There is a guy who does that. He uses a lense grinder to do the top part. I'm also a spinning top collector and I prefer a plastic mirror - does no damage to the top, and cheap to replace.
Okay, I didn’t know what marble mold you were talking about, so after a google search, I *think* it is the Mike Close aka Bump Style Marble Mold that you are using? I may have to get one! (The transcript was giving some weird words for the type of mold LOL)
After it’s encased, I keep burning out the dichro when applying heat to shape it. Could it be the quality of dichro I’m using? Done it before just fine, experimenting with different color dichro shards and keep losing the shine after applying heat.
You make some great vids and really have a knack for explaining the steps. I'm wondering if you could comment on how to get some blues out of fuming. I've got a bit of orange, but not sure how i did it. I have silver, and several types of panned gold from friends. thanks!
i wanted to comment a suggestion as well, I've noticed in my own work, that the blues seem to be "struck", so when you get a really crispy metallic iridescence on your piece, inside out, spoon, rod, whatever, and then trap that metallic sheen, not too heavy to where it'll burn out white, but enough that if you hit it in the flame again it would go to the gold color... Trap that silver in clear, whether it be like i said, solid or hollow, when you trap the silver and make sure it can't burn out from being hit by direct oxy/prop, then cook it in while it's completely encased, you should start seeing blues, they're usually faint until you get the chemistry perfect, I know mine's not even close. but, TLDR: Trap that metallic coat of silver in clear to protect it from burning out, (maybe even go cook off the top layer once or twice, hit that thing with a nice thick coating of silver), Then when you melt it in and kiln it, make sure it anneals, it can strike better sometimes in the kiln, you should start seeing blues, don't be afraid to use too much silver, but always keep your piece moving with the silver spray, if you stay in one spot too long it'll likely over fume and white out on you... Anyways, long reply, I hope that all makes sense, but a crucial part of this procedure to get "blues" to strike is trapping the fume, then really hitting it with a neutral near oxidizing flame while it's coated. Sorry for the essay, my understanding is that the oxygen after being encased, grows the lattice structure of the silver trapped in the glass and it's that crystallization that makes the blue occur. Check out the Torch talk about fume combs too! Good luck!
@@jasmine2501 thank you so much for the tech. I learned a few things I haven't picked up on before and you explain things so well. You are awesome! Oh and I ran across the article that you did for making a leaf! Thank you again. You're a peach!
@@jasmine2501Thanks for the info. It’s amazing you can do that with boro. I would have otherwise guessed Bullseye; your heat management is so good that your boro is moving fantastically well. I noticed that you’re using a bit more oxygen than I do so your flames are more compact.
@@gstan471 I am using a didymium filter I designed and 3D printed, so it helps make the flame look better on camera. Dichro is one of my signature styles, my first set of beads I ever sold was 12 little round dichro beads. Those were done with 104, but I've also done some with 90COE glass, where I was able to keep the heat so low that the dichro was able to be facing outward with no encasement. One of my favorite commissions ever, the customer loved it - they were to match some old beads that she broke.
@@jasmine2501 some people do a fume fade pinwheel design for backers to the marbles. Looks pretty cool. Thats what i thought you were referring to in the video when you said you were going to leave the backer plain.
@@jr6786 oh yes ok. One of my signature backings is what I call dragon skin. I use a dark color and then heavy fume over that. Then trap the fume with a dot pattern. It looks pretty cool, it's all reflective and colorful. The only tricky part is getting the fume heavy enough to be shiny and reflective.
Could a person just twist the dichro/clear sandwich and not add the color backing and still get a good effect and not a singular surface appearance? I’ve seen mr gray for example make dichro marbles and they appear extremely saturated with dichro inside, loaded even, thanks for any feedback ✊
I'm sure there's as many methods as there are artists. You could do second layer and increase the density. You can also remove the clear as much as possible once it's encased. Dichro is hard to see without some kind of background color, but you can just do a small black spot. I just think it looks better when you do almost half the marble. It makes the dichro visible from more angles.
@@jasmine2501 I think I can vac stack it and get the desired result, clear tube, dichro chips stacked with little room in the tube, melt and vac, should go over with some practice 🤷🏻♂️
@@ccooper3608 sure, it just takes more time to do that. You can often get better results by taking more time, but if you want to make money, you have to balance that out. You can't spend hours on every marble. I can do these in about 20 minutes.
