system 96 glass craft program - welcome to … · · 2008-05-27storing and handling projects ......

System 96

GLASS CRAFT PROGRAM A complete Glass Fusing Program

presented by Spectrum Glass

Studio Operations Manualfor Contemporary Ceramic Studios

© 2008 Spectrum Glass Company, Woodinville, WA

NOTES

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

Rev. 02/18/08 -- CCSSpectrum Glass presents: The System 96® Glass Craft Program

®

Contents

Chapter 1

Program OverviewSystem 96 Craft Program Introducing the GFC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 .1

Glass Fusing in Concept Basic Fusing Stages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1 .2 Cool, Compatible, and Copasetic . . . . . . . . . . . . . . . . . . . . .1 .3

Support Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 .4 The Ideabook QuickTips FreeStyle Design Guide Project Calculator Website

Chapter 2

Practical MattersGlass Fusing in Practice Safety: Common Sense and Industry Mysteries . . . . . . . . . . 2 .1

Prepping Your Customers Orientation Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2 .2 Be a Design Guru . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2 .3 Limitations and Expectations . . . . . . . . . . . . . . . . . . . . . . . . 2 .4

Cleanup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2 .5

Chapter 3

Tools and MaterialsGFC Components “Included” Components . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 .1 “Add-ons” —additional-charge items . . . . . . . . . . . . . . . . . . .3 .2

Glasscrafting Tools and Supplies Included with Your Delivery . . . . . . . . . . . . . . . . . . . . . . . . .3 .2 Supplementary Materials . . . . . . . . . . . . . . . . . . . . . . . . . . .3 .4

i

NOTES

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________


®

Chapter 4

TechnicalitiesKiln Specifics for Glasscraft Glass vs. Bisque . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 .1

Basic Firing Choosing the Fusing Level . . . . . . . . . . . . . . . . . . . . . . . . . .4 .2 Ramp and Hold . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4 .2 Entering a Ramp and Hold Program . . . . . . . . . . . . . . . . . .4 .3 Contour Fuse: The Program Standard . . . . . . . . . . . . . . . . . 4 .4 Loading the Kiln . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 .4 Zone Control and Even Heating . . . . . . . . . . . . . . . . . . . . . . . . 4 .4

Sticky Issues: Mold and Shelf Prep Prepping Shelves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4 .5 Prepping Molds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4 .5

Second Firings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4 .6 When a Slump is a Good Thing

Chapter 5

Financial MattersProject Pricing Guidelines . . . . . . . . . . . . . . . . . . . . . 5 .1

Consistency of Projects Definitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 .1 Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5 .2 Blank . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5 .2 Design Layer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5 .2 Accent Layer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5 .2 Add-ons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5 .2 Project Volume Examples . . . . . . . . . . . . . . . . . . . . . . . . . .5 .3

How Do I Know if it’s Profitable? . . . . . . . . . . . . . . . . . . . .5 .4

The Project Cost/Price Calculator The Tables Worksheet . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5 .4 Using the Calculator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5 .5

Contents

ii

NOTES

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________


®

Chapter 6

Managing Work FlowStoring and Handling Projects Moving Projects Into the Kiln—Two Options . . . . . . . . . . . .6 .1

Scheduling Firings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6 .1

Option: The HotStartPro™ Kiln . . . . . . . . . . . . . . . . . . . . . .6 .2

Appendix

Shopping List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .A .1

Sample Grids . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A .2 – A .4

Fusing Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .A .5

Master Documents FreeStyle Design Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . A .8 QuickTips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .A .9 – A .11

Project Pricing Examples Party Platter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A .12 Semi-Ruffled Bowl . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A-13 Basket Weave Platter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A .14 Spirit Flake Ornament . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A .15 May Flower Votive . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A .16

HotStartPro™ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A .17

Contents

iii

NOTES

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________


®

Chapter 1 — Program Overview

System 96™ Craft Program

Congratulations—you’re about to add an exciting profit center to your business: the beautiful art of Glass Fusing distilled into an easy, proven program . Follow the guidelines in this manual for successful outcomes, happy customers, and impressive, predictable profits.

While Glass Fusing can offer the dedicated artist a lifetime of challenge and creativity, this program has been streamlined and tested to ensure its appeal to all customers at an introductory level, including kids and oth-ers with no experience. Fun and rewarding projects are easy -- simply by assembling prepared components into a desirable design.

Introducing the GFC

The Glass Fusing Center is a complete turnkey setup for implementing a Glass Fusing program in your shop . After initial stocking and an optional orientation session for your customers, it is designed to enhance your business with minimal fuss on your part .

Of course, there are many approaches to Glass Fusing—some involving advanced techniques that can yield stunning results . And we’re commit-ted to keeping the program “fresh” by continuing to scout out new and exciting projects and accessories . But for now, you need no additional knowledge or experience: everything you need to know for a successful program is in this manual .

The recommended kiln procedures have been tested with various types of kilns and we are standing by to answer any questions that arise . And expect some surprises! Nothing about this craft is 100% predictable . But stick with the recommended materials and work within the guidelines, and we are 100% confident that Glass Fusing will be a hit with your cus-tomers and a success in your business .

Cruise through this manual, spread the word, and stand by for some delightful results.

1.1

What youneed to know:

no more, no less

NOTES

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________


®

Glass Fusing in Concept

Glass Fusing is simply the process of stacking two or more layers of compatible glass together to make a design, then placing the stacked glass in the super-heated environment of a kiln, where it melts together .

Basic Fusing Stages

AssemblyIn this program, a “project” is defined as a base layer (usually a pre-cut Blank) with an additional design layer on top, including accents, border details and focal elements . (See Counseling FreeStylers:

What Makes a Good Design?)

Flat FiringAfter assembly, the project is placed in the kiln and slowly taken from room temperature up to nearly 1500 degrees . In the Craft Program, we advocate simplicity by defining a single flat firing level:

Contour FuseAt this firing level, the top layer of design

elements are semi-merged into the base layer, with rounded shoulders . The entire project will

have a dimensional appearance .

SlumpingOnce fused into a single unit, the project can be returned to the kiln and heated to its softening point (1235º F), causing it to sag over or into a mold and retain its design integrity . This transforms the flat project into a functional or artistic three-dimensional piece, such as a bowl or tray . This second firing is usually offered at an additional charge to the customer .

1.2

Base layer+ Design layer

= Project

Slump = extra profits

NOTES

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________


®

Cool, Compatible, and Copasetic

Cooling: A Time To HealEach time the glass has reached its goal temperature, the kiln must regulate how fast the glass returns to room temperature . Our firing programs (see Chapter 4) are designed to accomplish this with predictable results . While the glass is cooling, it is going through an annealing phase, which occurs at approximately 950 degrees . Think of it as a “healing” phase, in which the glass ad-justs to its new form . It’s important not to interrupt annealing or cooling by opening the kiln and shocking the glass with a blast of cold air . Project breakage will result!

Compatibility: An Issue SolvedGlass expands when it is heated and contracts when it cools . Glass from different manufacturers has a distinct rate at which it expands and contracts, called the Coefficient of Expansion (C .O .E .) . To fuse glass successfully, we work within a family of products that have been “tested compatible .” You can trust all the materials in the GFC to work well together . Do not add glass from other sources to the GFC and expect success . Project breakage will result!

1.3

Respect the glass--heat & cool

slowly

Don’t mixmanufacturers!

