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  Once you have bubbles trapped in your glass there are no real easy fixes. You can break the bubbles open and pour frit into them. You need to pile the frit a little higher then the glass. Sometimes you will still end up with little bubbles in your piece.    One way to avoid trapping bubbles in the glass (especially if you have glass pieces suspended between two or more layers) is to prop up the outer edges with glass frit. This allows the glass to sag in and all around the middle pieces. Then the glass seals its self from the center to the edge, allowing the air to escape. The cons to this method are that you often have to grind the outer edge, due to the excess glass frit you added to prop up the lip.

It is easier to cement the panel first and then attach the rebar.  If you are concerned about stability while you are turning it over to cement you could attach the rebar first.  It is ok to attach rebar both horizontally and vertically on a large piece.  In fact it is a good idea to form a "T" towards the bottom half of a panel with horizontal and vertical rebars.  Good luck.

 Just wondering...  Do I solder rebar on before or after the cement process?  And, can rebar be placed both vertically and horizontally on a very large panel?

 Hi everybody --    I'm fusing some small dishes, and had some trouble with the kiln wash sticking to the back of 2 of them. So, I got a bottle of "Wash Away", and followed the directions, and it didn't work. So, I thought maybe soaking the dishes in the Wash Away for about 15 minutes might work. It didn't. Not only that, but now the dishes are etched!  Is there a fix to this? Can I refire/fire polish to get rid of the surface etching? Or are these projects toast?    Thanks! Tina

Hi, I have been fusing for about 2 yrs. so I know why these huge bublbes apeared in my glass. However, is there anything i can do to save the glass??  If I fused clear over the single piece of glass (along with the design), would that maybe make the huge bubbles I have in the piece go down!!  Thanks, nancy

Between 90 and 96 coe there is no “best”, just different. 90coe glass has been on the market longer and currently has more variety (textures/colors) available, especially in the dichroic glass selection; however 96coe tends to be a little less expensive. Other than that the big difference between the two coefficients is that 96 coe is a softer glass than 90 and therefore takes a little less heat, aprox 20-30 degrees less, to slump/tack/fuse. In the cabochon mold I would recommend using Primo Primer Kiln Wash (48235) which is specifically for casting style molds. Choose the coefficient you wish to use for this project and fill the kiln washed mold to slightly heaping in the center.               400 degrees/hr to 1000 degrees (F)             Hold for 10-20 mins             400/hr up to full temp 90                                                                 96 1480 degrees               1450 degrees             Hold for about 10 mins             Bring temp down to 970             Hold for 20-30 mins to Anneal             Turn off kiln, let cool.   Optional: Use 975 Back Magic (7323) to help shine up back/edges, follow product instructions. Done.

I'm usine the rainbow dichroic frit to make 1 inch cabachons in a mold. Which is the best frit to use 90 or 96 and at what temp should I program to use for each?

Delphi Glass can ship glass supplies all over the world, so yes you can get zinc to you in South Africa . However for the panel you are doing it sounds like you need to have a product like the Strong Line Steel Reinforcement (7169) to put into the pattern lines of your piece at about every .45m (18 inches). The Strong Line is strong but bendable so that it may be soldered between the pieces of foiled glass; this will allow the natural lines of your pattern, but still help give strength to the piece. For a piece of that size 1m x 1.5m (aprox 3ft x 5ft) I would recommend using u-zinc on the outer edge to help give strength, I would also suggest the final project be put in a frame (wood or metal) to fully finish/stabilize the piece.

Mica powder can be used in many ways to add sparkle and depth to a project. Mica is best used between layers of glass. Mica does not naturally adhere to the glass surface, so if not capped may be brushed or even blown away after firing. You can apply mica by mixing with a medium and painted or air brushed onto the glass, or you can sift or sprinkle the mica powder. Try not to layer the mica too thick, (big globs) or get too close to the edge (leave about 1/8-1/4 inch) or the glass layers will not seal/fuse properly together. Kilns that have elements in the lid as well as in the perimeter are glass kilns. Glass is much more temperamental when heating and the elements in the lid help to more evenly heat the glass surface. When fusing glass it is not recommended to stack shelves, keep everything on one shelf. Turn the elements in the lid off when using your kiln for ceramic projects or metal clay. 

Do you get zink bars in South Africa? I have designed a 1m x 1.5m panel. There are no horizontal and verical lines because it is a pictures of an animal.  I am going to foil all the pieces and insert copper strips inbetween where i can but I was wandering it this was going to enough?  I thought of breaking the panel up into 5 panels allthougn the lines will run crooked accross and down because of the 5 animals in the design. What should I do for reinforment?  Can I use round H-lead came to join the 5 panels to complete the picture? Will that be enougn to strenghen the panel? Kind regards Retha