Hey great video, so to be clear, the coated side (more reflective) is what you're trapping and encasing right? I appreciate the effort you put into this and the explanation is well done as well as the camera work. Keep up the good work man, thank you for sharing!
@@jasmine2501 I just made my first dichro swirl pendant with a custom silver fumed bale to match the gold dichro and an opal for bling, black and I think amazon for the backing your tech helped a lot thank you! I burned it out a bit I think, but I still trapped some gold in there clean, thanks to your video! Indirect Inspiration for real lol. ty
@@jasmine2501 so you're just running concentrators straight to your torch? You might even want to consider throwing in a little oiless compressor and a storage tank to make a High Volume Low Pressure system. It makes a huge difference, for a relatively low cost. It's just nice to have the option to rage it hard if you want to. Plus, then you could run the concentrators at a lower output level, and get a little extra purity out of them, instead of needing to max them out to attain the higher flow that the torch wants. Just a suggestion. 😁 Thanks for sharing your videos! I made a set of rollers using your design. 🔥🔥
@@shawnmckennan7769 I'm in the facebook group for doing that, actually. It's just not something I need really a lot. I don't do a lot of things that depend on flame chemistry. You're right though, it's nice to have when you need it.
Great job. Commentary and camera angles were perfect. Really see what's happening here
It is very sparkly. Thank you for this tutorial 🔥👍
I like the quarter, I know more about quarters than any of the others.
So cool. You should make a glass spinning base for spinning tops. It would look awesome!
There is a guy who does that. He uses a lense grinder to do the top part. I'm also a spinning top collector and I prefer a plastic mirror - does no damage to the top, and cheap to replace.
Awesome video. Thank you!
Okay, I didn’t know what marble mold you were talking about, so after a google search, I *think* it is the Mike Close aka Bump Style Marble Mold that you are using? I may have to get one! (The transcript was giving some weird words for the type of mold LOL)
Yes I have the MC for initial shaping and a straight side one for final smoothing. I always forget to put it in the video area
After it’s encased, I keep burning out the dichro when applying heat to shape it. Could it be the quality of dichro I’m using? Done it before just fine, experimenting with different color dichro shards and keep losing the shine after applying heat.
@@1gcollins some colors are tricky like red and gold, but that's why I'm using the method in the video where it is under a lot of glass
Thanks for the great lesson. I want to repeat. What is dichro glass called?
I'm not aware of any special names for it, just dichroic glass.
You make some great vids and really have a knack for explaining the steps. I'm wondering if you could comment on how to get some blues out of fuming. I've got a bit of orange, but not sure how i did it. I have silver, and several types of panned gold from friends. thanks!
Blue is the hardest color to keep right. It can be done with only a light silver layer, but you need lots of oxygen or it turns brown and green.
Your orange was probably a very thick layer of gold by itself. I have another video that shows some of that.
i wanted to comment a suggestion as well, I've noticed in my own work, that the blues seem to be "struck", so when you get a really crispy metallic iridescence on your piece, inside out, spoon, rod, whatever, and then trap that metallic sheen, not too heavy to where it'll burn out white, but enough that if you hit it in the flame again it would go to the gold color... Trap that silver in clear, whether it be like i said, solid or hollow, when you trap the silver and make sure it can't burn out from being hit by direct oxy/prop, then cook it in while it's completely encased, you should start seeing blues, they're usually faint until you get the chemistry perfect, I know mine's not even close.
but, TLDR: Trap that metallic coat of silver in clear to protect it from burning out, (maybe even go cook off the top layer once or twice, hit that thing with a nice thick coating of silver), Then when you melt it in and kiln it, make sure it anneals, it can strike better sometimes in the kiln, you should start seeing blues, don't be afraid to use too much silver, but always keep your piece moving with the silver spray, if you stay in one spot too long it'll likely over fume and white out on you...
Anyways, long reply, I hope that all makes sense, but a crucial part of this procedure to get "blues" to strike is trapping the fume, then really hitting it with a neutral near oxidizing flame while it's coated. Sorry for the essay, my understanding is that the oxygen after being encased, grows the lattice structure of the silver trapped in the glass and it's that crystallization that makes the blue occur.
Check out the Torch talk about fume combs too! Good luck!
Jasmine, is that Boro or soft glass? Would there be any differences between the two for this technique?
It's boro. When I've done dichro with soft glass, it is less prone to burning, so you can be a bit more sloppy and just push it into a maria.
