Tag Archives: patedeverre
Pate de Verre Clay to Refractory Mold Part 1 Test Tiles

Pate de Verre Mold Making Investments Part 2

1:1:1 or 1 part #1 pottery plaster added to 200 mesh silica and Water by weight. Using a silicone negative lets me reduce the time spent to get color samples for my art. This approach works well for thin pieces but the thicker the artwork gets the color become quite dense. The principle remains the same but the clay forms can change to allow for the direction work and the thickness of the piece and light you want to transmit.
Pate de Verre Silicone Positives Part 3

You can make a #1 pottery plaster mold to create a silicone positive. The positive once cured gets to be used for a coddle pour of #1 pottery plaster and 200 mesh silica to make make an investment mold that can endure the heat of the kiln. if you have many test tiles to make using silicone positives really reduce the time spent to make simple test tiles of varying color degrees. While my tiles are thin I can vary colors concentrations to allow for high and low lights to the work. In the early 2000’s at a BeCon conference Jim Jones was the sales director doing a demo of frit tinting. As a pate de verre artist I was captivated by the concept. While the demo was a single color the idea can accommodate custom blends of your choosing and allows for creative variations to support the artistic need. As usual Bullseye empowers artist to springboard ideas and use their imaginations to tweak and provide artists a lot of artistic freedom. Here’s the link to Bullseye’s literature on frit tinting.
http://www.bullseyeglass.com/methods-ideas/frit-tinting.html
Unfired Test Tiles ready to go into the kiln Part 4

Pate de Verre Test Tile Part 5

50/50 Color to Clear
40/60 Color to Clear
30/70 Color to Clear
20/80 Color to Clear
10/90 Color to Clear
5/95 Color to Clear
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.