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Structural GlasClayTM  is now avaialble in 6 color sample packs, as well as individually in 50g or 100g packages.  There are 2 six packs in 90coe, and 4 in 96coe.  All Structural GlasClayTm colors are opaque when finished. You can control the amount of gloss you want for your work however, it will NOT become translucent.  Our Translucent GlasClayTM is for non-structural (flat) work only. 



On Dec. 1, 2010 a new product was added to our existing line,  “Non-Sculptural” Translucent & Opal GlasClay™ which  fires between 1440 and 1470.  Featuring Uroboros™  FX90™ and System 96® glass.   Available  in a Sample Pack consisting of 6 packets, each a different color, containing approximately 12g  - 14g of ready-to-mix  glass.

Ask your dealer!

Just as Sculptural Opaque GlasClay™, is glass in a clay like form, that can be used for high relief, hollow and 3 dimensional work,  Translucent & Opal GlasClay™  is glass, in a clay-like form, that can be used for flat, stained glass-like work.  This exciting NEW medium allows Translucent and Opal glass to be formed into  free-formed flat shapes or stained glass like art designs, with no glass cutting, and in a cold form.  After mixing, you can roll it out and use cookie cutters or hand cut shapes and designs.  Dry and individually fire the shapes you have created, and then place onto glass of a like coe, re-fire to fuse your shapes onto a glass tile or panel. Place your cut translucent pieces together or your opal pieces together,  into the desired picture or design, wet the areas where they join  and roll with a rolling pin  to achieve complete adherence to each other.   After drying, your work may be fired between 1440 and 1470 degrees.  Translucent and opal pieces may be joined together after firing, with traditional fusing techniques.

The firing schedules for all Claymania Art Clay, Inc. products require a kiln with a programmable digital kiln controller.   Initial instructions are provided with each purchase. All forms of Claymania Art Clay, Inc’s  GlasClay™ are Patent Pending.

Non-Sculptural Translucent & Opal GlasClay™, is compatible with glass or Claymania Art Clay,  Sculptural GlasClay™ in like coe’s.  If you make a flat, Translucent & Opal GlasClay™ design, and it has been fired to the desired end result, you may add already fired, 3 dimensional , high relief or hollow “Structural”  Opaque GlasClay™ pieces , by tack fusing at approximately 1225 degrees.

Appropriate firing schedules must be followed to assure the glass strength and integrity as well as appropriate annealing of the glass work you are creating.   You can create intricate  works of art,  large and small, as well as intricate jewelry pieces. Create a stained glass like circular piece, fire it and then slump into a bowl mold, for a unique design!   Design and create an underwater ocean scene from Translucent & Opal GlasClay™  for a stained glass like window, fire it and then add finished pieces of Sculptural” Opaque GlasClay™ such as sea shells, corals, crabs or fish, tack fuse them and have a finished  translucent glass window, with high relief and /or hollow objects as part of your creation!

For three-dimensional, free-standing, hollow or solid objects, ”Sculptural” Opaque GlasClay ™ can be used to form beads, pendants, sculpture, or accents to be incorporated into other glass work. Finished pieces of both “Structural “ Opaque GlasClay™ and  Translucent & As with all kiln worked glass, GlasClay™ can be fired at different temperatures to create a myriad of effects. It may be re-fired many times over and added to other GlasClay™ work or to other compatible glass objects. “Sculptural” Opaque  GlasClay™,  and Translucent & Opal GlasClay™  may be used with enamels, sheet glass & frit  of like coe’s.

Sold as powders, “Structural” Opaque & Opal  and “Non-Structural” Translucent & Opal GlasClay™, along with Copper Clay &  Bronze Clay,  are ready to be mixed when you are ready to create.

Simply add distilled water, knead a few minutes,  form your piece, dry in a food dehydrator and kiln fire using a programmable, digital controller!

PLAY WITH OUR CLAY! ©2009               


The following technical information is important for successfully using this product.  GlasClay™ is a “firing medium” because it contains glass, and behaves like clay. It fires out as a form of glass, but do not confuse it with sheet glass, glass stringers or glass frits. Metal clays are also “firing mediums”, but do not behave as the plain metal does. Use of it, must be learned.



This information is designed for ALL users of GlasClay™.  Some are craftsman, some are sculptors, some are ceramicists or potters, and some are glass artists.  This information is written toward giving information to those that have not worked in glass before. The simplicity of the information is not intended to insult those that are familiar with much of the terminology.  However, just  because the reader may be experienced in working with glass,  it cannot be assumed that what you may know as a glass artist will automatically work in the same way with this product.

