The two questions already posted are good ones. First of all, what is being demonstrated is powderglass composition. It is not pâte de verre--that normally derives from a paste. Second, the technique was not "invented in France"--because it is many centuries old, and performed in a number of places much earlier than France in the 19th C. What is demonstrated is not "casting" (which implies a liquid); but rather is dry-molding. In the video, the implement used to break-away the mold from the glass cabbage leaf is just a wooden mallet. A more important question (not addressed) is, what did the French use to release their pieces from the molds in which they were formed? And, more specifically and helpfully, what did they place into the powdered glass to bind it and create a paste? Apparently, this remains unknown. By the way, in the 19th C. and well into the 20th C., the name "pâte de verre" was routinely used to describe what are just normal glass beads, perhaps in order to elevate them into something "more special." The French were particularly guilty of this, but European antique dealers and auction houses often followed suit. Only recently has glass become admired as a true art medium, with many important practitioners and advocates. JDA.
+Jamey Allen Thanks for your feedback. There is a book about Almaric Walter’s pâte de Verre process that gives details about his binder, etc.: Stewart, Max. The Amalric Walter research project: the techniques and methodology of Almaric Walter 1870-1959. Max Stewart, Keith Cummings. [Wolverhampton]: University of Wolverhampton, [2007] 38 p. Our Librarians recommend this for more information on what glassmakers would place in the powdered glass to bind it to create a paste. There is also a LibGuide with a wealth of information on this technique: libguides.cmog.org/patedeverre.
The large amounts of air in between the mold pieces escaped out the side, and through the thin mold materials itself. The finer bubbles in between the grains of powder and glass are trapped, and provide the somewhat opaque or eve opalescent look of the final piece. This definitely is not the quality of casting as a block of crystal, which if cast correctly, can result in a bubble free result.
The temperature will depend on the type of glass you are using, the thickness of your mold, and the amount of time you soak the glass at that temperature. The Higuchis are using Bullseye Glass and their molds are thin. We do not have records of the exact firing schedule they used, but you can experiment with your own glass and molds to find the right balance of time and temperature. The higher your temperature, the less time you will need to soak there. Begin at a lower than normal temperature and soak there for a standard amount of time that you might use. Loook at the result and see how melted the glass becomes. If it is underfired and not strong, increase the temperature or increase the time. Fire again and keep adjusting. If overfired and too homogeneous, decrease the time or temperature and fire again with a new sample. Good Luck!
The two questions already posted are good ones. First of all, what is being demonstrated is powderglass composition. It is not pâte de verre--that normally derives from a paste. Second, the technique was not "invented in France"--because it is many centuries old, and performed in a number of places much earlier than France in the 19th C. What is demonstrated is not "casting" (which implies a liquid); but rather is dry-molding. In the video, the implement used to break-away the mold from the glass cabbage leaf is just a wooden mallet. A more important question (not addressed) is, what did the French use to release their pieces from the molds in which they were formed? And, more specifically and helpfully, what did they place into the powdered glass to bind it and create a paste? Apparently, this remains unknown. By the way, in the 19th C. and well into the 20th C., the name "pâte de verre" was routinely used to describe what are just normal glass beads, perhaps in order to elevate them into something "more special." The French were particularly guilty of this, but European antique dealers and auction houses often followed suit. Only recently has glass become admired as a true art medium, with many important practitioners and advocates. JDA.
+Jamey Allen Thanks for your feedback. There is a book about Almaric Walter’s pâte de Verre process that gives details about his binder, etc.: Stewart, Max. The Amalric Walter research project: the techniques and methodology of Almaric Walter 1870-1959. Max Stewart, Keith Cummings. [Wolverhampton]: University of Wolverhampton, [2007] 38 p. Our Librarians recommend this for more information on what glassmakers would place in the powdered glass to bind it to create a paste. There is also a LibGuide with a wealth of information on this technique: libguides.cmog.org/patedeverre.
The large amounts of air in between the mold pieces escaped out the side, and through the thin mold materials itself. The finer bubbles in between the grains of powder and glass are trapped, and provide the somewhat opaque or eve opalescent look of the final piece. This definitely is not the quality of casting as a block of crystal, which if cast correctly, can result in a bubble free result.
thats true sir. pate verre was invented in ancient middle east, i think.
if pate de verre is a paste, and this is pate de verre, then where is the paste?
A que temperatura se hace la cocción para que quede como azúcar?Con esa textura
The temperature will depend on the type of glass you are using, the thickness of your mold, and the amount of time you soak the glass at that temperature. The Higuchis are using Bullseye Glass and their molds are thin. We do not have records of the exact firing schedule they used, but you can experiment with your own glass and molds to find the right balance of time and temperature. The higher your temperature, the less time you will need to soak there. Begin at a lower than normal temperature and soak there for a standard amount of time that you might use. Loook at the result and see how melted the glass becomes. If it is underfired and not strong, increase the temperature or increase the time. Fire again and keep adjusting. If overfired and too homogeneous, decrease the time or temperature and fire again with a new sample. Good Luck!