Metal for fusing links

daffodildeb · Post by **daffodildeb** » Sat Aug 30, 2003 11:30 pm

Sort of urgently need this info:

What's the "best" metal to use for links in pendants, cabochons, etc? Does .999 fine silver hold up in the kiln? What about the "high temp" wire I see advertised? Or any other wire, such as memory wire, copper, etc. I'd rather use the silver, so if there are any tips I'd appreciate it.

And what about placement--just stick it between layers, or is there more to it than that? How far does the wire have to be anchored in the glass to be sturdy?

Kitty · Post by **Kitty** » Sat Aug 30, 2003 11:47 pm

some people use fine silver. i use 22 gauge nichrome, which fires gray. i polish it with a felt buff and diamond brite compound, using a Foredom. i only use it on dangle earrings, not on pendants. it polishes up to the same color as sterling, so it looks good next to the french hook. i've got a piece about 2" long sticking out of the earring, and i fire it that way. after firing, i make a loop with the wire, and cut off the excess. it helps to put a little piece of glass on the tip of the wire to keep it from waving around during firing (it will, trust me on this).

daffodildeb · Post by **daffodildeb** » Sat Aug 30, 2003 11:55 pm

Thanks, Kitty--we're 3/4's of the way through my questions! I have the fine silver, and it's in that gauge. Is there a reason you don't use it on pendants? Can't I just make a loop (or U shape) with it, with maybe about 1/3" or so on each end "buried" between pieces of glass? Would that be strong and anchored enough?

Thanks for the info!

Kitty · Post by **Kitty** » Sun Aug 31, 2003 12:46 am

i dont know how people anchor those U pieces so they dont shift during firing. maybe white glue, if the glass is opaque. i tried that once, and it was sort of OK, but not great. i've been using my method for about five years now, so i'm an old dog not willing to learn a new trick. i think your vision of how to do it sounds good, tho. try it. see what happens. success to you!

daffodildeb · Post by **daffodildeb** » Sun Aug 31, 2003 3:32 am

Kitty, when you say you put a bit of glass on the end of the wire, do you mean lampworking glass? In other words, do you dab a bit of compatible molten glass on the tips? Or have I totally misinterpreted?

Kitty · Post by **Kitty** » Sun Aug 31, 2003 5:18 am

you've got the dangle earring, with a 2" wire sticking out of it. on the tip of the wire, i set a tiny piece of glass, about the size of your baby fingernail, and it keeps the wire steady. it acts like a weight on the end of the wire. if you dont weight your wires, you can't carry a shelf of earrings to the kiln without the wires waving around and getting crooked. you understand what i mean? if you dont, i'll take a picture and post it. i know it might be hard to imagine .....

daffodildeb · Post by **daffodildeb** » Sun Aug 31, 2003 7:14 am

Gotcha--beware the waving wire...

paulajane · Post by **paulajane** » Sun Aug 31, 2003 9:38 am

When i want loops on anything, I use the high fire wire and make a loop and anchor it between two pieces of glass. I use the PVA glue called PVA I've discussed previously. Even between translucents sheets, it burns completely away and does not leave any imprint. Anyway, I anchor the loop on the bottom piece. For the next piece depending on the size, I either anchor it with a dab of glue at the top and bottom or leave it as is if it doesn't look like it will slide. None have slipped. After firing, I polish with a rouge paper.

Paula

jim simmons · Post by **jim simmons** » Sun Aug 31, 2003 12:22 pm

paulajane wrote:When i want loops on anything, I use the high fire wire and make a loop and anchor it between two pieces of glass. I use the PVA glue called PVA I've discussed previously. Even between translucents sheets, it burns completely away and does not leave any imprint. Anyway, I anchor the loop on the bottom piece. For the next piece depending on the size, I either anchor it with a dab of glue at the top and bottom or leave it as is if it doesn't look like it will slide. None have slipped. After firing, I polish with a rouge paper.

Paula

I usually do the same thing as Paula, except when I am doing Jewelery, I mostly use fine silver. Be aware of the reactions with the cadmium colors, which i think is gfreat. For things like wine charms, I use NiCr wire the same way.

Jim

Dani · Post by **Dani** » Sun Aug 31, 2003 2:37 pm

I presume you're all talking opal glasses when using silver.... I always get silvertain so clear glass would be a problem. Or am I missing something?

shasta · Post by **shasta** » Sun Aug 31, 2003 3:30 pm

side bar here to paula jane, where do you buy PVA glue you were talking about?

thanks.

