This sounds realy interesting,. A True Glass Photograph! I will go looking for suitable pigments tomorow. I mean look ing at my notes and on line. Perhaps my friend in WA will have some sources.
My Pt/Pd/ fired on glass went only as far as I have already described. I am still making emulsions most of the time. My latest emulsions are showing some relief, as I am not using hardener. Whether it is enough relief for what you are talking abouting I do not know. But I think that it is enough relief for dye transfer.
Awesome Bill, keep us posted. I'll see if I can't find more about plaster casting carbon reliefs in the meantime.
I wonder if this could be accomplished by replacing the PVOH with Poly(2-Ethyl-2 Oxazoline), aka Aquazol. Aquazol being used heavily in the ceramics/glass industry because it burns away cleanly when pieces are kiln fired. I am thinking that Aquazol could be used in a dusting on process where ceramic frit prigments are used and then fire the piece to fuse into the glass, repeating the process for each color seperation. Aquazol should have the same reaction to dichromates as PVOH.
I was recentyl at a glass/ceramics craft/guild shop and was amazed at the number of pigments available for fusing into glass. Amazing variety of glass sheet where also available.
Also there is technology available for direct digitial inkjet printing onto glass with ceramic frit based ink and then fired to fuse into/onto the glass. Seems like the technology is in much wider use in the UK and in US. Looks like it is based on a flatbed inkjet printer and specialized inks. http://www.dip-tech.com/SiteFiles/1/292/1611.asp
Where I got to school we do glass molds, but we create the mold and then fill it with with ground/flaked glass called "frit". You need to make it sort of a heaping mound because there is some settling as the glass melt, however, doing this means that you don't need anything more than an electric kiln to fire the glass. I think for a full melt/fuse we don't even need to go over 1800F.
Holmburgers et al,
My friend in WA responded to my request for fireable enamel pigment sourses: Fusemaster
Reuche (Retaled by Pacific Artglass)
She made 2 points: Reds are based on gold and expensive, but just go for it. Do not try the cheaper reds made from cranberries and such.
Each color is fired at a different Temperature. Get a computerized kiln and become familiar with it. She highly reccomends workshops/classes. This stuff can get realy involved.
I have the disinct impression that this is NOT something that we can do as a side experiment. It will take as much dedication as experimental photography.
As much as I wanna try out the ideas set forth on this thread, I must stay focused on my emulsion until it is operational !
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Bill, great stuff you've learned!
Here are some casting materials... http://www.pacificartglass.com/index...781&cat_id=390
They even have "translucent color separation enamels", though the colors look, uh, err, it looks like they need a refersher course on subtractive synthesis. http://www.pacificartglass.com/index...cts&cat_id=354
I'm realizing that this idea is teetering on the line between "photos of glass" and "photos burnt into glass". The latter is really just photoceramics. Transparency/translucency is the key, and the thicker the glass the better.
I agree, probably not a walk in the park. But, something to think about and experiment with if possible.
My friend in WA also warned me that, in the world of glass, transparency and transleucency are two very different things. I am not free to identify my friend but, trust me, she knows her stuff.
I am now searching fore begginer courses/workshops in Glass fusing art in Southern CA. Bullseye has many very relevent 1 to 5 day workshjops that look usefull. But they are all in Portland and Santa Fe. I know. I just said I wasn't gonna do this. But............................. Godda keep my synapses from growing plaque. Bill