You're welcome. Exactly, the "silver salts" can react with certain enamel colours (it depends which metal oxides or salts are used to give enamel the particular colour). Generally speaking, blues and greens are the most forgiving. If fired directly on silver (no flux or other undercoat) -...
Jim,
I am sure you know all this but - just in case - make sure that your silver is as clean as possible prior to first layer of enamel. My routine is quick dip in pickle followed by neutralizer (baking soda solution), then running water rinse and either fiberglass brush under running water or...
Curious to hear your results with Schauer and Milton Bridge enamels. I found MB transparents needed to be fired at higher temps but Schauer is same as most (around 1450).
Yes, you can add enamel (as in real glass enamel) to engraved spaces but there are limits what you can work with in terms of metals. Gold, silver, copper and the so called gilding metal are your options - also specifically prepared steel. Just bear in mind that your item will have to be heated...
Oh, that's awful! I've had cloisonne wires fall over (which is a PINA to rectify) but not melt down entirely. Did you just forget it was in the kiln or your temps went out of control?
Jim,
That is quite the process.
I don't know about the casting bronze (my work has only been limited to sheet bronze) - only one way to find out how and if enamel will work with it. Do some tests with flux and colour and especially white base and colour and just straight opaques.
For the sake...
Jim,
Your Egyptian themed pieces look very interesting, congrats.
You can use any colours on silver or copper but there are things that one must consider with both metals. The "colour holding" is really irrelevant but some will look better than others on silver or gold or on copper. That is...
Looking good! That's a lot of cloisonne wires. With so many layers (going by your previous project), are you using hard fusing flux to begin with or regular?
Champleve style enameling/engraving is a wonderful (and complex) art form. Here is small (1.25") steelhead pendant I made for myself. It is a combination of champleve and a bit of cloisonne (just for the gill plate,mandible,eye and one of the fins). The light reflection from engraved cuts is...
Monk,
The Classic should accept almost any stock that is smaller than 3/32 - I use smaller and even tiny bits (including round) in mine and just tighten the set screw in the 'nose-cone' of the Classic. There are 3 tapped holes there - just pick one and tighten the set screw which should have...
I would think more than likely, the leather or the under-plate work (or whatever they used) would be made and embellishments custom designed to fit. For production props they had to get things wearable by the talent - so it needed to be at least somewhat functional - not just for looks.
Billyg,
Those are cast embellishments - not much to do with engraving really. In the 'old' days - those were first sculpted in wax and moulds were made, afterward casts are done with whatever metal is suitable. Such things are now often done with the aid of computers and programs to achieve...
Also, don't forget to have your piece very clean to begin with. If you're hard soldering on 'dirty' metal - you might invite all sorts of problems (and that goes for both sides). If I were you, I'd complete all the prep - throw it into warm pickle for quick cleaning (you should be using...
Sounds like you are working with roughly 24gauge metal, which can only be so hard due to it's thickness. If you impart physical contact to any metal at that gauge - what do you expect? Go with steel if you want strong/durable at that thickness.
Either gold/silver or copper or any of it's...
I second what Goldjockey wrote. Rio's 16g bronze is very nice to work with and polishes really well, resembling 14K. It is a bit stiffer then brass of same gauge and bright cuts nicely.