I would like to know the proper proceedure for
and the techniques used to fuse gold together so I wouldn’t have
to solder so much. Almost all of my work is fabricated and some
of my pieces have had 10, 12, even 15 or more parts to them. It
can get real tricky at times not to melt something or have
something move that has been previously soldered. ANY help there
would be GREATLY appreciated, thanks.
Basically support the parts so they don’t collapse when red hot,
I like to use a heavy borax flux but a reducing flame will
protect the metal enought to fuse as well, heat until the surface
looks ‘wet’ and the join ‘flashes’ (for an instant it looks like
mercury at the join), then remove the heat. If you are careful it
is as clean as a solder join, if you heat longer you get the
‘fried’ texture that is often associated with fusing. If you are
using self-alloyed materials and you were not careful when you
made them so they contain dissolved gases these can appear as
lumps when you go high enough in temperature to fuse. If you have
a larger flame keep the flame moving and use the bottom third of
the flame (reducing area and gives you more time to think).
The other question deals with reticulation. Does anyone have
experience with this form of texturing? I need a good 14kt gold
formula to use and then some step-by-step technical instruction
in applying it. My success has been sporadic and what results I
have achieved have been somewhat less than desireable. Barry
You can fuse a surface to get texture (as described above) but
this is not true reticulation. Reticulation works best when you
have a lower melting core and higher melting exterior, then you
heat it to the point the core starts to be mobile and the
pressure of the torch flame (I like to glance it at about 30
degrees) across the surface) cause the exterior shell to buckle
and move, just like the mountains on the earth, paint drying in
a can, the skin on burnt milk in a pan. It can be very well
controlled, really amazing conscious patterns are available with
lots of practice. You have to be careful about heating the top
exterior to the point that it alloys with the core-then things
smooth out. It is possible to use white-out, paint it on the
surface and then heat to reticulate. Where the white out is stays
smooth-everywhere else reticulates. Another way of resisting the
reticulation in specific places for pattern development one can
place smooth pieces of steel under the spots yo want smooth,
they act like heat sinks and prevent the reticulation where they
are in contact with the sheet. If you are reticlating a three
dimensional object (reticulation silver is rather brittle and
does not like to be formed after you have reticulated it-so you
need to do most forming first) then back it with casting
investment so it does not collapse when you are reticulating it,
the heat sink and refractive nature of the investment also helps
prevent your burning through.
Materials: best to use is 800.200 silver, commonly sold as coin
silver at your lcal coin shop-just roll out your coin to .5 or
.8mm and go at it. You can also alloy your own reticulation
alloy: 8 parts AG, 2 parts Cu, melt the copper first. Use a clean
smooth brick or charcoal underneath your sheet. Count on
practicing-learn on the silver first and then try it on the gold.
In silver you depletion silver the sheet for a while 5-8 times
heating and pickling until the surface shows dead white while
heating and before pickling. This creates the external higher
melting ‘shell’. I brass brush the surface with soapy water in
between heating and pickling steps.
For gold you will need to heat and pickle as well to create the
different melting temperature shell but I think you will find
your results are never as lovely as with reticulation silver. You
can also reticulate brass with practice and a friend of mine does
this with a mini-torch and leaves portions of the sheet smooth to
better contrast with the textured areas.
All of which brings me to my advice: practice first with silver
reticulation alloy, count on only some parts being good, then
when you do get a good part cut it out, rubber mold it and cast
your 14k into that shape. You just got a repeateable component
too.
hope this helps
Charles
Brain Press
Box 1624, Ste M, Calgary, Alberta, T2P 2L7, Canada
Tel: 403-263-3955 Fax: 403-283-9053 Email: @Charles_Lewton-Brain
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