 GlasClay™ does not work like just plain glass, or glass frit. The binder and the amount of air that is trapped in the GlasClay™ after it is mixed, causes this product to have it own quirks.   The desired outcome / condition of the finished product may vary from artist to artist as well.  Some want glossy bright colors, some want matte or sugary textured surfaces….  Some want hollow works of art, high relief or 3 dimensional  designs, others only want to use it in molds so they can fire in production quantities without using a multitude of slump molds.  Whatever your personal desires are, you can achieve them with GlasClay™. 

 “Structural”  GlasClay™ comes in 2 coes and many, many colors.  Some of the colors are opals and some do not have the word “Opal” after their names.  Those that do not have opal after their names, will fire as an “Opaque”. This means it will not become see-through or translucent. The plain frit powder of that very same color may turn translucent if used in a different medium than GlasClay™; however it does not do so in the product “Structural” GlasClay™.   

 “Structural” GlasClay™ has a lot of air trapped in the frit due to the fine powder of the frit and the fine powder of the binder.  The Opaque colors do not generally fire to a mature look, at the same end temperatures as the Opal colors. This is due to chemicals in the glass powder itself.  Therefore, making a project using both colors in the same initial firing, could cause different looks to the glass, that you may not want. It is possible that the end temperature may be too high for one color or the other.

 We encourage testing and experimentation to be successful with your end project.  If you want to use Opal and Opaque colors together, make the pieces of your project first, and do not place the two different kinds of GlasClay on the same initial piece.  Fire the pieces separately, and when finished, put them together and fire again at a temperature around 1220-1230 so they will “tack- fuse”.  There is no “one” perfect temperature for any one color. Not all people want the same look as the other. Keeping notes for yourself is important to gain the same results again and again, after you have learned how your kiln works with the GlasClay™ product.

 Be aware that many kilns fire at a temperature not true to the pyrometer…. For example, if the pyrometer says the inside temperature of your kiln is 1280F, it is possible that is actually 1380F or the other way around.   There often is a 100F degree difference between kiln brands.  Test firing the GlasClay™ colors individually, in your kiln, and making careful notes could be critical to your success.  Geneva Perkins wrote the first (and only at this date) book on the use of the product GlasClay™. In the book she discusses several types of kilns and gives the firing schedules for them.

 GlasClay™ shrinks, about 15% from the original size, when fired. The initial firing ramp is designed to allow the maxim possible amount of trapped air, to escape from the piece, and let the binder burn out….. BEFORE a hard “skin” forms on the top of the piece, sealing it over, no longer allowing trapped air to release.  If air remains trapped in your piece, it may puff up, and distort slightly in shape. Depending on your choice end temperature, some of that trapped air could or could not release later in the firing process.  By making small “kisses” (similar to chocolate kisses) of GlasClay™, with a curled over top, you can have test pieces for your personal firing information. If the pieces fire too hot, the curled top will soften or slump. This indicates what could happen to an intricate high relief or hollow object if fired too hot.  Items not fired hot enough, may be re-fired at a higher temperature, and re-fired again and again if desired, until you reach the ideal temperature for the look you are trying to achieve.

For example, an 8” fiber kiln from Jenken Kilns will take GlasClay™ to an end temp between 1350F – 1380F  with nice gloss and without losing much detail, so will a Studio Pro Even Heat.  If you are using a Paragon 2, firing between 1280F and 1330F will bring a very similar result. Both ceramic kilns and glass kilns may be used.  A digital pyrometer with ramping sequence capabilities is needed regardless.

 You may use other products with GlasClay™ to achieve some of the effects you are looking for.  Enamels or additives such as mica powder can bring about some dramatic looks. Adding stones or metal findings that can tolerate the firing temperatures will also add dimension and texture to your work.

 Many glass artists make and use their own versions of a glass style of clay that may be molded and fired. There are several methods, including  freeze-n-fuse, Egyptian Paste. They are not same as the commercial product, GlasClay™.   You may use GlasClay™ in a similar fashion; however it is designed for   “Sculptural”, “Hollow” and “High Relief” work.  Because it can maintain its hollow shape during firing, it stands apart as a “Unique” product. 



©2011 Claymania Art Clay, Inc.



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