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.

Wire and Bead Tutorials. Beaded Dangle or Pendant. Part 1

Wire and Bead Tutorials.
Beaded Dangle or Pendant. Figure 1.

This is Part 1 of my blog post series of Wire and Bead Tutorials. In this post I will be showing a simple way to make a Beaded Dangle or Pendant using Head Pins and various Beads.

All of the following techniques and supplies are historically used and date back to at least the end of the first millenium BC (BCE) and continue well through the Byzantine Empire. I have found many extant examples from various times and places of the Roman Republic, the Roman Empire, and the Byzantine Empire. Over the coming months I will continue to look for extant pieces from other Mediterranean and European civilizations.

A modern Head Pin is a long wire with one end terminating in a flattened, round 'head' that is simiar to a nail's or some styles of rivets. They can be purchased at many bead suppliers or craft stores and come in a variety of gauges, lengths, and metals either precious or not.

1. Pass the Head Pin's 'end' (1b) through the Decorative Bead (1a) so its 'head' is flush against the bead's opposite opening* (1c).

2. Take 1 or more small Embellishment Bead (2a) and slide them onto the Head Pin (2 & 2b).

3. Bend the remaining length of the Head Pin about 90 degrees (3a) so that the Beads are secured in place and that there isn't room enough for them to slide back and forth. Use Round Needle Nose Pliers (3) to form a loop by bending the wire around it (4a). 

4. Use Wire Cutters (4) to shorten the Head Pin (4a), so it forms a closed, round loop (4b). Use a Pair of Flat Needle Nose Pliers (4c) to manipulate the loop so that it is centered and closed properly so there isn't any gap left. A gap could get spread wider through wear and tear to possible lose the Dangle.

5.  Pass the Dangle's loop (4b) either through the opening of the hook or brooch pin, or one end of a chain, cord or wire so it is secured.

Wire and Bead Tutorials.
Beaded Dangle or Pendant. Figure 2.

* Please Note: If the Decorative Bead's bottom opening is wider than the Head Pin's 'head', then you can do any of the following historically used options:

A. First slide on a small bead, like a Seed Bead, that is wider than the Decorative Bead's opening. This smaller bead will stop the larger bead from falling off.

B. First slide on a spangle which will act like a Bead Cap. A spangle is a small, flat metal disk with a drilled hole at it's center, it is what sequince is made up of and it is used in decorative Embroidery.

C. First slide on a small Bead Cap with a hole small enough that the 'head' prevents it from sliding off the Head Pin. Bead Caps are usually curved like the Bead and look molded against it. 

D. Use or make a Head Pin with a wider 'head' or that has a balled up end with a wider diameter than the width of the Decorative Bead's hole.

E. Make a single or double Loop that's larger than the Decorative Bead's opening. Use the same techniques shown in this photo-tutorial.

F. If you are using round wire instead of a Head Pin, and the Bead has a small opening, you can simply bend the wire back onto itself (180 degrees) using a Pair of Flat Needle Nose Pliers (4c). This will form a closed 'U' shape that should be wider than the Decorative Bead's bottom opening.

Part 2 of this Blog post series will show how to make 1 style of Birka Grave Find, Bead Hangers. It is a decorative way to suspend 1 or more beads on a beaded necklace or chain. There are a variety of styles and I will be showing 1 of the 2 most found methods. This style of Viking Age Bead Hanger was predominately found in Birka Grave Finds.

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.

Late Anglo-Saxon Disk-Brooches. Part 5 (Display 1)

Figure 1. Close up.

This is Part 5 of my series of blog posts related to my Late Anglo-Saxon Disk-Brooch research and fabrication Project. Part 1 is a general history of the disk-brooches that my research and fabrication project centers around.
On Sunday, August 4, 2019 I participated for the first time in the 22nd Annual Known World Arts & Sciences Display at Pennsic 48 with phase 1 of my Late Anglo-Saxon Enamel Brooch Project. From 1pm to 5pm I was one among a few dozen artisans displaying their projects from across the SCA Known World. 

