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Boro Room -- For Boro-related tips, techniques, and questions.

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  #1  
Old 2015-07-13, 9:12am
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saraconklin saraconklin is offline
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Default Sasha's Oil Slick boro by Trautman

i think Trautman makes it. oh well. what's the story with this glass? used a lot of hot oxygen to melt it and still got the poopiest bead ever. anybody got any hints?
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  #2  
Old 2015-07-13, 10:23am
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Try high heat and crash coolining and maybe a series of these types of cycles with some flame striking and then kiln striking.


Otter

Last edited by Otter's Flame; 2015-07-16 at 12:04pm.
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  #3  
Old 2015-07-13, 1:28pm
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MagpieGlass MagpieGlass is offline
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Good luck with it. I have Jenny's tech notes here somewhere ... let me see if I can find them. That aside ... I've never gotten anything but poop out of Sasha's Oil Slick.

Seems only Sasha gets stellar color out of that stuff.
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  #4  
Old 2015-07-16, 9:07am
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mix a little with some clear (simax is best) and pull a rod or stringer....it's definitely finiky.
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  #5  
Old 2015-07-17, 3:00pm
Firebrand Beads Firebrand Beads is offline
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Sasha's is *very* saturated with silver and will haze up if you are not working with a larger torch and high oxy. Sasha Hess, who we named it for, likes to crash cool it, like Otter says. He will heat the bejeebus out of a gather or piece, then put it in the ice cream freezer for a moment, then flame strike again when he does demos in Eugene; partly because it's a quick way to cool down, partly because it makes a good show, lol.

You get your best colors with any amber/purple style glass (and yes, this is an a/p family color) with extremes of heating and cooling. But this color does develop a LOT of haze, and that makes it better suited to larger torches and tanked oxy. If you are using a concentrator you may not have the power in your oxy feed to blast through the haze well.

That said, it does make some nice tans, browns and olive greens if you don't blast the haze. You can also strike color ON the haze! Work the piece as usual, let the haze build, then lightly surface strike for a few rounds with significant cooling in between. I've seen some nice greens, oranges and reddish tones this way, too.
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  #6  
Old 2015-07-17, 5:55pm
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In a follow up to my earlier post and information in Jenny's post. I am using a pretty good size torch and liquid O2 so I can heat it super hot and I have all the O2 I could possibly need. This is a tremendous hell in working Sasha's Oil Slick. When this color first came out I was using a Bobcat torch and an O2 concentrator, it was difficult for me to get the range of color it is capable of.


Otter
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  #7  
Old 2015-07-18, 5:15am
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Quote:
Originally Posted by Otter's Flame View Post
In a follow up to my earlier post and information in Jenny's post. I am using a pretty good size torch and liquid O2 so I can heat it super hot and I have all the O2 I could possibly need. This is a tremendous hell in working Sasha's Oil Slick. When this color first came out I was using a Bobcat torch and an O2 concentrator, it was difficult for me to get the range of color it is capable of.


Otter
LIKE!!

I'm on a Bob with tanked (I used concentrator for soft glass only) and I've only ever gotten the barest hint of color (but I wasn't crash cooling). I just decided the color wasn't for me ... so many other lovely colors to play with.
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  #8  
Old 2015-07-18, 12:08pm
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Yes the issue of crash cooling is sometimes neglected. Unless it is some color that will only kiln strike, most all AP family colors and other striking colors should be heated VERY hot, crashed cooled and then flame struck or kiln struck or both. It is a very important step.


Otter
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  #9  
Old 2015-07-18, 8:26pm
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I've heard of folks using compressed air to spot cool areas quickly. Some folks even go so far as to do a quick dunk in the water.
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  #10  
Old 2015-07-18, 11:39pm
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I have on occasion water dunked a white hot pendant but usually I hold itt in the airflow of my exhause intake or I have a fan set up to crash cool the piece.


Otter
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  #11  
Old 2015-07-19, 3:35am
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this whole "crash cooling" means every piece made with SOS that is crashed cooled is not annealed. there's got to be a better way.
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  #12  
Old 2015-07-19, 7:33am
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Quote:
Originally Posted by istandalone24/7 View Post
this whole "crash cooling" means every piece made with SOS that is crashed cooled is not annealed. there's got to be a better way.
Not necessarily. There's a difference between crash cooling a piece on the bench (in the airflow, dunking, air hose) and crashing your kiln.

Non-kiln striking is done with this crash cooling in order to get the crystal growth.

Then it goes back into the kiln for your actual annealing cycle. You just don't necessarily want to have it in there for too long.

Also, the annealing temperature of glass isn't hard and fast 1050 F, it's actually more of a range, and it may happen that the annealing temperature of the SOS is a little lower from 1050 due to it's makeup.

ISA, I know you know this but for the future newbies wondering by, annealing isn't getting the glass to a magic temperature and then slowly backing off, it's getting the glass to a point where the molecules can move a bit more freely (though short of the mass moving) and then cooling it in an orderly fashion so the molecules can come back into a stable configuration. I've described it to others as the difference between stacking 500 sheets of paper and wadding them up and stuffing them in a bag: one way can support your weight, the other is a fragile office pillow.

Back to my point, SOS likely has a lower annealing temperature than most colors, so you have to find a compromise point where all the glass will work together.
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  #13  
Old 2015-07-19, 9:17am
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One thing I have found with SOS (I truly love this glass) is that it likes to be worked for a long time. I get more color out of it when using it for sculptural work that is in and out of the flame a lot than I do with a quick bead. I've gotten olive greens with highlights of blues and purples when giving a quick strike at the end.
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  #14  
Old 2015-07-19, 10:17am
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Quote:
Originally Posted by istandalone24/7 View Post
this whole "crash cooling" means every piece made with SOS that is crashed cooled is not annealed. there's got to be a better way.
Istandalone, Tom already said it but I want to reiterate what he said since I am such a proponent of crash cooling. Crash cooling is only a step in the process. After I get to this point in the process and I crash cool the piece, I may do some flame striking. After this, the piece goes into the kiln and garages until I advance the cycle in my kiln. It then ramps up to a higher temperature for kiln striking and then goes through an annealing cycle.

A word about about crash cooling. Cool is a relative term. It does not mean room temperature. A general, rudimentary rule is you cool it "below glow". In other words you cool it until you no longer see the heat glow. It is still VERY hot.

If you left the piece at crash cooled state it would have very little color in it, in fact many in the A.P. family are heated until the color is visually absent. This sets up the striking process. You crash cool it at this point and this sets up the crystal growth for striking. Often I will put the AP family pieces in the kiln totally clear.
Hope this sheds some light.

Otter
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  #15  
Old 2015-07-20, 6:10am
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ahhhh...thank you for taking the time to explain that. every time i hear crash cool i think shut kiln off and just let it cool as it does.

your explanation makes more sense
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  #16  
Old 2015-07-31, 4:25pm
LarryC LarryC is offline
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Quote:
Originally Posted by Otter's Flame View Post

A word about about crash cooling. Cool is a relative term. It does not mean room temperature. A general, rudimentary rule is you cool it "below glow". In other words you cool it until you no longer see the heat glow. It is still VERY hot.

Otter
For most saturated silver glasses the optimal crash and cycle temp on the low side is around 900f. Does that help? Only if you have a digital non contact thermometer
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