Notes on Using Silver Foil and Wire Inclusions with Bullseye Fusing

from Feb. 19, 2017 Event

I am discussing the effects I have gotten using silver inclusions with reactive glasses.

I liked the fuming and free-looking stain tendrils I got with silver foil when it was bare (on either reactive ice transparent or cloud opal) and partially capped with clear. I found that the fuming around the bare portion of the foil only occurred when I used fresh thin fire on the kiln-washed kiln shelf; a plain kiln-washed shelf, or reused thin fire did not produce the effect. I think the kiln atmosphere produced during the burn-off of the binder somehow produces what I want even with venting the kiln (plugs out of the ports) up to 1000 degrees.

lipschultz claudia Untitled plate


When silver foil or hammered wire is sandwiched between clear and the selenium or sulfur containing glasses in the Bullseye table it fuses to produce a dark silver/sulfur chemical reaction along the edges of the silver. I wanted to produce a fumed or dark reaction with silver even when I used glass colors that do not contain the elements that will react chemically with silver. My strategy is to tack fuse a thin layer a reactive ice powder to the surface of the base piece. It will look grainy but will not be disturbed when placing the silver and top clear piece. So far I have tried this with pendants using neo-lavender opal, powder blue opal and gold purple opal, The edges are brown to rust in the first two and there are concentric halos on the third. When the silver is present as hammered wire I cut a seam in the cap glass to let air escape during the fusing. More experiments ahead!

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