Getting Started

with Kiln-Fired Glass

Guide to Materials and Procedures

Beautiful fused glass projects are easy and fun!

 What is Glass Fusing? Compatibility
At its simplest, glass fusing is a process in which compatible glass is All glass used in the same project must work
assembled and then melted/fused together in a kiln using a specific firing together. Glass expands when it is heated
schedule. There are only a few basic requirements to set you on your path to and contracts as it cools. Because glass from
becoming a Fused Glass Artist: a kiln, a supply of “compatible” glass, a few different manufacturers will have a specific rate
tools and a creative urge. at which it expands and contracts, (called the
Coefficient of Expansion or C.O.E.), you must
In this guide to glass fusing, you will learn about basic tools, stages of choose glass products that all have the same
kilnforming, firing schedules, best practices for successful project creation and COE. Additionally, these products should be
get tips to help you off to a great start on your fusing journey. “tested compatible” by their manufacturer, as
not all glass is formulated for kiln-forming (such
as non-fusible Ring Mottle glass made for the stained glass market).

Assembly Oceanside Compatible™ glass is formulated and tested to provide a full line of
A project generally begins with a uniform base layer of glass, tested compatible products for kilnforming. You can trust all products that bear
with a glass design layer on top of that — which may include the Oceanside Compatible logo to “fit” together. Any glass labeled as authentic
glass accents, focal elements, and often a border treatment. System 96® is equally safe to use with Oceanside Compatible products, as the
two are made using the same formulas. KEY POINT: Do not add glass to
First or Flat Firing One layer of design glass on
your projects with a different COE and expect success. Project breakage
After assembly, the project is placed in the kiln and slowly
top of a clear square base will likely result.
taken from room temperature up to 1300-1500 degrees
(Fahrenheit). The project can be “full fused” which leaves a
smooth top surface, but interesting effects can be created by Kiln Notes
stopping the fusing process earlier, allowing more texture to
Any kiln with a programmable controller can be used to fuse glass.
remain in the piece. (More information about the different fusing
If you have a ceramic kiln, set it to display temperature in degrees, not “cone.”
levels can be found in the “Firing Programs” section.) Third and fourth layers of
design glass are added
If you also fire ceramics, do not fire glass and ceramics in the same kiln at the
same time — glass fires at lower temperatures. Dedicated shelves for glass
After the initial firing, the project can be a tile, sun-catcher,
firings, are also recommended.
coaster, piece of decorative art OR you can choose to fire
again — or ”slump” it — into a three-dimensional shape.
Many of the newer glass kilns manufactured today even offer a library of pre-
programmed settings and advanced displays. We strongly encourage all fusers
Slumping to learn how to manually enter kiln programs.
Once your design is fused into a single flat unit, the project can All elements are fused
be returned to the kiln and heated just together in “Flat Firing”
Whatever kiln you’ve chosen, be sure to keep your manual handy as you
to its softening point (about 1225º F), prepare to fire it. (You should be able to download a PDF if you don’t have
causing it to sag over or into a mold. a physical copy.) We have supplied general instructions regarding kiln
This transforms the flat project into programming in this booklet, but your kiln manufacturer should be able to help
a functional or artistic 3-D piece, you answer any specific questions you may have about your model. They can
such as a bowl, tray, platter, also assist you in understanding any specifics regarding kiln maintenance.
or vase.
Flat piece is set on top of
bisque mold to slump
Finished dish

