4 Mirrors: Silver, Gold, Copper, and Blue

Post by **Mike Jackson** » Mon Jun 20, 2005 3:54 pm

I did four colors of solution gilding over the weekend and just put them on the wall for display. Silver, Blue, Copper, and Gold.

Mike

Kelly Thorson · Post by **Kelly Thorson** » Tue Jun 21, 2005 12:10 am

Wow, I'm amazed at the degree of color difference. In the picture the copper one looks like it has a water stain on it - is that just the picture or is it typical of copper mirroring?
Looks like very fascinating stuff - I hope I can make the time to play with it this fall.

Post by **Mike Jackson** » Tue Jun 21, 2005 9:07 am

Kelly,
None of the four are "Interior Decorator" perfect, like you might expect from a commercial mirror factory, but all of them are perfect for a typical reverse glass project. Even more so, if you are thinking these pieces represent the "bright lines" of a project, since bright lines are seldom more than 1/4" and often only 1/16" wide. The copper one has a cloudy stain...but actually that is my first and only copper piece. It came out well enough that I didn't feel compelled to do an extra one.

It is easy to visualize how to use the gold and silver mirrors within a class piece, but I haven't figured out how to use the other two. If used in the traditional manner, it seems to me the bright lines would be a little too dark. Secondary matte center fills might overpower them. It seems the copper and blue mirrors would work best as decorative pieces, with chipped or acid etched decorations. Normally solution gilding looks terrible in sandblasted "frosted" areas, but this might be a case where it looks good with the blue mirror. On gold, frosted areas turn an unimpressive brown/copper color. Silver turns a murky gray. On the blue mirrors, the frosted area might be a nicer dark gray or blue. That might be worth a test.

Mike

Larry White · Post by **Larry White** » Tue Jun 21, 2005 9:35 am

Hi Mike, & all-
I've done a bit of experimenting with the different solution gilding metals:

This one was the lead mirror over depth carved letters. It basically was an experimental piece I did at Conclave 18. After sandcarving the letters I used a solution to smooth out the sandblast. The letters didn't go back to clear, but when gilded, had a very interesting pewter look. They also have a thin bright line around them, but it's hard to see in the picture.

This one is the copper solution over toned etching, it came out quite nice too.

Robin Sharrard · Post by **Robin Sharrard** » Tue Jun 21, 2005 10:35 am

Mike, What is your source for the Beveled glass test pieces. I remember an old post that discussed this, but I don't remember if an echonomical source had been found. Robin

Post by **Mike Jackson** » Tue Jun 21, 2005 1:17 pm

These may be outdated prices, but here are my notes:

Pacific Glass: ask for Jim 310-515-7828 or 800-421-5170
6 x 9 beveled approx $1.25 each diamond 6 x 9 + .90 ea

Glass Plax 800-222-3177 ask for Teresa 11â€ x 14â€ x Â¼â€ with Â½â€ bevel 100 @ $4.20 ea or 200 @ $3.70ea

Both of these companies are in LA. Shipping to Wyoming on the order was pretty expensive.

I bought 100 of the 11x14 about two years ago.

Mike

Kelly Thorson · Post by **Kelly Thorson** » Thu Jun 23, 2005 12:39 am

Thanks Mike,

Please don't get me wrong I was in no way criticizing, just eager to learn.
I really like the copper mirror best, it has an antique elegance to it. I have always favoured copper of all the metallic colors.

Do humidity levels play a big part in mirroring projects? Is being in a very dry climate an advantage or disadvantage. Do temperatures play a role in the finished effect.

Sarah King · Post by **Sarah King** » Thu Jun 23, 2005 10:42 pm

Kelly,

I don't think that humidity matters one way or the other in how the chemicals work, but I'd love to know what other folks have to say.

The soutions work better when they're warm - not hot - but it's the temperature around your bench that counts - not the weather outside. I did find out that it's a very bad idea to work next to a drafty window - took me longer than I care to admit to figure that one out.

Larry, I love the blue mirror sign. What color is the bright line around the letters and how many hours did it take to carve that edge? It is coooool.

Larry White · Post by **Larry White** » Fri Jun 24, 2005 9:30 am

The Conclave piece is 1/2" thick Starphire (extra clear) glass which was cut to that shape using a sandblaster. It took about 20 minutes to cut it out. Then with a fine tip, I went around the edge to create the serrated edge. That took about 2 hours. The Conclave letters were then depth carved into the glass. I did the lead mirror treatment to them and left a "blue mirror" bright line around them. That is followed by a red outline and a purple outline (you can't really see the bright line in the picture). I water gilded the border with Rouge gold which really looks interesting (in person) as you get a reflection off the gold of the serrated edge which makes a very interesting 3D illusion, your eyes don't quite know what they're looking at. It's also got a few jewels and a gilded watch crystal on it too.

Sarah King · Post by **Sarah King** » Fri Jun 24, 2005 4:41 pm

Larry,

What was the order of events with regard to the mirroring and the bright lines? Did you mirror the letters and the glue chipped area at the same time working on top of the painted lines? If so, what paint did you use and did the blue mirror lift it? Or did you mask the bright line area somehow - then mirror and then add the colors?

I think the masking techniques in this piece must have been very clever - or am I just being a little dense?

Thanks,

Sarah

Sarah King · Post by **Sarah King** » Mon Jun 27, 2005 9:58 pm

Ok Larry,

I just reread your post about the Chickering Piano piece. I was being dense. Same sequence - duh.

Sarah

4 Mirrors: Silver, Gold, Copper, and Blue

4 Mirrors: Silver, Gold, Copper, and Blue

Conclave XVIII piece...