Stained glass firing schedules
Firing shouldn’t be a problem. ‘Shouldn’t be.’ Yes, I know there are times when, no matter how experienced we are, everyone gets anxious about it. I’m just the same.
But really it’s far easier and more predictable to fire glass paint than ceramic glazes for example. There’s also much less to think about than if you’re fusing. What I’m saying is, glass painters are actually very lucky here: it’s important to keep things in perspective. So here are 12 quick points I always run through before settling on a particular stained glass firing schedule. These points let me get a good night’s sleep (because I mostly fire overnight, you see).
If you’re researching kilns, look into this site here: browse its section on kilns, because it’s very good indeed. OK so it gets quite technical in places. But just because you’re a stained glass painter doesn’t mean you won’t sometimes have to study hard. Your stained glass kiln is a big investment, so read up on it before you buy. (It’s also a very good idea to experiment with someone else’s.)
For firing schedules, get this free guide to the stained glass firing schedules we use here for stained glass paint and water/oil and silver stain.
A colleague from Australia – wanting the smoothest possible surface for his kiln-fired painted stained glass – wrote and asked us how we prepared our trays …