Glassblowing Session 2
The second session of glassblowing commenced with the use of the geometric one part mould that I had previously created thoughout the week. I only managed to finish the mould 2 days before use and had left it in the drying cabinet, although ideally the mould would be left for atleast a week to completely dry out.
With the mould still being damp, this could result in it splitting due to the intense heat but luckily after being left for a few days and a couple of hours on top of the furnace I was able to produce a few glass pieces from the mould until the insides started to deteriorate. I believe I can still get a few more glass pieces out of the original mould but will create another to take with me for the next session.
The first sample created was to see whether the initial form actually works, as well as sampling the copper foil on the outside of the glass instead of being trapped between two layers (as shown in the video). The piece was extremely successful with a pleasing outcome of the form. Although the copper foil can only be evaluated once the glass pieces have cooled down and are given back to us next week.
As I did not make a steel top, Anthony Wassell had kindly given me a piece of wood large enough to cover the top surface of the mould where I was able to cut in two and create a circular hole in the middle with a diameter of 60cm due to the potential light fitting being 40cm and allowing a 10cm glass thickness. The outcome was interesting with a flat top as desired although where the two pieces of wood join together there leaves a slight line on the top surface. With this being an issue in any mould being used, I will be incorporating the line into the works by changing the cut of the wooden top and creating a texture on the surface which links into the similarity of texture within the architectural panels.
Another key element of the process is to stop the hot glass from sticking to the plaster mould and peeling it away. This is prevented by a mixture of golden syrup and water which is then sprayed inside the mould an on to the wooden top. This original idea was from a previous third year who had created one part moulds to be blown into and learnt this technique from her glassblowing exchange trip to Sweden although used maple syrup instead of golden which I assumed would work in the same way.
Therefore, for the next session I will have another one part mould to take with me and a new perfected wooden top with hinges for accuracy. I had also created two other geometric pendants - one being steel blue and the other a grey as these are within the colour pallettes I have previously researched. However, due to the top being so flat it becomes difficult for the glass to come off the blowing iron easily resulting in the grey piece splitting and which I am no longer able to use. I will still reflect on the outcome of the colour and if good enough will be using this in the next session.