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System 96 - Common Questions and Answers

Why did you choose a "96" C.O.E.?
The Spectrum line of stained glass products was formulated to the nominal "96" expansion long before we elected to manufacture a Tested Compatible line for kilnforming and other Hot-Glass work. We chose the "96" Expansion because it facilitates the creation of glasses with "friendly" forming characteristics. The wide variety of glass types we manufacture demands a formulation that has great flexibility.

Because many other glassmakers, as well as suppliers of blowing batch, frit, color bars, etc., chose "96" for similar reasons, we decided to build upon this "family" rather than reformulate our products to the C.O.E. "90" range.


What's the difference in kilnforming at "90" and "96"?
Really very little. What you learn with one glass will largely apply to the other. System 96 is a lower temperature glass -- that is, it takes less time / heat for S96 products to reach a given viscosity than it does common COE 90 products. Understanding this, and looking over the S96 Firing / Annealing Guidelines, a kiln crafter will quickly adapt to the differences.


What do you mean by "working range"?
To blowers and other manipulators of hot glass, this means more time in that "sweet spot" of temperatures where the artist can affect the glass. A "longer" glass offers more tolerance and freedom for creativity. Glass fusers will discover a wider range of temperatures between "not-yet-fused" and "beyond-full-fused," thus greater freedom in forming and a wider margin of error. Glasses with a shorter working range "set up" or "freeze" faster than "longer" glasses.


What about devitrification?
All System 96 products have been specially formulated to resist devitrification. That, plus compatibility testing, is what makes them different from other Spectrum glass products.


What about Iridescent Glass?
System 96 Iridescents are manufactured and sold by Uroboros Glass Studios. There is a broad range of iridescent textures to choose from, and all withstand full fusing temperatures. They are stocked by all System 96 distributors.


What does Uroboros have to do with Spectrum?
Uroboros is one of our System 96 Compatibility Partners. They make System 96 Tested Compatible specialty colors and textures, Iridescent glass, Frits, Stringer, Noodle and who-knows-what else.


How about Thin glass?
At this writing, Spectrum supplies an "Ultra Smooth Thin" in both Clear ( #X1002M) and Black (#10092M). Uroboros supplies 1.6mm hand-rolled thins in both clear and black (#61-00-96 and #61-56-96, respectively). Additional thins may be added at a later date.


Should I Still Test?
Testing is a good idea, and we will continue to recommend it, even for "Tested Compatible" products. Testing is your best teacher. You'll discover subtle nuances in different glasses, monitor color shifts, and be better able to predict various characteristics that may result from the fusing process. Plus, because our equipment and procedures differ from yours, you just might uncover a set of circumstances in which our "Tested Compatible" glasses don't act as expected in your system of variables. Better to discover that in testing than in a disappointing project.

Note:
With Spectrum System 96 glass, all glass of the same stock number from the same production day will be dependably identical. There is no meaningful variation in C.O.E. or other characteristics within a production day.


System 96 products are supposed to be cheaper but it doesn't look that way to me . . . what gives?
Most "90" C.O.E. products are priced and sold by the pound. System 96 sheet glass is sold by the square foot. Glass priced at $10.00 per pound is actually about $17.00 per sq.ft (1 sq.ft . weighs about 1.7 pounds). Make sure to convert pounds to sq.ft (or vice versa) to make a fair comparison.
To convert $ per pound to $ per sq.ft : multiply by 1.6
To convert $ per sq.ft . to $ per pound: divide by 1.6


Why is a System 96 glass more expensive than the same identical color of regular Spectrum glass?
There are a number of reasons: (1) the agents in the System 96 formula that resist devitrification are considerably more expensive than their counterparts in "regular" Spectrum glass. (2) System 96 products are made in much shorter runs than "regular" Spectrum glass, thus, they are significantly more costly on a per Sq.Ft. basis, (3) the costs of testing, classifying, labeling, etc., and, especially, (4) suffering the costs of making non-compatible glass when only compatible glass will do. It adds up fast. Fore more in-depth information, read our Tech Bulletin #2 "This is Not Your Father's Spectrum Glass," by Gil Reynolds.


