TITLES: CMC Gum Powder
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1. is due to chemicals in the glass powder itself Therefore making a project using both colors in the same initial firing could cause different looks to the glass that you may not want It is possible that the end temperature may be too high for one color or the other We encourage testing and experimentation to be successful with your end project If you want to use Opal and Opaque colors together make the pieces of your project first and do not place the two different kinds of GlasClay on the same initial piece Fire the pieces separately and when finished put them together and fire again at a temperature around 1220 1230 so they will tack fuse There is no one perfect temperature for any one color Not all people want the same look as the other Keeping notes for yourself is important to gain the same results again and again after you have learned how your kiln works with the GlasClay product Be aware that many kilns fire at a temperature not true to the pyrometer For example if the pyrometer says the inside temperature of your kiln is 1280F it is possible that is actually 1380F or the other way around There often is a 100F degree difference between kiln brands Test firing the GlasClay colors individually in your kiln and making careful notes could be critical to your success GlasClay shrinks about 15 from the original size when fired The initial firing ramp is designed to allow the maxim possible amount of t2. EA BN DELPHI Be Creative Fused Glass without Boundaries Creating with GlasClay GlasClay is glass but not exactly glass as you may know it Ceramic artists will feel a kinship to this medium but remember itis GLASS not ceramic You can produce your work with a matte finish shiny finish and glossy finish depending on the number of times fired and the firing schedule Think out of the box Structural GlasClay allows you to shape your creations into solid high relief hollow or 3 dimensional pieces It may be rolled flat and placed into an oiled RTV mold dried and fired with no mold in the kiln allowing an artist to make multiple pieces that may be fired at the same time Warm Glass artists have been long been bound by flat work Not anymore It is hard to imagine glass that is free standing and 3 dimensional yet can be fired in a kiln without a mold Sculptors can create multi colored pieces either hollow or solid large or small Carvers can form a block out of Structural Opaque GlasClay allow it to dry and then carve it and embellish the piece with additional colors of freshly mixed material The piece can then be fired after drying SAFE WORKING PRACTICES Always wear a HEPA particulate filter dust mask when mixing or sanding GlasClay Do not use on or near food preparation or consumption areas GlasClay is sold in a powder form to mix when you are ready Mixing Instructions 1 Shake
3. n mat for best results Any type of plastic is ok but silicon works best Wax paper may be used as a last resort but will not hold up well to repeated use and may need to be replaced often To join multiple pieces use a bit of water to moisten pieces and smooth together taking care to avoid trapping air bubbles Use Teflon plastic or other synthetic tools for rolling sculpting or stamping Lightly coat with olive oil to prevent sticking use olive oil sparingly Form and fire Opal and Opaque GlasClay creations separately for best results Pieces can be tack fused together or onto other glass as a second firing Allow the pieces to completely air dry before firing You may place your work on a food dehydrator to facilitate fast drying FIRING INSTRUCTIONS Farenheit You must convert for Celcius temperatures Ramping amp Annealing Read Completely AVERAGE RAMP FOR JEWELRY AND SMALL ART PIECES 6 x 6 x 3 8 1 2 thick or less All ramp hold and firing times and temps are subject to variation including your working elevation thickness of your work size and type of kiln and your desired outcome Adjust firing times and use appropriate cool down times and temps Test fire a piece and record the results for your reference Some colors may tolerate faster ramp times and higher temperatures Firing Schedule Accommodates all colors Place dried piece s on a prepared kiln washed shelf or firing paper leave s
4. pace between each piece Follow all 7 steps 1 Ramp 340 to 340 Hold 1hr 2 Ramp 340 to 600 Hold thr You may ramp as low as 1225 F or as high as 1470 F Test your kiln with the product 3 Ramp 600 to 1250 hold 30 min 4 Ramp 1000 to 1450 hold 30 min Annealing Slow Cooling for Stability DelphiGlass com 800 248 2048 Copyright 2011 Delphi Creativity Group EA BN DELPHI Be Creative 5 Ramp 300 F to 1140 F Hold 45 min 6 Ramp 200 F to 940 F Hold 45 min 7 Ramp 300 F to 600 F Hold 45 min Cool naturally to below 100 F open kiln GlasClay does not work like just plain glass or glass frit The binder and the amount of air that is trapped in the GlasClay after it is mixed causes this product to have it own quirks The desired outcome condition of the finished product may vary from artist to artist as well Some want glossy bright colors some want matte or sugary textured surfaces Some want hollow works of art high relief or 3 dimensional designs others only want to use it in molds so they can fire in production quantities without using a multitude of slump molds Whatever your personal desires are you can achieve them with GlasClay Structural GlasClay has a lot of air trapped in the frit due to the fine powder of the frit and the fine powder of the binder The Opaque colors do not generally fire to a mature look at the same end temperatures as the Opal colors This
5. rapped air to escape from the piece and let the binder burn out BEFORE a hard skin forms on the top of the piece sealing it over no longer allowing trapped air to release If air remains trapped in your piece it may puff up and distort slightly in shape Depending on your choice end temperature some of that trapped air could or could not release later in the firing process By making small kisses similar to chocolate kisses of GlasClay with a curled over top you can have test pieces for your personal firing information If the pieces fire too hot the curled top will soften or slump This indicates what could happen to an intricate high relief or hollow object if fired too hot Items not fired hot enough may be re fired at a higher temperature and re fired again and again if desired until you reach the ideal temperature for the look you are trying to achieve 2011 Claymania Art Clay Inc DelphiGlass com 800 248 2048 Copyright 2011 Delphi Creativity Group
6. sealed package of powder well pour entire contents into a small glass dish 2 With a knife or spoon cut in 1 1 2 teaspoons of warm distilled water Tap water may be used however the minerals present in tap water may alter the color of the clay Mix well Water measurements may vary slightly depending on the glass color and your environmental humidity 3 Slowly add another 1 4 teaspoon of water Apply a small amount of Olive Oil to your hands and remove the mixed clay from its bowl for conditioning If it is sticky add a little more olive oil to your hands If too dry you can sprinkle water on your hands and work it in slowly until the clay feels elastic Never add all the water at once It is easier to add more water than to take some out If too much water is accidentally added leave it open to the air for the extra moisture to evaporate 4 Knead the GlasClay by balling it up To condition roll and squeeze between your palms until it feels like clay It should be smooth and pliable not gooey Cover with clear plastic wrap when not in use Store GlasClay in a re sealable airtight container A sandwich bag is fine Best when used within a week of mixing it may last 3 4 weeks with proper storage in an air tight container in a refrigerated space DelphiGlass com 800 248 2048 Copyright 2011 Delphi Creativity Group EA BN DELPHI Be Creative Forming Tips Work GlasClay on a silico
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