Hand Finishing Jewellery Edges

Often jewellery scale pieces need to have their edges finished before the final wrapping or hanging on the necklace. This is frequently done by running the piece against the grinder, dumping it in water and then cleaning with a tooth brush or similar before the next process.  What is described here can be used on fused and “raw” glass both.

You can finish the edges of pieces by hand. 

Get a flat piece of glass – window glass is good for this.  You can put a fine grit such as 200 onto the glass and wet it to a paste. Place the edge of the jewel on the glass and begin rubbing with moderate pressure in an oval or figure of 8 motion.  You will be surprised at how quickly the edge is refined.  You can follow this up with finer grits.  Make sure you clean the jewel and the grinding plate thoroughly if you use the same glass plate for finer grits.

If you want a less messy - but slightly more expensive - method, use wet and dry sandpapers.  These can be found in grits from 200 to 6000, although you will not need to go beyond 1200 which will give you a smooth, shiny edge. These need to be kept damp too.  If you are planning to fire polish the pieces, you can stop at 400 or 600 grit.

This process avoids the water soak stage, can bring back into use the pieces you forgot to soak, and can be taken all the way to the finished edge.  If you are doing only a few pieces, it is much faster than a fire polish in the kiln.

Straight Edges on Thick Pieces

As glass tends towards 7mm at full fuse, it is difficult to keep straight edges on thick pieces as the glass moves. If you want straight edges without dams, there are a few solutions:

1) Don't flat-fuse - apply less heat work so that the stack stays vertical instead of spreading. The degree of tack fuse required will be a subject of observation and experimentation.

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2) Plan on trimming the edges straight. You can use a saw or grinder and then either cold work the edges to polish, or fire polish.

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3) Add a couple of centimetres or so on each side of your base glass, so that a 20x20cm piece becomes 24x24cm, and flat-fuse as normal. The volume change will (mostly) be absorbed by the extra glass, so that you can simply trim it back to the right size and cold work the cut edges.

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Finger protection

Grinding lots of glass pieces often leads to a number of small cuts on the tips of your fingers. There are several things that can be done to reduce these cuts and the tenderness that comes from lots of grinding.

The first thing is to take the sharp edges off the glass. You can do a simple, light grind all the way around the piece. This removes the extra sharp edges that often remain after breaking the glass.

You can go a step further and do a light arris around the piece. This is just lightly holding the glass at about 45degrees to the grinding bit and going all the way around on all sides. This does not take off the shape of the piece, but gives a more rounded feel to the piece.

Illustration of the effect of holding the glass at an angle to the grinding head - not so much needs to be taken away as in the illustration to get the effect

It is not generally recommended that you wear gloves around rotating machinery. There is too much risk of injury, even on a small grinding machine. Some of the alternatives to gloves include plasters (band aids), masking tape, electrical tape.

Other purpose-made things you can buy include rubber finger protectors, finger tip pads, finger caps (as used in counting money).

Other tools are made to hold the glass such as the grinder cookie

and Nick's Grinder's Mate 

Paint and Cold Working

One of the difficult things in cold working is determining when it is time to move on to the next grit size.  You really cannot tell while the piece is wet, because the water disguises the minute scratches put into the glass by the grinding process.

After you have dried the piece, you can coat it with a white paint pen. It is not necessary to cover the piece completely in white pen.  The white marks will be taken away by the grinding to give evidence of where you have already ground the piece.

Piece prepared for the next stage of grinding

You must make sure the paint has completely dried, or it will wash off with the water used in the grinding.

I find I get best results from this "witness" by making the paint pen marks at right angles to the grinding direction.  When all traces of the paint have disappeared, you have thoroughly covered the piece with that grit size.  Being ever cautious, I tend to dry, paint and do a second pass at the same grit before going to the next finer grit.

Cold Working Holes

If you have, or expose, holes while cold working a piece, you need to keep the glass waste from settling into them. Dry the piece and with a bar of hard soap rub over the area until the holes are filled with soap. Then polish off the excess with a cloth or paper towel. 

The filled hole in this piece is the white dot half way up on the right side

When finished cold working, you only need to wash out the soap, which is much easier than trying to get rid of powdered glass.

Based on comments from Cynthia Morgan, posting as Morganica

Rounded edges on slumped pieces

Often people want to know how to get rounded edges during slumping of a single layer piece, especially when trying out techniques with their spare art glass.

Achieving a rounded edge on a slumped piece is a combination of temperature, thickness, larger top layer and cold working.
Rounding of the edges of a piece of glass occurs at tack fusing temperatures, which are beyond the slumping temperature. It is possible to take the glass to a tack fuse within the mould as long as you are prepared for some consequences.

More mould marks are evident on the bottom of the vessel.
Mould life is reduced.  You get a lot more mould marks on the bottom of the glass because the bottom of the glass is softer than in a standard slump. These marks will be directly related to the surface texture of your mould.

