Instructional Series. "How to hand-grind Soft Flameworking glass rods (COE 104) into Vitreous Enamel powder or Frit for Lampworking". Part 1

When I started my research and fabrication project last year on Late Anglo-Saxon Disk-Brooches, I began several different experiments based on my various theories. 

As I was doing my 1st millennium AD/CE glass and enamel research I did not come across sufficient published research showing a clear connection between the colored glass used to make Anglo-Saxon beads and the colored glass they broke down and used for enamelling. 

Just because something looks logical doesn't make it fact. To me it looks logical that the Anglo-Saxons used the same source of colored glass for both their glass beads and vitreous enamel work.


The following experiments were to see if colored Flameworking glass rods with a Coefficient of Expansion (COE) of 104, used to make glass beads with a torch, can be successfully used to make hand-ground Vitreous Enamel for kiln fired enamel.


*These techniques can also be used to make glass Frit of various sizes. Frit is used in Flameworking, Glass Fusing, etc.

I wrote 3 blog posts and filmed 4 short instructional videos on my process which anyone can follow in this order:

Late Anglo-Saxon Disk-Brooches. Part 3 (Enamel)

Then:
Late Anglo-Saxon Disk-Brooches. Part 4 (Enamel)

Then:
Late Anglo-Saxon Disk-Brooches. Part 6. (Enamelling Tools)

Part 6 of my series of blog posts related to my Late Anglo-Saxon Enamel Disk-Brooch project on the historical tools used in Goldsmithing and Enamelling from approximately the 2nd-century BCE until the middle of the 2nd-millennium CE. The Iron Hoods / Muffles and Trays used by Georgian Enamelers as well as those described by Theophilus in his Treates.


I recorded 4 related videos to show my techniques. The first and main instructional video:


This is the first video tutorial I've ever filmed and the main one to watch. (Length: 37m35s)

I am show my technique of dry hand grinding soft Lampworking glass rods (CoE 104) into 80 grit Vitreous Enamel powder.


Please click on the middle tab marked 'Description' to read any corrections on the temperature mentioned. Once it sounds like I say a different temperature and another I accidentally only said the second half of the temperature needed.


Then watch the following short videos that show the results from the end of the main tutorial.

The second video that compliments the main one. (Length: 0m57s)

This very short video shows what the washed, oven dried, and hand-ground enamel looks like right out of the kitchen oven. I've used soft Lampworking glass rods (CoE 104) as the glass source for my Vitreous Enamel experiment.


Then the next two short videos:

Third video to watch. (Length: 3m25s)

Fourth and final video tutorial. (Length: 2m15s)

Both show the kiln firings of the hand-ground enamel I've been making from soft Flameworking glass rods. You can see me extracting several small pieces from the Kiln to show the temperature color shift as the enamels cool. Photographs of them are in my blog posts.


Over time I will be adding blog posts in this series on my Blogger account and upload companion videos to my Vimeo page. 

I'd love to see what you do with your results of this dry grinding technique.

Visual Typology of Twisted or Plaited Viking Age -Rings. Part 2.

Legend:  Visual Typology of Viking Age
Finger-, Arm-, and Neck-Rings, Figure 1.

This is Part 2 of my blog post series on the visual Typology I've worked on for twisted and/or plaited Viking Age (VA) Finger-Rings, Arm-Rings, and Neck-Rings (-Rings). In this post I will be covering the Legend of my visual typology so that the examples I post in my third blog post will make more sense.

Part 1 covered the most important elements, the metal rods and/or wire they forged and then twisted and/or plaited to form their -Rings.

[IMAGE]

Legend:  Visual Typology of Viking Age Finger-, Arm-, and Neck-Rings, Figure 1

The examples are shown as Cross-Sections to better illustrate the various parts.

SETS: Are usually 2 or 3 Strands, but can be more, of Wire or Rod; most often Twisted together Clockwise. Rods can be tapered at the ends so that the middle is the thickest/widest point.