2 3
 Glass Tools Related Glass/Fusing Supplies
Nippers— A bit like “scissors” for glass, the nippers chew up glass with Cutter Oil — Specially formulated lightweight oil for glass use, such as Glass
ease, creating a characteristic curvy break that’s artistic and versatile.
Accessories International (GAI) Cutting Oil, lubricates the cutter’s score line and
Aim flying nips into a container, and always wear safety glasses.
prolongs the life of the cutting wheel. Our recommended application process:
keep a small cup or jar with an oil-soaked piece of sponge or folded paper towel
Glass Cutter — The cutter’s wheel creates a “score” as it’s guided at the bottom, and roll your cutter wheel back and forth across it every few
across the glass surface. When pressure is applied to both sides of this strokes. (This method also cleans glass dust from the wheel.)
score, the glass will break. Toyo® makes many cutter grip styles from
which to choose.
Kiln-Friendly Adhesives
Running Pliers — These specially designed pliers put pressure on both Klyr-Fire (or similar)
sides of the glass cutter’s score, encouraging a “run” (crack) along the line Use this viscous, slow-drying adhesive for holding Frit in place, or adhering
of the score. Often the glass will break all the way along the score with tiny pieces too small to glue individually. Apply with a cotton swab, brush, or
just gentle pressure from this tool. dab from a squirt bottle. It burns away during firing.
Elmer’s Glue
Breaking (or Grozier) Pliers — These sturdy pliers act like metal Use just a pinpoint of glue, applied with a toothpick, to hold pieces in place as
fingers, to grab, pull, and break the glass along the glass cutter’s score you transfer your project to a kiln shelf. Too much will char.
line. Especially useful for small pieces, or to nibble off pointy spots.
Papyros® Kiln Shelf Paper — Provides a superior layer of protection
between the glass and kiln shelf. Prevents sticking and helps avoid formation of
large air bubbles beneath the glass.
New to Fusing Resources
There’s an entire section on our website for those who
are just getting started in glass fusing. For a quick
Slumping Molds — Generally speaking, slump INTO molds to create bowls,
demonstration of how to cut glass, please see the Basic dishes and other shallow forms, including shorter walled bowls. For prep, see
Glass Cutting video in the “New to Fusing” section of “Preparing Molds for Slumping” section.
OceansideCompatible.com. (A still from the video is
shown at left.)
Draping Molds — Slump OVER to create vases, candle holders and other
interesting shapes. For prep, see “Preparing Molds for Slumping” section.
Safety Equipment Kiln Shelf Primer and Application Brush — Keeps glass from
Safety Glasses — Always wear eye protection when cutting or nipping sticking to shelves and molds. Primo Primer™ offers excellent results. Boron
glass, or when next to someone nipping or cutting glass. nitride sprays, such as MO-RE® and ZYP® can also be used to protect molds
(particular good for Frit casting, damming mold walls, and stainless steel molds).
Gloves — Most glass artists prefer not to wear gloves while actually cutting
glass, but we highly recommend wearing a pair of rubber-dipped gloves when Shop Vac with Small-Particle or HEPA Filter — Highly recommended
you are restocking supplies, moving larger sheets, organizing glass in your work for all glass cleanup chores. Captures tiny glass splinters and harmful dust
space, or cleaning up glass shards. residue after firings.

Masks — When working with Frit (particularly Powder Frit), mixing kiln wash Brushes — Small brushes are great for brushing Frit into place or out of
powder, or sweeping up glass (and any ensuing dust) it is recommended that spaces it doesn’t belong. A table brush and dustpan area also recommended
you wear a Niosh approved face mask to filter out any fine particulate matter. for table-top clean up.

