I really like this bowl, and I think Ann's suggestion of reversing the piece and using a bit deeper mold would be awesome. Thank you for making this look so easy!
I may do this after I get going with the strip plate. Our club has 9 kilns of various sizes, so finding one to make globs shouldn’t be a problem. Thanks so much!
My pleasure. In that video you'll find the schedules in the video just after each firing section. In newer videos have a look in the description there's a link with the title 'Project Info + Firing Schedule'. This will take you to a page on my website and at the bottom of that page are the firing schedules. Hope this helps.
This video offers lots to think about. Ann's suggestion about reversing the piece at the slump is a great idea because of the way light operates on the finished piece. I also was impressed with the use of glasses in this piece: a tint, a piece of clear, and then dots in the color of your choice (reactive or not). Making dots is not labor intensive for me; I just chuck a bunch of scrap pieces into the kiln when I am not doing anything else. I stay away from the 'challenging' colors like dense white so I get a fairly consistent result. Thank you for a different approach to the dilution technique.
Lovely piece. Which way up did you put the plate in the mold, green or clear on top? Also, is there a reason why you don’t use the cutter on the Beetle Bits.
Hi Charmaine. The clear on top. This shows the pillow effect on the bottom. I wasn't using it because it seemed a bit inaccurate with a slight wobble. It doesn't sit snugly on the bar. But since then I have managed to work out how to use the cutter. It comes down to how you hold it. A bit hard to explain.
@@RocketRoseArt I agree with the cutter situation. I have to press hard and sometimes it doesn’t start cutting until about 1cm in. Thanks for your explanation re the glass layering.
Hi Ron. You can keep that texture by fusing the base first and then fusing the cabochons onto that. Do something like a contour fuse which should melt the cabs down into the glass but will leave them standing a bit proud. But that will make them shiny. You could then mask them off and sandblast then.
Thank you for sharing, Jeff. Another beautuful piece. Would you please add the cabochons firing temperature in Fahrenheit. What do you think, what will happen if you put the white on acquamarine and the tecta is under?
I think I took them up to about 805 (1480 F) and held for about 30 minutes for this project. But I would suggest a bit higher, maybe 815 C (1500 F). Keep in mind your kiln may fire differently. If you want them perfectly round just set your hold time long then keep an eye on them until they form correctly. Then skip the segment. Note your temp and hold time for future firings. Dense white does contain lead, and aqua contains copper. Bullseye list doesn't list them as reactive, but just do a small test to be sure. If they react then when you turn it over the white won't be white 😕
Hi from across the other side of the world. Have tried this but cannot get the dots to sink into the top layer (max 795 C for 10min) plan to refire at 800 C for 5 min. Question; what happens if you keep it at 800 C for 10 mins or even longer? Does increasing time at max temperature do any harm? Love your videos. Martyn Thatcher, Cheshire UK.
I think you will need to go higher for longer. For this piece I held at 800 for 5 minutes, but my kiln will be different to yours. Try the 800, or even a little higher, but watch it to see when it does finally fuse. Going higher shouldn't be a problem. I've taken pieces up to 815 without a problem. The higher temps simply make the glass more molten. You can get devit sometimes. Depends on the glass you're using, both colour and COE and manufacturer.
I love this bowl. My questions: you didn’t put something in between the glass in the corners. Was there no chance of bubbles? I’ve been having devit problems. Did you put anything on top before firing? Thanks again 🐢
Hi Kathie. Yes, there is a chance of small bubbles whenever you fuse two pieces of glass together. I wasn't concerned as they would only be small and I don't mind small bubbles. From memory I don't think I had a devit problem with that piece. If I had I would have either sandblasted it and done a fire polish, or I would have lightly covered with clear frit and refired.
Jeff, if you would have slumped it the other way as Anne suggested, would you need to do a fire polish to get the smooth finish or would that happen in the slump?
In my experience a slump won't give you a full fire polish. It will semi-polish only. For example, a sandblasted surface will smooth and give a satin like finish, but not a full polish and remove all the texture.
Hi Jeff, Following your videos which are great! However I cannot find a clear fusing schedule … I’m making dense white dots - I’ve rewatched your Vedic’s, read the descriptions (cannot figure whether this is an older video (so it’s at the end) or a newer one - so it’s in the description. All I can hear is high full fuse … but no exact temperatures. I’ve also looked in previous videos … can you help and be more specific? It would be much appreciated - I’m just aware of the instability of dense white and I wouldn’t want to create pieces that could crack later on due to this. I was in my studio yesterday (45 min drive) and set up most of my dots, only to knock them over … but I was patient enough to sort that out - then couldn’t find the schedule - I’ve set them on a high slow full fuse with a bubble squeeze - probably overkill. Thanks
Hi Jennifer. It would a simple schedule. For dense white, which is hard to get round, ramp it up to something like 815 and hold until they round. Then just let the kiln cool naturally. No need for an annealing hold, because they are so small. For these small cabs I rarely have a hold on the way up or down.