The 9 glass bottles on the right half of the display are of my White Paste experiments which I'll be writing a blog post about in the near future. 

The colorfully filled glass bottles on the left half of the table are the enamels that I made from hand grinding several soft glass Lampworking rods of CoE 104 glass. [See Part 2, Part 3, and Part 4 of this blog series for more details.] The back row are the first 5 colors of glass rods that I ground. They were unfortunately contaminated from the marble mortar and pestle I used when I started this project. The front row of 6 enamels were entirely hand ground using a Stainless Steel mortar and pestle and fired beautifully as enamels. I switched to Stainless Stell once I read a passage from Cellini's Treatise in which he mentions using Steel, this made a great difference.

Figure 2. Full display.

It was far too windy to put out either the small Sterling Silver bezels I enameled, the glass beads I set with White Paste in bezel settings, and sample pieces of the glass rods. I will need to attach them to a sturdy backing before St. Eligius Arts & Sciences Competition in mid November, hosted by the Barony of Dragonship Haven, so they can be seen without risking their loss to wind or by getting tipped over.

These are 3 of the 4 currently printed out binders of my research sources. I've found other papers that I need to print out.

The two cutting chisels and Muffle set were made by Doug Colin Guyton. The overall muffle design is based on my research of both Theophilus and Cellini's Treatises. The muffle top is also very similar to one of the extant finds of Georgian enameling muffle covers in the Georgian National Museum.

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

Fig 1. Fired Hand-made Enamel Bezel Cups.

This is Part 4 of my series of blog posts related to my Late Anglo-Saxon Disk-Brooch Project. Please see Part 2 of my series for information on my reasons for experimenting with Flameworking glass rods and turning them into a fine powder which can be used as Vitreous Enamel. Part 3 covers my first series of experiments on breaking down the rod sections into smaller pieces and then grinding, rinsing, drying, sifting, and storing the fine glass particles of each color of glass. Part 1 is a general history of the disk-brooches that my research and fabrication project centers around.


A few lessons learned:

It's impressive the huge difference various tools can make when compared to one another. 


Contamination from the Marble Mortar and Pestle caused Light flecks 

My hand-ground Enamel was also contaminated with white and clear particles (Fig 1, 4, and 5). The significant differences can be seen between the bottom most red enameled bezel cup (Fig 1), which was ground only using the Stainless Steel mortar and pestle (Fig 2), and ALL of the other samples, which were ground mainly with the Stone mortar and pestle (Fig 3), which is possibly made of Marble, before switching to the Stainless Steel set (Fig 2). 

Fig 2.  Stainless Steel mortar and pestle

It turned out that the Stone's hardness wasn't as high as we thought compared to that of the glass being used. Unfortunately, I wasn't able to find, when I searched online using Google, what the range of hardness was for CoE 104 (Coefficient of Expansion) Lampworking 'soft' glass rods. Looking at the "Mohs Scale of Hardness", ". . . glass rates about 5.5, and a steel needle is a 6.5. Most Granites rate about a 7 in the scale while most marbles, limestones, travertines rate in the 3 area." [Source; accessed 2June2019], "Stainless Steel 5.5-6.3" and "Soda (soft) Glass 4.5, Glass 4.8-6.6" [Source; accessed 2June2019].

Switching to using a Stainless Steel mortar and pestle (Fig 2) made a significant improvement, both in the speed and ease of breaking and finely grinding the Flameworking glass rods into 80-mesh Vitreous Enamel. 

Fig 3.  Stone mortar and pestle.

Theophilus, in his treatise, "On Diverse Arts", doesn't specify which materials to use for either the mortar or pestle. This is most likely due to him expecting his contemporary reader to know and own the appropriate one(s). 

Benvenuto Cellini advises in "The Treatise of Benvenuto Cellini on Goldsmithing and Sculpture", "a little round mortar of well-hardened steel, and about the size of your palm...with a little steel pestle specially made for the purpose of the necessary size." (Fig 2)

I had started to grinding all of my Flameworking Glass rods with the Stone mortar and pestle (Fig 3) which looks like white 'marble' with pale grey veins. I found that grinding the CoE 104 Flameworking glass was quickly causing wear and tear to the mortar, but especially to the bottom concave curve of the pestle. 