How do artists use your "Ultra-Smooth Thin Clear"?
The Thin Clear is a very versatile product. A single layer of design elements "held together" with thin clear creates a finished piece that is lighter and more delicate. Used as a "cap" it adds richness and depth, like a blown glass object being "cased" in clear glass. It is also a useful tool in volume control, helping the artist to equalize glass volume on each layer without making design compromises.


Can Spectrum Glass be used for dinnerware?
Spectrum products have been tested for chemical leaching as required by the FDA for food bearing surfaces. All of our products passed and were determined to be suitable.

However, when you use Spectrum glass to produce a product of your own (slump it, fuse it, foil it, lead it, etc.), it’s not Spectrum glass anymore. It’s your product now, and as such, must pass all tests before being sold or used as a food bearing surface. It is possible that the processes you use to make your product alter the composition of the raw materials (the glass) in such a way that they may no longer meet the required standards. Either way, the regulations are clear: You must have your own finished products tested and approved.

For more information about health and safety issues for food bearing surfaces you should contact The Society of Glass Ceramic Decorators, 888 17th Street NW, Suite 600, Washington, DC (202) 728-4132.


How can I get "fire polished" edges?
Spectrum glass needs to be fired at 1470º for about 10 minutes to fire polish edges.


Can Spectrum be ground into frit & fused on the surface of my project?
Sure. But why not go easy on yourself (and your equipment) and just buy the excellent crushed glass frits supplied by Uroboros Glass Studios? Every System 96 color is available, including Iridescents, in 5 particle sizes, in both 8.5 oz (.24kg) and 4 Lb (2 kg) jars.


Can I fuse with "regular" Spectrum Iridescent Glass?
The "Mother of Pearl" coating on non-System 96 Spectrum Glass will withstand temperatures up to about 1300ºF. While you can produce some very interesting bent and slumped pieces that will retain the iridescent finish, it will burn off of most pieces at full-fuse temperatures. You can maximize your iridescent effects at higher temperatures by fusing with the iridescent surface against the kiln shelf, and by minimizing time spent above 1400º F.

System 96 Iridescent glass, made by Uroboros, will not burn off, even at full-fuse temperatures.


Can I use Spectrum Glass for "Casting"?
There are two methods of casting: hot casting and cullet casting. In hot casting, the glass is heated in a crucible to approximately 2300º F then poured into a mold. In cullet casting, broken glass is placed into the mold first and then fired to about 1600º F or until the desired result is reached. Spectrum System 96 glass can be used for either type of casting. Uroboros Glass has recently added System 96 "Tested Compatible" Casting Billets in Clear and 8 colors. More Info.


What about using Spectrum Glass for bead making and torch work?
Spectrum is a great choice for bench work. Its long working range allows greater artistic flexibility and greater margin or error. Multicolor mixes allow artists to lay two or more colors simultaneously. You can lay more glass faster than with traditional rods and you can incorporate the complete line of compatible Frits, Stringer, noodle and Dichroic glasses.


I've been fusing with Spectrum for years with few problems; why should I pay the premium for "Tested Compatible" System 96?
If you're doing your own testing and require no protection from devitrification, by all means fuse with "regular" Spectrum glass. But be aware that both stress and devitrification, even if not immediately apparent in your finished projects, can cause cracking or surface crystallization over passage of time. So please, when fusing with non-labeled Spectrum products, test habitually and take careful measures to control devitrification.

Kayleigh Clark

Wednesday, January 20, 2021
Delphi Expert
134 Posts
Top Contributor Gallery Artist

@Yes, you can fuse glass to itself. As long as you are fusing the same sheet together. If you are wanting to fuse 2 separate pieces we don't recommend that. Here is a link to our fusing tip sheet. https://www.delphiglass.com/page/knowledgeBaseView?KBItemID=90

Kayleigh Clark

Monday, January 13, 2020
Delphi Expert
134 Posts
Top Contributor Gallery Artist

You can use 96 COE glass in a microwave kiln.

comments4

Wednesday, October 18, 2017
91 Posts

@It is important to avoid mixing 90 COE and 96 COE glass in a project. The COE is a simplified way of expressing the complexities of how the glass expands and contracts as it is heated and cooled, and a difference in the COE number is meant to mean that they expand and contract at different rates, so they pull away from each other at different points in the heating and cooling process. Sometimes the stress from this is enough to immediately cause the project to break, other times the project may look fine initially, but the internal stress will cause the project to break at some point in the future, often unpredictably.

