Colored powders were combined and mixed thoroughly in a lidded container with enough volume of color to use the base colored glass to a percentage of clear as shown above. Use a N95 respirator when using dry glass, especially powders. I tend to mix powders outside under cover as fine particles the eye cannot see remain in the air for 8 hours. Once the clear and colored mix is wet using a pate de verre glue. I have track lighting which is how I discovered the finest of particles in the air. Another reason to wet mop my area after doing art.
Colored frits were combined and mixed thoroughly in a lidded container with enough volume of color to use the base colored glasses to a percentage of clear as shown above. Use a N95 respirator when using dry glass, especially powders. Once the frit is wet using a pate de verre glue. I tend to mix dry frit and powders outside under cover as fine particles the eye can not see remain in the air for 8 hours. I have track lighting which is how I discovered the finest of particles in the air. Another reason to wet mop my area after doing art.
The first sintered method of pâte de verre uses glass the size of sugar and powder and is packed into a plaster-silica mold and kiln fired to a tack fuse texture known as sintered.
Rather then using a plaster silica mold and talc as an inner core, this method uses a ceramic fiber mold and no inner core. This creates a sugar crystal effect on the outside of the piece and a shiny texture on the inside of the piece.
First I decide how the piece will be mounted, which impacts the design. I will either use a plaster hump mold or hand build the clay. Use of rails provide a even thickness of the clay. I have found this impacts both the firing and the final look of the product.