That’s exciting! Can I just say, it may all be very straight-forward. You see, what gets particularly difficult with silver stain is when you’re doing restoration work, because then there’s a particular effect (both seen from the front and and from the back) which you must mimic.

When you’re not doing restoration, you’ve often got a bit more freedom, since one fraction lighter here or there sometimes doesn’t matter.

Now admittedly I don’t know what you’re staining here, but I wanted to make that point also for the sake of other visitors here.

Another thing I’d say is to keep it simple until you’re forced by circumstances to introduce a complication.

As for the guide: we’re currently working on the first draft. So we’re aiming to publish this month (May 2010).

Please ask whatever questions occur to you, Hal, and, published or not, we will always do our best to answer them.

Stephen

Your timing, as always, is so perfect … So you two are designing a detailed guide to the Magical Mystery of Silver Stain. Yes! That is EXACTLY what I need.

I’m just now lining up some practice pieces for my very first time at firing with silver stain. Since I don’t know what I’m doing, I will rigorously follow Stephen’s advice to test, test, test.

After re-reading all these commentaries, I’ll vary the mixes with oil, vinegar, and some of this propylene glycol stuff I just got.

I’ll also check on the tin side/clear side of the float glass I’m using, and try firing twice or thrice at different temperatures. Lots of work ahead! I can happily make a giant mess and not be disappointed with any of the results – since everything is a valid experiment.

So, Stephen, any hint as to when this guide might be available?

Hal

The type of glass definitely does make a difference. It’s a key variable. In fact some glass is nearly impossible to stain. This is because stain works a chemical reaction in the glass. So if the composition of the glass is resistant to this reaction, stain just won’t “take” (as one says).

And this is why restoration work is often really difficult when it comes to silver stain.

Which is something that’s worth knowing when anyone needs to price a restoration project.

All the best,
Stephen

I hope everything is good for you.

I did indeed try “doubling up”, also trebling up, but it didn’t make an appreciable difference.

I don’t know if the type of glass made a difference. The glass was kokomo k669. I also tried firing at a higher temperature as it seemed from some of the comments that that might make a difference … but I just ended up with an nice opaque white piece of glass!

I didn’t try the oil as I hadn’t enough knowledge about using it – and one would think you would end up with the same depth of colour.

But maybe I should have tried.

I will go about getting some of the C. E. Oster stains you mentioned – they sound interesting.

Thanks again for your help.

Cheers,
Shane

Thanks for your update. That’s interesting you applied stain to both sides of the glass. I wonder if you also tried “doubling up” on one side (i.e. two separate applications and two separate firings).

As you say, something learnt properly is invaluable.

All the best,
Stephen

Just a postcript to my travails with silver stain … I’m not sure how much I’ve “kept to the rules”, but what I ended up doing was firing the stain on both sides of the glass which gave me near enough the right shade.

You are absolutely right about the learning end of things. After all my efforts, I am now a lot more confident about getting an even, smooth shade.

Keep up the good work!
Shane

Keep good notes as you go along.

Also, David and I are just working on a detailed guide to silver staining. I’m sure it’ll be helpful for future projects that you do.

All the best,
Stephen

Many thanks for your numerous suggestions. I’m working my way through them. It’s certainly a “learning experience”! I will let you know how I get on. Right now it’s all tight deadlines.

Thanks!
Shane

Tricky! In part, this may be a natural consequence of the glass, since the glass you’re using may react differently to stain.

However, temperature can also make a difference. Maybe you can run a few quick tests with a higher temperature and see what this does to the colour.

It’s also possible to mix different stains together. They may have a joint effect which takes you in the right direction.

Other than Reusche, you can also get stains made by C.E. Oster in the U.S. such as Ancient Walpole and Ancient Winchester. I can’t find a website for them but their telephone number is (603) 835-6235.

I hope this helps. Be of good cheer: stain is so often a difficult thing to copy. You’ll learn a lot in the course of solving this problem.

All the best,
Stephen

P.S. Are you using oil? If not, do give that a try, since you can flood oil and stain far more thikly than you can water and stain.

I’ve just a little query about silver stain. I’m restoring an old panel with some small broken pieces of glass which have some silver stain on them. I’ve matched the glass but I’m having some trouble getting a deep enough shade of stain. It’s a very dark amber. I’m using Reusche “amber stain” and I’ve tried more than one coat but it’s still not a deep enough shade. Is there a brand that replicates that antique amber shade?

Thanks for your help and your continuing brilliant web information.

All the best,
Shane