4 5
 Glass Used in Fusing Making a Fused Glass Project
Oceanside Compatible offers the following glass forms for glass
™
Projects are assembled by stacking glass pieces in layers. The bottom layer is
fusing: often a single glass circle or square, commonly referred to as a base, or base
layer. Other glass pieces are placed on top of this to create a design that covers
Sheet Glass — Sheets of glass formulated especially for the the entire base fairly evenly. (In fusing, an even, 2-layer design ensures a state of
fusing arts. Sheets can be cut or nipped to desired dimensions.
equilibrium during the firing process that results in a more stable finished piece
Above: Curved Stringer and
Rod Dot flower tile made using — see Volume and Shape Control Concepts below for more information.) Some
Rods — These are cylindrical lengths of glass about the Red Reactive products. Learn detail or accents can be added in a third layer.
thickness of a pencil. Nip off 1/4" or smaller bits to create more about Reactive products
on our website.
circles or “dots.” Nip longer lengths for borders or bold IMPORTANT: Each layer adds thickness to the finished project. The
design elements, but consider your overall glass volume when doing so. most successful projects are built with a fairly uniform thickness of at
least 2 layers.
Noodles — These are thin, flat glass strands— very much like dry
fettuccine pasta. Available in many opal and transparent colors. Volume and Shape Control Concepts
Noodles can be broken or nipped to desired length.
Distortion of a project’s shape (perimeter) during firing can lead to some
Stringers — These are delicate, spaghetti-like strands of glass. surprises, or it can contribute to a well-executed design.
Available in many opal and transparent colors. Stringers can be Above: Tile made from glass It’s important to understand that
broken to desired length with fingers, nippers, or by snapping Noodles in a weave pattern.
glass, as it gets to a full fuse
off while holding with pliers. Stringers are thin enough that they
temperature range, will naturally
can be softened with a candle flame and curved or bent as well.
seek to become a circular “puddle”
about 1/4-inch (6mm) thick. If it’s
Frit — Highly versatile, crushed glass pieces, in five thicker than that to begin with (more
particle sizes ranging from powder (F1) to pieces large
than 2-layers of glass), it will spread
enough for mosaic work (F7). Available in a wide
out. If it’s thinner, it will draw in, ever
range of both opal and transparent colors. Frit can be
seeking that 1/4-inch thickness Left: Strictly for the sake of demonstration, we
used to create formed shapes (Pate de Verre), add
equilibrium. Understanding this created a single-thick square of glass with smaller
interesting accents, texture effects, or to create a look square stacks in each corner. Right: After Full
inclination is important to creating
similar to painting. An adhesive, such as Klyr-fire (can be Fusing, the thin areas draw in; the thicker areas
a thoughtful design and predicting push out as the uneven layers seek equilibrium.
mixed with water) is helpful to keep frit in place.
Above: Mountain Meadow
fired results.
design was created using Frit.

A Note About Other Products

There are many other fun products you can use in fusing. Dichroic
glass is sheet glass with a dazzling, color-shifting metallic coating
applied to the surface. Mica powders can be used to add a
beautiful sheen to your work. Cane are glass rods, often with
colorful twisting patterns. Murrini/Milifiore are glass cane with
embedded detail or patterns that you can nip to use in your glass
designs. You can also find laser-cut glass shapes (that you would
not be able to cut by hand) — and so much more. Keep exploring, Above: This simple “Basket Weave” project is a good illustration of
how you can use volume principles in a design. Notice how the square
just remember that all glass items need to be compatible. Above: colorful cane with openings between the glass strips (where there is less glass volume) draw
twisting patterns. inward and become round holes after firing. Also notice the scalloping in
Below: Nipped Millifiore. the perimeter caused by thicker and thinner areas of glass volume.

6 7
 Further Exploration Step 2: Assembling Your Project
For thicker projects (more than 2 layers) you may want to consider Clean the Glass
damming options to keep design elements in place and the project Fingerprint smudges and oil from cutting can remain permanently on glass
perimeter from distorting. To learn more about damming, please surfaces after firing. To prevent this, clean your project’s glass pieces with soap
see our Project Guide, Dammed Waves or take a class and water, or use Sprayway (ammonia-free) glass cleaner and a lint-free cloth.
from a local instructor. Always check for stickers on your glass and remove all traces of the sticker
adhesive before using the glass in a project that will be fired.

Glue Sparingly
Layer 1 Glue glass pieces onto your project only as necessary to prevent shifting as you
transfer it into the kiln. We recommend the following:
Finished project in “Dammed Elmer’s Glue: Apply PINPOINTS with a toothpick. (Too much will char.)
Waves” Project Guide
Layer 2 Klyr-fire*: Allows lots of working time and always burns off.
Apply with a cotton swab, brush, or squeeze bottle.
* Or similar product formulated specifically for glass fusing.
All 3 layers assembled
inside damming mold Support Your Project
You may need to move your project several times before it is fired. If your project
will not have a uniform base layer, assemble it on a prepared kiln shelf or a flat,
Step 1: Planning Your Design­ unglazed ceramic tile that will go directly into the kiln.