Switching to only using a Stainless Steel mortar and pestle (Fig 2) made a significant improvement by eliminating additional contamination from the Stone mortar and pestle's surfaces (Fig 3).

Unfortunately, rinsing out the ground up glass multiple times did not remove the contamination, it stayed and caused, at a minimum, color issues and a great deal of very fine white speckles throughout all the colors, as can be seen in the photograph (Fig 1). I do not know what possible chemical interactions could have occurred during the firing that reached 1,500F.

Fig 4. Rows #1 & #4 are Stoned,
The photos are at two different angles.

I started to stone the highest surface with 150 and 220-grit Alundum Stones so that the glass and metal would be uniformly level (Fig 4. Rows #1 & #4 are Stoned in all 5-colors). Quickly it was obvious that additional enamel layers needed to be added so that the center of the concave glass, concave meniscus (Fig 4), could be filled in and raise closer to being level with the bezel cup's walls. This would help reduce how much metal and glass would need to be stoned away to complete the stoning stage.

Once I've added sufficient layers of enamel I will need to finish: stoning, pickling (pickle is a mild acid solution that removes oxides from the oxidized Sterling Silver), flash fire (to make the glass shiny once more), and polish the Sterling Silver bezel cups to complete the process.


The importance of using the correct temperatures

Fig 5. Melted Bezel Cups

The hand-ground Lampworking (soft) glass that I made in five Anglo-Saxon colors, which has a CoE 104, was sifted so that it is the standard 80-mesh size that Thompson Enamels sells. This hand-made enamel was wet packed in multiple thin layers within the Sterling Silver Bezel cups and fired each time an additional layer was added. The Bezels melted in the Kiln when it reached approximately 1,700F, it is usually set to 1,500F (Fig 5). 

If Copper and either Fine Silver (99.999% Cu) or Sterling Silver (92.5% Ag and 7.5% Cu) are physically touching one another when they reach their melting points then the Silver will look like it is melting into the Copper or look like it is being absorbed by the Copper. The Silver (Ag) atoms slide within Copper's (Cu) crystal lattice. Silver and Copper are Eutectic [also called, Eutectic System].

This can be prevented if there is a layer of glass / vitreous enamel between the Copper and Silver, *Enamelers call it 'Flux'. As soon as the glass is thinned away over several firings and leaves a bare spot, during the needed temperature range, then the Silver atoms "slide" into the Copper (Cu) crystal lattice. 


* 'Flux' in Enameling is clear glass enamel, but it should NOT be confused with what Metalsmiths are referring to as Flux, which can be made in different ways, but usually it's a solution of Borax mixed with water. Flux (Borax, etc.) helps prevent oxides on hot metals from forming, molten metals flow better, the solder binds to the metals and flow more easily.


Silver and Copper has are Eutectic [also called, Eutectic System], both elements are Face-Centered Cubic (FCC) structures (scroll down to see a 3D image of the structure; "The face-centered cubic (fcc) has a coordination number of 12 and contains 4 atoms per unit cell." Source; or for a digital animation.)

Cu/Ag Eutectic System, "Copper and Silver are both FCC, but their lattice parameters and atomic radii are very different, so they have limited solubility in the solid state. There are two solid stable phases α and β, and at high temperatures there is a eutectic reaction where the solids α, β and the liquid coexist.", "Cu – Ag System, Cu: α phase, Ag: β phase", "Eutectic means “easily melted” in Greek." [Source; see slides 1-4]


Contamination from the Copper sheet causing Dark flecks

Fig 6. Flaked off Oxides from the Copper sheet that was
used as a support for the bezel cups during the kiln firing.

The dark flecks in the fired Enamel Bezel cups are from the flaking off of oxidized layers that were formed on the Copper sheet during the high temperatures reached within the kiln. 