®

NOTES

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________


®

Support Resources

Backing the GFC is the “heart” of the System 96 Craft Program: an expanding assortment of resources for you and your custom-ers . With the project collections, technical tips, and design advice that follows, you should have plenty of information to establish a thriving fusing program . Our commitment to you also includes ongoing Tech Support . Email us with questions or suggestions: [email protected] .

The Ideabook: A Half-zillion ExamplesWe’ve collected a variety of photos showing fused glass projects at many levels of artistry . Encourage your customers to thumb through the pages for an overload of inspiration .

Quick Tips, Design Guide: Resources to Aid CustomersAfter your customer selects a design, these How-To one-pagers reveal the secrets that make successful projects . Using these QuickTips, your customers can find answers without much coaching from you .

Project Calculator: Pricing Preparedness for YouThe Project Calculator is a pre-programmed spreadsheet that quickly calculates your materials costs and profit margins on any glass project . Use it to fine tune your pricing, to recognize when to charge “extra,” and maximize return on your glass investment .

Website: Your Private Information StorehouseThe System 96 Craft Program has its own website that serves as your up-to-the-minute resource . Go to spectrumglass.com/craftprogram.asp . Use the log-in and individual password we emailed to you, and check for:

Step-by-step Project Guides Promotional materials Technical advisories Re-stocking order form New Product announcements Downloadable master documents ...and new things added all the time!

Unlimited Coaching: Real-live support via email or phone Technical: s96craft@spectrumglass .com or 425-483-6699 ext .4069 . Restocking: mary@spectrumglass .com or 425-483-6699 ext .4069 .

1.4

We’ve done thethinking for you

NOTES

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________


®

Chapter 2 — Practical Matters

Glass Fusing in Practice

Safety: Common Sense and Industry Mysteries

With its inventory of pre-cut pieces and an emphasis on nipping, mak-ing projects in this program is safe enough for kids . In our experience with the GFC, injuries are rare and minor . Preach common sense, DO keep a supply of Band-Aids, and take minor cuts in stride . Here are some general safety pointers:

Don’t RunNeed we say it? Don’t RUN with, or near, the glass workstation, the Glass Fusing Center, projects to be fired, or finished glass projects .

Hot GlassBe cautious about touching glass in the kiln, even when the con-troller reads room temp . The glass itself may be much hotter .

ProtectionAlways suggest that your glass customers use gloves and safety glasses; whether to follow your suggestion is up to the individual . In our experience with these materials, injuries are rare, but are always a possibility when working with glass .

DustAfter firing, Thinfire shelf paper leaves a dust that can be harmful over time if inhaled . Use a HEPA-filtered vacuum (available at any home center) to remove paper dust from each kiln shelf and proj-ect as the kiln is unloaded . Then wash any remaining dust off the projects with tepid water . Use a particle mask when emptying the vacuum . Another option is to spritz the shelves with water to keep down the dust . Be aware, however, that this method creates “mud” that’s a mess to eliminate .

Selecting MaterialsThe GFC is designed to make the selection of materials easy and safe . The ends of glass Strips extend beyond their tubes so each

2.1

Protect yourlungs

NOTES

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________


®

Strip can be delicately plucked out . Tubes of Chips can be removed from the grid and the Chips shaken into a small container for transport to the workstation . Similarly, Frit can be shaken into small cups and added to the artwork directly from the cup .

Disposing of Glass ScrapDon’t put pieces of glass in your regular trash containers—they might stab an unsuspecting trash bagger . Keep a separate con-tainer for glass disposables, wide enough to accept a “dump” of glass grit directly off the Work Grid . Put glass trash in a cardboard box or wrap in several layers of sturdy brown bags before you take it to the dumpster .

Cleaning UpNever swipe the worktable with your hand, or even wipe with a paper towel unless you have first brushed the surface with a soft brush to remove glass splinters . The tiniest particle can be an ag-gravating intruder into your skin! Your HEPA-filtered shop vacuum is your best friend for glass-related cleanup . (See Cleanup, below .)

Prepping Your Customers

The Glass Fusing Center is designed to practically run itself . With its tools, supplies, and IdeaBook of project photos, your customers can create a project with little attention from you . For a smooth start to your fusing program, we recommend offer-ing a short “orientation” session for newcomers . Here is where you’ll tell your customers how to handle, nip, and cut glass, and a few basic kernels of wisdom about Glass Fusing . Once they are oriented, you can point them to the GFC and set them loose immediately, or any time afterward that they choose to visit your shop .

Orientation Points

What is Glass Fusing? (See Glass Fusing in Concept, Ch 1 .)

•Showexamplesofflatandslumpeditems. •PointouttheaestheticdifferencesbetweenOpalsandTransparents.

2.2

Prep hobbyists,then turn ’em

loose!

NOTES

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________


®

Handling Glass (See Safety section for specifics .)

•IntroducethemtotheWorkGrid. •Letthemknowwheretofindgloves,safetyglasses,andfirstaid. •SuggestthattheyusecupsforFritandChips. •Tellthemwhattodowithremnantsandtrash.

Cutting Glass—(Optional, depending on customer group) •Demonstrateuseofthecutter,nippers,andrunningpliers. •InsistonuseoftheNippitBasket. •PointouttheinstructionalQuickTipsheets. •Offertohelpwithcuttingiftheyareuncomfortablewithit.

Assembing a Project •Explaintheconceptofa“DesignLayer.”(See Definitions, Chapter 5 .)

•ExplaintheusesofKlyr-fireandpinpointsofglue. •Pointoutthattheirprojectwillbemoved a few times before firing . •OfferthemtheQuickTipsforinfoonspecificeffectsandtechniques.

What’s “Included” and What’s “Extra”? •Pointoutthematerialsincludedintheprojectbaseprice. •Makesuretheyareawareoftheadditional-costAdd-ons. •Pointoutyourcollectionofhardwareandaccessories. Your customers need follow no specific patterns to make beautiful glass creations . The materials themselves are inspirational! The simple FreeStyle Design Guide (see Master Documents in the Appendix), made to be photocopied and given to customers, will help them create a satisfy-ing design in glass . The QuickTip sheets show simple steps for creating specific effects or handling certain tools .

Be a Design Guru

You can help your FreeStylers make awesome projects by giving a little design advice . Here are some basic guidelines for creating an attractive and successful fused project . Share them as needed .

What’s It Gonna Be? The first consideration for any project is to define its purpose . Will it remain a flat-fused piece (trivet, coaster, tile)? Be mounted on the wall? Get slumped into a functional form (bowl, platter, sushi plate)? These choices and others will help guide design decisions .

2.3

Show themthe Add-ons

Give themthe tour

Consider thefinal function

NOTES

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________


®

Design: ”Frame, Focus, Fill” Use this little mnemonic to coach your customers in simple design technique .

Frame A frame, or border, around the edges of a piece will giveit style and definition . The double layer of glass at the edge will give the project a nice “heft,” provide a “container” for other design elements, and help preserve the project’s overall shape during firing . The frame can be formed from pre-cut Strips, Chips, lengths of Rod, Rod “Dots,” Noodles, mosaic nips, triangles, or other repeated shapes .

Focus Every good design benefits from a focal point, or central design element that draws the eye . CutUp™ shapes can pro-vide a boost of inspiration . A dash of dichro draws the eye . A contrast in color can do the trick . Encourage your customer to choose a strong focal point .

