updates 9610<\/span><\/p>\n

Op3Studios<\/span><\/a> 2010<\/span>
\nact ii. \u00a0ed.i.fice<\/span><\/p>\n

.999Silver<\/span><\/p>\n

round wire \/ dead soft<\/span><\/p>\n

16 gauge<\/span><\/p>\n

preface<\/span><\/p>\n

Pureflame & Silver<\/span> draft82510<\/span><\/p>\n

consider fire.<\/span>
\nthe ultimate servant and destroyer of man.<\/span>
\nwe think we know fire, yet few of us know more than the weak candle flame of fire, that is, fire at it\u2019s low temperatures as seen in everyday life. \u00a0the flames we typically see are gloriously raw and dirty things, sparked into life and consuming fuels at low temperatures while starving for oxygen. \u00a0the mesmerising beauty of the campfire is a blatant corruption of flame and represents fire at it\u2019s most base. \u00a0refine that magic \u00a0with an injection of ready oxygen into an efficient fuel and you will witness fire as a living entity with character and definition. \u00a0at it\u2019s most hot, metals touched with fire must be viewed \u00a0through protective lenses that black out all but the most intense light temperature. \u00a0for fusing \u00a0.999 silver chain rings, small and medium scale, you won\u2019t need elaborate oxy\/fuel torch rigs. \u00a0a good butane hand torch will do the job just fine with power to spare. \u00a0additional heat signatures add to the versatility of your studio, and can greatly speed you on towards success as well as disaster, \u00a0but a properly controlled butane torch is a good introduction to pureflame. \u00a0pureflame must be sculpted with the proper oxygen to fuel ratio to produce a well defined sharp edged point of clean blue flame. \u00a0\u00a0or not. <\/span>
\nrecipes for fire, melting temperatures and like knowledge are of interest to the artist, and are well covered elsewhere. \u00a0an unadjusted butane fuel\/oxygen mix will usually show as a fluffy finger of \u00a0cool blue. \u00a0as you adjust the amount of atmospheric oxygen available to the mix you will find a sharpening cone growing from the throat of your torch. \u00a0the sharper the point, the higher the temperature. \u00a0learn the spectrum of heat \u00a0thrown by your flame, relative to it\u2019s sharpest point, and use them all as pigment.<\/span><\/p>\n

Beginners Mind<\/span><\/a>, \u00a0\u00a0the book. \u00a0draft83110<\/span>
\nnarrated by Peter Coyote.<\/span>
\nsomehow all this .999Silver goes back to that years ago reading,<\/span>
\na file randomly captured from the anonymous net.<\/span>
\nI have no idea why the reading struck me so. \u00a0I am afraid to listen to it again.<\/span>
\nI don\u2019t practice.<\/span>
\nas I write this, I\u2019m really not so good at the physical execution of my thoughts translated into dead soft <\/span>f<\/span>inesilver.<\/span>
\nthe Silver still commands my mind, my thoughts are drawn to recognized patterns in the line of the wire.<\/span>
\nthe Silver is shaping me. \u00a0thus, I have my job.<\/span>
\nthe landscape is Silverponte. \u00a0each stop brings me closer to a dream.<\/span><\/p>\n

as I learn, as kind souls send corrections that save me a year, I see that learning a craft over the internet is the next logical progression from typical web use for distance learners. \u00a0we are all voluntarily connected.<\/span>
\nyour legacy will no longer be carved in stone. \u00a0it will carry forward on your works, and here, your reputation on the web<\/span> if<\/span> you want one.<\/span>
\nservices, such as Google Docs combined with Skype provide robust print, image, video, and audio in any combination, and more importantly; these free programs are highly developed to present <\/span>live<\/span> time to a group of any size. \u00a0a teacher now has the ability to teach at will. \u00a0a modern cellphone broadcasting a tour through the Met, is something distance learners would die for. \u00a0This morning, Leslie Leirness suggested a flame adjustment for fusing, that is, using a reducing flame instead of a sharp hissing point of cool blue.<\/span>
\nthe snake of Silver mesmerised me, and I forgot my fire. <\/span>
\nI have much to learn.<\/span>
\npart of my designed distance learning plan includes taking print notes in book form.<\/span>
\nthese are a students notes: posted.<\/span><\/p>\n