Love your videos. Question on the thickness: I suppose the two sheets below the dots are each 3mm thick. Wonder why the piece did not get much larger after full fuse. Is the final piece thicker than 6mm?
Hi W J. The aqua was only 2 mm, not 3 mm. That would have allowed the cabs to make up the difference to 6 mm. Even if the bottom sheets were both 3 mm the spread wouldn't have been that great. I would have just cold worked to the final shape.
I was thinking of using clear dots on an opal light blue with a clear underneath will this displace the blue to have transparent dots on it if full fused so you can see though the spots where the clear dots are?
Hi Judith. I doubt you could dilute the colour to clear. In what I've done there is always some colour, though diluted. Even bigger cabochons still left colour.
Hi Jeff nice work, another lovely piece. I assume that using a flat piece of clear would eliminate or reduce the bubbles in the piece? Is the reason you used the ripple clear (apart from water effect) is that the piece would more than likely have bubbling with clear so might as well make the bubbles even? Also is that a shop brought bowl mould or is it possible to use a std kitchen crockery/porcelain bowl? Cheers Ed
Hi Ed. The reason I used it is simple, that's what I had on hand. Plus, I like the bubbles. To me it gives a more handmade organic look. If you don't like the small bubbles, try using Tekta Crystal Clear. Yes, that is a shop bought mould. But you could use a ceramic bowl from the kitchen. I have a number of moulds that came from the cheap shop. I just sandblasted off the glaze and then sprayed with boron nitride. I've never tried using them with the glaze on 🙄 Always assumed that it would melt and cause problems, and I have a sandblaster. But I believe the glaze on ceramics fires a lot hotter so may not be a problem. Mmm, maybe I'll try. Hope that helps.
Thank you so much for your answer. Did you use one or two layers of white glass? This plate is beautiful, I can’t wait to make my own. Greetings to Australia!
Hi Jeff, stunning piece! Thank you for sharing. What's the reason for using a 2mm and a 3mm. Am I able to use two 3mm sheets? Also, did you glue your cabochons on before firing? I may need to, will it matter? Lastly, where in Australia is your studio/gallery? I feel as though a road trip might be on the cards now borders are being opened. Thanks again, lovely work!
Hi Laura. Yes, you can use 3 mm. I used 2 mm simply because I had only 2 mm in that colour. The 2 mm meant I would have less spread, and you may get more with 3 mm, but that may not be a problem especially with a round piece and you don't mind a little organic look around the edge. No, I didn't glue on the little cabs. Glue would make it easier to move to the kiln, but because it's transparent make sure the glue you use burns out clearly. I use as little as I can of the Bullseye GlasTac and that is generally fine. But if I use too much I sometimes get a little residue. I'm in Toowoomba, Queensland. You're certainly welcome to visit. Just let me know so I can clean up the gallery. Hasn't been open since early 2020. We have Anns mum with us and she's 90 so we have been very careful. Also would like to convert the garage and set it up there, rather than the bedroom it's currently in. So may be out of action for a while. Depends on funds and more work. 🙄 But I can show you my humble studio and other work I've done. However, now we're all fully vaccinated we're thinking about opening it again. Not that we ever got a lot of visitors. Toowoomba isn't exactly a top tourist destination. 😕We'll just wait and see how this opening up goes.
@@RocketRoseArt Your videos are 'locked' and we cannot create shortcuts from the URLs. Did you know that? I have 'whitelisted' them - whatever that means.
It's called a Japanese plate shape. Here's a link, though I know this is Australia. Should be able to get over there. www.glassfusing.com.au/index.php?main_page=product_info&cPath=54_38&products_id=3279
Hi Anon. If you have a look at the description you'll find a list of the chapters in the video. There is one for the slumping process. Is there something that I haven't covered that you want to understand?