Fill Once the frame and focal point are in place, fill the remainingspace with interesting texture . It can be as simple as a few well-placed dots of Frit or pieces of Stringer in random array . It can be as intricate as a tightly-fitted mosaic or grid of Chips .

Limitations and Expectations

Make sure your customers understand the program standards:

•Thata“project”consistsofaBaseLayerwithaDesignLayerontop, and an optional Accent Layer . The design layer can be lightly “piled” with overlapping pieces, but is approximately equivalent to a full second layer of glass . The Accent Layer should not be more than a third of a full layer . (see Definitions in Chapter 5)

•ThattheirprojectwillfirstbeContourFusedasaflatpiece,andthen can be slumped into various shapes . If this is the desired out-come, advance planning is helpful in creating a flat form that will correspond to available mold choices .

•ThatGlassFusingisnottotallya“wysiwyg”craft(what-you-see-is-what-you-get) . How a project looks going into the kiln is not necessarily how it looks coming out . The more heat, the more change . Be prepared for some delightful surprises! Show some before and after photos if you can .

2.4

Stick withprogram guidelines

NOTES

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________


®

Cleanup

After every great home-cooked meal comes the cleanup, and the GFC is no different . Here are some guidelines .

Glass Trash, Round OneDump the debris accumulated in the Work Grids directly into your designated glass trash container . (See Disposing of Glass Scrap, page 2 .2 .)

Restocking and Managing RemnantsYou will want shop personnel to handle restocking leftover glass, to make sure it all gets back “home .”

•Don’tdumpcupsofmixed-colorFritbackintobottles.

•Cutangledorirregularpiecesintosquared-offshapes.

STORE WITH SHEETS: pieces down to 4x4” minimum size .

STORE WITH NIPPITS: pieces down to 2x2” minimum size .

•CreateaRemnantBin Loose Chips, Strip segments, Rod segments, and other small

straight and square pieces can go in a wide, shallow plastic bin (we suggest a 9x13” clear plastic tub no more than three inches deep) . For safety, never allow Remnants to get more than two inches deep, never store pointed or jagged-edged pieces in the Remnant Bin, and require gloves for picking through them .

Glass Trash, Round TwoGot some leftovers? They are TRASH . Accumulating miscellaneous small pieces, often pointed, jagged, and otherwise dangerous, creates an unnecessary hazard in your shop .

2.5

The “Hierarchyof Detritus”:

glass remnantstrickle down

into Nippit bins

NOTES

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________


®

Chapter 3 — Tools and Materials

GFC Components

Glass Fusing Center “components” include the various sizes, shapes, and colors of glass that compose your customers’ projects .

“Included” componentsCustomers draw on these resources to create their projects . Base proj-ect pricing includes use of all the items below .

Blanks ——— various sizes of Rounds and SquaresNo cutting necessary; use as a base layer for projects . Select slumping molds to accommodate these sizes .

Craft Sheets — 6” x 12” or 12” x 12“ sheetsUse with the glass cutter to create pattern pieces and specific shapes . Can be cut to standard smaller sizes and used as project blanks .

Nippits™ ——— 6” x 2” approx . (varies)Use with glass nippers to create random-sized pieces, or with the glass cutter for specific small shapes .

Strips ———— 1/2” x 12” long Use as a ready-made design element; nip or cut to specific length .

Chips ———— roughly 1/2” square No cutting necessary; use as a ready-made design element .

Pebbles™ —— roughly 1/2” round No cutting necessary; use as a ready-made design element .

STRIPES™ —— 2”- wide lengths of striped glass .No cutting necessary; use as a ready-made design element .

Rods ———— about 1/4” in diameter Nip off 1/4” or smaller bits and glue onto project to create “dots” or bumps . Nip longer lengths and use for borders or bold design elements .

Noodles ——— like uncooked fettuccineBreak with nippers .

Stringer ——— like a strand of angel-hair pastaBreak with fingers or nippers .

Frit ————— crushed glass in Coarse, Medium, FineSprinkle or pour onto Blanks; use with Klyr-fire adhesive .

3.1

6x12 “Sheets” =the System 96®

line in miniature

NOTES

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________


®

“Add-ons”—additional-charge itemsWhen your customer chooses the items below, an extra charge should be charged . Prices vary by item . (See Chapter 5 for pricing information .)

CutUps™ assorted colors in each shapeSize, Shape: various proprietary shapes, roughly 2” dia .How to Use: No cutting necessary; use as focal design elements .

Dichro Shapes metallicized color-shifting sparklersSize, Shape: Butterflies, Dragonflies, Spirals, and Wavy FirestixHow to Use: No cutting necessary; use as focal design elements .

Dichro Squares metallicized color-shifting sparklers, some in patternsSize, Shape: 1 .25” squaresHow to Use: Nip or cut to desired shape . Expensive to the customer,

but a little goes a long way! Extra can be shared or saved for subsequent projects .

Glasscrafting Tools and Supplies

The following items are integral parts of the System 96 Craft Program, and are supplied as part of your Gold or Silver Program package .

Work GridThis handy segmented board allows transport or storage of finished or in-progress projects, catches bits of glass to keep the work area neat and safe, and keeps the tools sharp while protecting your table surfaces .

NippersLike “scissors” for glass, the nippers chew up glass with ease, creating a characteristic curvy break that’s artistic and versatile . Watch where the nips fly—ALWAYS AIM THEM INTO A NIPPING BASKET, provided spe-cifically for this purpose . (see Nipping Basket, below)

3.2

Add-ons add pizazz to projects and coin to your till

Must-Haves:included in your

start-up pkg

NOTES

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________


®

Glass CutterThe sharp wheel creates a “score” as it’s guided across the glass surface . At this weakened point, the glass will want to break . Please note: with the GFC, customers can create beautiful projects without ever picking up the glass cutter—then with a bit of glass-cutting skill, a world of design possibilities opens up .

Running PliersThese plastic-coated pliers put presssure on either side of the glass cut-ter’s score, encouraging a “run” (crack) along the line of the score . Often the glass will break all the way along the score with just gentle pressure from this tool .

Breaking PliersThese strong and sturdy pliers act like metal fingers, to grab, pull, and break the glass along the glass cutter’s score line . Especially useful for small pieces, or to nibble off pointy spots .

Nipping BasketThese receptacles catch bits of nipped glass, pieces of Rod, etc as they are broken off by the glass nippers . You’ll want to scrutinize the contents for re-usables after your customer is finished .

Plastic CupettesIn addition to being handy individual containers for Klyr-fire and glue, these plastic cups are perfect for doling out the right amount of Frit from the bottle or for holding Chips .

Klyr-fireUse this viscous, slow-drying adhesive for holding Frit in place, or stick-ing on tiny pieces too small to glue individually . Apply with a cotton swab or dab from a squirt bottle . It burns completely away during firing .

Cutter OilLightweight oil lubricates the cutter’s score line and prolongs the life of the cutting wheel . Use in a small jar as described in the following sec-tion .

Thinfire PaperProvides a layer of protection between the glass and kiln shelf or Por-table Assembly Surface . Prevents sticking, transfer of shelf imperfections, and formation of large air bubbles beneath the glass .

Diamond Abrasive PadHandy for buffing imperfections off the edges of fused projects .

3.3

NOTES

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________


®

Stainless Steel Slumping MoldsPerfect for creating vases and candleholders . See Second Firings, Chap-ter 4, which details when to use steel vs . bisque .

Safety GlassesRecommended when cutting glass .

Protective GlovesRecommended when handling glass .

