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I want to fire a painted image onto clear glass then include that glass within several other layers to complete a piece with multiple layers of imagery. I took Kari Minnick's class where we did this type of thing but the images were made from powdered frit. My problem has been the fading out of color and strength of line when subjecting the glass to full fuse temps. I have tried Fusemaster high temp and a couple of others. Would it help to fix the paint to the glass at a lower temp and not take it to full fuse until I have the layers stacked together?

Vonon wrote:I want to fire a painted image onto clear glass then include that glass within several other layers to complete a piece with multiple layers of imagery. I took Kari Minnick's class where we did this type of thing but the images were made from powdered frit. My problem has been the fading out of color and strength of line when subjecting the glass to full fuse temps. I have tried Fusemaster high temp and a couple of others. Would it help to fix the paint to the glass at a lower temp and not take it to full fuse until I have the layers stacked together?

I prefire my colors to 1080ºF. On float glass, this is not hot enough to bend the glass, so it stays flat. On Bullseye the glass will be in motion at that temp. So, you have 2 choices, you can fire to 1080 or 1100 on a flat shelf, or you can add some lower temp flux to your paints so they stick at around 1000.

These countertops have a painting made with Ferro Sunshine series on top of the bottom of 3 10mm thick layers. I prefired them to 1080 and then covered them with 2 more layers of glass, dammed and fused. Fusemaster hitemp are comparable colors.

I've fired multi layered pieces with Reusche high-fire enamels. I prefired the layers to about 1400 and then stacked, dammed and fired the six-layer thick pieces to around 1480-1500° without loss of color.

Thanks Valerie and Bert. I'll get some Reusche high fire and test to a 1400 first fire plus test as per Bert with my Fusmaster high fire. 1400F is where my initial tests faded. Perhaps too much medium.

I fire two layers of 1/4" plate glass, with paint in between layers to 1485 degrees F. on a deep parabola shaped mold. For fun, I put low-fire paint along side high-fire, and am surprised to find it works! I also get great results mixing together low-fire color powder with a high-fire white to form colors that last. I think the protection of the top layer is key - not allowing elements to escape.

Mark Hall wrote:I fire two layers of 1/4" plate glass, with paint in between layers to 1485 degrees F. on a deep parabola shaped mold. For fun, I put low-fire paint along side high-fire, and am surprised to find it works! I also get great results mixing together low-fire color powder with a high-fire white to form colors that last. I think the protection of the top layer is key - not allowing elements to escape.

I have colors that degrade and turn gray when oxidized at high temperatures. I have other colors that do the opposite. One red will turn black, encased with no oxygen, but develop bright red on the surface. I have one low fire yellow transparent that survives hot temps. Others not so good. Sometimes I add low fire colors in so I can prefire to a lower temp and get the colors stuck on to the glass to be encased and fuse fired.

Bert, those counter tops look like slabs of jade! Quite a stunning effect....Jen

Buttercup wrote:Bert, those counter tops look like slabs of jade! Quite a stunning effect....Jen

Thanks Jen. They were fun to paint. I mixed up a few basic colors and then mixed them together in differing proportions so I got a range of compatible colors. I have developed techniques for putting colors on and then messing around with them to get the look I want, usually organic in nature. I am generally of the opinion that if you want something perfect looking, get it at Walmart. Everything there looks perfect...