that\u2019s all these are.<\/span>
\nJHS<\/span><\/p>\n

The Assumption of Power<\/span> draft82410<\/span><\/p>\n

I.<\/span>
\nProperties of .999Silver<\/span><\/p>\n

pure .999Silver defines itself with a phosphorescence unseen in other metals.<\/span>
\nIn new raw form, given clean light, the metal is clean white deceptive, all the way back into shadows of charcoal. \u00a0smooth Silver is highly reflective. \u00a0as polish level recedes into a fog from oxidation or pitting, a rich gray is suggested in the afterglow. \u00a0roughing the surface by hand bending results in a wavy shimmering of available light. \u00a0from these base visual presentations, reflected color from surrounding objects play a rainbow. \u00a0the overall effect is to give the wire a star brite presence framed in a subtle rounded shadow. \u00a0it is this very shadow that reveals the mysteries of Silver.<\/span>
\nroughing the surface mechanically results in scarring, either by surface depth of injury, as does flesh, or, by mechanical bending with pliars. \u00a0scarring will introduce not only sparkles of fresh metal, but also refracted shadow and additional faces of reflection. <\/span><\/p>\n

The Silver is at it\u2019s root in the bare hands. \u00a0As is the Art.<\/span><\/p>\n

Fire is the breath of life for .999Silver. \u00a0Fusing is the soul.<\/span>
\nWith pureflame, Silver is fused into a continuum of shape.<\/span>
\nIt is for the Artist to find their way.<\/span><\/p>\n

.999Silver has no sex.<\/span>
\nit is equally expressive of the yin and the yang.<\/span><\/p>\n

f<\/span>ineSilver will take the hammer willingly, yielding with a seeming empathetic compassion for the hand.<\/span><\/p>\n

The basic form of .999Silver is the infinite wire. \u00a0from nothing, diameter increases into fine atomic chain: micro-hairs, into wire, sheet, and bulk. \u00a0then comes the Artist.<\/span><\/p>\n

The fortress of<\/span> f<\/span>ineSilver is subdued with the application of heat, chemicals, and mechanical coercion. <\/span>
\nHeat forced movement of Silvers molecular structure work hardens the metal noticeably. \u00a0work hardened, The Silver shows the suggestion of memory, which is enhanced when the wire is formed into a spring coil. \u00a0the varying degrees of hardness each bear a particular signature which should be learned by hand.<\/span>
\nit is the application of Fire that soothes this hardness and returns the will of Silver to the hand.<\/span><\/p>\n

[sample: .999Silver, 16 gauge \u00a0round wire.] <\/span><\/p>\n

II.<\/span>
\nThe Application of the Hand<\/span><\/p>\n

f<\/span>ineSilver, deadsoft, follows the hand in the lighter thicknesses. \u00a0there is no apparent memory or spring to speak of. \u00a0\u00a0shapes morph with a fluidity that closely echo the life movements of the hand. \u00a0the primitive expression of the wire is reminiscent of handwriting, and recognized by the mind at the same level. \u00a0once hand worked, straightened wire will assume a form descriptive of a musical wave; a most basic expression of universal truth. \u00a0consider string theory applied to .999Silver wire.<\/span> $\"\"$ $\"\"$ $\"\"$ $\"\"$ $\"\"$ $\"\"$ $\"\"$ $\"\"$ $\"\"$ <\/p>\n