Follow a Project Guide Prevent Sticking

Project Guide Project
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decorate it with various shapes and sizes of smaller glass pieces. If your design Once your project is ready to fire, place it in
will not create a fairly even second layer, it’s best to begin with a 2-layer Base your kiln as centrally as possible. Always
— especially important if you’re making a ‘full-fused’ dish that will be functional. leave at least 1/2” cushion all around
(See Volume and Shape Control Concepts on pg. 7.) each project (between projects and from
the edge of the shelf) to allow for expansion
Important Note of the glass.
If you plan to slump your project, begin by choosing the mold first. This will determine
Top: Project assembled and
the shape and dimensions of your project. (Make sure your assembled project is no ready for first (flat) firing. Bottom:
larger than about 1/8” outside the perimeter of the mold.) Completed dish after fusing and
slumping.

8 9
 Step 3: Programming Your Kiln BASIC Firing Programs
“Ramp and Hold” THE PROGRAMS THAT FOLLOW ARE DESIGNED FOR PROJECTS UP TO ABOUT
To avoid internal stress, glass needs time 3/8" THICK. THEY ARE INTENDED AS A BASIC PLACE TO START. FOR MORE FIRING
OPTIONS, VISIT OceansideCompatible.com
to equalize its internal temperature as it
heats and cools. To accomplish this, a firing
TACK FUSE Glass pieces are fused together with little
program uses a stair-step approach of change beyond softening or rounding of edge.
ramping (up or down) and then pausing at
Segment Ramp Goal Temp Hold Time
certain important stages in the fusing cycle (ºF per Hour) (ºF) (Minutes)
to allow all parts of the glass to attain the 1 250 1050 30
desired temperature. This is known as a
2 250 1250 20
Ramp and Hold
3 300 1350-1370** 10
firing program.
4 9999* 950 60
Entering a Ramp & Hold program into your
5 200 800 10
controller, may seem challenging but is
6 300 100 0
actually quite easy. Consult your kiln manual
if needed, but don’t be intimidated! Once *as fast as possible **see Forming Stage Ranges on pg. 12
entered, you need only recall it from (your
kiln’s) memory for future use.
CONTOUR FUSE Glass pieces are fused together, edges are
soft and rounded, project surface retains a degree of dimension.
A Ramp & Hold program is made up
of several segments. Once started, your kiln will execute each segment, in Segment Ramp Goal Temp Hold Time
(ºF per Hour) (ºF) (Minutes)
sequence, until the firing program is complete. Our basic firing schedules (for
projects 3/8” thick or less) have six segments, each with three parts: the Ramp, 1 250 1050 30
the Goal Temperature, and the Hold Time (see chart below). More complex 2 250 1250 20
schedules may use more than six segments. As you explore and grow in your 3 300 1400-1450** 5
fusing, you may find that you adjust your schedule for each project you make! 4 9999* 950 60
5 200 800 10
Ramp Goal Temp Hold Time 6 300 100 0
The rate, in degrees per The temperature the kiln The number of minutes the kiln *as fast as possible **see Forming Stage Ranges on pg. 12
hour, that kiln temp will rise will seek to reach during will stay at the Goal Temp, once
or fall during each segment. each segment. it is reached.