I used the Copper sheet within the kiln to support the small Bezel cups during the firings. The metal mesh screen that is usually used on it's own to support Enamel pieces didn't properly support the Bezel cups so that they could remain flat (on the Left of Fig 5; Fig 6). The flaking black oxide layer can be seen underneath both the melted and whole bezel cups (Fig 5) and in the pile accumulated after the firings (on the Left of Fig 6). 


My Video of the Enameled pieces being removed from the kiln and cooling (on Facebook)

My short video is 3m25s long and shows a kiln firing of the hand-ground enamel I've been making from Flameworking glass rods.

The target kiln temperature is 1,500F for my enamels. At the start of the video the temperature is 1,450F (it might sound like I said 450F, but it's 1,450F) I open the kiln door to allow some of the built up hot air to vent out and get the kiln down to 1,250F. Once it's reached 1,250F (not 250F as it might sound like in the video) I gently place the Stainless Steel sheet, that's resting on the steel mesh frame, onto the kiln floor and close the door.

As soon as the temperature reaches 1,500F I carefully open the door and remove the sheet and metal frame with a pair of long pliers and place them gently on top of a ceramic tile. At the same time I'm wearing one heat protection glove on my dominate right hand that's holding the pliers, the heat is so high that even 5 to 10 seconds of exposure on my skin starts to sting.

The pieces change colors as they cool down from 1,500F. Once they are completely cooled they can be moved and worked on.


Part 5 of my series of blog posts will be about the results of firing the newest batch of Enamels that I've I made using just the Stainless Steel mortar and pestle. Once again I will not be mixing my Enamel with my Thompson Enamel powders due to the different CoE which could cause issues.

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

Fig 1.The first four colors of Flameworking glass rods that I
processed into fine powder to use as vitreous enamel.
Next to each plastic container is a piece of the
glass rods that I used as a source for the glass.

This is Part 3 of my series of blog posts about my Late Anglo-Saxon Disk-Brooch Project. Please see Part 2 of my blog post series for information on my reasons for experimenting with Flameworking glass rods and turning them into a fine powder which can be used as Enamel.

Part 1 is a general history of the disk-brooches that my research and fabrication project centers around.

At the start I used Propane fuel with a standard plumbing torch head to heat up the glass rods (Fig 2). My sheet of Stainless Steel was on top of the table with the mortar on one end next to the sheet. 

Fig 2. Left over fragments from
3 Flameworking glass rods.

The mortar was filled with ice water, this is where the heated glass will fall and shatter due to the thermo shock (Fig 3 & 4). The temperature change between being heated up and the ice water will over stress the glass and cause it to break into tiny shards due to the sudden cooling effect. The ice water also containing the pieces within the water and prevents them from flying about.

Fig 3. Once I switched from using Benzomatic's
Propane fuel and a basic torch head
their MAP-Pro and Hot Head torch .

I started with the red opaque glass rods. I held a length about 2 to 2 1/2 inches in a pair of long handled pliers and heated up as much exposed glass without getting the pliers in the flame. I didn't reach molten temperatures before I dropped the full length of rod into the cold water. It shattered a bit, but not as much as I had hoped. I continued with this method until I had enough shattered pieces in my mortar.

Fig 4. A close up.

I moved on to the next series of steps, crushing and grinding. I spent 10 to 30 minutes crushing and grinding the pieces with the pestle against the inner curve of the mortar. Every time that the water becomes very cloudy I rinse away the 'fine' or 'fines', very fine particles that float and cloud up the enamel's look, and added fresh water before grinding some more (Fig 5). 

Fig 5. The tilted mortar exposes the hidden
ground particles. More grinding is needed.

After the final rinse  (Fig 6) I spread the paste onto heavy duty aluminum foil for them to dry in the toaster oven, set at a low heat (Fig 7). Once cool I placed the contents of the mortar in a plastic 40-Mesh Enamel sifter and sifted it into a small bowl with the aid of a brush to move the particles around. When it stopped separating (Fig 8) I poured the fine particles, that the sifter removed, into a plastic storage container with a tight fitted lid. This is ready to be used as Vitreous Enamel.

