping, but it won't budge.  Any suggestions?