Three Colors of Glass
I know it’s hard to see the clear glass squares at far right, but you’ll have to take my word for it that they’re there. In order to make two coasters, I cut two 3.5 x 3.5 inch squares of the following Bullseye Glass, all 2mm thick: Clear (001101-0050), Opaque White (000013-0050), and Petal Pink Opalescent (000421-0050). I’m using three layers to imitate the cherry blossom bowl that was in progress when the coasters were created. I don’t really need 3 layers or colors for this project, but the pink bottom of the coasters might give the white glass on top of it a slightly pinkish cast in the final product.
Based on the enamel tests I’d done earlier, I picked the four vials at upper right as the colors for the cherry blossom stencil (which is laying on top of one of the pieces of white glass). During the making of the cherry blossom bowl, I had cut away the parts of the stencil that had no design so that it didn’t lay on top of enamel I had already glued to the glass (I used the stencil multiple times for the bowl).
Sifting Enamel Powder
The little red sifter is a great size for the delicate cherry blossom design. Here’s an action shot. (I was wearing a respirator, as always when working with glass powder.) I had used a paintbrush to spread GlasTac glue across nearly the entire stencil and, through its holes, to the white glass below.
I used a small piece of blue painter’s tape to keep the stencil in place. When I very carefully pulled the stencil up, the excess powder was still stuck to it (as planned, so it wouldn’t scatter everywhere). And what remains on the glass will be the design.
Ready for the Kiln
In this shot I wanted to show the thickness of the powder that I eventually achieved. Its hard to see the petals of the cherry blossoms because the powder is white, but changes color during firing.
Ready to Fuse
At the front of the kiln shelf are the two coasters. You can see the base piece of pink glass peaking out, then the white glass with the stencil design, and finally a piece of clear glass to cap it. Based on the enamel test, I’d decided I liked the tiny bubbles, more vibrant colors, and greater accuracy that the cap of clear glass gave.
Some pendants snuck onto the shelf before I closed the kiln door, but you can see that everything has fused.
I am delighted with this whole enamel powder adventure. As with so many other fused glass projects, using powder had never really appealed to me. But in the doing I came to appreciate the very subtle effects it can create. I’m looking forward to many more projects like this.
FULL FUSING SCHEDULE (RUN TIME 8.58)*
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