Laying it out on a plate

Week 6 - 10

The threads are my primary vessels, the bowl is my ascension vessel and this plate is my affiliation vessel.

I had explored creating an animal 'god' head for each of the 6 threads in the bowl as each was ascending to Valhalla with an assumed godly association' this plate takes this association further.

The core design is based on the Norse 'Triskell' art that was used to adorn their round shields.  I have expanded the theme to incorporate 6 spirals instead of the traditional 3 (tri) with each suggesting a god.  Around the outer edge I have added the name of my 6 chosen gods and written their names in Nordic rune lettering.

 I am continuing the colour scheme of amber and steel blue and considered the alternative schemes.

I cut the two layers of glass, clear and medium amber, and fused them using a full fuse schedule as used in my test pieces.  I also placed them with the texture of the clear layer in the middle to create some bubbling. This resulted in a nice plinth with smoothly rounded edges and numerous bubbles.

The next step is to add the blue detail however this starts by adding a complete layer of blue and the detail worked on later.  The blue layer is being created using Bullseye Steel Blue powder.  It is sieved over the plate in 3 passes creating a even and thick layer to allow for shrinkage.  I like to raise the plate up off of the work surface as this makes it easier moving it to the kiln later.

I wanted to maximise the light in the plate so I started out using transparent powder.  Unfortunately this resulted in the medium amber base showing through too much.  Consequently, I had to apply a second layer of opaque powder, the process being the same.

 And here is the fired plate, although its no where near finished and not exactly plate shaped.

I have commissioned a studio to print and cut my design onto a sticky vinyl .  This vinyl is resistant to hydrofluoric acid will act as a stencil. Once applied it represents my design well.  The areas that are light blue will be protected while the darker areas will be exposed to the acid allowing it to eat through to the amber glass below.

Hydrofluoric acid is used in many everyday household cleaning materials however it is highly diluted (less than 1%).  To be effective at etching glass it has to be about 20% which makes it highly dangerous to people.  It cannot come into contact with your skin as it is highly corrosive while its fumes will corrode you lungs.  Subsequently,  you should only use it if you have been trained and if you have the appropriate PPE.  Protective and attractive, who knew?

It is not an attractive setting but it is safe and functional.  The room has a special negative pressure air extraction system and a sizeable wash tray.  The acid is water soluble and only trace drops enter the drainage system but are diluted by litres of fresh water making it inert and safe.

This detail shows the result of the acid etching the glass.  You can clearly see the transparent amber colour showing through with the dark blue lettering and bands sitting above the crystallised white glass that has been eaten by the acid.

...and after

Now that the design has been etched into the plate I can slump the glass disc into its plate dish shape.  I use a pre-formed mould which is 300mm in diameter.  The mould has been batt washed and fired so that the glass separates easily after firing.  The mould is located on top of three slices of kiln furniture which assists in air circulation and also minimises the risk of the mould cracking due to heat directly from the shelf.  The plate is located evenly on the mould and fired; the firing schedule has taken into account the thickness of the plate, the variation in thickness due to the etching and also that the plate has been fired 3 times before (increased annealing time).

The result of the firing.....

The plate shows some signs that the thinner thickness of the blue glass has started it steel reaction as the blue is darker with a grey tinge.  The etched areas have retained a slight coarseness which provides an earthen feel, while there are some subtle variations in thickness and tone caused by the patchwork of resist placed during the etching process, these again provide a desirable texture and sense of age and weathering.  In all I am pleased with the outcome.