Supplementary Materials: Things you may have or need to add

The following tools, containers, and consumables are recommended for you to have on hand in your shop .

Dedicated Glass-Firing Kiln ShelvesWe recommend dedicating three to five new kiln shelves specifically to glasscraft—enough to fill your kiln according to the diagram in Ch . 4 .

Note: Most studios have kilns that will hold 20” square shelves . These are much preferable to the half-moon shape commonly used for ceramics . You’ll get much greater efficiency from a single kiln load .

KilnpostsFor the commonly used Skutt 1227 kiln, five kilnposts serve well to sup-port each 20” shelf . Use 6” posts for the bottom shelf, and 4” posts for the rest . (see diagram in Chapter 4)

Shop Vac with HEPA or Small-Particle FilterHighly recommended for all glass cleanup chores . Captures tiny glass splinters and harmful dust residue after firings .

Remnant BinFor storing miscellaneous but usable pieces of glass: a clear plastic tub up to about 9 x 13 inches, and no more than three inches deep . (Keep a glove in the bin to encourage safe handling .)

First Aid KitWith Band-Aids, antibacterial ointment, and adhesive wraps .

3.4

More must-haves from various

sources.

NOTES

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________


®

Elmer’s GluePinpoints of Elmer’s Glue—the minimum needed to hold pieces in place—will burn off during firing . Apply with a toothpick from the plastic cupettes, or use a glue pen with a fine tip .

ToothpicksUse with cupettes to apply pinpoints of glue to glass pieces .

Portable Assembly SurfacesFor projects needing extra support moving from worktable, to storage spot, to kiln shelf and right into the kiln: a 12” bisque tile covered with Thinfire paper .

TweezersGreat for handling tiny pieces or coarse Frit .

SharpiesWe use these pens for drawing patterns, cut lines, and placement marks . In our experience it burns off in the kiln, but it never hurts to wipe your project clean before firing .

Cotton SwabsUse with the glue cups to apply Klyr-fire to glass surfaces, and use like a brush to manipulate Frit into patterns .

Spray Mister with Denatured AlcoholUse with paper towels to clean glass .

Small Squeeze-bottle Applicator(s)Useful for applying dabs of Klyr-fire adhesive .

Small Jar with LidKeep a sponge soaked with glass cutter oil in the bottom of this jar, and dab glass cutter wheel to sponge before scoring . This is an easy way to keep the cutter lubricated without having to fuss with an oil reservoir .

3.5

NOTES

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________


®

Chapter 4 — Technicalities

Kiln Specifics for Glasscraft

There are a few differences between firing ceramics and firing glass, but once you learn them it will be second nature to toggle between the two .

Glass vs. Bisque

•Becauseglassfiresatmuchlowertemperaturesthanceramics,you can’t fire both glass and ceramics in the same kiln at the same time .

•Whenspecifyingkilnsettings,we’lltalkintermsoftemperature,not “cone .” Your controller will display both, but you may have to dig out the manual if you have it set to display cone only .

•Glassismoresensitivetotemperaturechangesthanceramic.Af-ter the firing cycle is complete, leave the kiln lid closed . Hot glass will break when hit with cooler air (thermal shock) . Use the peep-hole if you must, briefly . Otherwise, demonstrate patience, and don’t open until the internal temperature is below 100°F .

•Glassprojectsmustbeheldflatwhiletheyareloweredintothekiln, so the design pieces will not shift . Generally, we lower com-pletely loaded kiln shelves one at a time .

•Onthekilnshelf,leaveatleastonehalf-inchbetweenprojectsand one quarter-inch between the project and the edge of the shelf, to allow for expansion of the glass .

•Stackedkilnshelvesshouldbe“staggered”toencouragethecir-culation of heated air . (See diagram, page 4 .3 .)

•Allprojectsinonefiringwillbeheatedtothesamefusinglevel.

4.1

Don’t shockyour glass!

NOTES

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________


®

Basic Firing

Choosing the Fusing Level

Though the intricacies of kilncraft offer a world of different firing effects, the System 96 Craft Program recommends one standard fusing level, Contour Fuse . Here’s why:

•simplifiesthechoicepointsforcustomers;

•ismuchlessdemandingofkilntime,aseachdifferentleveloffered would require a separate firing;

•showsoffthedesignelementswell;

•doesn’trequirespecialdesignconsiderations.

However, as your Craft Program matures your customers may ask for more options . We have provided additional firing schedules for Tack and Full Fuse in the Appendix, along with design guidelines for suc-cessful full-fused projects .

Programming Your Kiln

Ramp and HoldHeating glass to fusing temperature and cooling it, without introducing internal stress, is accomplished in your kiln with a time-temperature cycle called a Ramp & Hold firing program .Entering a Ramp & Hold program into your controller is easy . Consult your kiln manual if needed, but don’t be intimidated! Once entered, you need only recall it from (your kiln’s) memory for future use .A Ramp & Hold program is made up of several segments . Once start-ed, your kiln will execute each segment, in sequence, until the firing program is complete . Our recommended firing schedules have four segments, each with three parts: The Ramp, the Goal Temperature, and the Hold Time . The diagram that follows explains this .

4.2

Slow & steadyheating and cooling

One fusing levelkeeps things easy

NOTES

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________


®

Segment Ramp Goal Temp Hold Time

# Purpose (ºF per Hr) (º F) (Minutes)

1Glass temperature is raised slowly to prevent thermal shock

The rate, in de-grees per hour,

that kiln temp will rise or fall during each segment

The tempera-ture that the kiln will seek during each

segment

The number of minutes the kiln will stay at

the Goal Temperature,

once it is reached

2 Glass is more rapidly heated to its Goal Temp

3

Glass is rapidly cooled to its anneal point, then held there to equalize temperature throughout

4 Glass is slowly cooled through its annealing range

Entering a Ramp & Hold Program

From “Idle”

1. Press Ramp-Hold Button.

2. Input User Number (1-6, your choice . The instructions you are

entering will be retained in memory and can be easily recalled by simply selecting the same User Number in the future .)

3. Input number of Segments in your Ramp/Hold Program. (System 96 Glass Craft firing programs typically have

4 segments .)

4. Input the Rate for Segment #1, then press ENTER.

5. Input Goal Temp for Segment #1, then press ENTER.

6. Input the Hold Time for Segment #1, then press ENTER.

Repeat steps 4-6 for each Segment in your Ramp-Hold Program.

Press START to begin firing.

4.3

NOTES

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________


®

Contour Fuse: The Program StandardEnter the following into your kiln’s controller to obtain the Contour Fuse that’s standard for the System 96 Craft Program . It’s easier than it looks! (If necessary, pull out that kiln manual .)

CONTOUR FUSESeparate glass layers are fused together, edges are soft and rounded,

project surface retains a degree of dimension .

Segment Ramp Goal Temp Hold Time(ºF per Hour) (º F) (Minutes)

1 325 1350 202 600 1440 53 9999* 950 404 150 800 10

*as fast as possible

Loading the KilnPost up your lowest shelf 6 to 7 inches above the kiln floor . Stack subsequent shelves with 4 to 6 inch posts . Stay at least 5 inches below the lid, to minimize heat loss . Arrange each shelf in an ir-regular “staggered” position rela-tive to the shelf below . This will facilitate heat circulation from bot-tom to top . (See diagram at right .)