@@jasmine2501 thank you so much for the tech. I learned a few things I haven't picked up on before and you explain things so well. You are awesome! Oh and I ran across the article that you did for making a leaf! Thank you again. You're a peach!
@@jasmine2501Thanks for the info. It’s amazing you can do that with boro. I would have otherwise guessed Bullseye; your heat management is so good that your boro is moving fantastically well. I noticed that you’re using a bit more oxygen than I do so your flames are more compact.
@@gstan471 I am using a didymium filter I designed and 3D printed, so it helps make the flame look better on camera. Dichro is one of my signature styles, my first set of beads I ever sold was 12 little round dichro beads. Those were done with 104, but I've also done some with 90COE glass, where I was able to keep the heat so low that the dichro was able to be facing outward with no encasement. One of my favorite commissions ever, the customer loved it - they were to match some old beads that she broke.
Would love to see the fume dot stack in a video!
I'm not sure exactly what you mean by that. I need to see an example or something.
@@jasmine2501 some people do a fume fade pinwheel design for backers to the marbles. Looks pretty cool. Thats what i thought you were referring to in the video when you said you were going to leave the backer plain.
@@jr6786 oh yes ok. One of my signature backings is what I call dragon skin. I use a dark color and then heavy fume over that. Then trap the fume with a dot pattern. It looks pretty cool, it's all reflective and colorful. The only tricky part is getting the fume heavy enough to be shiny and reflective.
Dude how can I get one of these rollers, and how much would you charge for one
There's a video showing how to make one. You can buy them online but it's cheaper to make one
Could a person just twist the dichro/clear sandwich and not add the color backing and still get a good effect and not a singular surface appearance? I’ve seen mr gray for example make dichro marbles and they appear extremely saturated with dichro inside, loaded even, thanks for any feedback ✊
I'm sure there's as many methods as there are artists. You could do second layer and increase the density. You can also remove the clear as much as possible once it's encased. Dichro is hard to see without some kind of background color, but you can just do a small black spot. I just think it looks better when you do almost half the marble. It makes the dichro visible from more angles.
@@jasmine2501 I think I can vac stack it and get the desired result, clear tube, dichro chips stacked with little room in the tube, melt and vac, should go over with some practice 🤷🏻♂️
@@jasmine2501 do you have an Instagram I can follow? Thanks for chatting ✊
@@ccooper3608 sure, it just takes more time to do that. You can often get better results by taking more time, but if you want to make money, you have to balance that out. You can't spend hours on every marble. I can do these in about 20 minutes.
@@ccooper3608 jasmine2501 but I don't post much. I usually show marbles on Facebook, Jasmine Adamson.
Hey great video, so to be clear, the coated side (more reflective) is what you're trapping and encasing right? I appreciate the effort you put into this and the explanation is well done as well as the camera work. Keep up the good work man, thank you for sharing!
Yes, you must keep the coating from hitting any direct flame. I'm amazed I did this whole video without saying that.
@@jasmine2501 I just made my first dichro swirl pendant with a custom silver fumed bale to match the gold dichro and an opal for bling, black and I think amazon for the backing your tech helped a lot thank you! I burned it out a bit I think, but I still trapped some gold in there clean, thanks to your video! Indirect Inspiration for real lol. ty
@@jasmine2501 just learned this the hard way . Gotta love glass shards peppering your whole body
Do you sell your rollers?
No they are not super nice, easy to make though
I'm curious, what type of oxygen system are you using? I just noticed your candles "breathing" a little bit.
oxygen concentrators can do that, especially since I'm pushing it a little hard. Probably should get another one.
@@jasmine2501 so you're just running concentrators straight to your torch? You might even want to consider throwing in a little oiless compressor and a storage tank to make a High Volume Low Pressure system. It makes a huge difference, for a relatively low cost. It's just nice to have the option to rage it hard if you want to. Plus, then you could run the concentrators at a lower output level, and get a little extra purity out of them, instead of needing to max them out to attain the higher flow that the torch wants. Just a suggestion. 😁
Thanks for sharing your videos! I made a set of rollers using your design. 🔥🔥
@@shawnmckennan7769 I'm in the facebook group for doing that, actually. It's just not something I need really a lot. I don't do a lot of things that depend on flame chemistry. You're right though, it's nice to have when you need it.
I LOVE the rainbow dash sticker
FINALLY somebody who knows how important that is!
@@jasmine2501 lol FINALLY someone else that gets it also!
Rambo dursh da bast pony evar