Hi Jeff, I'm attempting to make a bowl similar to your "color dilution technique-sort of" and am having difficulty with the dots. I'm trying to get dense white to round off but they are square and somewhat wonky and pointed. I'd be glad for you advice. Thanks. My schedule in F. is 400 1250 .30 600 1495 .10 AFAP 900 .60 150 700 -0-
Hi Barbara. Yes, you'll find dense lighter colours take a little more processing to round off. Dense white is particularly hard. Either take the temp up a little or just hold longer. Keep them close to the middle of the kiln and take a peek until they round off. Be sure to wear infrared glasses if you look in the kiln, and wear heat-proof gloves as you open it. If you have a grinder taking off the corners of the squares will help. Good luck with it.
Hope you all find this video interesting. Please let me know what you think about the project and post and questions.
I really like this bowl, and I think Ann's suggestion of reversing the piece and using a bit deeper mold would be awesome.
Thank you for making this look so easy!
Thank you.
Amazing result. Thanks for the video!
@@rodrigobichara5892 My pleasure Rodrigo
You are a very good glass artist …..frankly I like your video clips
Thank you very much!
I have made dots and I love this bowl…… I am itching to make one of these. Thank you for sharing this
You are so welcome!
This is so pretty and I really like how the reflection of the dots shows through.
Hi Betty. It has an amazing light. Fantastic in other colours as well.
I may do this after I get going with the strip plate. Our club has 9 kilns of various sizes, so finding one to make globs shouldn’t be a problem. Thanks so much!
My pleasure Jim.
¡ saludos desde México, gracias por compartir formas para hacer ese hermosa fuente y también compartir tiempos y temperaturas!! ¡ saludos afectuosos!!
Muy contento de ayudar.
Thank you again for a nice tutorial. I do have some trouble finding the fire schedules.
My pleasure. In that video you'll find the schedules in the video just after each firing section. In newer videos have a look in the description there's a link with the title 'Project Info + Firing Schedule'. This will take you to a page on my website and at the bottom of that page are the firing schedules. Hope this helps.
Your presentation is excellent especially when compared to other glass fusing “specialists”
Very well done!
Hi George. I really appreciate that comment. It's great motivation to keep going. Sorry for the delay.
This video offers lots to think about. Ann's suggestion about reversing the piece at the slump is a great idea because of the way light operates on the finished piece. I also was impressed with the use of glasses in this piece: a tint, a piece of clear, and then dots in the color of your choice (reactive or not). Making dots is not labor intensive for me; I just chuck a bunch of scrap pieces into the kiln when I am not doing anything else. I stay away from the 'challenging' colors like dense white so I get a fairly consistent result. Thank you for a different approach to the dilution technique.
Hi Susan. Yes, that dense white... Glad it all helped.
Thx for kiln firing schedule info!
Not a problem. Glad to help.
Very nice Jeff! I like Ann’s idea of reversing the top of the bowl, it seemed to add depth to the appearance.
Hi Gwen. How are you? Great I hope. Yes, I think that is a good idea. Should listen to Ann more 😄
Lovely project! THank you for sharing!
Happy to.
Nice piece Jeff, I like the different shades of white dots and also the shadow that the bowel casts on the table at the end.
Hi Jonathan. And that light wasn't the best. When I put it in the gallery it really looks nice. A great feature piece.
👍🏼 I’m definitely going to make this❣️. Thank you!
Hi Patricia. My pleasure and hope it all works well.
A really useful video - thank you!!!!!
Hi Melissa. Always glad to help.
Thank you! I certainly enjoyed this
Hi Johnella. My pleasure. Trying to keep them coming. Retirement gets in the way 😁
Very pretty! Thanks so much for sharing. I can't wait to try it.
Hi Jo. I encourage you to give it a go. Makes a beautiful bowl.
It looks beautiful!
Hi Barbro. And you can make it in so many colours.
Lovely piece. Which way up did you put the plate in the mold, green or clear on top? Also, is there a reason why you don’t use the cutter on the Beetle Bits.
Hi Charmaine. The clear on top. This shows the pillow effect on the bottom. I wasn't using it because it seemed a bit inaccurate with a slight wobble. It doesn't sit snugly on the bar. But since then I have managed to work out how to use the cutter. It comes down to how you hold it. A bit hard to explain.
@@RocketRoseArt I agree with the cutter situation. I have to press hard and sometimes it doesn’t start cutting until about 1cm in. Thanks for your explanation re the glass layering.
I loved the raised matte pebbles before firing; it's a shame there's no way of keeping that texture in the finished bowl!
Hi Ron. You can keep that texture by fusing the base first and then fusing the cabochons onto that. Do something like a contour fuse which should melt the cabs down into the glass but will leave them standing a bit proud. But that will make them shiny. You could then mask them off and sandblast then.
