Drying Kiln Washed Moulds

A question about kiln wash. Do you have to let each coat dry while applying before applying the next coat?

 There seems to be a popular notion that newly kiln washed moulds must be cured before use.  I'm not sure where the information comes from, and no reasoning is given.  It is suggested that that quickly heating newly kiln washed moulds to 550°F (290°C) is important.

 If you want to make sure the mould is dry, this may not be the best way to do it.  All ceramics have a cristobalite inversion at around 225°C/437°F.  This a very rapid increase in volume of 2.5% that often leads to cracks and breaks in ceramics when the rate of advance is quick.  The mould will react better and last longer if the rate of advance is slow until that inversion temperature is passed.  But also note there is a quartz inversion at around 570°C/1060°F that is significant.

 

 This is another reason to advance the temperature slowly when slumping or draping with a ceramic mould.  A further reason to heat slowly is to avoid steam formation within the ceramic body.  If the steam is created over a short time, the force can be great enough to break the ceramic.  To ensure the water evaporates, a soak at 95°C/203°F for a significant amount of time is a better, safer option.

 But in addition to all these precautions, it simply is not necessary to cure kiln wash on slumping and draping moulds made of ceramics.  The glass does not begin to move until after 540°C/1000°F. Therefore, the kiln wash will be dry long before the glass gets near slumping temperatures.  Any vapor caused by evaporating water will escape through the vent holes in the mould or under the glass at the rim, as it will not form a seal until higher temperatures.

 

Newly kiln washed mould beside others already fired

 If you want to be sure your kiln wash is dry before you put the mould in the kiln, you can leave it in a warm ventilated space, or even on top of your kiln while it is being fired.  Using either drying method will dry the kiln wash sufficiently before the glass is placed on the slumping mould.

 The other part of the question was about drying the kiln wash between applying coats. It is not necessary to dry between coats of kiln wash.  In fact, a better result is obtained by applying all the coats at one time. It is not like painting wood. The result of applying all coats is a smoother surface.  There is no dragging of the dry powder along with the wet kiln wash as it is being applied over the existing coats.

 Kiln drying ceramic slumping and draping moulds is not necessary. It only adds another, unnecessary step in kilnforming preparations.  There are exceptionally good reasons to avoid rapid firing of damp moulds. 

 Some extra care could be taken with texture moulds and those intended for casting.

Simultaneous Fusing and Slumping

“I sometimes slump at the same time as I do a tack fuse. Is slumping at this higher heat bad for the mould? “

Image credit: Creative Glass

Mould

 It is possibly not bad for the mould, but it does depend on your temperature and heat work.  Ceramic moulds are typically fired to 1200° or 1300°C so higher kilnforming temperatures are unlikely to affect the moulds.  The speed at which the target temperature is reached is of concern though.  Ceramics have what is called quartz inversions.

 Two of the constituents of ceramics – cristobalite and quartz – have significantly large expansions at 226°C and 570°C / 440°F and 1060°F.  Rapid rises through these two temperatures risks breaking the ceramic mould.  This is not the case with steel moulds, of course.

Glass

 There may also be effects on the glass.  Slumping typically ranges between 620°C to 677°C (1150°F to 1250°F).  Tack fusing typically is done in the 740°C to 790°C (1365°F to 1455°F)range.  This is a significant difference even at the higher end of the slumping range and the lower end of the tack fusing range. 

 Some of the effects are:

·        The marking of the slumped glass will be greater at tack fusing. 
·        The glass will slip down the mould more. 
·        Any pieces applied to the base are likely to slide during the slumping process.
·        There is a risk of creating an uprising or bubble at the bottom as the glass slips down the side of the mould. 
·        There is more risk of creating needle points at the edges.

 Performing two processes at the same time risks difficulties.  Inevitably, compromises will need to be made between slumping and tack fusing.  Eventually, it will come to a time when the two process won't work together.

  

A slump taken to tack fusing temperatures is at risk from uprisings at the bottom, needling at the edges, excessive marking on the back, slipping down the mould and thickening

Drying Kiln Washed Moulds

There seems to be a popular notion that newly kiln washed moulds must be cured before use.  I'm not sure where the information comes from, and no reasoning is given.  It is suggested that that quickly heating newly kiln washed moulds to 550°F (290°C) is important.

If you want to make sure the mould is dry, this may not be the best way to do it.  All ceramics have a quartz inversion at around 225°C.  This a very rapid increase in volume of 2.5% that often leads to cracks and breaks in ceramics when the rate of advance is quick.  The mould will react better and last longer if the rate of advance is slow until that inversion temperature is passed.

This is a reason to advance the temperature slowly when slumping or draping with a ceramic mould.  Another reason to heat slowly is to avoid steam formation within the ceramic body.  If the steam is created over a short time, the force can be great enough to break the ceramic.  To ensure the water evaporates, a soak at 95°C for a significant amount of time is a better, safer option.

