Thanks for watching!

Thanks! Glad you enjoyed it!

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Right here! shop.bullseyeglass.com/Mt.-St.-Helens-1980-Volcanic-Ash-Glass-Dish

Karen, As long as your kiln is well calibrated and and has a controller capable of accurately delivering the ramps anf holds of the required segments the advice provided here will be more or less universal. Once that's known the manufacture type, whether, brick, fiber, or hybrid, is not of much consequence. We always recommend testing to understand the idiosyncrasies of each kiln you use. Thanks!

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Hello, Sorry, we didn't make that more clear. It's an acronym: As Fast As Possible When programming this into a controller it's typically entered as a 9999 rate. More on this lesson including a PDF download with materials list and firing schedule can be found at: videos.bullseyeglass.com/videos/slumping-basics/ Thanks!

There are a number of factors that contribute to success of cutting sheet glass. One of the key variables as you move from thin (2mm) sheets up through standard (3mm - 6mm) to thick (10mm +) is the choice of cutting wheel angle. We recommend angles of 120˚, 135˚, and 160˚ respectively for those thicknesses. That guidance and much more can be found in our free PDF download titled "12 Ways to Improve Your Cutting". www.bullseyeglass.com/12-ways-to-improve-your-glass-cutting/

Thanks for your thoughtful comment. The owners of Bullseye are determined to ensure its legacy lives on in service of generations of artists to come. 😄

Glad it was helpful!

Jason, yes, the sand-blasting helps the top flat surfaces to match with the belt-sanded edges so that with the final slump/fire-polish firing the whole piece has a unified satin finish.

Thanks!

Hello Rae! So glad you're enjoying our videos and are going to give glass a try! That GlazeTech looks like a good kiln. My only comment being to please use the Ramp/Hold mode to program a specific program. Using an automated mode may make too many assumptions and take away control you'll want to have. This makes it especially difficult to trouble-shoot if firing issues arise. Re: the spacing of the shelf off of the kiln floor, we recommend the 2" posts as being a good *minimum* configuration to allow adequate air/heat circulation under the shelf. Especially if your shelf is wide it could make for too much of a top/bottom heat differential across a panel piece risking stress that may damage your work. For larger and deeper works we might recommend even taller posts to ensure even heat distribution. Remember that it's not just about heating-up but also cooling-down for proper annealing. An extra set of posts is a small price to pay to eliminate variables that could impact your firing success. I'll note that we like to use triangular posts as they are easy to securely stack. Good luck and please keep us "posted" (see what I did there?) - Team Bullseye

Hemos publicado plenitud de videos relacionados a castings - De esta opción que es avanzada y en 3-D printing, a otras que son más básicas y requieren de menos materiales. En esta misma plataforma de KZbin tenemos las siguientes opciones: www.youtube.com/@BullseyeGlass Cientos de videos en nuestro website - videos.bullseyeglass.com Específicamente aquí te dejo algunos de los más títulos más populares relacionados a este tema: Lost Wax Kilncasting videos.bullseyeglass.com/videos/lost-wax-kilncasting/ Box Casting videos.bullseyeglass.com/videos/box-casting/ Open-Faced Kilncasting videos.bullseyeglass.com/videos/open-faced-kilncasting/ Day of the Dead Skulls videos.bullseyeglass.com/videos/day-of-the-dead-skulls/ Making Multiple Wax Models videos.bullseyeglass.com/videos/making-multiple-wax-models/ Master Class Video: Pâte de Verre, Grains of Light with Alicia Lomné videos.bullseyeglass.com/videos/master-class-grains-of-light-with-alicia-lomne/ Kilncarved Billet videos.bullseyeglass.com/videos/kilncarved-billet/ Pâte de Verre Bowl videos.bullseyeglass.com/videos/pate-de-verre-bowl/ Kilnforming on a Sand Bed videos.bullseyeglass.com/videos/kilnforming-on-a-sand-bed/

