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Initial ideas for a simple bowl with stand - aiming to use materials explored to create interest through contrast

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Re-annealing and quenching left interesting colours - could consider using this , contrast with highly polished brass sections?

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Pewter poured onto textured (hammered) chipboard

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Pewter poured onto textured (hammered) chipboard

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Heat transmitted through the metal and softened the plasticene so pieces moved out of position. Would probably work with clay though as heat would harden not soften clay

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Results of deliberately pouring molten pewter into water bath

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Results of deliberately pouring molten pewter into water bath

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Lots of rubbish (seems to be a way of separating dross from metal) - but also a lot of fairly regular ‘fang’ like shapes, which could be combined with contrasting materials to create jewellery.
Need to sketch possible ideas for how to use these.
Also - does water temperature alter the results? Would partially cooling e.g by pouring through a cardboard chute give results closer to first accidental examples?

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Selection of metal droplet shapes from water pour

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Selection of metal droplet shapes from water pour

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Metal poured direct into water when quenching previous test

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Metal poured direct into water when quenching previous test

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Metal comes out polished with some amazing sci-fi creature forms. Immediately think of using sections for elements in jewellery

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Strange crystal structure / texture

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Used folded seams this time to stop the leak problem. This worked well - but led to another problem which was that the weight of the pewter distorted the mould.  Impatiently I picked the mould up and cooled (quenched) it in water.  The molten metal poured out created strange organic sculptural shapes.

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Tape doesn’t seem to be up to the job - need to try more layers!

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First attempt at casting a 3D form into cars mould

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Set design model by Ralph Koltai for a production of ‘As You Like It’
Exploration of materials at small scale to generate ideas for large scale designs

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Another way of creating semi-random textures - low melting point of the alloy Pewter means it can be cast into moulds and forms that would normally be destroyed by other higher melting point metals

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Ganoksin Orchid Jewelry Forum Community for Jewelers and Metalsmiths

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Hello to all,

Gotta reticulation question am hoping somebody can answer. Is it
possible to reticulate copper? I know copper is involved somehow in
reticulating sterling silver, just don't know if you get the same
results on a piece of copper itself (ie; 20 ga copper sheet). Do you
have to use a slightly different process to get the effect than is
followed for silver? I would TRY it myself if I hadn't just run out
of O2 for my torch set up and no time to fetch more right when I
have this burning question. Pardon the pun! :-)~

Thanks for any help and/or theories on this topic. Have a good one!
Carol Carter-Wientjes

Is it possible to reticulate copper?

Tas
www.earthlywealth.com

Perhaps theoretically depending upon what it is alloyed with but
practically you can reticulate red brass.

Gotta reticulation question am hoping somebody can answer. Is it possible to reticulate copper?

Hello Carol,

Just quoting here, not speaking from personal experience or
experiments which, as Peter has suggested, is probably the way to go.

In Tim McCreight's "Metals Technic" there is a chapter on
reticulation by none other than Heikki Seppa. In the "Theory"
section (p.144) he says:

"... The rich texture of reticulation is not possible on pure metals
but can be achieved on many alloys."

On the other hand Oppi says on p.337 of "Jewelry Concepts and
Technology" that all the pure metals we commonly discuss here
-copper, silver and gold-- can and have been reticulated, the latter
notably by Faberge.

So if it was me looking to do this, and I was willing to shoot for
reticulated bronze or brass (having the possible advantage of being
harder than pure copper and therefore likely to keep it's textured
surface longer) I'd try something along the lines of electroplating
the metal I want to reticulate with something that melts at a higher
temp, say copper itself or nickel or even silver depending on the
alloy we want reticulated. The plating probably doesn't have to be
very substantial so any non-durable plating process would probably
suffice.

Lastly, and FWIW, I could swear I've seen pictures of reticulated
copper (alloy?) somewhere. Unfortunately those examples are out there
in the ether somewhere just now and well beyond my grasp.

Cheers,
Trevor F.

Peter,

Interesting idea. I will be teaching reticulation in my advanced
class this afternoon. While they are doing their depletion gilding,
I'll have a crack at a piece of copper and the oxide idea. I am
inclined to think that it won't work for the reasons you mention but
lets see what happens. This ought to be fun. At least it will get the
students to asking more questions.

