Silver Staining

[David Jenkins]

i fired a piece (on ThinFire) that had some silver foil decorations on it. The shelf was stained on areas not covered by the TF.

Will future firings on TF, on that shelf, be subject to staining?

[Bert Weiss]

i fired a piece (on ThinFire) that had some silver foil decorations on it. The shelf was stained on areas not covered by the TF.

Will future firings on TF, on that shelf, be subject to staining?

yes!

When I was taught to silver stain, the procedure was to put a thick layer of whiting on the shelf, fire the silver on it, to between 1050 and 1250, and toss the whiting.

[KaCe]

Please bear with me, as I'm not familiar with silver or staining of silver.

ThinFire was used, but where it wasn't laid was stained? Am I correct in assuming that no TF means no glass was on the shelf without the TF? So does silver let off gases or elements of some sort during the firing that then settle on the shelf and taint it for further use? I'm just trying to understand the issue and the answer. TIA.

[psh]

Bert,
I have been trying to research silver stains with fusing glass and found an old thread you were on from 2002. I am interested in experimenting using silver stains and recently purchased an enamel and silver stain sample kit from Reusche. The effect I am most interested in is a gold-ish metaling on one side and a turquoise color on the other side. I have reviewed J Kenneth Leaps work but am struggling as to how to begin. In addition I reached out to Stephen Byrne of Williams and Byrne and though he was very gracious they do not combine silver stains with higher temp firings. I would welcome an suggestions or advice to guide me in the right direction.
Thank you!,
Patty

[Bert Weiss]

Traditional silver staining for stained glass is done between 1050ºF and 1250ºF. this yields a blue gunmetal on the surface and transmitted yellow through the glass. I don't think fusing temperatures are applicable. The best silver stain is made by a fellow named Cliff Oster. It is available in the UK at Peli, I think. Ancient Walpole silver stain is the name of it.

[psh]

Thanks Bert, I will look into that stain.

[Bert Weiss]

Thanks Bert, I will look into that stain.

Part of why traditional silver staining wouldn't work at fusing temperatures is that there is a top coating that gets wiped off after the firing. At fusing temps, that would stick and sink in to the glass itself. I also think the yellow stain from the silver is not stable at higher temps. I never tried doing a 2 firing sequence of first silver staining and then fusing. I have my doubts that would work well. I have never heard of anybody doing that, and I think it would be done if it worked.

[Buttercup]

I think that coating is the clay body that acts as a vehicle for the silver stain. As Bert says, that is washed off post firing after the silver stain has amalgamated with the glass, leaving the residue of clay. There will still be a metallic 'bloom' on the stained side. The only times I have used silver stain it has been in the final firing, either alone or at the same time as enamel on the reverse, silver stain side down. Heed Bert's advice about firing on whiting then tossing the whiting.....cheap insurance. Jen

[psh]

Thank you so much for the information and insights. This is going to be a project with a lot of experimenting, and I appreciate your help!

[Stephen Richard]

Thinfire does not provide enough absorption of the silver salts to protect the shelf. You need to use 1mm or thicker fibre paper - or whiting, which is cheaper - to protect the shelf.