Thank you for sharing, Jeff. Another beautuful piece. Would you please add the cabochons firing temperature in Fahrenheit. What do you think, what will happen if you put the white on acquamarine and the tecta is under?
I think I took them up to about 805 (1480 F) and held for about 30 minutes for this project. But I would suggest a bit higher, maybe 815 C (1500 F). Keep in mind your kiln may fire differently. If you want them perfectly round just set your hold time long then keep an eye on them until they form correctly. Then skip the segment. Note your temp and hold time for future firings. Dense white does contain lead, and aqua contains copper. Bullseye list doesn't list them as reactive, but just do a small test to be sure. If they react then when you turn it over the white won't be white 😕
Lovely bowl. Can we use just plain white dots in place of dense white and still get a beautiful bowl..
Hi Pam. Yes you can. It's just that the effect will be more subtle. You could use any colour dots and any main colour. Just your preference.
@@RocketRoseArt thank you.
Hi from across the other side of the world. Have tried this but cannot get the dots to sink into the top layer (max 795 C for 10min) plan to refire at 800 C for 5 min. Question; what happens if you keep it at 800 C for 10 mins or even longer? Does increasing time at max temperature do any harm? Love your videos. Martyn Thatcher, Cheshire UK.
I think you will need to go higher for longer. For this piece I held at 800 for 5 minutes, but my kiln will be different to yours. Try the 800, or even a little higher, but watch it to see when it does finally fuse. Going higher shouldn't be a problem. I've taken pieces up to 815 without a problem. The higher temps simply make the glass more molten. You can get devit sometimes. Depends on the glass you're using, both colour and COE and manufacturer.
I love this bowl. My questions: you didn’t put something in between the glass in the corners. Was there no chance of bubbles? I’ve been having devit problems. Did you put anything on top before firing? Thanks again 🐢
Hi Kathie. Yes, there is a chance of small bubbles whenever you fuse two pieces of glass together. I wasn't concerned as they would only be small and I don't mind small bubbles. From memory I don't think I had a devit problem with that piece. If I had I would have either sandblasted it and done a fire polish, or I would have lightly covered with clear frit and refired.
Jeff, if you would have slumped it the other way as Anne suggested, would you need to do a fire polish to get the smooth finish or would that happen in the slump?
In my experience a slump won't give you a full fire polish. It will semi-polish only. For example, a sandblasted surface will smooth and give a satin like finish, but not a full polish and remove all the texture.
Thank you
Hi Jeff,
Following your videos which are great!
However I cannot find a clear fusing schedule … I’m making dense white dots - I’ve rewatched your Vedic’s, read the descriptions (cannot figure whether this is an older video (so it’s at the end) or a newer one - so it’s in the description.
All I can hear is high full fuse … but no exact temperatures. I’ve also looked in previous videos … can you help and be more specific? It would be much appreciated - I’m just aware of the instability of dense white and I wouldn’t want to create pieces that could crack later on due to this.
I was in my studio yesterday (45 min drive) and set up most of my dots, only to knock them over … but I was patient enough to sort that out - then couldn’t find the schedule - I’ve set them on a high slow full fuse with a bubble squeeze - probably overkill. Thanks
Hi Jennifer. It would a simple schedule. For dense white, which is hard to get round, ramp it up to something like 815 and hold until they round. Then just let the kiln cool naturally. No need for an annealing hold, because they are so small. For these small cabs I rarely have a hold on the way up or down.
BTW, that's a long drive to the studio!
What is the name of the cutter and ruler you are using?
Hi Carol. That's the Beetle Bits Cutting System.
Love your videos. Question on the thickness: I suppose the two sheets below the dots are each 3mm thick. Wonder why the piece did not get much larger after full fuse. Is the final piece thicker than 6mm?
Hi W J. The aqua was only 2 mm, not 3 mm. That would have allowed the cabs to make up the difference to 6 mm. Even if the bottom sheets were both 3 mm the spread wouldn't have been that great. I would have just cold worked to the final shape.
I was thinking of using clear dots on an opal light blue with a clear underneath will this displace the blue to have transparent dots on it if full fused so you can see though the spots where the clear dots are?
Hi Judith. I doubt you could dilute the colour to clear. In what I've done there is always some colour, though diluted. Even bigger cabochons still left colour.
@@RocketRoseArt Thank you I will use a transparent glass.