Example shown. SET  1 x 2, Twisted Clockwise 

BUNDLES: Are usually 2 or 3 Sets, but can be more; most often Plaited together Counter Clockwise.

Example shown. BUNDLE  1 x 2, Plaited Counter Clockwise

Embellishments: Are optional decorative elements for Sets or Bundles, and they are made using Wires of a much smaller diameter than the primary ones used to make the Sets. They are usually either 1 Beaded Wire or made up of 1 or 2 Round Wires. When there are 2 or more Wires they are most often Twisted together Clockwise. 

Embellishments are seated in the 'valleys' created when the Sets are Twisted or the Bundles are Plaited. This means that the same number of Embellishment Wires are used as there are Strands in the Set, or the number of Sets in the Bundle.


Please Note:
Currently, there is no formal descriptive nomenclature to define this based on Ted Bouck's research and networking across the globe, as well as in my own research. My definitions are based on the ones developed by Ted Bouck, which I agree with, he will more fully define them in the future. Please refer to his document, "The processes used to make a twisted or plaited Viking Age "style" armring." Definitions used with permission from Ted Bouck who retails full Copyrights.


All graphics of my Visual Typology of twisted and/or plaited Viking Age Finger-Rings, Arm-Rings, and Neck-Rings are Copyrighted by me.

Visual Typology of Twisted or Plaited Viking Age -Rings. Part 1.

Various Shapes of Forged Wire or Rod
for Viking Age -Rings, Figure 1.

This is Part 1 of my blog post series on the visual Typology I've worked on for twisted and/or plaited Viking Age (VA) Finger-Rings, Arm-Rings, and Neck-Rings (-Rings). 

In this post I will be covering the most important elements, the metal rods and/or wire they forged and then twisted and/or plaited to form their -Rings.

[IMAGE]

Various Shapes of Forged Wire or Rod for Viking Age -Rings, Figure 1.

The extant finds are predominately made of Gold or Silver (sometimes referred to as Fine Silver) as well Gold Alloys (23 Karats and below) or Silver Alloys.  There are also some -Rings identified as 'Copper Alloy' or Bronze. 

Unfortunately, the majority have NOT been tested to determine their exact metallic compositions. Somewhat vague terms tend to be used, which can cause confusion, usually based on how they look.

Example, 'Copper Alloys' could mean any of the various Brass(es) or Bronze(s) we use today, but they are referring to Brass. 

Non-Modern Labels for 'Copper Alloys'

The blanket term 'Copper Alloy' is used within Archaeology to label and encompass a variety of Brass items. The main component of Brass is Copper (Cu) and its secondary one is Zinc (Zn). Even if this alloy is referred to as 'Bronze' it is still 'Brass' because it contains Zinc (Zn) and not Tin (Sn). 

Bronze is an alloy of Copper (Cu) and Tin (Sn). This blanket term does not specify the percentages of either element in the alloy, this can also be seen with the above term used for a Brass, 'Copper Alloy'.

Copper Alloy =  Brass = Copper (Cu) and Zinc (Zn)

                          Bronze = Copper (Cu) and Tin (Sn)

The Copper Development Association (CDA)

The Copper Development Association (CDA) is an international association that sets the standards for Copper and Copper alloys. They do this by creating internationally recognised ID code numbers that should be strictly followed when using their ID Codes to avoid confusion. 

For example Nickel Silver's CDA code number can be written in any of the following formats: 
CDA#752, CDA #752, CDA 752 or Alloy 752, etc. This specifically identified Copper alloy contain 65% Copper (Cu), 17% Zinc (Zn), and 18% Nickel (Ni), and it goes by various names depending on the sellers preferences: Nickel Silver, German Silver, Nickel Alloy, etc..

The CDA code number can be written in many different ways, as seen above, and yet mean the same thing. Using the CDA approved code for a specified Alloy ensures that the mix of metallic elements, that we are referring to, is the exact Alloy we mean so that there is no doubt. 

