It worked!!. I used my last green plate my sister found at the Ocean Grove op shop and melted it through a hand woven frame with large holes for the glass to drip through. As you can see the results are exactly what I was hoping for. 
I sent this image with a pic of one of my first sculptures using this technique into the Toyota Spirit Gallery Exihibition and both pieces got in. So I am a little bit excited!!!!
I went to the last exhibition and thought the works displayed were wonderful
http://www.toyota.com.au/about/toyota-community-spirit/gallery
Now I cannot decide to do today, Liz gave me the best green plate completely different to any glass plate I have seen before, so I think I’ll weave another frame. This one I will use more threads connected from the piece to the frame I hand it from in the kiln. I try to be symmetrical, but it seems impossible, every thing I do has a lean. This can be amusing especially when I make furniture , as most men will look and ponder for a while and then proceed to tell me what to do to make it more stable. It would be great if one of them would volunteer to actually do the work. But I figure if I need a table I’ll make one, and if its slightly not level, its better than not having one at all.
Congratulations for these glass slumpings!
I am just starting to learn fusing and slumping, and I would be VERY happy if you could give me some advice about the firing schedule for the slumping you did through the chicken wire. Many thanks in advance.
Myriam from Belgium
Hi Myriam
I don’t have a standard schedule. The glass I use is from old plates and bowls I find at the thrift shop. So I don’t know what the melting or annealing temperatures are.
So I just have one stage of 250 degrees at 240/hour, then go up to 700-780 at 300/hour. Most glass will start to move around 760, I just check through the vent hole. Or I lift the kiln enough to see. This slows the temperature, so i try not to do it too often.
Once it has slumped to how I like it I crash cool to about 650, as you don’t want it to move anymore. I change the high temp on the controller down to 650 restart it, then cool to 555 at 1500/hour.
Then I anneal at 550 530. 515 in three stages for about an 20 mins each. I cannot guarantee it will be annealed. But then the glass stress from the shape as it goes from thin to thick, is fragile anyway.
Then turn off the kiln. My kiln is well insulated to it takes 12 hours to cool.
And good luck getting out of the frame intact.
I think that using glass like bullseye, so the glass slumps through the wire and onto the another piece as the base, creates a much more secure piece. I have done this and it looks great. But I am much more interested in the transformation of old glass through heat and its rare to find two compatible pieces.
Let me know how you go
Kerry
Hello Kerry,
Thank you very much for your kind reply, this encourages me very much to give it some more tries, after my first and I ‘ll let you know how it goes:-)
Just some more questions to be sure:
1)I presume that your temperature information is in °C and not in F? (°C is what I use)
2)When you mention the first stage, is that really to 250°C at 240/hour?
PS. Sorry for the English mistakes, (my language is Flemish)
Many thanks, and many greetings from the other side of the world.
Myriam
How Myriam
It is in centigrade. The first stage is up to 250 degrees at 240/hour.
I use graham stones book for the basis of my firings. I don’t know if it is still available. Go to http://www.warmglass.com, they might have info on it. It is full of schedules for all diff types of firing.
As I wasn’t taught more than a semester of glass at uni, I got all my info from there.
Good luck
K