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Glass Trims On Porcelain


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Although my primary focus has been and will continue to be crystalline glazed tile, I have been playing with other ideas. I do have press molds for bowls and plates; although I have not done much with them to date. There is a glass artist that lives a few towns over, we have discussed some projects. One idea that I have played with is adding glass ribbons and/or handles to plates and bowls. Realize there would be some technical issues to address, but I think they would be a great high end pieces that would set me apart and fetch a fair dollar. I have seen glass trims on bone china before, but do not recall any on porcelain. I have to use porcelain to develop the crystalline glaze. Would have to anneal back up to 1450F or so to apply the ribbons. Thoughts?

Nerd

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Why so high for the glass?

 

Normally I wouldn't suggest trying this, as it's going to be one of "those" jobs that is a serious pain in the ass but is at least theoretically possible, but you seem to have the temperament for it.

You have to pay attention to shrinkage rates at all points in the annealing process, and have them compatible between the glass and the (presumably) glazed porcelain. So you have 3 substances to align. Most stained glass suppliers will have analyses of their shrinkage profiles of their products. Clay and glazes, not so much. Do you have access to a dilatometer? Also, how much glass slumping and fusing have you done?

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A lot of useful info in this: http://www.glassart.org/cgi/content.cgi/The_Combination_of_Glass_and_Ceramics_as_a_means_of_artistic_expression_in_studio_practice_Jessamy_Kelly_January_2009_FINAL_COPY_LR.pdf?id=16293&name=Jessamy+Kelly+Thesis  might cut out some of the experimenting for you. 

 

Have you seen Misa Tanaka's work with porcelain and glass? I'm guessing she uses something like the cold technique used on page 59 of the above link.

 

Some of Tanaka's work: https://www.facebook.com/media/set/?set=a.667359816707126.1073741959.275182532591525&type=3

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Callie:

 

I have supplied him with the COE of crystalline glaze and for porcelain. He believes he can custom mix a glass batch that would be compatible. He was going to draw glass from a glory hole and form a ribbon to the preheated pieces. He is going to do this work, not me- a joint venture lets say. I got the idea from Fenton actually @

http://www.ebay.com/itm/Vintage-Fenton-Art-Glass-Green-and-White-Opalescent-8-Basket-w-Applied-Handle-/121870692406?hash=item1c600f3036:g:HGgAAOSw9mFWITf2

The base of the above piece would be crystalline glazed- he would apply the glass handle. Think it would be a showcase piece myself- but I am biased.

 

Ty Min.. what I need the most-- technical info that I can process. Should be possible, but at what cost is the question.

Starts on page 45-- perfect!!

Nerd

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A lot of useful info in this: http://www.glassart.org/cgi/content.cgi/The_Combination_of_Glass_and_Ceramics_as_a_means_of_artistic_expression_in_studio_practice_Jessamy_Kelly_January_2009_FINAL_COPY_LR.pdf?id=16293&name=Jessamy+Kelly+Thesis  might cut out some of the experimenting for you. 

 

Have you seen Misa Tanaka's work with porcelain and glass? I'm guessing she uses something like the cold technique used on page 59 of the above link.

 

Some of Tanaka's work: https://www.facebook.com/media/set/?set=a.667359816707126.1073741959.275182532591525&type=3

WOW!

Next time I think there is nothing new in pottery, I will go back to these images.

Thanks

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they are beautiful, chris.  i wonder if the ceramic has a bottom before the glass bottom is added.  photos do not show that.  anyone know?

 

I think that this question in answered at the top of page 59 in

http://www.glassart.org/cgi/content.cgi/The_Combination_of_Glass_and_Ceramics_as_a_means_of_artistic_expression_in_studio_practice_Jessamy_Kelly_January_2009_FINAL_COPY_LR.pdf?id=16293&name=Jessamy+Kelly+Thesis

 

Andrea Walsh combines unglazed bone china paper clay and kiln cast glass

to create unique vessels (see Figure 51). She fires her work together using

fibre paper to separate the two surfaces to create an exact fit. The

complementary elements are then assembled together in a cold state to

create a flawless connection that appears to be one piece.

 

Which of course leaves open the questions:

- are setters used (it is bone china)

- is the bone china fired to vitrification before firing with the glass

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Well, my wheels are turning. Spent all night reading about glass fusing and slumping. Full fusing requires 1475F and tack fusing 1325F. So I guess the glass guy was right. Looked through a long list of glass slump molds, trying to figure out which would  make good bases. I can see this going many places. After reading, I suspect the artist above is using a fusion frit to attach glass to clay. Much more to learn.

Nerd

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