Zone Control and Even HeatingTo achieve similar results on all projects in the kiln, take steps to help maintain equal temperatures throughout, so that projects near the bottom receive the same amount of heat as those near the top . If your kiln controller is equipped with “Zone Control,” use it . Other aids to even heating:

•Trytopostupshelvessothatatleastoneelementfreelyradi-ates between each shelf .

•Makesureeachprojectisatleast2”fromthekilnwall.

4.4

“Stagger”your shelves

Even heating =consistent projects

Contour:the preferred

firing level

NOTES

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________


®

Sticky Issues: Mold and Shelf Prep

Prepping ShelvesTo prevent glass from sticking to kiln shelves, this program uses Thinfire paper to act as a barrier between the kiln shelf and the glass project . No other material or shelf prep is needed—the paper provides a consis-tently smooth surface and allows for any gasses to escape from under the glass, avoiding the formation of large bubbles under the project . Use your Thinfire one of two ways:

•CutThinfirepapertofitunderneatheachindividualpiece. The paper should extend about 1/4” beyond project edges .

•CoverthekilnshelfcompletelywithThinfirepaper.

Prepping MoldsTo prevent glass from sticking to molds when slumping, apply kilnwash to the bisque or stainless steel mold .

Bisque: Drill a few small air holes where the glass will sag down into the mold . This will let air escape from beneath the glass . (Trapped air between the glass and the mold would support the glass, prevent-ing it from slumping .)

Also, brush on a smooth, thin coat or two of kilnwash—reapply only when it shows wear or imperfections .

Stainless Steel: Heating the steel before applying kilnwash will help the solution adhere to the smooth surface . Either brush the kilnwash onto the hot steel surface (use tongs to hold mold) or simply “season” the mold by including it (without glass) when you fire other projects . The resulting tarnished surface will accept the kilnwash .

Both bisque and stainless steel molds may be used again and again . Each simply requires a re-application of kilnwash as needed .

4.5

ThinFire helpsprevent bubbles

Reapply kilnwashas needed

NOTES

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________


®

Second Firings

When a Slump is a Good ThingMost glass projects can be fired a second time to form a functional or artistic three-dimensional shape . In this firing, you will re-heat the previ-ously fused flat project to the point of softening, when it will “slump” into the ceramic mold you’ve selected . Or, you may choose to place the project on top of a mold and let it slump over . (A stainless steel mold is usually used under a project .)

MeasuringTo create a piece you plan to slump INTO a mold, just make sure your assembled project extends no farther than 1/4” outside the perimeter of the mold .

To create a piece intended for slumping OVER a mold, make sure the project will not sag down onto the kiln shelf . Measure your mold as shown and leave at least an inch on each side for stretching .

CenteringTo slump, place the flat fused piece on or into your mold, aligning the project’s center point with the center of your mold .

FiringProgram the following Ramp & Hold Schedule:

SLUMPPreviously fused project softens and slumps

to take the shape of a selected form or mold.

Segment Ramp Goal Temp Hold Time(ºF per Hour) (º F) (Minutes)

1 250 300 202 600 1235 153 9999* 950 404 150 800 10


4.6

Don’t hang out;don’t slop over

Slump INTO bisque;OVER steel

5” 5”

2”

5+2+5=12”Project maximum diameter: 10”

NOTES

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________


®

Chapter 5 — Financial Matters Project Pricing GuidelinesPricing your glass projects need be no more complicated than pricing your bisque projects . We recommend a flat fee based on the size of the project balnk . Included in that fee is the blank, access to all GFC components (except Add-ons) and the customer’s first firing .

Our test studios settled on the following Pricing Model:

Project Size Price4-inch $10 .006-inch $20 .008-inch $35 .0010-inch $41 .0012-inch $52 .00

“Add-ons” are individually priced extras . Additional firings (usually slump firings) earn you an extra fee . Those and other exceptions to the basic pricing are explained below . You may want to adjust pricing depending on your community and customer base; many studios do .

Consistency of ProjectsGFC projects conform to certain design guidelines . By doing so, success-ful firing, happy customers and your own profitability are assured . Here’s how it works:

Definitions

“Project”One Base Layer (usually a pre-cut Blank), one Design Layer, and an optional Accent Layer of components from the GFC .

5.1

NOTES

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________


®

5.2

“Blank”A pre-cut standard-size base layer for projects . Round and Square shapes in various sizes .

“Components” (included in the base Project price) Chips Noodles Craft Sheets Strips Stringer Frit Nippits Rods Pebbles Stripes Remnants

“Design Layer”An arrangement of components on top of the Base Layer, approximately equal to one full layer of glass . This is somewhat loosely defined, and needn’t be either full or flat (overlapping components are encouraged) . You should watch for total volume of materials used on the Design Layer . Less than a full-volume layer is perfectly OK . Significantly more constitutes the addition of an Accent Layer .

“Accent Layer”Additional components added to a full-volume Design Layer and calling for an extra charge . Limit the Accent Layer to a third of a layer or less (more will erode your margins and may not fire successfully) . When an Accent Layer is “enough” to trigger an extra charge is your judgement call . Some examples follow on page 5 .4 . The table below shows suggested fees

Project Size Accent Layer4-in $3 .00

6-in $5 .00

8-in $6 .00

10-in $9 .00

12-in $9 .00

“Add-ons” (individually priced items)CutUps™, Dichro Shapes and Dichro Squares, all carrying an extra charge to the customer . We recommend a margin of 64% for Add-ons .

NOTES

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________


®

5.3

Second FiringsWe recommend a reasonable charge for the additional firing needed to slump a project into a 3-D shape . Start with $7 .00 for small projects, $10 .00 for medium and large ones . After some experience you may adjust the charge to fit your needs .

Project Volume Examples

1a. Here is a project consisting of various Nipped pieces arranged on a clear Blank . The clear Blank is the Base Layer, the nipped pieces comprise the Design Layer . The Design Layer is approximately two-thirds “full .”

1b. In this photo, more nipped pieces have been stacked and overlapped . The Design Layer is approximately full .

1c. Still more nipped pieces have been added .Open spaces have been filled . The project now would be judged to contain both a Design Layer and an Accent Layer . The customer should be charged accordingly .

.

1a.

1b.

1c.

NOTES

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________


®

5.4

2. Another example of an Accent Layer atop a full Design Layer . The Base is clear . The Design Layer is completely full with various rectangles of colored glass . Atop the Design Layer are accents which are safely within the 1/3-layer volume limit .

How Do I Know if it’s Profitable?

Here’s what we know: Projects that conform to the program guidelines, priced as we have suggested, will usually deliver you 70-90% margins over your materials costs . Using the program’s Project Calculator, we have analyzed hundreds of finished projects and run endless “what if” scenarios to draw that conclusion . Yes, it’s possible for a customer to build a project that is within our design guidelines, yet is not a money-maker, but the occasion will be very rare, if it ever occurs at all .

We’ve included our Project Calculator in this package, and instructions on how to use it, but your pricing should stay as simple as we’ve suggested . The calculator is only an interesting analytical tool .

3. A common project style: Blank and Design Layer . The customer would pay the 8-in base fee plus the Cut-Up Add-on and second firing charge for slump .

5.5

The Project Cost / Price Calculator

The Project Calculator is an Excel spreadsheet with built-in formulas that allows you to easily calculate both your materials cost and margins for any completed glass project . It is provided on CD . Do not use the Project Calculator to determine individual project pricing; rely on the flat-fee model instead . Use the Calculator to analyze completed projects, to better understand how Program variables affect your costs and margins, and to help you effectively adjust flat-fee pricing for your shop . It’s an “after hours” learning tool .