FULL FUSE Glass pieces are completely conjoined into a single

uniform layer, top surface is smooth and void of dimension or relief.
Once you have a basic understanding of Segment Ramp Goal Temp Hold Time
required steps of a firing schedule, such as (ºF per Hour) (ºF) (Minutes)
heating ramps, time holds, strain and anneal 1 250 1050 30
points, as well as how to add time in key 2 250 1250 20
segments for “bubble squeezing” (to reduce
3 300 1460-1470** 10
trapping air bubbles in between layers of glass
4 9999* 950 60
that are heated together too quickly) you can
then add your favorite programs to your kiln’s 5 200 800 10
Bubbles? There are methods to both
program library. For more information about encourage them and prevent them! 6 300 100 0
firing, visit OceansideCompatible.com. Above: These bubbles were intentional.
*as fast as possible **see Forming Stage Ranges on pg. 12

10 11
 Tack, Contour, or Full Fuse Full Fuse is Not Recommended for Single-Layer Projects!
The shaded areas in the fusing schedule charts are what determine the fusing
level; Tack, Contour, or Full fuse. The more total heat (both temperature and Left: A demonstration tile of a single-thick
time) at this “forming stage,” the greater change in the shape and appearance of square of glass with smaller square stacks
placed unevenly, then Full Fused. The
the glass during firing. The differences in the three levels are described below.
perimeter of the piece becomes distorted
• Tack Fuse: Projects are joined together with little change beyond the because of the uneven distribution of glass.
The piece will be very fragile.
softening or rounding of glass edges. Use this schedule when trying to
preserve the maximum amount of detail in a project. (For decorative use —
not recommended for functional dishes.)
• Contour Fuse: The glass edges are soft and rounded, yet the project Resist the Temptation to Peek
Glass is sensitive to temperature changes, and cooling from the goal tempera-
surface retains a degree of dimension. Use a Contour Fuse when layers
ture is carefully regulated by the firing programs. While the glass is cooling, it is
need to be more fully combined, but detail is still desired.
going through its critical annealing phase, in which the glass adjusts to its new
• Full Fuse: Works best on two-layer projects containing an even amount of form. Opening the kiln before the firing schedule is complete can result
glass on each layer. These will melt together completely and have a smooth in project breakage!
surface, while still retaining the perimeter shape of the piece.
After the firing cycle is complete, leave the kiln lid closed. Use the peephole if
you must, for a brief peek. Otherwise, be patient, and don’t open until the inter-
Forming Stage Ranges(Illustrations represent a cross-section view of 2 layers of glass.)
nal temperature is below 100°F.

Tack Fuse Contour Fuse Full Fuse

1350-1370º F 1400-1450º F 1460º-1470º F
Slumping (Optional Step 4)
Most glass projects can be fired a second time to form a functional or artistic
We recommend starting with the basic firing programs outlined here. As you
three-dimensional shape. In this firing, you will re-heat the previously fused, flat
become familiar with the results at these three fusing levels, you will likely
project to the point of softening, and it will “slump” into and take the shape of
want to explore adjusting the process times and temperatures. Please see the
the mold you’ve selected. Or, you may choose to place the project on
Oceanside Compatible™ website for more complete firing information:
top of a mold (usually stainless steel) and let it slump
www.OceansideCompatible.com.
over.

When in Doubt, Tack or Contour Fuse Planning Your Design to Fit

Projects can easily be returned to the kiln and re-fired for a more “melted”
To create a piece that you plan to slump INTO a
result. Obviously, the opposite is not true!
mold, make sure your assembled project is no
larger than about 1/8" outside the perimeter
of the mold.
The “Magic Carpet” at left is a great
example of how a lower fusing schedule To create a piece intended for slumping OVER
(Tack or Contour) can better preserve a mold, make sure the project is not so large that it
interesting detail of a piece. At a full
fuse, this piece would not have been will sag completely down and flatten onto the kiln shelf.
nearly as charming. The fringe is made Keep in mind that the piece may stretch a bit as The piece above was made into a vase
from glass Stringers, and the small
circles are made from nipped Murrini. it softens, so leave some extra space. by slumping a square project over a
stainless steel cup-shaped mold. Note
also the dimension in the nipped fern
design — fired using a Tack fuse.
12 13
 Preparing Molds for Slumping Frit Casting
Ceramic (Bisque) Molds: Frit casting, is another fun and popular way to create detailed shapes out of
1. If not already done, drill a few small air holes where the glass will sag down glass. In general, “casting” is the term for a glass-forming technique in which
into the mold. This will let air escape from beneath the glass as glass is placed into some type of mold and fired hot enough to melt the glass
it slumps. into the shape of the mold. Frit casting is usually done on a smaller scale using
2. Brush several smooth, thin coats of Shelf Primer — reapply when it shows ceramic molds made for this purpose. The finished castings can be stand-alone
wear or imperfections. art, or can be incorporated into other fused work.

