Making Beautiful Pieces of Cast Glass With Pot Pouring

Just how would you like to use a plain old ceramic kiln with no controller to make the most beautiful pieces of cast glass? Well that is actually a pot put is. maquina lapidadora

Also referred to as an aperture dump, the idea is to put scrap glass into a clay flower weed and take your kiln up to 1700F, at which time the now molten glass will drizzle out the holes in the bottom of the flower pot, hopefully creating intricate designs. 

This is so simple to do all you need are something to keep the goblet in like terra-cotta blossom pots, something to get the glass and pan supports.

The Pots

We all use $1-$4 unglazed terra-cotta clay pots from Lowes. We do not kiln wash them. We drilled extra holes in the bigger ones. Pot sizes are usually 2″, 4″, 6″, and 8″. Try to acquire “azalea” type pots as they are wider at the base which is way better – trust me. Exercise larger holes in the bottom of the containers to find the goblet to flow out more smoothly. In the 6″ and 8″ pots exercise multiple holes, perhaps 5 to 8 as this will create better designs. Be sure to use masonry exercise bits. They will not crack the pot, are inexpensive and last permanently.

The Kiln Rinse

We use Bullseye and do an one: 1 or you. 5: 1 mixing rate with water. Yes We know this is solid but it protects the shelf at these high temperature.

The Battres

These kinds of are optional as you can allow glass just fall on the kiln shelf. Be sure you use a lot of extra thick kiln wash. If you are too nervous to let the glass fall on the kiln shelf then use ceramic pot saucers a few sizes back up to catch the a glass. Definitely kiln wash these. You can also use metal circles/frames to contain the glass so it does not spread away beyond the boundary.

The Pot Cases

You need something to suspend the pots of the kiln shelf. What I do is place some kiln brick on its side and the lay long kiln articles across to suspend the pot(s). What I really like is to become some old kiln shelving and cut 1/2″ vast strips about 20″ long. They are cheaper that long kiln posts and are not as high.

The Simple Process

you ) Put lots of kiln wash on your shelf. It does not have to dry all the way up as the running kiln will manage that.

Create your kiln brick and posts to suspend the pot(s).
Load up your pot with glass. Help to make a note of how much. Too much and it will overflow so be careful.
Put weed in kin – really!
Turn kiln on high and enable it run for about 3 several hours but check the temperatures. Open the lid around 1700 degrees to see if all the a glass is out. Let all the glass be used up.
Switch off kiln and expensive cool to 1100 deg. Close the lid and the piece will anneal as the kiln temperatures reduces naturally. If you get nervous, turn it on low at 960 for a couple of hours.
Be sure to let the piece cool thoroughly.
You will need to clean the shells of these pieces. I actually use sandpaper for the small ones and a 60 grit flap texturing disc on a portable grinder for larger ones. The flap sanding compact disk takes the kiln clean off in 2 secs – no kidding. To get even the fine grit off soak them in muriatic acid for thirty minutes and hit them with a wire clean. Muriatic acid is awful so use hand, oral cavity and eye protection.
That is all for the moment. So long and keep kilning!

“NicaraguaTom” Kepping

Kepping is a major international artist, working and surviving in Bozeman, Montana. Formerly of Singer Island, Florida and Granada Nicaragua he was born in New You are able to City in 1959 and raised on the East Shore of Maryland.

Kepping has an unusual and entropic way of working with glass. As this individual formulates his own coloured glass, a process is made where by unique mixing up yields distinctive results both in finish and structure. Several different sculpting methods based after design requirements. Generally speaking, a foundation cullet glass is warmed to between 1700? & 2100? where coloring is added. The molten goblet can then be gravity cast and manipulated using stainless stainlesss steel instruments. Work is then cooled and then reheated for reshaping and perfecting.

Copper and aluminum are being used as the base precious metals used for mounting and display thus making the job scalable in size. Aluminium is a fantastic material as it is malleable for forming and welding and is also light in weight – a plus for larger pieces. The use of copper also provides an unique blend of finishing via perfecting or patina.

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