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  #241  
Old 2013-07-21, 4:01pm
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Unlike soda lime glass boro likes to be screaming hot, think yellow going on white (clear glass, color incandesses so much it's hard to tell how hot it is).
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  #242  
Old 2013-07-31, 2:16pm
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Quote:
Originally Posted by Crazy Woman View Post
Hint for making boro beads on mandrel ~ get the tip of the rod really hot before touching down, heat only the glass and not the mandrel. Mandrels tend to burn right thru ~ ask me how I know. Turn the mandrel slower than you do with soft glass ~ it needs time for the heat to sink in. You will get nice even dimpled beads.
Great tip!
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  #243  
Old 2013-10-23, 6:13pm
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any tips for making basic simple murrine? contemporary lampworking has a little pic demo of an eye cane but im having trouble shaping and really understanding what it is I'm doing.. although i managed to make a simple bullseye millie cane the other day, i would love to be able to build something that isnt a bullseye haha. searched around on youtube and a lampwork forum but couldnt find much. any help is greatly appreciated!!!
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  #244  
Old 2013-10-24, 12:09pm
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here you go i went to search function typed in making murrine cane. the first one was your question the second one I saw this link that has lot of tuts.

http://www.lampworketc.com/forums/sh...g+murrine+cane

the second link in #12 is this one that has great pictures on the whole process. but there are many more great links so if you read thru that thread and all the link in it you should know all you need about murrie.

http://www.lampworketc.com/forums/sh...ad.php?t=63699

good luck !!
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  #245  
Old 2013-10-25, 6:06pm
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thank you!!!! this is great!
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  #246  
Old 2013-11-21, 12:40pm
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Default Help Please -- Problems with stretch marks on boro

Hi -- I'm not sure if this is the right place to post this, but I'm a noobie on this site and am a self-taught boro pendants and beads artist for just over one year. I work a Carlisle Mini CC with oxy/propane. My daughter has been on a torch for about three years and just got a new Red Rocket to replace an old used Major-Minor. We both have multiple refurbished medical concentrators for our oxy. She works medium sized art/functional pieces and we are experiencing what appears to be stretch marks on the outside of her tube work and can't figure out what is causing it, or how to fix it. Suggestions/help please!?!

Also -- thanks everyone for the tutes... I'm working my way through them and can't wait to get on the torch tonight -- very inspiring!!

Last edited by LadyGlass108; 2013-11-21 at 12:49pm. Reason: adding text
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  #247  
Old 2013-11-21, 1:06pm
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my guess is devit, from not having the glass hot enough when you manipulate it.

how many oxycons do you have running the red rocket? those torches can hog some major oxygen. do you have a holding tank set up?
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  #248  
Old 2013-11-21, 1:09pm
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Thank you... She's got 9 or maybe 10 (I can't remember), and we are trying to figure out how to get the actual psi of the oxi coming out of the main hose to her torch. But, the set-up "seems" to be pushing plenty of oxy. Have not heard of setting up a holding tank -- how does that work?
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  #249  
Old 2014-01-12, 10:46pm
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I'm really enjoying reading this, have more pages to go, but it's time for some sleep!
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  #250  
Old 2014-01-13, 11:38am
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Quote:
Originally Posted by LadyGlass108 View Post
Thank you... She's got 9 or maybe 10 (I can't remember), and we are trying to figure out how to get the actual psi of the oxi coming out of the main hose to her torch. But, the set-up "seems" to be pushing plenty of oxy. Have not heard of setting up a holding tank -- how does that work?
A holding tank is just a compressed air cylinder. You feed the oxycons to it and then run you torch hose to that. After your run it for a bit it pushes all the air out of the tank and replaces it with o2, allowing your torch to run off that rather then the seive beds eliminates breathing from the machines and hives you more o2 to run for a bigger hotter flame until you deplete the tank. You don't stop working when the tank empties, just turn your oxy and flame down and let if refill while you continue to torch!
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  #251  
Old 2014-03-27, 9:41pm
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Rob, I am not for sure sure but I think those are for hair
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  #252  
Old 2015-02-15, 12:19am
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Bump.... ran across this thread while looking for something else.

How did I never see it before??
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  #253  
Old 2015-11-13, 3:00pm
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OK, it took me a while to find this, but now I hope I can do some of the tutorials. I don't have much labeled glass though, so I may have some sad results!

I spent time this afternoon melting the ends of some of my shorts to see for example if all the black ones were black (most are but some struck or turned shiny silver, etc.) and some of the reddish ones turned clear and nothing seemed to help to get them to strike back to a color... any color! I may stick with frit over clear for a bit, just to get moving.
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  #254  
Old 2015-11-13, 3:07pm
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Welcome Eileen to the 'dark side'. LOL
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  #255  
Old 2015-11-13, 4:49pm
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  #256  
Old 2015-11-17, 4:54pm
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Quote:
Originally Posted by Eileen View Post
OK, it took me a while to find this, but now I hope I can do some of the tutorials. I don't have much labeled glass though, so I may have some sad results!

I spent time this afternoon melting the ends of some of my shorts to see for example if all the black ones were black (most are but some struck or turned shiny silver, etc.) and some of the reddish ones turned clear and nothing seemed to help to get them to strike back to a color... any color! I may stick with frit over clear for a bit, just to get moving.
Throw the red ones into the kiln for a cycle. They will turn back red. It's probably NS Ruby or Pomegranate. They go clear when you work them, but when they sit in the kiln they will strike back red. You can strike them in the torch but it's a pain.
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  #257  
Old 2015-11-17, 5:25pm
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Thank you. I think there are at least two colors. One I can strike to a kind of pinkish color, the other one stayed clear no matter what I did.
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  #258  
Old 2023-08-26, 11:31pm
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I have just spent several hours going through this thread, as an intermediate to advanced lampworker I like to see what new basic techniques are being used and it’s a pity there are no new posts for several years.

I have several comments which I think were not fully answered in this thread (but can be found in many other sites);

Boro is much stiffer, requires hotter flame than soft glass, so making thin leaves or flower petals is harder – the hotter boro looses its heat quicker than soft glass and it quickly becomes too stiff to make it thinner.

Except for beads (requiring a hole), I never use a mandrel – I use punties all the time.

Kiln annealing (for me & my kiln) is 570 C (1060 F), rise & fall rates can be more aggressive than for soft glass, hold time as for soft glass (of the same thickness).

Advantages of boro is no need to park half-made objects in a ‘cool’ kiln or to anneal the object straight away.
I give all my items a rough flame anneal – heat the whole item to a very dull red then put between 2 pieces of thermal blanket to cool, I will then batch anneal when there is enough to fill the kiln.

Photo of some roses I made 9+ months ago but not finished (no leaves) have only been rough flame annealed (temperatures in my studio for summer & winter can vary from 40+ to 5 C – not one has cracked). I always kiln anneal any items I sell.



The biggest advantage of boro is it does not thermal shock as much as soft glass – items like my roses can also be made with soft, but it takes much longer & harder to avoid thermal shock.

Peter
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  #259  
Old 2023-08-27, 8:36am
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Thank you for reviving and adding to this thread.
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