Fig 6. Ground and rinsed a few 
times, this is ready to dry.

I placed the particles that stayed in the strainer back into the mortar, added some water and continue grinding, rinsing, drying, sifting until I was satisfied with how much I was able to grind fine enough for enameling. Then I moved to the next color and so on.

Fig 7. The paste is spread onto heavy
duty aluminum foil, dried in a
toaster oven at a low heat until dry.

Once I switched to the blue glass I decided to try heating the glass rods with MAP-Pro and switched to the Hot Head torch head, this heat source gave better results. 

At the same time I stopped trying to heat as much of the rod as I could in one go and decided to bring the last inch of glass to a molten stage and create a large drop shape. I continuously rotated each glass rod while heating it until it became molten. By slowly twisting and turning the rod in the flame I created a large teardrop shape which shattered in the ice water once it detaches from the rod. 

Fig 8. Sieving the dried glass through a 40-mesh
screening. The particles in the mortar are
smaller than the ones that are still in the sieve.

The extreme temperature difference between being molten and then hitting the ice water, with the added ice cubes, caused a greater thermo shock with more breakage. Success!

Once I have enough length of the glass rod shattered I remove the ice and some of the ice water. I continued with the above method of grinding, rinsing, drying, sifting, storing particles for all my lengths of glass.

Fig 9. Top row: Particles smaller than 40-mesh.
Bottom row: Particles larger than 40-mesh.
Left: Opaque red glass.
Right: Translucent dark blue glass.

Due to time constraints and the wear & tear on my hands and shoulders I spent 2 1/2 days processing the glass rods into 80-mesh enamel particles. With that in mind I didn't completely crush all of the glass that fine, I kept some larger particles for future comparison and to also work on some of it in the future when time permits. 

The Sterling Silver Bezel cups that I have are about the size of the ones on the brooches lobes and I have more than enough ground enamel for test samples as well for making one brooch for display.


Suggested Tools and Supplies

• Flameworking glass rods in several colors all in the same Coefficient of Expansion (CoE), these are usually used to make glass beads. I used CoE 104 Opaque glass rods.
• Benzomatic's Propane fuel, it burns at 3,600 degrees Fahrenheit.
• A standard plumbing torch head
• Benzomatic's MAP-Pro fuel, it burns at 3,730 degrees Fahrenheit
• A Hot Head torch head.
• A lighter.
• Safety Glasses
• A pair of long handled Pliers or glass rod holder.
• A none burning work surface like a large cookie baking sheet, piece of Stainless Steel, etc. (as seen in Fig 3)
• Granite or Agate Mortar and Pestle set (as seen in Fig 3 & 8).
• Ice and cold water.
• A 'Plastic 40-Mesh Enamel Sifter with Handle'. Item # 119305 at RioGrande.com (as seen in Fig 8)
• Several small bowls or white paper, Fluted Baking Cup for cupcake/muffins. To temporarily store dry, crushed glass.
• Aluminum foil or Aluminum pie plates.
• A funnel or a sheet of paper folded into a funnel.
• A paint brush for Art oil painting or a soft 'dollar store' paint kit brush. An old toothbrush would work as well.
• Several small, plastic storage containers with lids or old pill bottles that have been cleaned and dried (as seen in Fig 9).

Please NOTE: A 14.1 oz tank of MAP-Pro fuel is about 3 to 4 times the cost of a 14.1 oz tank of Propane, but MAP-Pro gas will heat the glass faster and to a higher temperature than Propane especially with the different torch head which is designed for Flameworking, melting glass. If you do not already have a 'Hot Head' torch head or a similar Flameworking torch head then use a plumbing set of tank and torch. It will take a bit longer to heat up the glass. An oven does not reach the needed temperatures to melt glass.


Part 4 of my series of blog posts will be about the results of firing the Enamels I made. I will not be mixing my Enamel with my Thompson Enamel powders due to the different CoE which could cause issues.