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Hello everybody,
Most of the reactions of the 'reactives' generate kind of black or grey borders on the point of the connection between the 2 glasses connected.
I know that there are some reactions that create different colors, like connecting one of the greens [forgot which one] with white creates red edges.
Does anyone know what other colors can be achieved thru other color combinations? i.e. colors where the edges become color other than the usual black?
Can anybody tell me in particular which combination creates turqoise edges?

I'd be so very grateful

Havi

I'm sure you've seen this, but I'll post it anyway

http://www.bullseyeglass.com/images/sto ... _glass.pdf

Unfortunately, they don't tell you what reaction to expect, so it doesn't answer your specific question.

Dana W.

Current BE catalog, page 25
Steel Blue 0146 on Reactive Cloud Opal 0009 creates a deep red or rust color reaction by the look of it, but I've never done that combo?

My Husband found the link!

http://www.bullseyeglass.com/images/sto ... _glass.pdf

Many thanks, Haley!
And thanks to your husband too.

I have the BE catalogue.
And I know this result of reddish 'borders'.

I still hope / wish someone will pop up with the secret of what glass creates the beautiful turqoise borders, when fused to whites - also which white it is.

Perhaps someone from BE would care to yield this secret info.

Thanks again,
Havi

Hi Have,
I thini it would be helpful if you could post an image of the turquoise border you are referencing. The word "Turquoise" may not bring up the same mental image to everyone......I'm wondering if you are referrring to the reaction created wsith Dense White and French Vanilla?

Dear Judith,
Unfortunately - I saw it on facebook, and I do not know how to save photos from there. Of course it was my first idea - to download the photo and ask specifically about that. Only thing I can say, is, that it was bunch of photos from a class offered at OAtka,

Perhaps it was a combination of French Vanilla and 0116 ? But I never before saw that turqoise , I am aware of a combination the yields RED [appears even in BE catalogue, as mentioned above]

Thanks,
Havi

Havi wrote:Dear Judith,
Unfortunately - I saw it on facebook, and I do not know how to save photos from there. Of course it was my first idea - to download the photo and ask specifically about that. Only thing I can say, is, that it was bunch of photos from a class offered at OAtka,

Perhaps it was a combination of French Vanilla and 0116 ? But I never before saw that turqoise , I am aware of a combination the yields RED [appears even in BE catalogue, as mentioned above]

Thanks,
Havi

Havi,

Could the red halo reaction you are referencing my be from the Uroboros System 96 product line?

Red Reactive Transparent 60-003-96 or Red Reactive Opal : 60-045-96, fused with F2-5333 Deep Aqua Fine & F7-2334 Turquoise Opal Mosaic frit.

If you go to the following link, and look at the picture of the 60-003-96 or 60-045-96 glass. Combined with the above two frits, this is the deepest red reaction halo I have come across.

http://www.uroboros.com/products.php?se ... tegory=251

- Al

DEar Al,
No, it is not Uroboros.
I never use Uroboros. THe red halo is seen very clearly on BE catalog at the link posted above by Haley. As well as at the catalogue proper.
However, what I am seeking is the turqoise halo - which will solve itself one of these days, I am sure

Thanks for your attempt

Havi

Havi, this isn't exactly what you asked for, but when I fused silver foil on BE french vanilla I got a bluish green reaction around the foil, and then brown surrounding that.

Virginia

Thanks, Virginia,
You are right this is not what I am seeking.

However, as far as silver goes -
I was told that working with silver creates another problem - that has to do with gas fumes, and it is recomended to dedicate a special kiln for working with this metal. Is this your experience too? Do you have any particular fumes rising from the silver??? Or any other special phenomena?

I have no reason not to believe the person who told me that.
As long as you work with silver, I would appreciate your imput too .


Thanks,
Havi

I have made a few pieces using capped silver leaf, and haven't seen any untoward lasting effects in the kiln from that work. Maybe the fuming problems occur when the silver is uncapped? Or against the shelf? And if on the shelf side, would the use of Thinfire mitigate the fuming problems?

