Luminescent Fired Up and Down

Luminescent Fired Up and Down

by | Mar 21, 2020 | Inspiration, Kiln Forming and Glass Fusing Tutorials

For this pendant I used 2 squares of the 96-16 luminescent glass. One square was placed luminescent side down towards the textured Kaiser Lee Board shelf while the other piece was on top of it with a piece of fiber paper in between to create a channel for the chain. Once in a while the luminescent stays even without covering it. We just don’t know, without trying. Isn’t it amazing how the same coating can have such different effects?

Luminescent Glass and Papyros Paper as Design Element

Luminescent Glass and Papyros Paper as Design Element

by | Nov 21, 2019 | Kiln Forming and Glass Fusing Tutorials

Here is another sample of how you can use the fact that the luminescent coating fires off to your advantage. For this design, Melissa cut 3 curvy strips of Papyros Paper and glued them with a bit of white glue to the luminescent white glass. Than she added the little pieces of blue and green and fired the piece “decor side” up at 1410° F target temperature for 10 minutes. 

The none protected white glass lost all the luminescent, while the covered parts remained fully coated. 

Easy Crackle Tutorial

Easy Crackle Tutorial

by | Mar 24, 2018 | Kiln Forming and Glass Fusing Tutorials

Sue Osborn used all Wissmach 96 glass for this plate. 

First she made her own stringers with a Vitrigraph Stringer Kiln that Petra Kaiser has set up in her BIG Arts class room on Sanibel Island, FL.

In order to make those twisty stringers it is best to use two colors, one transparent and the other opaque. Sue used 96-20 and 96-06. You can always add a few pieces of clear scrap glass as well. You’ll find detailed instructions in the Fuse It book by Petra Kaiser.

For the fish Sue used

But how did she make the “Crackle” background?

First she took a piece of Figure C Textured glass in COE 96 and painted it with a blue “unique artisan paint”. After the paint was dry, she cleaned off some of the paint on the top of the glass, but made sure not to remove any paint the groves of the textured glass.

Then she placed the smooth side down toward the prepared kiln shelf, covered the textured, painted side with a piece of clear in the same size and added the fish and stringers on top.

We fired the fish plate at the Fuse It Studio on a Kaiser Lee Board kiln shelf and used Papyros Paper as a separator. Below you see the firing schedule we used in our kiln.

Firing Suggestion (Free E-Book)

500° F  (260°C)    up to 1000°F (540° C)    hold :10
AFAP                    up to 1410°F (765° C)    hold :12
AFAP                down to  900°F (480° C)    hold  2 hours.
100°F (37° C)   down to  700°F (370° C)    hold :0
Please ask your supplier for Wissmach clear textures. We have them available in COE 90 and COE 96. 
Do you have a Wissmach Glass Project Tutorial; you would like to share with our readers? If so, please contact Petra Kaiser and she will work with you to get your tutorial published.