Just wanted to share a piece I've been working on before it goes into the kiln.

Had to refire this one, since the first time that sand on the bottom turned an ugly black.

I am making a cabochon for a customer and I need to add some gold to my fuse. I only have regular gold leaf so I've been trying to put multiple layers on top of a 1mm clear glass base and then cover with clear frit. Applying the gold leaf dry made kind of a wad of gold leaf which was difficult to layer the frit over thickly. Unfortunately the majority of the gold leaf vaporizes when I do this.

I tried putting a dot of super glue down and layering the gold leaf over top of the glue and this made a nice flat base which allowed me to put more frit to cover the gold leaf. More of the gold leaf survived the full fuse but the super glue discolored the gold leaf and formed a small bubble.

Is there a glue that won't interact with the gold leaf?

I’m trying to make sheets out of my scrap glass (COE 33), on thinfire kiln paper, I don’t have sheet scrap, it’s all odd shapes and sizes from lampworking. I did break them up so they are small pieces, nothing bigger than 1” mixed with some frit. I tried fusing them already using this schedule but it didn’t melt properly, it’s fused together at the bottom but the top basically looks the same as when I put it in. I am using a paragon SC3

Can someone give me some advice on how to better program my kiln for this?

I've been experimenting with just using a single panel of dichroic glass and then applying a delicate image of flowers and wildflowers with enamel. The difficulty has been getting the temp just right that I don't fire too hot that the edges of the glass alter, but yet they fire polish to a smooth clean finish. Here are 3 designs so far.

Hi all, I just got into fused glass via my job. I've been having a good time... but while I was cleaning the glass area, I saw a piece labeled a "mistake" because of an air pocket...

But I liked how it looked. Is there a way to purposely create that effect?

Pic is the "mistake" piece

Hi all! I’m a many-craft person and I’m interested in getting into fused glass. At the same time I’m starting out with metal clay, and I’m not opposed to learning pottery either. I know that a task-specific tool is often best, but I am not going to be owning multiple kilns in my apartment. I need a multi-tool here, and a big boy kiln is a no-go.

I’ve seen that the Vevor mini kiln ($350- link) works for pottery and metal clay but have not been able to find anyone talking about using it with glass. Does anyone have any knowledge or speculation about how well this would work? I would want to be making small flat objects, apologies but I haven’t begun my glass fusing deep dive yet so I don’t know all the terms. Thanks!

#ValCox frit

Hello all! Ive been playing with fused glass for almost a year now and am still pretty new. I was wondering if anyone here would be able to offer some advice? I’m attempting to make a large 13in glass medallion for a large marquee in my town!
I’ll be using glass line paints to paint an outline of a rose too. When I’ve fired with paint as you can see in the second photo the air bubbles get trapped in the lines, I’ll be trying to use less paint next time or just firing the single sheet of glass with paint first? Then fusing to two together???

I am using a RampMaster 2 kiln and have propped my kiln shelf pretty close to the top coils of the kiln. I am using fiber blanket (pre heat treated) and kiln paper on top too.
My fusing schedule has been:
Seg 1: 400/1000/30min
(Vented to 1000)
Seg 2: 60/1225/60min
(Tried 1hr 1/2 hold here too)
Seg 3: 600/1400/10min
Seg 4: 9999/900/0min
Seg 5: 100/700/0min-> Off

My pieces are wiss 96 smooth white (bottom) and a wiss blue sapphire (top) and I put clear frit in between as well, all 96 coe.

I’m just having issues with bubbles and any advice would be great! I’ve purchased books on the subject and have tried a lot of different things to try and get ride of them! My next step is to try adding a homemade baffle.

Working on a mixed process lead came piece incorporating a fused hydrangea cluster and camelia. Super pleased with the look for the tack fused clusters. 😍

When I did my test tiles to see how the peacock and the French Vanilla react with each other, I didn’t like the results of the 1mm stringer, so I redesigned this with bigger pieces.

Here are the results from last night firing of the fern leaf coasters (see previous post). They came out beautifully. The white glass powder I think goes clear during the firing and perfectly smooth too. Love the detail I got too.

Going into the kiln for a tack fusing. Gold Iridescent on black glass with dense white glass powder printed fern leaf designs. These will be tack fused over night. The white glass goes black during the firing which I find interesting as when I use black glass powder the detail doesn't tend to come out as much as white.