Cedarhill

Tuesday, May 17, 2016
1 Post

Is it true that Spectrum is ending production of their sheet glass?

comments4

Thursday, November 5, 2015
91 Posts

@Mary Jane W. while devitrification may be the issue, it most commonly occurs in a higher temperature range than would typically be used for the slumping process. It is not uncommon (especially with clear glass) to be able to see the slight texture that results from contact with the kiln shelf or fiber paper during the initial fuse firing. Once the glass is slumped, the way the light is refracted by the slight texture can make it seem more visible. You can also review your firing schedule to make sure you aren't firing hotter than necessary for your slumping/draping process - you can find some helpful hints at http://www.delphiglass.com/page/knowledgeBaseView?KBItemID=90

mjwhitt21590110180146

Sunday, November 1, 2015
2 Posts

I'm not sure if my pieces are getting devit or if I have a different issue. When I slump vases using a clear base, areas of the glass that don't come into contact with the mold look frosted. Is there a coating that I can put on the glass that will fire polish the frosty look out?

Jennifer Bonesteel

Thursday, February 19, 2015
Delphi Expert
188 Posts
Top Contributor Gallery Artist

@pphx Molds are fine to use with 90 COE (Bullseye) or 96 COE. The COE does not affect how the mold works. If you want to use frit between layers of 96 COE glass you must use 96 COE frit or stress fractures can occur. You can always use a clear overcoat to help prevent devitrification but System 96 glass generally does not devitrify so you may find it unnecessary.

pphx

Thursday, February 19, 2015
1 Post

I am just beginning to purchase Uroboros COE 96 streakie glass. Are molds that are typically used for COE 90 glass OK to use? If I am using clear frit powder between the layers can I use Bullseye frit, or must I get COE frit? Can I use the clear overcoat to prevent devit? Thanks.

ElletteShafer

Saturday, June 22, 2013
4 Posts

I figured it out and am on my way to fusing beautiful pieces of glass. It took me playing around with it as all the advise I was getting was not working....but thanks everyone for the advice anyway. :-) Im happy now.

Elizabeth Burns

Saturday, June 22, 2013
Delphi Expert
118 Posts
Top Contributor Gallery Artist

@ElletteShafer If your piece is breaking in two, it sounds as if it could be due to poor annealing. This means that the glass cooled down too quickly. Alternatively, the glass experienced thermal shock from heating up too quickly. I would suggest adjusting your full fuse schedule into your kiln in order to obtain better results. I would change the rate in segment 2 from 600/hr. to 300/hr. 300/hr. is always safer. In segment 3, I suggest switching it from FULL (9999) to 300/hr. as well. Then on last segment, I would switch it from 150/hr to FULL (9999).

DelphiAnswers

Wednesday, June 5, 2013
22 Posts

@ElletteShafer It sounds like you are checking the obvious issues by confirming the COE is the same and using the settings provided. Normally we try to provide answers but since this is complicated and needs more information and questioning we would ask that you contact us over the phone. We do have a dedicated project help line where we are standing by to assist at anytime with questions like this- 1-800-821-9450.

ElletteShafer

Friday, May 31, 2013
4 Posts

Hi I have the delphi EZ pro deluxe 15-6 kiln and I have used the settings that came in the book for a full fuse. I have never had anything come out at all and have broken several molds due to the glass sticking as I used the kiln wash that came with the kit. My glass keeps cracking in half now and both layers of glass were from the same piece of glass so I know the COE was the same. Any ideas what is going wrong?

DelphiAnswers

Monday, May 13, 2013
22 Posts

@Stephen23240 Yes, we are familiar with the struggles that the X200 has presented; and have communicated feedback to the manufacturer. We ve also noticed that it tends to be a magnet for bubbles as well. The best approach we can suggest you take is to make sure you aren t just going too hot but also not too hot, too quickly. Both too high of heat as well as ramping too quickly to that high temperature can cause devit. Also, just a reminder, once there is devit on the glass there isn t a guaranteed way of reversing it, so just be sure you re using a new piece each time you attempt to fire.