Bill Churlik
@Bill_Churlik
www.earthspeakarts.com

Greetings all, Peter.

Sure am having fun with all of the comments on copper reticulation!

Yes, the students were suitably impressed, with their work and mine.
Nothing like performance art!

Bill Churlik
@Bill_Churlik
www.earthspeakarts.com

Perhaps theoretically depending upon what it is alloyed with but practically you can reticulate red brass.

Reminds me of something I heard recently : In theory, there is no
difference between theory and practice. In practice, there is.

Altogether too true.
Deb

Bill,

By the way, there are two forms of copper oxide: cupric oxide and
cuprous oxide. One is the black flaky stuff that you are frustrated
with, the other is the red-purple scale that stays on and has to be
removed with either pickle or strong physical scrubbing. I can't
remember which one is which [John Burgess, are you in? :-)] but they
do form at different temperatures. If you have access to a kiln, I
suggest that you put your copper and brass sheets into it at about
1200 [and then do tests in 50 degree increments] and cook it for
about 8 minutes. This should give you a nice uniform layer - the
purple oxide will not flake off as readily during cooling. Another
possibility is that you could take the piece from the kiln already
hot and set it on your clean surface and start your torch work. If
it hasn't had a chance to cool and contract, your scale layer might
stay put.

I use magnesia wool as a substrate. I like it because of its
refractory properties and because I can shape it to support three
dimensional forms. Ceramic wool, like the kind you can buy from kiln
makers and ceramic supply houses, also works but the particles are
extremely dangerous. The magnesia stuff is safer, although you
should use breathing protection and eye protection when working with
it. Call your favorite refractory supply house [check the Thomas
register] and see if you can get a sheet of the magnesia stuff.

I hope you post some images of what you're doing on your site so we
can all have a peek!

good luck,
Anne Hollerbach

Copper has two oxidation states. The Curpic Oxide ( black) can be
reduced to Cuprous Oxide ( red): (Cu2O): 2 CuO + CO --> Cu2O + CO2

There are two problems:

1. There is a 2nd reaction: Cu2O + CO --> 2 Cu + CO2 (i.e. if you do
not watch out your nice cuprous oxide and thus your red color is
gone)

2. You need to be able to make a well controlled reducing
environment.

The trick is to stop after the first reaction.

I have not worked to get the red patina but:

I haven't shown a process but this may help develop one.

jesse

Greetings Anne.

Not knowing for sure if I was dealing with cupric or cuprous was why
I just said oxide. I am certainly confused over which develops and
when.

Thank you for the and lead. I do have kilns and plating
equipment. This experiment will continue.I would love to get this to
work on pieces big enough for vessels. We'll see.

I am going to look at adding a button for "Experiments" to the
website. Thanks for the idea.

Bill Churlik
@Bill_Churlik
www.earthspeakarts.com

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Hello to all, Gotta reticulation question am hoping somebody can answer. Is it possible to reticulate copper? I know copper is involved somehow in reticulating sterling silver, just don't know if you get the same results on a piece of copper itself (ie; 20 ga copper sheet).

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Some of the copper (most) has fallen off during brushing - overall pretty messed up. Too delicate to work with as it is but could maybe be soldered onto a more solid piece of metal to then be made into a piece of jewellery.  I like the way the brass has flowed on top of the piece of copper at the bottom right of this sample.

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With this one some of the smaller pieces of copper appear to have fused on , but they may fall off when I wire brush the oxide off.  There is more burn through which may be because of the small pieces of copper affecting the way the metal absorbed heat, or may be because I just heated it more aggressively!

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Texture on the reverse side is more subtle - also I quite like the way the metal has burned through - thicker metal would reduce this

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This is the first of the two samples - the copper did not bond, but left a ghost outline of where it had been placed. The reticulation has been successful and has given a bold rough texture.

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After some folded copper bonded together (fused) when annealing, I wondered whether it was possible to fuse copper to brass.  This is a photo of the two samples before heating.  The brass is about 0.5mm thick, the copper off cuts laid on top are about the same thickness.  Both metal were cleaned with scotch rite to remove oxide layer, but no flux has been used

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First attempt at reticulation of brass sheet, slight buffing highlights textures