The Tables Worksheet

The “Tables” worksheet includes a table titled “My Pricing Table” which contains recommend-ed retail pricing for “All-Inclusive” projects (Base & Design Layer), “Accent Layers,” and “Add-Ons” margins . The numbers in the “Base & Design Layer” and “Add-Ons” cells feed the Project

Calculator, which is on an adjacent worksheet .

You may change the numbers in “My Pricing Table” to cus-tomize pricing to your shop and region . We recommend that you become familiar with using the Project Calculator before doing so .

The “Tables” worksheet also includes the Com-ponents Cost Table . All project Components are listed, broken down to your cost per unit . Units used are shown and defined where useful .

Since the Calculator is a learning tool, not a cash register, some costs are averaged across their categories . We plan to update these cost numbers periodically and make them available .

5.6

for download .

•Insertquantities of every Compo-nent used in the project in the Cost-side column labeled “Quan .”

•TheTotal Cost of the combined project materials appears on the Cost side of the Calculator in the cell labeled “Total Cost .”

•Thesuggested retail price of the project appears on the Price side of the Calculator, in the cell labeled “Total Sale .”

•Add-Onsarepricedaccordingtoyour preferred Add-Ons margin, which you can adjust, on the Tables worksheet.

•Usethe“Adjustments+/-“celltoadd or subtract from the Total Sale, to adjust your margins into desired range .

•Usethecelllabeled“AccentLayer”toaddyourAccentLayersurcharge to the Total Sale as appropri-ate (The Accent layer pricing from the “Tables” worksheet does not feed over automatically, since the charge doesn’t always apply .)

•Ifaprojectdoes not use a Blank, select a Project Size which seems reasonable from the option but-tonsnearthetopofthepage,thenadjustasneededbyusingthe“Adjustments+/-“cell.

•Clear the calculator using the CLEAR SHEET button before calculating another project .

Using the Calculator

•Makesurethesheetiscleared each time (use the CLEAR SHEET button) . Select 10, 8, 6, or 4-inch proj-ect from the option buttons near the top of the page .

NOTES

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________


®

Chapter 6 — Managing Work Flow

Storing and Handling Projects

You’ll want to accumulate several projects before you fire up your big kiln with a load of glass, so designate some shelving to store and pro-tect assembled projects . For this you could use fixed wall shelves or a rolling cart similar to the GFC display unit .

Moving Projects Into the Kiln—Two Options

The Full-Shelf MethodPlace projects on a kiln shelf covered with Thinfire paper, then lower the shelf into the kiln . This is the best way to minimize handling and prevent shifting of project elements . After the shelf is in place, take a last look at the projects and nudge any stray glass elements back into place . Make sure no project is hanging over a shelf edge .

The Individual Tile MethodCertain projects call for a Portable Assembly Surface: a flat bisque tile, covered with Thinfire paper, that supports the project during assembly and firing . These can be placed directly onto the bare kiln shelf—no kiln wash is necessary . Some of our test studios prefer this method for all projects .

Scheduling Firings

In setting a regular schedule for firing glass, remember that you’ll need separate firings for fusing and for slumping . Our test studios started by firing right after their orientation classes or Fusing Nights . As fusing became a greater part of their business, they added additional firings as needed .

Several studios have added a kiln to accommodate the increased business .

6.1

Take a last,careful look

NOTES

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________


®

6.2

Option: The HotStartPro™ Kiln

This small kiln designed specifically for glass fusing can be a lifesaver for work flow, scheduling, and experimentation . For your growing fusing program, it is the perfect intermediate step before ordering an additional large-capacity kiln .

Saves SpaceUsing only household current, the HotStart-Pro plugs in anywhere and can be rolled around on a tiny cart for maximum utility .

Saves TimeYou know it takes a century for your big kiln to complete its cycle and cool down for unloading . In the same time, the HotStart would have fused that experimental project of yours, slumped a customer’s bowl, and completed a set of holiday coasters .

Saves MoneyBuying a large kiln takes a big monetary bite . The versatility of the Hot-StartPro allows you to optimize your scheduling and delay the neces-sity of that major purchase . Plus, where it costs around $8 .00 to fire a 1227, figure less than 50¢ per firing in a HotStart!

Saves your Brain CellsThe HotStartPro is easily pre-programmed with the recommended GFC firing schedules . Once entered, forever retained .

We recommend the HotStartPro as a high-priority option to augment your System 96 Craft Program . It’s available from your Skutt Kiln dis-tributor, or from Spectrum Glass Company . Please see the flyer in the Appendix for more information .

Supplementary Materials Shopping ListThe following tools, containers, and supplies are recommended . See Owner’s Manual for usage .

Item Description Available At Quan. DoneKiln Shelves 20x20” -- as many as will fit your regular supplier in your kiln according to diag. or Skutt Kilns: in Chapter 4 www.skutt.com

Kilnposts 6” posts for bottom shelf same as above 5 (6”)Kilnposts 4” for all other shelves--5 per shelf (see above)

Shop Vac with HEPA or small particle filter Home center 1

Wastepan with bench brush Home center 1-2

Trash Can w/at least 20” opening Home center 1

Remnant Bin plastic approx 9x13” Supermarket, Storables, 1-3 no deeper than 3” Kitchen store, Target

Paper Towels or shop rags everywhere

Elmer’s Glue Blue Gel or other Office supply store

First Aid Kit include Band-Aids and Office supply store, 1 antibacterial ointment Pharmacy

Toothpicks w/plastic dispenser Supermarket, Target 4

Portable Surface 12” square bisque tile any bisque supplier 4

Brushes 1/8” to 1/2” wide, cheap Hobby shop 6

Tweezers self-closing is best Ben Franklin 2

Sharpies best kind has med+fine tip Office supply store 6

Straightedge metal, cork-backed Office supply store 3

Plastic Spoons any kind Supermarket, Costco 48

Cotton Swabs any kind Supermarket, Pharmacy 1 box

E-6000 Adhesive tube Hobby shop 2

Alcohol denatured Supermarket, Home ctr 1 bottle

Spray Mister to spritz alcohol Supermarket, Home ctr 1

Squeeze Bottles small, with fine tip Hobby shop 4

Small Jar with lid for oil your kitchen 2

Sponge cut to fit inside small jar Supermarket 1

Kiln Wash powder your regular supplier

Soft Brush to apply kiln wash Hobby Shop 1

_______ ______

_______ ______ _______ ______

_______ ______

_______ ______ _______ ______ _______ ______

_______ ______

_______ ______

_______ ______

_______ ______

_______ ______

_______ ______

_______ ______

_______ ______

_______ ______

_______ ______

_______ ______

_______ ______

_______ ______

_______ ______

_______ ______

_______ ______

_______ ______

_______ ______

_______ ______A.1

*Amber, Amber, Amber, Aqua, *Blue, Blue, Blue, *Blue, Blue, Dark Medium Pale Deep Dark Light Navy Pale Sky 111SF 110 .8SF 110 .2SF 533-3SF 136SF 132SF 538-6SF 130 .8SF 533-1SF

*Blue, Bronze Clear Clear, *Grape Gray, Green, *Green, Green, Steel Iridescent Pale Dark Hunter Light 538-4SF 518SF 100SF I/100SF 543SF 180 .8SF 125SF 528-8SF 121SF

*Green, *Green, Green, Green, Orange, Purple, Purple, Red, Yellow Moss Olive Sea Teal Light Light Pale Cherry 526-2SF 528-4SF 528-1SF 523-2SF 171SF 142SF 140 .8SF 151SF 161SF

Almond Black Black, Blue, Blue, Blue, *Blue, Grape, Green, Iridescent Alpine Cobalt Medium Turquoise Cotton Candy Amazon 210-72SF 1009SF I/1009SF 238-72SF 230-76SF 230-72SF 233-74SF 234-72 226-74

Green, Green, Green, Lilac *Mauve Pink, Sunflower White Yellow Dark Pastel Turquoise Cotton Candy 220-76SF 222-72SF 223-72SF 240-74SF 240-72SF 290-72SF 267-72SF 200SF 260SF

* Colors in 6x12 Sheets or Nippits only

Opal (Opaque) Colors

Sample GridPut this Grid under an 8” Clear Blank and use it as a guide to glue on Chips.