You need to re-coat the mould before the next slumping to avoid the kiln wash sticking to the glass.  Ceramic based moulds last a long time if fired below 680C. But numerous firings at tack fusing and higher temperatures increase the possibilities of glass sticking to the mould and occasionally, thermal shock. If you insist on tack fusing in your mould, you need to renew the separator each time, as the kiln wash breaks down at tack fusing temperatures leading to it sticking to the bottom of the next piece you fire in that mould.

You may get an uprising at the bottom, as the glass slowly sinks down the mould and pushes the glass up at the bottom in any mould other than a simple, shallow shape.  

These things indicate that it is best to tack fuse first and then slump at the lower temperature.

Of course the best result can come from using 6 mm of glass, with the top layer 6 mm larger than the bottom layer. This allows the upper layer to sink over the outer edge of the lower one, giving a rounded edge with no sign of any differences between the two layers.

Cold working solution 
If however, you want to work with a single layer, you need to realise that the edge will be the same when it comes out as when it went in. So you need to cold work the edge before slumping. You do not need sophisticated machinery to do this. A few diamond grit hand pads will do the job. Start with one at about 100 grit to shape the edge. Make sure you keep the pad and working surface damp. If you begin to get a white paste appearing, you need more water.

After shaping the edge satisfactorily, take a pad of about half the grit size (twice the number) and begin the smoothing of the scratches created by the shaping. When finished with one grit move on to the next. You can use a paint marker to help tell when one grit is finished. 

This process will give a sheen that will change to shiny during the slumping.
  

  

Wire for Hanging

The most common wires used for inclusion in fused objects are copper, brass, nickel/chrome, stainless steel and sterling silver.

The strength of the wires – strongest to weakest - seem to be in the order of stainless steel, nickel/chrome alloy, brass, silver, copper. The metal you choose will be related to the weight of the piece, the available thickness of wire, and aesthetics.

All of these are subject to fire scale or fire stain, a blackened surface on the wire. This can be removed by abrasive cleaning of the exposed metal. The metal within the glass most often takes up the fire scale too. This can be reduced by thorough cleaning of the metal before enclosing it in the glass. Coating the metal with a flux such as borax often reduces the incidence of the fire scale too.

The techniques of cleaning the fire scale from the metal range from scrubbing and polishing to tumbling. The tumbling has the advantage of hardening the softer metals such as copper, and silver.

Copper looses much of its strength in the firing, and often needs gentle working to stiffen it. This is where tumbling is so useful.

Pure silver normally leaves a yellow stain on the glass. Sterling silver - an alloy of copper and silver – is less inclined to do this. However the exposed wire will stain the shelf and any subsequent glass unless well supported by 1 mm or more of fibre paper.

It is common in silversmithing to pickle silver to remove the fire scale after any heat work.

Achieving a Matte Finish by Cold Working

Although sandblasting and then firing a piece can achieve a matte finish, there are several other ways to improve the quality of the final finish.

One of these involves the use of manual sanding after sandblasting in order to smooth out uneven spots and achieve a better final finish.

• Start with a 400 mesh diamond hand pad. It shouldn't be necessary to start out with a lower mesh (coarser) pad.

• Alternatively use wet/dry silicon carbide sandpaper. A combination of 400 mesh paper, followed by 600 mesh paper will work well.

• If you're using sandpaper, place a sponge between the paper and your hand for improved comfort and to improve the evenness of the final finish.

• An alternative to hand sanding is to use a electric sander or grinder, but be careful with the pressure you use, as it is possible to grind into the surface with a rapidly spinning surface. You also need to keep the surface wet to avoid heat build-ups.



You can also use a lathe with appropriately shaped wheels to give decorative effects to the object.

Refining Edges

You can make the freshly cut glass safer to handle by gently wiping the edges of the cut piece with the waste piece. This removes the sharpest edges without chipping the glass.

After the glass is scored and broken, you can remove small, unwanted chips with grozing pliers. The serrated jaws of these pliers are used to gently nibble away at the jagged edges.

Rough edges can also be smoothed with a carborundum stone. You rub the stone along each edge, upper and lower, to remove any sharp edges. You can remove more glass with the stone if you wish by a little more aggressive grinding action or just a longer light rubbing of the stone against the edges.

A diamond smoothing pad removes glass in much the same way as a carborundum stone, but does it more quickly with the coarser grades. You can use a number of grades to get an almost bright polish to the edges. These pads must be used with water.

A glass grinder is used by many people. Many models of grinders are available. The grinding surface of the bit is covered with fine diamonds, which grind away unwanted glass very quickly without chipping the edges. In addition, they are water-fed which keeps the glass from cracking due to heat, prolonging the life of the diamond bit, and preventing the powdery ground glass form flying around.

A glass grinder is not a substitute for accurate cutting.