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Glass Fusing

The art of glass fusing has been around for many years. It regained popularity during the 1960's and has maintained a strong place in artist communities since. Fusing glass in a kiln is a fascinating technique that enables artists to create unique and gorgeous projects, but getting started can be intimidating for artists new to hot glass techniques. The information and tips provided below will provide some basic information and make it easy to get started!

 

Glass compatibility (COE)

The Coefficient of Expansion (COE) refers to the rate at which glass expands and contracts when heated and cooled. All glass has a COE but we don't always know what it is. It's important that all of the glass you are fusing together expands and contracts at the same rate or stress and cracking can occur. Glass manufactured specifically for fusing is tested for compatibility. Always fuse glass with the same COE or tested compatible glass.

Properties of Hot Glass

When heating glass to a full fuse (1450° F) it wants to become ¼" thick and round. A standard sheet of glass is approximately 1/8" thick.

  • When firing a single layer of glass the edges will contract to become ¼" thick.
  • If fusing three layers of glass your glass will expand to become ¼" thick.
  • Unless you are damming the glass, two layers are ideal to maintain your projects original size and general shape.

In the picture below, notice how the following stacks of glass appear before and after firing.

Properties of Hot Glass before firing

In the next picture, notice how each cabochon is approximately the same thickness

Properties of Hot Glass after firing side view

Viewing the cabochons from the top you can see how the stacks spread when they were fired.

Properties of Hot Glass after firing top view

Keeping the ¼" rule in mind with help you achieve the desired effect without growing or shrinking your project.

 

Heating and Cooling Glass

Glass cannot be heated or cooled too slowly. Heating and cooling too fast can result in cracked glass or thermal shock. Ideally you want your glass to stay approximately the same temperature as the kiln. Because the glass heats more slowly than the kiln, you should consider your project size and how long it will take the piece to "catch up" to the kiln temperature.

  • The larger your project the slower you should go 200°– 300° F an hour is a safe speed.
  • Smaller projects, like jewelry, can be heated more quickly – 500° F per hour is a safe speed.
  • Be sure to keep track of the schedules you try so you'll know what works best.

Slow, controlled cooling, commonly referred to as annealing, is the process in which you allow the glass to gradually cool down in order to remove internal stresses that may have occurred during the firing process.

Annealing allows the glass to stabilize and adds strength to your finished project.

  • Ideal annealing temperatures are 900° F for 90 COE and 950° F for 96 COE glass.
  • 30 minutes is usually sufficient for small projects but you may choose longer annealing times for larger pieces.
  • When in doubt, anneal longer; you cannot over anneal.
  • Allow your kiln to cool completely before opening the lid – a rush of cool air into a hot kiln will cause thermal shock and often crack your project. Breaks from thermal shock generally go straight across the piece and have a little hook near the edge.

Never Refuse to Re-Fuse

If your glass breaks in the kiln, your project didn't turn out quite as expected, or you feel the need to add further embellishments to your project, you can re-fire your project until you get the results you desire. For cracked glass some artists add additional pieces of glass to the top of the glass to reinforce and cover the "seam" where the crack occurred. Do not try to re-fire projects with incompatible COEs. Even if the project survives the heating and cooling process the stress remains and the piece can crack or break later.

 

Key Temperatures in the Firing Process

The firing process you select will determine the final appearance of your fired project. Many projects will require multiple firings using different processes before they are complete

 
Temperatures Ranges Fusing Stage Glass Stages
800º F - 1100º F Brittle Zone Do not open the kiln in this range
1250° F – 1300° F Slump The glass is placed on a mold and bent into the desired shape.
1300º F - 1350º F Tack Fuse Edges are soft, glass is stuck together, embellishments are well defined.
1350° F – 1400° F Medium Fuse /Fire Polish Edges are softer, surface is shiny and embellishments are slightly less prominent.
1425º F - 1500º F Full Fuse Glasses combine, thickness is uniform throughout

 

The photographs below show glass projects with similar embellishments, fused at various temperatures.

fused at 1250° F – 1300° F fused at 1300° F – 1350° F fused at 1350° F - 1400° F fused at 1400° F – 1450° F fused at 1450° F - 1500° F
1250° F – 1300° F 1300° F – 1350° F 1350° F - 1400° F 1400° F – 1450° F 1450° F - 1500° F


Common Firing Schedules

The schedule that works for you will depend largely on the size, scope and desired look of your finished piece. The firing schedules below will provide a great place to start.


