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My mileage DOES vary. This is just another example of slapping another technique onto glass. And, it shows no respect to an ancient tradition to cheaply copy it.

Valerie Adams wrote:I think the biggest challenge would be selling the "understanding that the piece is more beautiful for having been broken."

Yeah! And why do it?

Don't skip the 60 step, you need to flatten the piece before you can polish. I can't really give you a time, but probably longer than you would think. 200 to 800 is a big jump. I would achieve a good 200, then slump, it's a nice finish.

Looks pretty sweet Al, how is it working out?

Congratulations, you will be happy with it. All my students preferred it also.

I've had both, and far prefer the Denver SAG1. More solid, just feels better.

Maybe. LOOK!

elenor wrote:OK - I will do that next time but these both broke on the ramp up!!!

Then you have to slow down . . .

Waaaay more annealing required . . .

A powder fade is a gradation from light to heavy. It can be accomplished in a few ways, one is to slowly raise your sieve as you apply the powder, another is to apply multiple overlapping coats. Bullseye teaches this and I think it is covered in a Tech Sheet.

You can do it, but it's a lot of work. It may be easier to sandblast and fire polish in the mold.

Sometimes he's off continent when the work is made.
I guess that's better than being incontinent . . .

Congratulations. Yes. No.

Clowns. He already has the hair . . .

No, overspray won't work. Try a gather of clear, after you've sprayed the stannous.

I'm not getting this. Protect it from what?

Was it that The Studio Glass Movement hero's and heroines all made "fine art" and the Higgin's were more in the "craft" category?

Yes, I think so.

The Studio Glass Movement in America was a movement of glass blowers, individual small studios, not factories, that sprang up after a workshop, actually two workshops at the Toledo Museum of Art organized by Littleton, Labino and others in 1962. It had nothing to do with any other glass discipline. ...

Irid doesn't stretch. It breaks. It is an extremely thin coating, and significant movement of the substrate will cause the irid coating to break. This is a well known fact, and I have known it for over 25 years. It does not cause anymore incompatibility than was already there. I have been trapping i...

The irid coating on iridescent glass, like most glass paints we use, and all foils, and various other materials we fuse into and onto glass, is not, and never was, compatible. It doesn't break the glass for the same reason the other materials I listed don't break the glass. Volume. A thin layer of a...