Stephen23240

Wednesday, March 6, 2013
1 Post

I'm using Spectrum 96 white glass and having no luck with getting rid of the devit! I've reduced the upper temp to the point where I'm just getting little more than a tack fuse and cleaned the surface very thoroughly. The amount of devit was less than previous attempts but still apparent. I'd quite like to be able to have a better fuse but this means a higher temp and more devit! Anyone else have this problem the the white glass?

comments3

Wednesday, January 23, 2013
47 Posts

@jennalee Frequently, what you have described here is an indicator that you are in fact firing too hot. Also, you mention a post . . . are you working with a casting mold with a post? If so, you must be meticulous about detailing that primo primer into every nook and cranny of the mold and around the post. If you plan on doing more work with molds like this I may suggest you go with a boron nitride spray.

jennalee

Tuesday, December 18, 2012
2 Posts

Help! I've just started using my Studio 8 Kiln and I am having problems with the ceramic molds that came with my kit. I've broken 3 of them already!! I used the Primo Primer and put on 5 generous coats with ample drying time between. I think I am heating and cooling the glass slowly enough and I've tried to remove the glass from the molds at different temperatures. When I managed to pry one out it brought a lot of the bottom of the mold and the post with it.... Any ideas? Am I heating the glass too much or for too long that it is burning onto the mold? Thanks for any help!!

bosslady_j

Tuesday, September 13, 2011
6 Posts

I stopped using kiln wash on the majority of my plate molds and use fiber paper instead,as delphiehellper said it makes things slide off easier and the backs are smother. jo

jhaan

Friday, September 9, 2011
57 Posts

System 96 recommends this: "Bubbles are best avoided in the design stage. Large areas of uninterrupted layering invite them. For example, a 10x10-inch sheet atop another 10x10-inch sheet leaves no easy avenue of escape for the air between glass layers. Alternately, a 10x10-inch sheet topped with four 5x5-inch pieces provides seams to ven trapped air. Design to avoid bubbles for the best prevention." A few other tips are 1. To place coarse frit along the edges of the glass to hold the edges up longer allowing air to escape as the center settles. 2. Use a bubble squeeze. You can download this information from the System 96 website.

mariemurphy

Thursday, September 8, 2011
1 Post

I use system 96 glass in my skutt kiln. I have been having so much trouble with bubbles. I have followed other blogs about bubbles on how to fix the problem. I have flipped the shelf over. I have increased the soak time to 30 min and 40 min. I have used shelf paper thick and thin. HELP! My bubbles are about a 1/4 inch. Not horrific but, definitely not attractive in my projects.

pellis

Tuesday, July 19, 2011
2 Posts

Help, I used 96 opal white powder and a stencil to add a design to my piece. I fused to a tack fuse, 1380, the design is still slightly raised, but the image is clear, not white. I did not have this problem when I used black powder. Could it be the powder? Thanks.

Classical

Tuesday, May 31, 2011
9 Posts

I have a question, when I slump the side of the glass that is against the mold is flat and ugly and nothing i have done prevents this or fixes it after...we bought a lap grinder but it can only do the outer few inches of my project and wont reach the middle because of the mount for the lap grinder disk. help?

Eclecticity

Wednesday, November 17, 2010
28 Posts

In reply to #5, I stopped having the sharp edge and other fusing problems when I began using the recommended System 96 fusing schedule found at http://www.system96.com/Pages/KnowledegBase1.html. I use the schedules listed for everything I do, even when I'm using non system 96 glass (which is now very rarely) and have not had any more bubbles, sharp edges or uneven firings. Also, I've found that if you don't use shelf paper and rely solely on the kiln wash, you may have sticking and residue problems. I found that soaking in white or cider vinegar will help remove this. You can't soak too long, so have patience.

