(I’m also a geek–I ran computer labs and computer magazines, including BYTE Magazine) for years. I’m a pate de verre artist and would love to work with you on your project. Can you imagine to use powder of different colors at once in your printer, print the external layer of Henri Cros object I have attached for example, and fill the printing with transparent cullet to obtain the same object? The decoration would be then more precise than made by hand…ĭo you think it’s a total ‘delirium’? :-)”
I mean that maybe we can imagine to print the external layer of an object, and then make a plaster mould around, fill it with glass cullet (as our pate de verre process) and fire in a kiln. – maybe it could be used for decoration too.
#Mme effect as opaque how to#
That’s what we can test with the little house, and see how to improve if needed. – sure it could be used for rapid prototyping. This conversation is interesting, because it make me realize that you 3DP in glass could maybe have several goals : The bigger the glass pieces used will be, the more transparent the final object will be. In fact, when you use powder, you have this opaque effect. – use only of cullet (pieces of cold crushed glass). Ex : photo of Walter : the salamander is made with glass paste deposed by hand (“estampage”), and then the rest of the piece is made by addition of cullet. – use of the glass paste put by hand in some parts of the mould, then the mould is filled with cullet (pieces of cold crushed glass) and fired.
This is the original method, and I think that this is the only thing that you call pâte de verre in America. – use only of glass powder, mixed to be a paste. There are 3 different practices possible that we call “ pâte de verre” : In France, “ pâte de verre” is the process of putting together in a mould some pieces of cold solid glass, whatever the sizes of the pieces (powder, smaller or bigger particles), and heating until you obtain your final object. I would say that it refers to the external layer, but not to the final object itself. “ estampage de verre is really the action of manually putting the glass paste into the mould with a brush. Marie-Alice Skaper provided some more detail: That’s this process that everybody in France calls pâte de verre.” We put cold crushed glass in the mould (powder or little piece) without anything else (no binder), and we fire it in the kiln to about 800☌. What we call pâte de verre in France is certainly what you call ‘kiln casting’. But nowadays, in France, this painting is called stamping “estampage” : you mix glass powder with gum arabic for example, and put it by hand with a brush into the mould), and can be used in the pâte de verre process if needed, but it’s optional. “in France,when we use the words ‘pâte de verre’, it’s not referring to the Egyptians’ technique… You’re right, pâte de verre was originally painting a paste into a mould. However, Marie-Alice Skaper, Development Manager, CERFAV () checked in and had the following to say: After the coated mould is fired at the appropriate temperature the glass is fused creating a hollow object that can have thick or thin walls depending on the thickness of the pate de verre layers.” The resultant paste is applied to the inner surface of a negative mould forming a coating.
In this process, finely crushed glass is mixed with a binding material, such as a mixture of gum arabic and water, and often with colourants and enamels. “ Pate de verre is another form of kiln casting and literally translated means glass paste. I had always understood that Pate de Verre in a manner similar to Wikipedia definition: