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  #26  
Old 02-22-2019, 06:03 AM
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Quote:
Originally Posted by Rosanna Gusler View Post
Nope. Their schedules are notoriously bad.
Thank you. That is good to know.
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  #27  
Old 02-22-2019, 07:18 AM
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Quote:
Originally Posted by Michael Ahlefeldt-Laurvig View Post
Yes I was afraid of that too, how was it clever?
Afraid of what?
As far as clever: You would not be able to battutto the bottom of the vessel with that foot already in place. You physically could not get the grinding wheel towards the bottom of the vessel the foot would be in the way.

I think we are all on the same page. That isn't some crazy flared flat faced punty but actually a blown foot added after the battutto.
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  #28  
Old 02-22-2019, 08:41 AM
John Riepma John Riepma is offline
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Sky, that's a good catch that the punty was also the foot. I had not noticed that until you mentioned it. A lot of Mark's work is sculptural I had gotten confused looking at the closed top and had "vase" in my mind. Good eye!
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  #29  
Old 02-22-2019, 10:30 AM
Michael Ahlefeldt-Laurvig Michael Ahlefeldt-Laurvig is offline
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Never mind Sky, youre right
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  #30  
Old 02-22-2019, 11:16 AM
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Quote:
Originally Posted by Rosanna Gusler View Post
Nope. Their schedules are notoriously bad.
I wondered where some people posting on warmglass got their lousy schedules!
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  #31  
Old 02-22-2019, 11:22 AM
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Well excuse my ignorance but I posted kiln schedules that I've successfully worked with in response to the OP. "Anybody have some suggested firing schedules for subtly fire polishing glass in the kiln?"
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  #32  
Old 02-22-2019, 01:38 PM
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I actually thought that the chart would be a fun starting point for experimentation. Most comparable charts I've seen have been for warm glass varieties.

But the even better thing is that this thread has initiated a healthy dialogue, with plenty of valuable tips all around.
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  #33  
Old 02-22-2019, 02:25 PM
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plenty of valuable tips all around.
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  #34  
Old 02-22-2019, 04:42 PM
Michael Ahlefeldt-Laurvig Michael Ahlefeldt-Laurvig is offline
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I believe our-moderator and benefactor is becoming a quite successful comedian! as far as the other things go, I do not believe you cant put a 12 pound vase that youve put 15 hours on a diamond wheel, in a kiln and “ firepolish” it , forget it, Ill stretch my neck and say those firing schedules are for little old ladies making earrings that hardly need to be annealed at all
By the way I watched the youtube to the end and of course saw what was going on
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  #35  
Old 02-22-2019, 07:25 PM
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I agree with Michael. Especially about the part concerning my second career.

Something that has to be considered here beyond the basic mass of the thing and how long that takes to get up to a tolerable temperature where you might screw with it is surface tension which undoes so much glass when you change it that all bets are off as to why it failed.

This is kind of a perversion of Graal. It was intended to be what it was. If you wanted some luster, OK, then acid etch but reheating it in a kiln is not likely to make for happy campers compared to what you will lose. The slumpy's stuff is just silly. Maybe taking Graham Stone's "Schedules" in reverse but I wouldn't bother. If you want Graal. make Graal.
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  #36  
Old 02-23-2019, 12:01 AM
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I've spoken to Mark (guy in the video) about his technique for this and he's got it down really well. He used that punty for two reasons:

1. He didn't want to ruin the battuto all over the piece by puntying to the bottom.
2. If you punty to the lip, you'd close off the vessel--that's a fail. So you need a punty with a breathing hole--a punty with a blowpipe. You could use a crown punty on a pipe, but when you break off the piece you'd need to lay it down in the kiln, risking the battuto he just fire polished. But by making a punty out of a flared out rondel he provided a breathing hole and a stand for putting the piece away. So after he knocks it off and loads it in the kiln it stands on that rondel--also preserving the battuto. He cuts it off later.
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  #37  
Old 02-23-2019, 07:26 AM
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when I went to the Shanghai shop the first time The workers made these pieces which were never going to stand up in the Lehr so they would pour out a big pattie of glass and attack it with texture and at the temperature you would expect for a punty, they stuck the piece down to it and put it away standing so the sides were not marred. It tapped off quite easily the next day and then was cleaned up.

I never did get to establish how much strain that sort of thing caused.
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  #38  
Old 02-23-2019, 03:58 PM
Marty Kremer Marty Kremer is offline
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Quote:
Originally Posted by Michael Ahlefeldt-Laurvig View Post
.... Ill stretch my neck and say those firing schedules are for little old ladies making earrings that hardly need to be annealed at all
By the way I watched the youtube to the end and of course saw what was going on
Michael- you're tossing the baby out with the bathwater. Yes, the bar on fusing can be placed pretty close to the ground (mix those metaphors!) but there can be art and artistry and finesse (and science) involved. Many of us fusers have been pushing hard for a long time for knowledge and mastery against the Slumpy's-know-nothing-schedules of the crafty set. Just as in any discipline, it's an uphill battle.
And there's nothing wrong with littleoldladyearrings if it makes them happy, especially when they know what they're doing.
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  #39  
Old 02-23-2019, 04:42 PM
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Hey, Mary Beth specializes in little old lady earrings and they indeed need decent annealing.

Slumpy's may have a business plan that relies on you breaking a lot of glass bringing work up so they can sell you more glass.
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  #40  
Old 02-23-2019, 06:42 PM
Michael Ahlefeldt-Laurvig Michael Ahlefeldt-Laurvig is offline
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Marty Pete Im 63, I have nothing against little old ladies in any way
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  #41  
Old 02-23-2019, 06:50 PM
Michael Ahlefeldt-Laurvig Michael Ahlefeldt-Laurvig is offline
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David-thanks, thats actually very clever of him
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  #42  
Old 02-24-2019, 07:23 AM
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Marty Pete Im 63, I have nothing against little old ladies in any way
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  #43  
Old Yesterday, 09:09 AM
Shawn Everette Shawn Everette is online now
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Know I'm late to the party, but there is an old boro lab trick of using a long neck oxy torch in the kiln for repair and devit removal. In theory you could do it on soft glass as well, but as others have said the pick up and fire polish is the standard.

Also, don't skimp on the cold working with battuto. You might fire polish it to clear, but a good glassblowers eye will catch where you took short cuts.
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