Hi all,
About that doublee. In 1985 I published an article in Metalsmith on
the technique, which had been taught to me by Klaus Ullrich in
Germany in 1980. He used .3mm gold and 1mm silver. I changed this to
.1 mm gold and 2mm+ silver. (cheaper no?). Amusingly, my use of the
word ‘doublee’ in this article has entered the lanquage, my first
lesson that one could coin a new word in English and have it adopted.
I used it to signify that the material was hand made, ‘crafted’ and
to differentiate it from ‘gold fill’ (more or less the same stuff,
made in a slightly different way).
In 1985 I taught Harold O’Connor the technique and showed the way I
had been taught, using a blow pipe. Ullrich (and most German
goldsmiths at that time did not have torches other than town gas/air
(town gas is derived from coking out coal and is similar to natural
gas in how it works), and many of those were lung powered-no need
for a compresser). The blow pipe is a soft, pleasant, flame, romantic
and smacking of history, easily controlled, nicely reducing. The
fusing is done on a charcoal block to increase the reducing
conditions of the flame (acetylene/air, bushy, from above works just
fine). Harold has continued to teach it the way I showed him. He has
also done some of the best, most exquisite work around using the
technique. He is an excellent artist and goldsmith.
A blow-pipe is kind of fun, but any reducing or no/low oxygen system
would work.
There is a copy of the original article right here at the ganoksin
project on this page:
(and as a side note, I often see questions on Orchid that are
answered in my writings at ganoksin, and I urge all who have not
fully explored the page to do so (keum-boo, granulation etc). The
address is: http://www.ganoksin.com/borisat/tree.cgi)
Tips for doublee Think of it as ‘two part mokume’, and Roll the gold
out to .1mm or so Use a sterling slug that is 2-3mm thick. (this
allows you to fuse a small surface area-easier, and to roll out the
metal further tush gaining more finished surface area, as well as
having better pattern control on the metal) Use rounded shapes,
avoiding any re-entrant angle (ie a notch) (that causes cracks) Have
the gold sheet project 2mm wider than the slug in all directions,
this prevents silver crawling up and over the top surface if you get
too hot when you fuse it. Sand the surface of the sterling clean. Clean
the gold with alcohol to degrease it (ok it works fine without this
but why not) Dish the gold slightly, so that the center touches the
middle of the slug, this helps drive air out as the fusing occurs. Get
your face down (or the charcoal block up) so you the slug is at eye
level, now you can watch is fuse. Best is a slight silvery flash of
fusion, just adhered to the gold. You may see the silver dish up too
to ‘suck up to’ the gold sheet. Worst is a molten blob of sterling on
the gold. 46use it, clean it, trim the overhaning gold, engrave (if
you want to), rol l it out, and for nicest color on the gold, finish
the last roll with paper towel.
best
Charles