blackthorn

I have also been using mylar sheets on a Cricut. https://www.amazon.com/dp/B089W3Q5X4/?coliid=I3FTUFDEJF3F8G&colid=JTV78ROEQ2AV&ref_=lv_ov_lig_dp_it&th=1 These are 12"x24" but they also sell 12"x12". Tyvek is easier to cut by hand but mylar can also be cut by hand and pretty easily if you use something like a wood burning tool or even a soldering iron.

From what I found in my research on slumping glass onto ceramic substrates: Fire the kiln to a temperature between 1200 to 1300°F (648.9 to 704.4°C), keeping an eye on the glass through the peephole. The glass will begin softening and turn glossy when the temperature nears 1000°F (537.7°C) and start slumping as it nears 1200°F (648.9°C). Sadly, I think this is much higher that the silver in Liquid Light can endure but have yet to confirm this. It will likely dissapate above 1000ºF. It's on my list to test but will require dedicated kiln time at the school and we're in the middle of a term with students scrambling like ferrets to have their work fired. Still, sounds interesting and I'll pursue it as time permits.

From earlier today. This will bisque to a light toasty brown. Any higher and it will dissipate completely.

I'm also interested in spraying glaze and slip. Here are a few links that I've found helpful: https://www.youtube.com/watch?v=4btURLgFOzQ https://www.youtube.com/watch?v=L0jS2U6PPCE https://www.youtube.com/watch?v=1LiZ7V7CNTE https://www.facebook.com/watch/?v=1474038826090633 Tom @Hulk is right about the spray gun. Geil sells a good one for something around $40 US dollars.

@PeterH To your points 1 and 5 - I posted images of some of my recent tests earlier in this thread. To your point 2 - I've found this to be true of fully vitrified stoneware and porcelain, so I coated it with a combination of equal parts of Whiting, Gesso and water. It remains stable long enough to allow for exposure, processing and firing if it done within a day or two. I haven't tried it yet but I'm also going to spray paint flat white, sand and repeat a few times, on a fully fired slab to see if it allows cyanotype to not bead up. Gum or gelatin will bond to the painted and sanded surface.

Reading just about any book on Ceramics will provide info on pigments that are used, and the better ones will describe the behavior of most at varying temperatures. Since we know that: "Glass melting is performed at temperatures between 700°C and 800 °C which correspond to an optimized value of the viscosity for glass refining and shaping", we can surmise that firing an exposed and processed sheet of glass will begin to flux at temps nearing that. Experimentation would be essential to see 1) How high is high enough to completely bond with the surface image; 2) How high is too high, which would result in partial or complete distortion of the image, ala Salvador Dali; 3) If it's even possible to sufficiently melt the glass without it bonding to whatever cookie or shelving it's resting on during the firing.

I'd never stack any glazed pieces during firing to any temperature. It sounds like your trying to save on space/time with this technique, right? I have an awful lot of slab work and I bite the bullet and use lots of shelves and short risers. Another question might be, would you do it for some of your own work that you really cared about successfully firing. That's my thought. Best of luck.

I purchased my supply of Potassium Dichromate from Bostick and Sullivan but a quick Google search will turn a dozen more places, like another of my favorites: The Photographer's Formulary. Here's a link to Bostick and Sullivan: https://www.bostick-sullivan.com/cart/3/109/ Yes, it's toxic. Maybe more so than Cobalt and perhaps Barium but handle with good and sensible care and you'll be ok. ps. Some low fire glazes actually call for Potassium Dichro. Just saying.

Absolutely Peter. Iron, Cobalt, Manganese all can be and are used as pigment in gelatin or gum dichro printing. The ONLY thing one has to watch out for it the amount used. I can attest to the fact that if too much of any of these is used then the emulsion becomes to opaque, like parts of the negative and blocks the exposure. So much of the emulsion simply washes away after exposure. Less is more with both oxides and Mason Stains and interestingly enough, that includes Mason Stain White, which I've used with film positives on dark clay bodies, instead of a film negative. But, @jsmoove, your point about testing is, of course, correct. I'm still doing that. I've found many ways how not to make these processes work. I have no experience with glass work but admire the process. There are only so many hours for me and that's another rabbit hole in which I could easily get lost.

Thank you! I've attached the schedule from the Geil Electric here.

I often use Aardvark Black Mountain, but it's ^10 and requires a lengthy and slow bisque or it will definitely bloat. Otherwise it looks wonderful, like your Midnight Black. No idea if a ^6 Black Mountain exists.

Mark's comment on eating Fair food and getting ill reminded me of the time I got food poisoning and my wife had to do the tear down and packing all by herself as I writhed, sweating in agony. Subsequently I planned my fasts around events and just drank tea and water. Two or three days was not a struggle. Not a very exciting response to the original question I suppose but there it is. I'm extremely unlikely to eat street vendor food from any location ever again.

Ok. Like you, one of my goals is to create an absolute permanent image, and, as it happens for my part, to make it on ceramic. While I like the cyanotype process, my next project involves the other video link I posted - Carbon Transfer. What I'm doing is creating the emulsion of Potassium Dichromate, Mason Stain and Gelatin. I pour that on Yupo and let it dry in full dark. After dry, I get the enlarged negative of choice and expose it. I've also prepared a bisqued slab coated with a mix of gesso and Whiting which is then coated with gelatin and hardener. The exposed Yupo/gelatin substrate is sandwiched with that slab and set in a tray of hot water until the gelatin releases from the Yupo and adheres to the slab. Yupo is peeled away and washing continues melting away all the unexposed gelatin leaving the exposed (hardened) image. Now it's such a thin coat of gelatin that during firing, as it melts, the actual image suffers minimal distortion. One down side is getting an image onto something thrown or more dimensional than a slab. Of course the absolute major challenge is to find an image that integrates into that form and not just having an image on it for the sake of having an image. I'll post an image of then when successful.