Tonia, Those scrapers are commonly found at hardware and home stores. They're usually with painting prep tools as razor scrapers. They have replaceable blades of a width generally between 1.5 to 4 inches. The one we're using is ~2 in. wide. Pasted below are links to a few similar options. Thanks! 2 Inch Metal Paint Squeegee, 2-in-1 Razor Squeegee with 40 Metal Razor Blades www.homedepot.com/p/2-Inch-Metal-Paint-Squeegee-2-in-1-Razor-Squeegee-with-40-Metal-Razor-Blades-B095NMFMDH/321685737 Ace 2.25 in. W Steel Dual Edge Butterfly Scraper www.acehardware.com/departments/paint-and-supplies/painting-tools-and-supplies/paint-scrapers/1499482

Cindy, Yes, I see we didn't include the slump schedule by itself but we can reverse engineer it using the guidance provided at 6:00 in the video. We use the Anneal Chart for Thick Slabs and find the entry for twice the thickness of the thickest part of the piece. We're using 2x the thickness since this is a slab of variable thickness and therefore at greater risk for design-induced stress. Once we have that thickness line we go out to the 'Final Cooling Rate' column and use that rate as our initial ramp to 1000˚ F. From there we can use 600˚ F per hour rate to the process temperature and process hold for the slump as described. After that we can follow the same 2x thickness line on the chart back down. In this case that will be same as what was on both the first and second firing schedules. As to your question if multiple firings affect the annealing cycle, that would be practically 'no'. It's really about the thickness and build complexity that affects the annealing process. As always, if building up a large or complex piece, testing at small scale is always advised. Thanks and good luck!

Hi Judith, We have it on our eCom site and at our stores: shop.bullseyeglass.com/spartan-glass-cleaner-concentrate

You're welcome!

To tylko kawa!

Jason, It really depends on how the score ran and what your needs are. Broadly speaking, a well-run score will have square (but not 'dull') edges which can be safely handled with basic precautions. That said, it's not uncommon for small sharp flares to develop, especially near the end of a run. These are extremely sharp. If your need is to tightly fit-up multiple pieces in a composition, you'll want to usea a sickle stone or hand-lap to smooth these out. Similarly if you're doing stained glass and need to tightly wrap foil tape along the edges. You'll want those to be square and safe to handle. Conversely if you're composing a piece with loose tolerances or if you know you'll be performing a lot of cold-work after fusing it may not be as critical to finish the edges so perfectly. Thanks!

Using a ceramic composite kiln shelf such as cordierite/mullite with a separator such as Fiber Paper, ThinFire, or Shelf Primer, is economical and easy to employ. There are other options such as rigidized fiberboard or SilkeMat. These are for specialized applications such as large scale shelves or for achieving custom contours. They are more technically complex to set-up. A number of these materials can be found at: shop.bullseyeglass.com/tools-supplies/kilnwork A library of techniques can be found at: videos.bullseyeglass.com/

Cassandra, we have the G-Manu cutting system and accessories in our online store: shop.bullseyeglass.com/search?keywords=g-manu

Michelle, Yes, that 'bubble grid' is a cool effect isn't it? And, happily, it's super-simple to achieve: You're simply full-fusing two pieces of reeded glass laid-up face-to-face with the patterns running perpendicular to each other. After fusing you'll see that each intersection of the lines crossing each other has captured a single bubble. That's it! In the example here it's all clear but imagine if the bottom piece was black reeded or if the whole clear/clear assembly was fused atop another color? The bubbles will capture light and cast internal shadows in a way that creates a very powerful depth effect. Thanks and good luck!

​@@BullseyeGlass thank you for sharing, i'm absolutely in LOVE with this unique look! for the second idea with adding color, should the colored glass be transparent or opaque in order to see the shadows, or does it matter? thanks for the inspiration and sharing the knowledge, much love!! <3

Michelle, You're very welcome! As far as adding color under the clear/clear reeded assembly, having an opalescent with a medium value would probably read most dramatically as far as the shadows go. Black underneath clear/clear is impressive too. Not that there are shadows but it makes the bubbles really pop (ha!) by contrast. Thnx!

@@BullseyeGlass that's awesome -- i'm so excited to try this out! can't wait to make the bubbles pop 😆 thank you!

You're welcome!