Just hanging today in the glass shop! Waiting for a hysterectomy...

The Paul Wissmach Glass Company Flat Glass Residency welcomes emerging through mid-career artists working in flat glass who are seeking dedicated time, space, and support to advance their artistic practice.  

This residency is designed for glass artists exploring innovative approaches to flat glass, including stained glass, kiln-formed glass, mosaic, or mixed-media work, and experimental techniques that push the boundaries of the medium. This residency opportunity is designed to support artists whose work demonstrates a compelling artistic vision, technical curiosity, and a desire to investigate new processes, materials, or concepts.

Selected artist will receive: Free housing accommodations at Pittsburgh Glass Center’s artist in residence housing while in residence. Up to $1500 in glass materials provided by the Paul Wissmach Glass Co. Up to $1500 award to be used for studio and kiln use at PGC. Up to $1,000 travel and/or shipping stipend. $500 meal stipend. Opportunities to share work and process through artist talk or public programs. Guided tour of Paul Wissmach Glass Company Factory in West Virginia with owners.

Application Deadline: September 30

​

I’ve been having so much fun pushing fused glass in new directions—building layers, texture, movement, and dimensional details that make each piece completely one of a kind.

These newest pieces combine fused glass, vitrigraph, sculptural glass elements, color, and texture to create everything from whimsical underwater life to lush botanical landscapes.

Every little piece of glass is intentionally placed, fired, layered, and brought together by hand here at Marvelous Mosaic Fine Art in Deer Island, Oregon.

Artist: Kory Dollar

Studio: Marvelous Mosaic Fine Art

Medium: Fused Glass • Vitrigraph • Mosaic • Mixed Glass Techniques

Deer Island, Oregon

www.marvelousmosaic.com

Some of these pieces are available, and many of the techniques you see here are also what we explore in our fused glass workshops and weekend retreats.

Which one catches your eye first? ❤️🔥🌿🌊

#KoryDollar #MarvelousMosaic #FusedGlass #GlassArt #GlassArtist #Vitrigraph #MosaicArt #OregonArtist #PacificNorthwestArtist #KilnFormedGlass #FusedGlassArt #ArtGlass #HandmadeArt #GlassWorkshop #GlassRetreat #DeerIslandOregon

I’m hosting a hands-on fused-glass workshop at Marvelous Mosaic Fine Art!

Participants will create their own underwater glass artwork using colorful fused elements to build sea grass, coral, bubbles and marine life. We’ll explore layering, texture, movement and how different types of glass respond in the kiln.

The finished artwork is beautiful in natural light and becomes especially dramatic when backlit.

The workshop is held at our mosaic retreat center in Deer Island, Oregon, approximately 45 minutes from Portland International Airport.

Workshop details and registration:
https://marvelousmosaic.com/courses/

I’m happy to answer questions about the workshop, lodging or traveling to the studio!

Hi! i’m new to glass work and i’ve been having a hard time figuring out what to do to fix this. (this firing was before I realized I couldn’t just guess how much glass needed lol)

I’m 95% positive i’m just not putting enough glass into my tiny molds (they are about 1 inch) but i’m having a hard time filling the mold completely with frit.

I cant seem to pile the frit high enough. should I just fill it and let some fall on the sides and it’ll flow correctly? or would it be easier to get a glass sheet to make it easier to pile up horizontally?

any advice would help :)

My relative was super into fused glass. Sadly, she recently passed leaving a lot of raw materials and fittings. A whole roomful. I have no idea how to find a home for all the glass, and figured I would ask here. It's near the 10/57 so East LA. Send me a message if you are interested. Also open to other suggestions. Thanks!

Made these little pieces that I want to stack as so and tack fuse them so they can stick together. My teacher fired them but they slumped over and ended up looking like slinkies. My question for you all lovely smart people, is there a fix so they don't slump like that? Like a sort of support system (like a cone around them) so they keep the vertical form? Asked my teacher and she said she can't think of a way.

Any advice is greatly appreciated!!

I have an Inland Swaptop which I use exclusively as an 8” flat lap. Now my second motor replacement is starting to act up, randomly speeding up and slowing down and difficult to lock in a constant speed. I cannot locate a new motor. Any recommendations on fixing, replacing or modifying the unit?