jhaan

Monday, November 8, 2010
57 Posts

It is possible that the final temperature you fused to was too hot or the hold or soak time may have been too long. Since the kiln wash is sticking to the glass it is possible that the ramp speed is too fast. There are a number of things which will effect the glass in different ways. You can use kiln shelf paper to line the kiln shelf. This will not stick like the wash can at times. Keep a record of your firing schedule and remember, each kiln heats a little differently. Observing what your glass is doing at different temps will help you to know your kiln so you can achieve the results you are after. Feel free to call our customer service department with any questions you have. Someone will be happy to help you! Delphi Experts are Here to Help Contact Customer Service at (800) 248-2048 mon-fri 9-6, sat 9-5, sun 12-5 EST

vernawhite1

Monday, November 8, 2010
1 Post

What is the answer to question # 5 above

elementsglass

Wednesday, October 27, 2010
1 Post

Previously, when using bullseye and a wax form I calculated the glass using specific gravity. what is that calculation for spectrum?

DelphiHelper

Monday, April 5, 2010
38 Posts

We have found that the glass tends to crack more when using the ceramic molds for draping. As the glass cools on the mold it tightens around it and cracks.  By using 1/8" fiber paper over the mold it will leave some room for the glass to slide off. Good Luck!

debdoo

Friday, March 26, 2010
10 Posts

I bought the small drape mold from delphi ,to make small votive candle holders.I have fired 3 times and each time the project has cracked.please I could use some help. First fire was ramp 4oo-1000,2nd 1200-1225 hold 20,third afap-1000 hold 10 min,4th 300-950 hold 20min 5th 200-800,6th400-120 I used one peice of paper between the mold and glass.

TheDelphian

Friday, January 22, 2010
25 Posts

Yes you can! Make sure the glass is fully washed and dried, removing all labels and glue. You can flatten/slump all sorts of jars, bottles (wine/pop/etc), and glass containers in your kiln. Just place the jar/bottle on its side on a washed kiln shelf, or use fiber paper, to flatten or put the bottle directly into a kiln washed bottle slumping mold and turn up the heat. The catch is you will not know the COE (coefficient of expansion) for the multitude of different glass types used for these vessels; therefore I would NOT recommend mixing/fusing anything with/to these pieces. Items such as dichro slide, copper metal, and some of the enamels could be used to embellish/decorate this glass type because these items are not COE specific. A standard full fuse/slumping schedule will work fine for flattening and slumping jars/bottles into molds. Have fun!

Rusty B.

Friday, January 22, 2010
1 Post

I was just wondering if a person can use regular glass jars in the Kiln.

chrstnlynn

Saturday, November 14, 2009
2 Posts

I just received my kiln this week and am new to fusing.  I did my first firing of some pendants and they seemed to have some sharp edges that will  need grinding  and lost all dimension.  They are still usable, but not the result I was looking for especially for the pieces with dichroic glass.    I did a full fuse.  Should I have done a tack fuse?  Also had quite a bit of kiln wash stick to the colored glass bases, but not the black or clear.  Is this normal?  I am using the System 96 glass and my Delphi Studio Pro Delux kiln.

TheDelphian

Tuesday, October 6, 2009
25 Posts

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. 

teh1212

Thursday, October 1, 2009
3 Posts

Just a question or two - what is the best way to use Mica powder?  Is there a special technique to using it?  also, my kiln has sides elements and lid elements,  when do you recommend using the lid elements?   Thanks so much for any help on this.

TheDelphian

Thursday, May 14, 2009
25 Posts

The best way to make sure that the glass fits the mold perfectly is to go slow at ramping up your speed in the kiln during this stage.  You will want to go 250 an hour, definitely hold at 1000 for 30 minutes, go 250 up to 1250 and hold about 5-10 minutes depending on the size of the mold.  Then the 9999- 960 hold 1 hour and then 150- 700 with no hold.  When going this slow up it gives the glass enough time to soften slowly and form into the mold to create the even base.  If the mold is not flat then you will have to sand it down to make it even.

ab2255

Wednesday, May 13, 2009
2 Posts

When casting or slumping a bowl or plate, how do you get a flat bottom on the piece so it doesn't rock?  Do you tack fuse a base on it later?