But in addition to all these precautions, it simply is not necessary to cure kiln wash on slumping and draping moulds made of ceramics.  The glass does not begin to move until after 540°C (about 1000°F). Therefore, the kiln wash will be dry long before the glass gets near slumping temperatures.  Any vapor caused by evaporating water will escape through the vent holes in the mould or under the glass at the rim, as it will not form a seal until higher temperatures.

newly kiln washed mould beside others already fired

If you want to be sure your kiln wash is dry before you put the mould in the kiln, you can leave it in a warm ventilated space, or even on top of your kiln while it is being fired.  Using either drying method will dry the kiln wash sufficiently before the glass is placed on the slumping mould.

Kiln drying ceramic slumping and draping moulds is not necessary. It only adds another, unnecessary, step in kiln forming.  There are exceptionally good reasons to avoid rapid firing of damp moulds. The exceptions can occur with texture moulds and those intended for casting that do not have vents.

Thermal Shocking Ceramics

When firing glass in ceramic moulds, and especially ceramic pots for pot melts, you should be aware of the temperatures at which the ceramic material quickly expands and contracts.

There are refractory ceramics which are not as sensitive as the kind of ceramics we are using in most kiln work.  The ceramics we use are not refractory materials and contain, among other things, quartz and crystobalite. These two elements are important, as they have considerable effect on the survival of the pot or mould during the firing.

The effects are called inversions.  This is because the rapid expansion experienced upon the heating is reversed as rapid contraction on the cooling of the ceramic.

The first element to be affected by the heat up is crystobalite.  This element has a sudden expansion of 2.5% at 226°C.  This does not seem to be much, but compare it to the expansion of glass at this temperature - .0085% - almost 300 times that of glass at the same temperature.  And of course, the ceramic contracts by that amount when it reaches 226°C on the cooling.

The second element affecting the heat up is quartz.  There is quite a bit of this in clay.  The critical temperature for this is in the 570°C to 580°C range.  The expansion and contraction is not so great here – only 1% - but it is still more than 100% that of the glass, and in a critical range for the glass on the cooling.   

More information on the quartz and crystobalite inversions are given here.

The importance of these inversions for us are to remind us to be careful at these temperatures of about 225°C and 570°C - 580°C to prolong the life of the ceramic pots and moulds that we use.  

It is probable that 150°C per hour is as quickly as we should increase the temperature when using ceramic moulds or pots.  Some thought should be given to the cooling of the moulds too.  They should not be taken from the kiln while hot nor subjected to draughts of relatively cold air.

Quartz Inversions and Conversions

You need to know about this in both casting and when using ceramic pots in the kiln.

Quartz
Crystalline solids are rather temperamental and quartz is no different. Quartz is a crystalline form of silica in that it has a three dimensional regular pattern of molecular units. These form naturally in nature because lengthy cooling times allow arrangement. Quartz is made of a network of triangular pyramid (tetrahedron) shaped molecules of silicon combined with four oxygens.

Unfortunately, the quartz delights in changing the orientation of the tetrahedron shaped molecules with respect to each other, thus loosening or tightening the whole mass (and thus changing its total size). It exhibits twenty or more “phases”. A change to another phase is called a “silica conversion”. The most significant phases are quartz, tridymite, crystobalite, and glass.

Inversions
Changes which occur between these are reversible, that is, the change which occurs during heat-up is inverted during cool down. These changes are thus called “quartz inversions”. These inversions, unfortunately, often have associated, rather sudden, volume changes. That means that quartz conversions are something to consider when optimizing the fired properties; quartz inversions are something to consider when firing to prevent cracking losses. There are two important inversions you need to know about because of their sudden occurrence during temperature increase and decrease.

Quartz
The first is simply called ‘quartz inversion’ and it occurs quite quickly in the 570°C range (1060°F). In this case, the crystal lattice straightens itself out slightly, thus expanding 1% or so. This is therefore an important temperature in casting as it is an expansion on the heat up and a contraction, “grabbing” the glass on the way down. This is the reason for various modifiers when silica or flint is used as the strengthener.

Crystobalite
The second is crystobalite inversion at 226°C. This is a little nastier because it generates a sudden change of 2.5% in volume. This material has many more forms than quartz, so it is complex to say the least. However, while all bodies will have some quartz, you won’t have a problem with crystobalite inversion unless there is crystobalite in your body. Crystobalite forms naturally and slowly during cooling from above cone 3 (1104-1149°C). It forms much better if pure crystobalite is added to the body to seed the crystals or in the presence of catalysts (e.g. talc in earthenware bodies). Thus, this element exists in most ceramic moulds and moving slowly around 226°C should be observed when firing containers made of ceramic materials.