Hi Jeff nice work, another lovely piece. I assume that using a flat piece of clear would eliminate or reduce the bubbles in the piece? Is the reason you used the ripple clear (apart from water effect) is that the piece would more than likely have bubbling with clear so might as well make the bubbles even? Also is that a shop brought bowl mould or is it possible to use a std kitchen crockery/porcelain bowl? Cheers Ed
Hi Ed. The reason I used it is simple, that's what I had on hand. Plus, I like the bubbles. To me it gives a more handmade organic look. If you don't like the small bubbles, try using Tekta Crystal Clear. Yes, that is a shop bought mould. But you could use a ceramic bowl from the kitchen. I have a number of moulds that came from the cheap shop. I just sandblasted off the glaze and then sprayed with boron nitride. I've never tried using them with the glaze on 🙄 Always assumed that it would melt and cause problems, and I have a sandblaster. But I believe the glaze on ceramics fires a lot hotter so may not be a problem. Mmm, maybe I'll try. Hope that helps.
Bello !!!
Thank you.
Thank you so much for your answer. Did you use one or two layers of white glass? This plate is beautiful, I can’t wait to make my own. Greetings to Australia!
To make the little dots, just one layer fused long enough to round off. You could use 2, you would just have larger dots. Hope it all works well.
What type of bowl did you use to slump your piece?
That was a Japanese style bowl. There should be a shot of the bowl in the video.
Hi Jeff, stunning piece! Thank you for sharing.
What's the reason for using a 2mm
and a 3mm. Am I able to use two 3mm sheets?
Also, did you glue your cabochons on before firing? I may need to, will it matter?
Lastly, where in Australia is your studio/gallery? I feel as though a road trip might be on the cards now borders are being opened.
Thanks again, lovely work!
Hi Laura. Yes, you can use 3 mm. I used 2 mm simply because I had only 2 mm in that colour. The 2 mm meant I would have less spread, and you may get more with 3 mm, but that may not be a problem especially with a round piece and you don't mind a little organic look around the edge. No, I didn't glue on the little cabs. Glue would make it easier to move to the kiln, but because it's transparent make sure the glue you use burns out clearly. I use as little as I can of the Bullseye GlasTac and that is generally fine. But if I use too much I sometimes get a little residue. I'm in Toowoomba, Queensland. You're certainly welcome to visit. Just let me know so I can clean up the gallery. Hasn't been open since early 2020. We have Anns mum with us and she's 90 so we have been very careful. Also would like to convert the garage and set it up there, rather than the bedroom it's currently in. So may be out of action for a while. Depends on funds and more work. 🙄 But I can show you my humble studio and other work I've done. However, now we're all fully vaccinated we're thinking about opening it again. Not that we ever got a lot of visitors. Toowoomba isn't exactly a top tourist destination. 😕We'll just wait and see how this opening up goes.
@@RocketRoseArt Thank you so much for your reply Jeff. I look forward to seeing more of your creations!
Can you use any color dots?
Absolutely. Opal or transparent.
Really nice job. OK if I add it to the videos file on the FB page FusedGlassHOW?
Hi Ike. Sure, I'd appreciate it. Always good to help.
@@RocketRoseArt Great, thanks. I wanted to add your bubble grid platter but it's 'Whitelisted'. Did you put a 'no-copying' block on that one?
@@RocketRoseArt Your videos are 'locked' and we cannot create shortcuts from the URLs. Did you know that?
I have 'whitelisted' them - whatever that means.
@@Lunch4Learning I posted them in a Facebook group. It was possible
What mold did you slump this in to?
It's called a Japanese plate shape. Here's a link, though I know this is Australia. Should be able to get over there. www.glassfusing.com.au/index.php?main_page=product_info&cPath=54_38&products_id=3279
Thank you!
I watched the whole video to see how you use a mold to slump it but then, you always seem to not show that part 🤔
Hi Anon. If you have a look at the description you'll find a list of the chapters in the video. There is one for the slumping process. Is there something that I haven't covered that you want to understand?
Hi Jeff, I'm attempting to make a bowl similar to your "color dilution technique-sort of" and am having difficulty with the dots. I'm trying to get dense white to round off but they are square and somewhat wonky and pointed. I'd be glad for you advice. Thanks.
My schedule in F. is
400 1250 .30
600 1495 .10
AFAP 900 .60
150 700 -0-
Hi Barbara. Yes, you'll find dense lighter colours take a little more processing to round off. Dense white is particularly hard. Either take the temp up a little or just hold longer. Keep them close to the middle of the kiln and take a peek until they round off. Be sure to wear infrared glasses if you look in the kiln, and wear heat-proof gloves as you open it. If you have a grinder taking off the corners of the squares will help. Good luck with it.
The back view looks like bubble suspended in water
Absolutely. That's why Ann thought it would be better on the top.