After fusing, the sample set can be posted in your shop (with the Grid in back for color identification) or used to hold over other colors to see how the colors combine.

Chips, Strips, and 6x12 SheetsTransparent Colors

®

GLASS CRAFT PROGRAM

Spectrum Glass presents: The System 96® Glass Craft Program

®

A.2

Full

Con

tour

Not

Fuse

Fuse

Fuse

d

Pebble

s

®

Full

Conto

ur

Not

Fuse

Fuse

Fuse

d

Full

Con

tour

Not

Fuse

Fuse

Fuse

d

Gla

ss C

raft

Pro

gra

m

1009

Bla

ck

100X

TL C

ryst

al Cle

ar

200

Opal W

hit

e

110 .

2 Pale

Am

ber

110 .

8 M

ediu

m A

mber

171

Lig

ht

Ora

nge

151

Ch

err

y R

ed

121

Lig

ht

Gre

en

140 .

8 Pale

Purp

le

543

-2 G

rape

533

-1 S

ky B

lue

Put

this

Grid

un

der

a 6

x12”

Cle

ar B

lan

k an

d u

se it

as

ag

uid

e to

shape a

nd c

olo

r ch

anges

wh

en fusin

g P

ebble

s.

1. G

lue

on

e peb

ble

onto

eac

h “

Full

Fuse

” sp

ace.

Th

en fi

re.

2. G

lue

on

e peb

ble

onto

eac

h “

Conto

ur

Fuse

” sp

ace,

an

d fi

re a

gain

.3. G

lue

on

e peb

ble

onto

eac

h “

Not

Fuse

d”

spac

e an

d p

ost

the

finish

ed g

rid in

your

shop.

Frit Colors

Amber, Medium Amber, Pale Aqua, Deep Black Clear, Iridescent (Transparent) (Transparent) (Transparent) (Opal) (Transparent) 1108-96 1102-96 5333-96 1009-96 100-96IR

Blue, Cobalt Blue, Dark Blue, Sky Grape Green, Dark (Opal) (Transparent) (Transparent) (Transparent) (Transparent) 2306-96 136-96 5331-96 5432-96 125-96

Green, Dark Green, Moss Green, Teal Green, Turquoise Marigold (Opal) (Transparent) (Transparent) (Opal) (Opal) 2206-96 5262-96 5232-96 2232-96 355-96

Orange Pink, Cotton Candy Red Red, Cherry White (Opal) (Opal) (Opal) (Transparent) (Opal) 2702-96 2902-96 2502-96 151-96 200-96

Sample GridPut this Grid under a Clear 8” Blank and glue a patch of Frit over each circle.

After fusing, the sample set can be posted in your shop (with the Grid in back for color I.D.) or used to hold over other colors to see how the colors combine.

®


®

GLASS CRAFT PROGRAM

A.4

NOTES

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________


®

Additional Firing Programs

When you are ready to expand your program to offer additional fus-ing levels, use the following firing schedules to create the desired results for your projects . Note that, except for the Goal Temp and Hold Time in segment two (shaded), the fusing programs below are identical to the Contour Fuse that’s the Craft Program Standard .

TACK FUSESeparate glass layers are fused together with little deformation

beyond softening or rounding of edges.

Segment Ramp Goal Temp Hold Time(º per Hour) (º F) (Minutes)

1 325 1350 202 600 1370 03 9999* 950 404 150 800 10


FULL FUSESeparate glass layers are completely conjoined into a single uniform layer,

top surface is smooth and void of dimension or relief.

Segment Ramp Goal Temp Hold Time(º per Hour) (º F) (Minutes)

1 325 1350 202 600 1475 103 9999* 950 404 150 800 10


When it’s “Safe” (design-wise) to FULL FuseAt Full-fuse temperatures, glass is close to molten in the heat of a kiln, and acts like a liquid . It naturally wants to “puddle” to about 1/4” thick—about the thickness of two pieces of glass stacked .

If the edges of an assembled project are less than the nominal 1/4” thick-ness, this puddling tendency will draw the project edges inward as the glass tries to re-shape itself into a mass about 1/4” thick . Misshapen projects will result.

A.5

NOTES

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________


®

Successful Full-fused projects must have either a full-volume design layer (i .e . the entire surface of the Blank covered with glass in some form) or an uninterrupted border of Chips, Strips, Rod Dots, etc . This will ensure even firing, a level top surface, and edges that will hold their shape . (Note: Stringer, Noodles, etc, don’t have the mass to render the border uniformly 1/4-inch thick .)

GOOD candidates for a FULL fuse:

POOR candidates for a FULL fuse:

A.6

2-layer edges =well-formedend results

NOTES

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________


®

Choosing the Lower Fusing LevelsWhen in doubt, Tack or Contour fuse . A fused project can easily be returned to the kiln and re-fired for a more “melted” result . Of course, the opposite is not true .

Additionally, note that the “puddling” effect at higher fusing levels (Contour, and especially Full) tend to make small details less distinct . Stringer, Frit bits, and precise corners are especially affected .

Adjusting the Firing Programs

Note that the firing programs above are identical except for the Goal Temps and Hold Times in segment two . These are PROCESS tempera-tures and times, and define the difference between Tack, Contour, and Full fuse . As you become familiar with the results of various design types at these three fusing levels, you may choose to adjust the pro-cess time and temperatures . We recommend leaving the heating & cooling phases unchanged .

A.7

It’s OK tore-FUSE!

Design with TWO layers of glass

•Base layer: Usually a pre-cut Blank .

•Design layer: Any combination of GFC components arranged however you like, roughly equal to one complete layer of coverage . More or less is OK . Overlap or stack pieces, but avoid radical high points or “towers .”

Think “Frame, Focus, Fill”

Frame: A border around the edges will help preserve shape during firing . Use Strips, Chips, Nips, Rod, or sheet glass pieces .

Focus: Your central design element can be a star, flower, a splash of bright color within your Frame—you’re the artist!

Fill: Fill the remaining space with interesting texture . Sprinkles of Frit or lines of Stringer, dots of Rod or random Nips—in any combination you choose .

Choosing Glass Colors•Overlappingtransparentcolorscreatesathirdnewcolor.•Lighttransparentsmay“disappear”atopdarkercolors.•Opal(opaque)colorstransmitlittletonolight.

AssemblyGlue those pieces! Use a toothpick to apply pinpoints of glue (too much

can create problems) . To adhere Frit and other tiny pieces, use Klyr-Fire as advised by shop staff .