I have been unable to find a complete list of the CDA's standards and Alloy code numbers, on any of their websites. Most vendors use different terms for the same Alloy which quickly gets confusing so I compiled information from various websites, PDFs and tables into a table on my personal website entitled, 'Metal Alloy Table'.

For additional information and links please see the section entitled, 'Copper Development Association (CDA)' on my 'Metal Suppliers' resource page. 

Modern ID Codes for Copper Alloys

CDA#230: The modern alloy containing 85% Copper (Cu) and 15% Zinc (Zn), is referred to as Red Brass, Jeweler's Brass, NuGold, Jeweler's Bronze, etc..

CDA#260: The modern alloy containing 70% Copper (Cu) and 30% Zinc (Zn), is referred to as Yellow Brass or Cartridge Brass, etc..

Modern ID Codes for Copper Alloys: Bronze

CDA#521: The modern alloy containing 92% Copper (Cu) and 8% Tin (Sn) is Bronze and it is also referred to as Phosphor Bronze or Grade "C" Phosphor Bronze. 

CDA#521 is also significantly close to the proportions of tested extant Bronze items.

Forging an Ingot into Various
Shapes of Wire or Rod, Figure 2.

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Forging an Ingot into Various Shapes of Wire or Rod, Figure 2.

On a flat anvil, place your wire or rod while holding it with a pair of pliers, hammer from one end to the other along each corner's length and use consistent force. Rotate the wire or rod a quarter turn and repeat these steps until it has parallel sides and a polygon cross-section.

Stages:

Ingot > Square [4] > Octagon [8] > Hexadecagonal [16] > Triacontadigonal [32] > Circle

Anneal when the metal's length is doubled or the thickness is halved. Use the appropriate heat for the metal being used, immediately quench it in clean water. Use non-Ferris tweezers to place it in a warm pickle solution to remove any oxidation. Thoroughly wash the metal and dry the surface before continuing.  

Annealing returns work hardened metal to dead soft by returning its Ductility.

Remove the ragged ends with a saw or use a sharp cutting chisel. Rotate a 1/4 turn after each chisel strike and repeat until you cut through. Leaving the ragged ends could leave cracks or flaking that could get bigger as you work the metal causing a great deal of damage.

Resource: My Video Tutorials and Demos on Vimeo

Gaeira's Anvil...Videos

You can now find my Video Tutorials and Demos on my Vimeo page, Gaeira's Anvil...Videos

I will be uploading my videos on my Vimeo page instead of on fb and posting information and a link as I make and upload new ones.

Please leave constructive criticism so I can improve my future video sessions. The 4 current ones, which were previously posted on FB, will most likely be replaced at some point with updated versions as I improve my video making skills.

https://vimeo.com/gaeirasanvil

My Academia.edu Page

https://independent.academia.edu/GaeiraAggadottir

For several years now I have been on Academia.edu researching a wide selection of topics and enjoying my discoveries. This week I added links to several of my Blog posts and will continue to do so as I post about my various research and fabrication projects.

If you haven't already discovered this wonderful community of researchers please take the time to go over and see how it is set up. The basic membership is free and that gives you a profile page and the ability to upload files as well as download files.

Since I am not affiliated with a college or university I am considered an independent researcher.


Link: https://independent.academia.edu/GaeiraAggadottir

Hot Work Workstation PDF

I

I spent some time researching and putting together a resource PDF sheet for the fb metalsmithing group I run, Gaeira's Bench and is located in the File section of the group page. I found a variety of tutorials, etc. for hot work: soldering, casting, enameling, 

workstations, etc. that can be easily constructed out of bricks, kiln bricks, steel sheets, steel rods, and/or compressed charcoal blocks, etc. The collage includes the URLs next to each set of images and I added them to the comments section as well for easy access.

Links:

https://www.facebook.com/groups/GaeirasBench/

https://www.facebook.com/groups/GaeirasBench/permalink/1091437530995621/