Preparing Kiln Wash and Coating a Mould

A couple of people have asked me how I prepare kiln wash and apply it to the kiln floor, kiln shelves and the moulds for The Serenbe Project. This time when I used the kiln wash, I took pictures of the process so that I could post here.

I mix my kiln wash according to the manufacturer's instructions, which was 4:1 in this case.

I mix kiln wash, a bucket at a time, so that when I need it, it is ready. I measure out the water that I need and the amount of kiln wash that I need. For example, if I have 12 cups of water, then I would measure out 3 cups of kiln wash. I always put the water in the bucket first and then sprinkle the kiln wash on the top of the water.

The picture (above right) shows the kiln wash floating on top of the water (before being stirred).

This picture (above) shows the kiln wash after I have stirred the wash some.

After I have stirred for 20 minutes or so, or until it dissolves, I apply the kiln wash to the mould (in this case), kiln shelf or kiln floor. Using a hake brush, I saturate the brush, lightly run the brush over the rim of the bucket, then lightly brush the wash across the mould in lines going toward and away from me. When the first coat is absorbed, which will be quickly, I apply the second coat at a right angle to the first coat, so I'm painting this on from side to side for the second coat. For these moulds, I only put three very light coats of wash. The number of coats of kiln wash that you use depends on the application. On the floor of my kilns, I applied at least eight coats. I reapply kiln wash to the floor about once each year, depending on how much each kiln is used.

The mould on the left is a mould to which kiln wash has been applied, the mould on the left has not had the wash applied yet. The hake brush is on the right hand side of this picture. The other little brush that I use to coat the inside of the leaf cavity is an old BBQ brush.

After I finish applying the kiln wash, I place the moulds in the kiln and fire to 500 degrees to cure the wash, WITH THE LID SLIGHTLY PROPPED OPEN WITH A KILN POST. When you prop the lid open, this allow moisture to escape from the interior of the kiln. This is the manufacturer's directions for this wash. No matter what type of wash you use, you have to dry it in the kiln before you can fire on the shelf or the mould.

Cast Glass: More about the Process

Earlier in my blog I had posted about studio work in casting glass. In case you did not visit, it is in my earlier post on March 13, 2008. The next step in the casting is to "dam" the inside and outside walls of the mould box wherever there is a "join". In the earlier posts I had rolled "sausages" of plasticene clay and then took the clay and lined this portion of the box so that the investment (plaster) material would not leak out. It leaks out sometimes because, the wood does not perfectly join. This step is kind of like re-caulking your bathtub. I lay the roll of clay on the crevice and thentake my index finger and run it along the line to make sure that the clay is embedded in the cracks. You can review earlier blogs to find out about the Serenbe Community or go to I will post a couple more process pictures for the casting process on the blog with captions.

I am going to meet the Bessemer Development Board and a contractor at a historic building in Bessemer, Alabama tomorrow afternoon to discuss the rennovation of the building for artist studios. The next step in this process will be to recruit artists who need affordable space. The space will cost approximately $50.00 for 200-250 sf at this point. That is very reasonable and the project is exciting. I hope to do most of the mold pouring and pattern making in this building. So far, I do not have that many interns. Hopefully, I will get more responses to my ad. If everything works out, I plan to move my studio to this building later in the summer.


I had the pleasure of visiting with my friend Debra Riffe today. I enjoy our "Salon" sessions and encouragement as well as constructive criticisms of different things that are happening with our careers. It is great to have her as a friend . Her web site can be found in my "Salon" section on the right hand side of the blog. Because studio work is so often done alone, it is great to get feedback from others and hear what they are doing. Debra is teaching a session this Saturday on linoleum block printing and I plan to attend the session (because I missed the one last fall) with my friend Julian Hazlett, who is another very talented artist.


Other than The Serenbe Project, I talked with the Alabama Folk School director, Megan Huston today about the classes I will teach this summer. These classes are listed on the right side of the blog and I hope I will have enough students to register. The classes will be fun and Megan and I discussed blogging from the class and posting some pictures of the classes. I look forward to teaching and enjoy it very much.

Cast Glass and "The Serenbe Project"/Inside the Studio

Today I wanted to show more of the process of "The Serenbe Project"http://www.serenbe.com/. I have posted an ad for interns. Last week I was contacted by the Redevelopment Authority of a small town located near where I live and they wanted to offer me space in a building that they will use as studios. The Auburn Rural Architectural Studio http://jcsm.auburn.edu/whatsHappen/RuralStudio.html has completed a plan for the arts district in Bessemer, Alabama. This was good news for me, because I knew if my intern project was successful, I would soon be out of space. I am meeting with the director of the project tomorrow and hopefully will be able to use the space if interns want to work at their leisure. This space will be invaluable to me.


The first thing that I will do is to work out a prototype in order to define the process. The mold material that I had originally intended to use is not refirable, so I have ordered a material that is refirable. In a large project like this, the expense of using a material that is non-refirable would be prohibitive.


In the photo above, I am rolling out "sausages" in order to "dam" the mold box. This ensures that the investment material will not "leak" between crevices in the mold box. After the mold box was made, it was shellacked. The mold box is a minimum of 2 inches larger than my pattern. The pattern is made of No. 1 Plasticene and after you get the material warm, it is fairly easy to work with. Plasticene is an oil-based clay which does not dry. That means that it is reuseable as long as it does not have mold material embedded in it.

The Serenbe Project & Cast Glass Leaves

In preparation for The Serenbe Project, today I ordered new relays for two of my ovens and investigated casting materials and decided to use Castelot from Olympic Color Rods, http://www.glasscolor.com/ Olympic Color & Supplies were great and very helpful on the phone. Castelot is an investment material for glass casting http://www.glasscolor.com/casting/castalot_sheet.aspx

Also I have written an ad for internships for this project. This will be an important part of the project and I hope that it will offer artists who have a passion for learning an opportunity to explore the anatomy of a project like The Serenbe Project. http://www.serenbe.com/ if anyone is interested in a Serenbe Internship, they can reach me at donnabranch@taraglassart.com