Portability: If your project doesn’t use a pre-cut Blank, assemble on a Por-table Assembly Surface provided by the shop .

Welcome to theGlass Fusing Center

A beautiful Fused Glass project is easy and fun!

4.

3.

2.

1.

System 96

FreeStyle Design Guide


®

A.8

QuickTips: Glass Cutting

Score the GlassHold cutter wheel perpendicular to glass surface . Use just enough pressure to create a gentle “hiss” sound as the cutter wheel rolls . A score must always start at one glass edge and end at another glass edge .

Breaking and Running a Score

Using the Breaking Pliers

For straight cuts, straddle the score with thumbs, snap glass down and away .

Use Breaking Pliers when pieces are too small to grasp safely . Pull down and away .

On more challenging cuts, “run” the score before breaking it . Run from both ends if needed .

Breaking Pliers can also be used to remove unwant-ed bits of glass .

You don’t “cut” glass — you score, then break it.

Always score glass from edge to edge using steady, even pressure .

Score line

!Start Edge

Finish Edge

Score the Glass


®

A.9

QuickTips: Using Frit

Klyr Fire

Place Sprinkle Fill

Shape Stencil Outline

DrawUse drip bottle, spread with swab, or brush on .

adhesive helps frit stick


®

A.10

QuickTips: Nippers

Design Random “nips” make organic design elements, big or small .

Triangles Triangles are easy to nip from a strip .

Shape Nibble little bits at a time to cre-ate a specific shape .

Rod Dots Nip short sections of Rods to make “Rod Dots .”

ALWAYS NIP INTO

A BASKET!


®

A.11

A.12

Profit Picture—Party Platter

added charge for slumpingapproximation

recommended ticket price for this size project

Profit Picture—Semi-Ruffled Bowl

added charge for slumping


A.13

Profit Picture—Basket Weave Platter



notice this project does not use a base Blank A.14

Profit Picture—Spirit Flake Ornament

added charge for hanger

recommended minimum charge for any project

notice this project does not use a base Blank A.15



Profit Picture—May Flower Votive

A.16

A.17

Keep it simple. Take advantage of HotStartPRO’s fully automatic firing. Like the popcorn button on your microwave, it’ll make all the decisions. Unless, of course, you want to make a few of your own. Then go ahead, soak a little longer, fire a little hotter—whatever. It’s completely up to you.

Get a HotStart

Now with FREE Glass!

HotStart ™

When a project calls for meticulous attention to the finest points of firing—no sweat. Just select PRO and enter your own programs, up to 8 segments long. Store 5 of them in memory for as long as you like; adjust them whenever you wish. With a HotStartPRO, all the intricacy of kilncraft is under your control.

And Go PRO

Operates on standard household current. Shelf size—13", depth—6.5".For technical specifications and complete details, visit System96.com and Skutt.com

Every HotStartPRO now ships with a colorful selection of System 96® glass right inside the box.

AdvisoryHanging Glass There are abundant ways to hang completed glass art . Below are a few recommendations and tips:

1. Drilled Hole DESCRIPTION: Drill small hole into glass after firing; then insert cord, ring, or chain, or hook onto hanger . MATERIAL: Diamond drill bit, recommend 2mm or larger . TECHNIQUE: Use a Dremel or variable speed power drill . Immerse glass in a shallow tray of water to keep hole area and drill bit wet— avoids heat buildup, cracking of glass, and damage to bit . SOURCE: Get diamond bits at hardware store, craft shop, rock shop, online .

2. Fused Channel DESCRIPTION: Fused-in tunnel for chain or cord MATERIAL: Fiber paper, 1/8 inch thick TECHNIQUE: Cut a narrow strip of fiber paper and place between layers of glass . Pull out after firing—an empty channel will be left . Wash out residue and push through with a paper clip if needed . To stabilize glass pieces, put glue on top and bottom of fiber paper . (Please handle fiber paper with care: dust is a lung irritant .) SOURCE: Get fiber paper from us or your ceramic supplier .

3. Embedded Wire DESCRIPTION: Hook or ring fused in place between two layers of glass MATERIAL: Copper or hi-temp wire, 16-24 gauge (lower # is stronger; higher # is more bendable) TECHNIQUE: A dot of glue will hold wire in place betwen layers of glass . Put a bend or curve in the embedded part to keep wire from pulling straight out . SOURCE: Buy hi-temp wire at ceramic supplier, copper at craft store, bead/jewelry supplier

keep it wet!

top view: fiber paper extends past sides of glass .

side view: leave enough room for glass to close up behind fiber paper tube

4. Add-On Bail DESCRIPTION: Attractive jewelry finding with loop for chain , ribbon, or earwire . MATERIAL: metal TECHNIQUE: Glue on with epoxy or E-6000 . Remember it will be visible behind transparent glass projects . For extra visual appeal, choose charms with loops for hanging . SOURCE: Get bails and charms from wholesale or retail bead/jewelry supplier .

5. Design-Integrated Hanger DESCRIPTION: Built-in design element that doubles as hanging apparatus MATERIAL: Part of your glass project TECHNIQUE: Plan ahead . When adding elements to edges of Blank, keep in place during firing by nudging up a kiln post with thinfire paper between post and glass elements . SOURCE: Your creativity

Photo Gallery

blank and design layer kiln post

add-on element

thinfire

Fused Channel

Design-Integrated HangerDesign-Integrated Hanger

Design-Integrated Hanger

Embedded Wire

NOTES

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

____________________________

Rev. 10/05/07 -- CCS

Advisory

Pricing

Here’s a rationale for determining a fair price for projects that are not specifi-cally referenced in the Project Calculator:

Recommended minimum: $10 to use the GFCThe smallest pre-priced blank in our program is a 4x4 square for $10 . We rec-ommend this as the minimum charge, even if a project is smaller .

Odd-sized projects: charge the closest Blank feeCheck the total square inches—a project made from a 6x12 sheet, for instance, is 72 square inches . That’s pretty close to the 64 square inches of an 8x8 blank . For simplicity, just charge your standard 8x8 project fee .

Examples:

Splitting Blanks: add a handling fee for extra piecesYou are entitled to a “handling fee” for each individual project created . Nor-mally, the base project price includes this . But if your customer splits a Blank into four pieces, for example, you should add a handling fee onto each of the three extra projects created . We suggest $2 .50 per piece, but of course you’ll use your judgement .

Example:

Projects using remnants as the baseIt’s practical to make jewelry and other small items from Nippits or remnants . A single customer might generate a dozen small projects in one worksession .When ticketing these, look at the entire worksession as one project, then ask: 1 . What size Blank is this group most similar to? (Charge by total square inches .) 2 . How many individual Blanks are there? (Add a handling fee for each piece except the first .)

Examples:

Do the math if you must,

or just eyeball it and don’t sweat

the small stuff!

this piece is pretty similar to an 8x8; this piece is pretty similar to a 6x6.

8x8 Base Price: $35

8x8 Base Price: $35.00Handling Fee: $2.50 each for 3 add’l pcs = 7.50Total session price: $42.50

+$2.50

2x2” pendant: charge your

minimum fee

Twelve 2x2” pins: Cumulative sq. inches = 8” Round: $35.00Handling Fee: $2.50 each for 11 add’l pieces = $27.50Total session price: 12 pins for $62.50 (a little over $5 each—such a deal!)

6x68x8

+$2.50 +$2.50