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Bullseye Silver foil

For discussion of processes related to using Bullseye glass, including kilnforming and kilncasting, torchwork, blowing and stained glass.

Bullseye Silver foil

Postby becky wills » Fri Jan 14, 2011 10:18 am

Has anyone got any top tips for using Bullseye silver foil...i have just taught a class and not one single piece of work came out well using foil...in fact it almost disappeared in a few cases, or went to a thin yellowy shadow - a bit disappointing really...we used fresh sheet straight out of a packet, not a sign of oxidisation on it...would using BE crystal clear help?
Thanks
Becky
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Re: Bullseye Silver foil

Postby marykaynitchie » Fri Jan 14, 2011 4:06 pm

Hi Becky,

Did you use the silver foil on top of the glass, or sandwiched in between layers? What styles of glass were used? Photos would be helpful.

One of our instructors who works pretty frequently with silver foil will be in next week and I will try to find out more. Meanwhile, I hope other Forum members will chime in if they have experience with silver foils.

Mary Kay
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Bullseye Glass Co.

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Re: Bullseye Silver foil

Postby Bonnie C » Tue Jan 18, 2011 7:36 pm

Hi Becky,

I'm an instructor at Bullseye and have incorporated silver foil (the sheets that we sell here) into a few of my workshops. I tend to fire it with French Vanilla and other styles that have reactive potential with silver. Look for sulfur bearing styles in GlassTips http://www.bullseyeglass.com/education/glasstips/as well as Reactive Ice clear and Reactive Cloud opal. Effects vary with different glasses, lay-ups, firing schedules, etc and may also change with multiple firings - there's great potential for exploration. I'll post again tomorrow with a bit more detail and a photo or two.

It sounds like you've experienced the yellowing that often occurs in a full fuse when fired in contact with clear, whether the silver is on the top layer or capped. This is typical and I've seen it look especially thin and yellow (as you've described) when the silver is fired on the top surface, uncapped. In my samples, Crystal Clear has produced a similar result.

Bonnie
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Re: Bullseye Silver foil

Postby becky wills » Mon Jan 24, 2011 12:29 pm

Thanks for your responses - yes the silver foil was in each case capped with Tekta - with various styles of transparent - specifically chosen to be non-reactive with the foil in the hope that it would remain silver...does anyone know what type of foil you could use that would actually stay silver - or would reducing the temperature help maybe? Maybe it would look better just taken to tack fuse temperature?
Thanks :?:
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Re: Bullseye Silver foil

Postby Bonnie C » Mon Jan 24, 2011 5:32 pm

Hi Becky,

I would try tack fusing the foil to the glass in a subsequent firing - it wouldn't be encased, but it might give you more of a "true" silver metallic effect. I have some samples (on French Vanilla again) that were fired to 1375°F with a reaction & the silver is very well connected to the glass. It seems like firing cooler than that would work as a starting point - maybe 1300°F or even lower as a trial.

I've also seen foil that was doubled up on the surface in a full fuse (single firing) look more metallic/silver than a single layer.

Hopefully, others will weigh in with their experiences. I'll still plan to post a silver-reaction photo or two sometime soon, I just need to locate them in a better format for posting!

Please post your results - it would be great to hear how things turn out.

Bonnie
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Re: Bullseye Silver foil

Postby becky wills » Wed Jan 26, 2011 10:39 am

Hi Bonnie,
My experience of students putting silver foil on the top is that it floats off and disappears into the kiln - so will try it in my own studio perhaps 'pinned' down with some clear but partly exposed!
Becky
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Re: Bullseye Silver foil

Postby joeandterri » Sun Nov 04, 2018 11:30 am

Becky & Bonnie,
I realize that this discussion took place 8 years ago, but I'm searching for the same nswers you were, Becky, after re-watching the Foils with Kiln Glass video. If I may ask, have either of you found a tried and true method to keep the silver leaf/foil (BE's) completely silver? Or is it just a hit or miss prospect? I'd love to know if a lower process temperature helped. What effect does cumulative heat work have on the foil color? I know I will need to run some tests with my own kiln, but if you've found some answers that you're willing to share, I would so appreciate having Some idea where to start. In the few samples I've done, my capped silver foil remains fairly silver..
But sarting about 1/4 to 3/8" from the edge, I always have black oxidation.

Thank you I sincerely appreciate all the educational opportunities Bullseye provides!
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Re: Bullseye Silver foil

Postby jestersbaubles » Fri Nov 09, 2018 8:44 pm

In my experience, silver leaf never stays silver. It always turns gold, which is what I love about it :mrgreen: .

If you are truly looking for silver, you may want to look into dichro slide (and thin, dichroic paper) or thicker dichro glass.

Dana W.
Dana Worley Fused Glass Designs
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Re: Bullseye Silver foil

Postby marykaynitchie » Tue Nov 27, 2018 12:39 pm

To keep silver leaf silver-colored, fire it with 001401 non-lead Crystal Clear sheet or powder (instead of 001101 Clear).

Mary Kay
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Re: Bullseye Silver foil

Postby tommckay » Fri Dec 14, 2018 9:30 pm

I often use silver foil circles (I use an EK punch) on all the reds - Tomato, Deep & Red. On Tomato the silver stays silver but has a black ring round the circles I use. I fully fuse capped with Tekta but use Longbarrows full fuse schedule. Its a bit longer that Bullseye but works great. It's similar but slower ramp up & a bubble squeeze segment of 1250 for 75 mins.
I have cheaper thinner silver foil but its so difficult to work with compared to Bullseye stuff I gave up with it. I also make the Quick tips alchemy plate using the silver reactive glasses again capped with tekta. BTW it look good with Golden Green instead of black.
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