Lisa Allen · Post by **Lisa Allen** » Sun Aug 31, 2003 3:51 pm

PVA glue is just white glue, like Elmer's.

Lisa

paulajane · Post by **paulajane** » Sun Aug 31, 2003 5:25 pm

The PVA glue I am speaking about is not just white glue like Elmers. PVA is a type of glue of which Elmers is a brand name. But each of the PVA glues have different properties. Some are purer than others. The glue called "PVA" has some different properties. Elmers is not pure. This glue put out by "Books by Hand" of Albuquerque, NM is ph neutral and solvent free. It is for archival use. Elmers is not. Another PVA glue which I have but have not used for this purpose is Talas' Jade 711. It also is pH neutral. It is confusing when a PVA adhesive is also called PVA.

When working on another project, I did a study of the PVA glues as a whole. So all PVA glues are not equal. Some are purer than others.

Paula

Stuart Clayman · Post by **Stuart Clayman** » Mon Sep 01, 2003 12:25 am

jim simmons wrote:

I use NiCr wire

Jim

Jim,
Where do you get the NiCr wire?

Stuart

Carolyn Ledbetter · Post by **Carolyn Ledbetter** » Mon Sep 01, 2003 1:12 am

Stuart -
NiCr is nichrome wire (the same hi temp wire used in ceramics for flower stamans etc.). It comes in several thicknesses, but the thinest is most popular because it is hard to bend. If you can't find it at your local ceramic supply store (usually coiled on a card), email me off board - I have a giant spool of it and can probably fix you up with some.

Peg · Post by **Peg** » Mon Sep 01, 2003 7:22 am

I make a 'U' from silver, and sandwich the ends by first gluing the silver to a tiny bit of BE thin (anout 3x6mm), and when dry put on the kiln shelf then sit the pendant or whatever on top. If the top bit is small, I sometimes glue it onto the silver.
Word of warning - if the silver touches the shelf (and it probably will as it fires) it will contaminate the shelf (even with thinfire), and subsequent firings will have surprisingly dark silver stains on the back. I keep a shelf side reserved for silverwork - though it is OK for firing black opal as the silver doesn't show.

daffodildeb · Post by **daffodildeb** » Mon Sep 01, 2003 7:50 am

Thanks Peg. I was rather surprised to hear about the dark spots from silver that you reported. I hadn't heard of that before. What type of silver are you using? Sterling (.925) or fine (.999)?

Peg · Post by **Peg** » Mon Sep 01, 2003 7:55 am

daffodildeb wrote:Thanks Peg. I was rather surprised to hear about the dark spots from silver that you reported. I hadn't heard of that before. What type of silver are you using? Sterling (.925) or fine (.999)?

I use Sterling - I know 'fine' is better, but I understand it will still stain.
Even when the kiln shelf looks clean there can be contamination - some colours pick it up more than others. Generally the more expensive the glass and the bigger the piece and the longer it took to make - the worse it will be!

Tom White · Post by **Tom White** » Mon Sep 01, 2003 8:46 am

A good source for small quantities of hi-temp wire is National Artcraft. http://www.nationalartcraft.com/subcate ... 2&scid=451
For larger quantities I like Pelican Wire, http://www.pelicanwire.com/
They offer many types of wire in pound or 1000 ft. quantities. There is a ton of technical information and heating calculation formulas available at their site. Take a look, Bert.

Best wishes,
Tom in Texas

Dani · Post by **Dani** » Mon Sep 01, 2003 11:15 am

Peg wrote:
daffodildeb wrote:Thanks Peg. I was rather surprised to hear about the dark spots from silver that you reported. I hadn't heard of that before. What type of silver are you using? Sterling (.925) or fine (.999)?
I use Sterling - I know 'fine' is better, but I understand it will still stain.
Even when the kiln shelf looks clean there can be contamination - some colours pick it up more than others. Generally the more expensive the glass and the bigger the piece and the longer it took to make - the worse it will be!

Getting silverstain from sterling or fine silver is a normal reaction... on the kiln shelf as a dark splotch (which then can transfer to glass in a subsequent firing) or as a yellow stain in cathedral glass. My question is, has anyone found a way to diminish/control it? Can you dip the silver in overspray to protect the glass from staining? I still presume that everyone is using these with opals where the stain is hidden.