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#1
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pate de verre foundry
Hey,
I've had some luck sending my waxes to various commercial foundries to be cast in silver. It took a while to find the right ones, but it works for me. I have a few waxes that I'd like to do in the pate de verre technique. Does anyone know of a pate de verre foundry that can take my waxes and return a pate de verre glass product? I recently attended the American Craft Council show in Charlotte, NC and asked a lot of the glass artists there. None knew of such a place. PW www.eliasbing.com |
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#2
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pate de verre foundry
On Sat, 04 Nov 2006 19:38:30 -0800, in rec.crafts.jewelry "Paul WIlson"
wrote: Hey, I've had some luck sending my waxes to various commercial foundries to be cast in silver. It took a while to find the right ones, but it works for me. I have a few waxes that I'd like to do in the pate de verre technique. Does anyone know of a pate de verre foundry that can take my waxes and return a pate de verre glass product? I recently attended the American Craft Council show in Charlotte, NC and asked a lot of the glass artists there. None knew of such a place. PW www.eliasbing.com Pate de verre methods are probably not something most jewelers (denizens of rec.crafts.jewelry) are likely to have a lot of knowledge about. You might want to try asking this over on the rec.crafts.glass newsgroup instead. If you had a decently sized (for your models) kiln with a decent controller of some sort, you could probably do this yourself. As I recall from dim art school memories, , the process isn't all that technically difficult beyond getting the firing temp/time right... For those on this group unfamiliar with the termp, it's a method by which a mold in refractory material (such as casting investment or other such materials, possibly even just plaster) is overfilled with crushed glass, which may be any mix of colors or layers of colors, different opacities, etc. The mold is then slowly fired in a kiln, reaching a temperature sufficient to slump all that crushed glass together, but not quite hot enough to fully melt it into a puddle. So what ends up after a slow annealing cooling cycle (a couple days, as i recall), is a sintered glass product, usually opaque to transluscent, which can have various colors and patterns according to how the mold was packed with crushed glass in the first place. Quite different from the more common transparent blown class or other products made from fully molten glass, Pate de vere (literally, from the french, glass paste) is usually made in fairly simple or chunky forms, since it's not as easy to get very delicate or thin/flowing shapes. An interesting technique with an end product that can be very aesthetically pleasing when done well.. Peter |
#3
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pate de verre foundry
When Peter W.. Rowe, put fingers to keys it was 11/5/06 2:24 AM...
... Pate de vere (literally, from the french, glass paste) ... I just ran across this last night, and it sort of applies. Especially the caution. http://on9now.com/video/v554.html it's an interesting way of crushing glass. - CW |
#4
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pate de verre foundry
Paul WIlson wrote:
Hey, I've had some luck sending my waxes to various commercial foundries to be cast in silver. It took a while to find the right ones, but it works for me. I have a few waxes that I'd like to do in the pate de verre technique. Does anyone know of a pate de verre foundry that can take my waxes and return a pate de verre glass product? I recently attended the American Craft Council show in Charlotte, NC and asked a lot of the glass artists there. None knew of such a place. PW www.eliasbing.com Just seen your post- have been working away from home. It was in Limojes (the famous french center of vitreous enamelling during the middle ages and beyond,) where I saw a similar technique used in an unusual way in the 1970's.. It was a fairly coarse frit built up in heavy modelling ,up to 1/2 in high in sea wave form on a allready enamelled copper vase some 18in high.. It was fully self supporting and covered the whole of the vessel. Now if the enamellers could do this without it being supported it might just be possibe to sinter your ideas without an enclosing mould. Just a thought. Similarly going a lot further back in time, to the period of the Pyramid builders in Egypt, they produced many thousands of blue faience beads which my pottery friends have told me were sintered glass with cobalt oxide colouring. Wether these were ground and polished after sintering is difficult to surmise. Like any technique, it would pay to runlots of test firings developing forms from the simple pyramid to squares and on to colums of various heights, to see just how high one could go without it collapsing. If you have seen any of the pottery cones used as temperature gauges in various parts of a studio pottery firing., one can see through the peep holes in the red of the kiln the various cones bending over to differnt extents to indicate the temperature reached. Ive watched many hundreds of enamel plaques in my enamelling kiln go from the unsupported dusting of the enamel through the sintering stage right to the point where it all flows together to form a glossy surface. the frit is held in place till it starts to fuse with gum arabic. |
#5
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pate de verre foundry
"ted frater" wrote in message ... [Snip] Similarly going a lot further back in time, to the period of the Pyramid builders in Egypt, they produced many thousands of blue faience beads which my pottery friends have told me were sintered glass with cobalt oxide colouring. Wether these were ground and polished after sintering is difficult to surmise. [While the ancient Egyptians did pioneer the use of sintered glass, mostly as a substitute for rare colored stones used in inlay (such as in King Tut's funereal jewelry), if these beads are really faience then the process of making them was somewhat different. This is a clay that's rich in soluble salts that rise to the surface as a fragile incrustation as the clay dries. When the beads (or other objects) are placed into a kiln without dislodging the effloresence and fired, the surface crystals melt and form a glaze, typically blue-green in color (due to copper oxides) although other colors are possible. This kind of clay is also called "Egyptian paste"; there are some recipes in this Clayart thread: http://www.potters.org/subject13698.htm ] Andrew Werby www.unitedartworks.com |
#6
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pate de verre foundry
"Paul WIlson" wrote Hey, I've had some luck sending my waxes to various commercial foundries to be cast in silver. It took a while to find the right ones, but it works for me. I have a few waxes that I'd like to do in the pate de verre technique. Does anyone know of a pate de verre foundry that can take my waxes and return a pate de verre glass product? I recently attended the American Craft Council show in Charlotte, NC and asked a lot of the glass artists there. None knew of such a place. Pate de verre workers are spread pretty thin. The meticulous nature of the work makes it a labor of love. I work in pate de verre, though not with the lost wax technique. Ellen Abbott and Mark Leva do very nice work. I have no idea whether or not they would be interested in a collaboration. http://www.emstudioglass.com/ Gloria Badiner at Arts & Artifacts studio also does some pate de verre work. You could also post your question at the warmglass website bulletin board. The people there are very helpful. http://www.warmglass.com/phpBB/index.php Good luck with your search, Debbie |
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