You’ll get the best results from these types of projects by prepping your
Stainless Steel Molds: molds using a boron nitride spray, such as
Pre-fire steel molds so they’ll more readily accept Shelf Primer, or purchase MO-RE®. Consult your mold manufacturer
a boron nitride spray, such as MO-RE®, that can simply be sprayed onto for recommendations regarding mold
the mold. preparation and firing schedules.

Ceramic and stainless steel molds are re-usable. Just re-apply Shelf NOTE: In general, a slower firing
Primer or boron nitride spray as needed. Consult the mold manufacturer schedule keeps the frit particles from
with any questions about treating the molds, as well as any special firing moving too fast in the mold, which can
recommendations for specialty (damming, dropout, or Frit Casting) molds. lead to sticking.

Centering The leaves on this plate were all

made with Frit Casting molds.
Place the flat fused piece on or over your mold, aligning the project’s center
point with the center of your mold.
Important Safety Notes
Here are a few things to keep in mind:

BASIC SLUMP FIRING Previously fused project softens and slumps to take the Hot Glass
shape of selected form or mold. This is a place to start: you will need to adjust Be cautious about touching glass in the kiln, even when the controller reads
depending on the severity/complexity of the mold, finished effect, etc. room temp, the glass itself may be much hotter.

Segment Ramp Goal Temp Hold Time

(ºF per Hour) (ºF) (Minutes)
Glass Clean Up — Be Smart
1 250 250 15 • Never brush glass off your work area with your hands. Keep a bench brush
2 250 1050 30 handy, or use your shop vac.

3 150 1225* 10*

• If you save remnants of unused glass, it’s safest to “square up” the
4 400 950 60 pointy pieces.
5 200 800 10
6 300 100 0 • Don’t put glass remnants into your regular trash without covering with a
*Adjust schedule here for desired results. heavy protective wrap, so the unsuspecting trash bagger will not get cut.

14 15
www.OceansideCompatible.com
A Great Place to Find Helpful Resources
OceansideCompatible.com has supply information, tutorials, and other
resources to further your glass fusing experience. Be sure to look into
class opportunities in your community to advance your skills and learn new
techniques. You may also want to consider attending Glass Craft and Bead
Expo, the largest US glass show held annually in Las Vegas.

Oceanside Compatible™ Project Guides

Project Guides make fusing as easy as it gets. Each sheet provides step-
by-step instructions on project creation, including specific techniques to
expand your general fusing knowledge.

Basic Glass Cutting Video

If you need help learning to use glass tools, please see the instructional
materials on our website.

Oceanside Compatible Firing Schedules & Troubleshooting

Find basic and advanced firing schedules and information regarding the
firing process. We also supply basic project construction best practices
and other pointers so you can easily create successful projects.

Oceanside Compatible Glass Suppliers

Find authorized suppliers of Oceanside Compatible products on
OceansideCompatible.com. Our suppliers are your best resource to
purchase supplies, take classes, connect with like-minded glass people.

Fusing/Slumping Molds
There are many makers and suppliers of molds for kiln fired glass work —
Creative Paradise® (makers of the Patty Gray Damming Molds™), Slumpy’s®,
Colour DeVerre®, to name a few. Your local supplier may offer molds or you can
check online for the sources mentioned above.

Fusing Tech Support

You may email us with technical questions specific to Oceanside Compatible
products at the following email address. Please remember to include as many
details as possible, including photos, firing schedules used, glass production
date, etc. if inquiring about a fused piece after firing.

Artglass@OceansideCompatible.com

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