Full Fuse Rate (Ramp) Temperature Hold (Soak)
Segment 1 300° F /hour 1000° F 5 minutes
Segment 2 300° F /hour 1250° F 30 minutes
Segment 3 300° F /hour 1450° F 10 minutes
Segment 4 Full (9999) 900° F (90 COE) 950° (96 COE)
Slump Rate (Ramp) Temperature Hold (Soak)
Segment 1 300° F /hour 1000° F 10 minutes
Segment 2 300° F /hour 1290° F 10 minutes
Segment 3 Full (9999) 900° F (90 COE) 950° (96 COE) 20 minutes
Tack Fuse Rate (Ramp) Temperature Hold (Soak)
Segment 1 300° F /hour 1000° F 10 minutes
Segment 2 300° F /hour 1340° F 5 minutes
Segment 3 Full (9999) 900° F (90 COE) 950° (96 COE) 20 minutes
Fire Polish Rate (Ramp) Temperature Hold (Soak)
Segment 1 300° F /hour 1000° F 10 minutes
Segment 2 300° F /hour 1350° F 5 minutes
Segment 3 Full (9999) 900° F (90 COE) 950° (96 COE) 20 minutes


All Kilns are Not Alike

  • Your kiln size, controller type, and individual project may require some alteration to the schedules above for best results. Firing times and temperatures may vary, each kiln is unique.
  • Use firing schedules as a guide, but remember to check your piece frequently during fusing, and record changes in schedules as needed.
  • Prepare your kiln by applying kiln wash with a kiln brush. Apply one thin coat in each direction. Don't forget to apply kiln wash to molds, too.

 

Project Firing Logs

Using a project and firing log to keep track of information about your projects and firing schedules can be an extremely useful tool for every artist. Once you've achieved a good result you can reference the logs to re-create the project or simply re-use a firing schedule for a similar project. Click on the buttons at the top of the page for a copy of this document and a project firing log to get you started.

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cscheydt

Saturday, January 11, 2014
1 Post

Hello, Question for the gurus. I want to fire a decal on and at the same time, perform a tack fuse. Can I do this. I have already performed the full fuse on two pieces of Spectrum 96 glass. Now it is time to put the decal on, I have allowed it to dry overnight. I want to tack fuse a pebble onto the same piece.

Jennifer Bonesteel

Friday, December 27, 2013
Delphi Expert
188 Posts
Top Contributor Gallery Artist

@Lynn D I'm unclear on what you mean by dragging but sharp edges can be caused by sticking so if that's the case wrapping your kiln board may help. There are several products that can be referred to as kiln board and each have a varying lifespan however most can be used more than once. For this project you can use a diamond hand file or grinder to get rid of the sharp edge.

Lynn D.

Monday, December 16, 2013
1 Post

I recently made some pocket vases using 3 layers of kiln board (1/8") and the edge of the top dragged and is pointed and sharp. Any suggestions? I thought of wrapping the kiln board with kiln paper... And how often can you re-use the kiln board? Maybe that's the problem. This particular set was fired once before. Thanks!

DelphiCustomerCare

Wednesday, December 11, 2013
5 Posts

@Laceyboo it is absolutely okay to cut down a flat texture mold to fit inside your kiln. Exceptions, of course, where cutting it would make the mold crooked and might cause your glass to run off the edge.

Laceyboo

Wednesday, November 13, 2013
2 Posts

Is it okay to cut down a textured mold to fit a smaller kiln?

cr8terlake

Monday, July 15, 2013
3 Posts

I recently purchased the Jen-Ken Pro Fusion Fiber 11. I am trying to cast small items (colour de verre holey heart) on a small piece full fuse program; and also larger items (1/4 inch thick x 6 inches wide) on a large piece full fuse program - both with the kiln floor kiln washed and a thin kiln paper sheet fully underneath. The small casting did not fuse smoothly on the bottom (used kiln washed mold) and the large piece simply did not fuse together. Do I need to by a kiln shelf to cast in this kiln? Any suggestions appreciated as I am really bummed to not be able to use this for simple casting.

Elizabeth Burns

Thursday, June 20, 2013
Delphi Expert
118 Posts
Top Contributor Gallery Artist

@Laceyboo Utilizing pieces of granite for damming purposes within a kiln for glass fusing/casting is not something we have attempted, therefore not something we would recommend using. Instead items like Delphi item

Laceyboo

Sunday, April 7, 2013
2 Posts

I'm wondering if anyone can tell me if I can use granite tiles as a glass dam for fusing. I have granite "samples" that vary in size from about 3" x 4" and 3" x 6". One side is polished. I was thinking that if I lined them with fiber paper and thin fire paper that I could use them as a dam. I don't want to ruin my kiln. I previously used them in my fireplace as a brace for the screen. I'm pretty sure they are dried out. Any ideas or help will be greatly appreciated. Thanks!

DelphiAnswers

Friday, April 5, 2013
22 Posts

@mary p. It is not recommended to use casting molds within the microwave kilns.

mary p.

Monday, February 11, 2013
4 Posts

Can the small casting molds be used in a microwave kiln?

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