David Jenkins wrote:I have made a few pieces using capped silver leaf, and haven't seen any untoward lasting effects in the kiln from that work. Maybe the fuming problems occur when the silver is uncapped? Or against the shelf? And if on the shelf side, would the use of Thinfire mitigate the fuming problems?

In my experience, fumes from uncapped silver are not significant enough to create any kind of problem. However, if you fire silver in a kiln, the silver can stain the shelf and cause a reaction with future firings on the same shelf. This happens with or without thinfire. Silver fumes can also migrate from one piece to another in the same kiln at the same time, causing a reaction where one may not have been desired.

In my experience, most glass to glass reactions are brownish, not black, and reactions with copper are sometimes reddish. The color can vary from sheet to sheet of the same glass sku. In addition, reactions with silver can also produce yellow or pinkish colors.

Regarding the turquoise reaction color, I've never seen it, but would agree that what I call turquoise may not be the same as what Havi calls turquoise. A photo would help, but even a photo is no substitute for seeing the actual piece.

Brad,
I am very grateful for your response!
You are one of my better Guru's here, what you wrote about the silver fumes is exactly what I have been told.
I have only 2 small kilns at home, and I would not waste one of them for silver reactions.

There are so many other ways to work with glass - I still have so much to accomplish in the other ways, that this will be enough for me, for a long while.
I am hoping to dedicate the forthcoming holidays to some experiments , like mesh melts, boiling glass, and other techniques of making concise colors in a limited space. I pray I shall make at least part of these.

many thanks to you and all the others, from whom I learnt so much

Havi
and -
A Happy [Jewish] New Year - next Sunday night

You can achieve a very pale blue / turquoise using copper leaf on reactive cloud. It is delicate and pale and I don't know how you'd get it on the interface between two pieces of glass (although now you've got me thinking!).

Kim Manley wrote:You can achieve a very pale blue / turquoise using copper leaf on reactive cloud. It is delicate and pale and I don't know how you'd get it on the interface between two pieces of glass (although now you've got me thinking!).

Copper leaf between reactive cloud and regular clear will turn react with the reactive cloud and turn brownish-reddish. Copper leaf will turn blue when sandwiched between any two glasses, so long as neither of the the two is a reactive or a selenium glass. But this blue color is NOT a reaction, it's just the color of the copper left behind when the leaf burns away.

Are you positive what you are looking for is a reaction?

Could it be from super fine/powdered frit?

When I lay powder directly onto thinfire, then put large frit on top of that, then cap with clear and do a tack fuse the result looks a lot like a reaction (from the top side) with the powder color forming 'halos' around the larger frit.

Brad Walker wrote:[... In my experience, fumes from uncapped silver are not significant enough to create any kind of problem. However, if you fire silver in a kiln, the silver can stain the shelf and cause a reaction with future firings on the same shelf. ...

Brad:

Those two sentences seem a tad contradictory - can you expand on those thoughts? For instance, does your second sentence extend to capped silver?

Thanks.

David Jenkins wrote:

Brad Walker wrote:[... In my experience, fumes from uncapped silver are not significant enough to create any kind of problem. However, if you fire silver in a kiln, the silver can stain the shelf and cause a reaction with future firings on the same shelf. ...

Those two sentences seem a tad contradictory - can you expand on those thoughts? For instance, does your second sentence extend to capped silver?.

I can see how I could have been clearer. Let me say it a different way.

As far as I know, fumes from uncapped silver won't damage the kiln. However, the silver can stain the shelf and cause a reaction on other glass with future firings. I've never seen this problem with silver sandwiched between two layers of glass, only uncapped or used on the shelf beneath the glass.

Hope that's better.

Havi, I haven't done a whole lot of work with silver. I only have one kiln, so I use the same one for everything. I have fired silver clay a couple of times, and silver foil uncapped only once or twice. I fired the silver clay on a piece of broken shelf that I don't use for anything else. The small amount I have done hasn't caused any problems in my kiln that I have noticed.

Virginia

Thank you so much dear friends for your responses.

I am grateful, as always for the lessons taught by you.

At this point, I would rather not experiment with silver, I feel that I can very easily find other ways of achieving what I want. I bookmarked this thread, and will keep it, though.

many thanks, and again Happy [Jewish] Holidays

Havi