Preparations For Fusing <\/span>draft 82710<\/span><\/p>\n

reconsidering fire<\/span> draft83110<\/span><\/p>\n

I\u2019ve burned enough Silver and steel to know. <\/span>
\n flame is everything.<\/span>
\nthe choice you make now on fire will affect your signature in everything you do.<\/span>
\nto simplify things, just know that there is no choice to be made between butane and oxy\/fuel torch systems.<\/span>
\ngo butane first, for whatever time it takes to learn fire, \u00a0then graduate and use both.<\/span>
\nby graduate, I mean research well the fact that you are welcoming a highly explosive tool to set fire with into your studio. \u00a0it\u2019s a total shift in consideration and ability requiring a teacher and a student.<\/span>
\nOxy\/fuel is not a rig to make discovery mistakes on. <\/span>
\nmany welders are misunderstood sculptors and tend to be pretty friendly as long as you buy the beer.<\/span>
\noxygen enriched, pressurised fuel truly cuts like a knife if tuned properly.<\/span>
\nmy second Smith Little Torch system will be Oxy\/Propane.<\/span>
\nI\u2019m using only butane now; <\/span>
\na Master Appliance UT100 Ultra Torch, which is a very high quality pencil torch,<\/span>
\n with the sharpest butane flame I\u2019ve seen so far, <\/span>
\nand a passable, though not very versatile Blazer hand held I got at Rio Grande. <\/span>
\nI may well return the Blazer and get a Master Appliance GT-70 on the experience with my UT-100.<\/span>
\nthe flame must be under physical control, with ready adjustments possible.<\/span>
\nthe handheld butane torches are somehow very intimate. \u00a0you are not connected to hoses and tanks.<\/span>
\nyou and your backpack can do most anything with<\/span> f<\/span>ineSilver. \u00a0anywhere.<\/span>
\nexcept for the many critical things that you can only do with a Oxy\/fuel torch.<\/span>
\nthere is a detrimental wait time when butane hits 12 gauge or lower.<\/span>
\na well adjusted butane flame is like a small Hake brush compared to a sharpened high end jewelers torch.<\/span>
\nI find this a bit strange given the serviceable range of temperatures \u00a0available using butane.<\/span>
\nthe edges I have seen so far with butane could use for some edge geometry adjustments.<\/span>
\nthe temperature of butane will never rival Oxy\/fuel as a cutter, or in processing crucibles, but as my chain gets smaller, it\u2019s becoming a crowded fuse. \u00a0a sharp tiny point would dream The Silver into place.<\/span>
\nThe difference that matters to the starving artist = ~$150 \/ ~$850. <\/span>
\n the difference to the dreamer: about 30 pounds of explosives, the size of a back.<\/span>
\nbe careful out there.<\/span><\/p>\n

for a ring to fuse cleanly, joining surfaces must be dead-flat where they meet.<\/span>
\nthere is no solder to fill the joint, and any space must be filled by flowing metal which is subtractive to the contour of the ring at the site of the fuse. \u00a0too much space, caused by an improper cut, or poorly aligned surfaces, will at the extreme, cause the ends to draw away from one another instead of fusing together. <\/span>
\nunplanned partial fuses are worse than no fuse because grace cannot be readily recovered. <\/span><\/p>\n

the proper fusing join before fire will show a weak springy attraction between the surfaces. <\/span>
\n>gently bend the edges a bit beyond each other and then pull back, align carefully, and release; allowing the surfaces to settle solidly together. \u00a0beware the memory of lateral twisting at the join. \u00a0when the fuse flows, any lateral energy will release and deform your ring. <\/span><\/p>\n

maximising surface area contact at the join is key to successful fusing at the highest quality levels. <\/span>
\na good pair of fitted faces is the start of a good individual ring. <\/span><\/p>\n

I\u2019m using Tronex 7223 Flush Cutters. <\/span>
\na jewelers saw can also be used with even greater ease, once mastered, because at the kerf, the angles naturally match and are subsequently easy to align. <\/span>
\nwith flush cutters, you are making two individual cuts and they must match flawlessly. \u00a0where the saw is self-aligning, there are all kinds of unwanted expression to be had from a pair of even the finest \u00a0flush cutters. \u00a0I would not choose one tool above the other, each has an important signature to the work. <\/span>
\nthe saw is a file, the cutters a knife.<\/span>
\nMiland toolmakers offer this <\/span>innovative single cut, double flush cutter<\/span><\/a>. \u00a0it\u2019s use is limited at ringmaking.<\/span><\/p>\n

tectip: \u00a0cutters, delicate, like the 7223\u2019s don\u2019t deserve -14 gauges of <\/span>f<\/span>ineSilver, and will dully complain of it soon enough. <\/span><\/p>\n

First Fire<\/span> draft82610<\/span> $\"\"$ $\"\"$ $\"\"$
\nfive rings<\/span><\/p>\n

it\u2019s all about touch with fire.<\/span>
\nthe torch whispers, The Silver speaks. <\/span>
\nyou\u2019ve only to learn the language of exchange between the Pureflame and The Silver.<\/span>
\nthe subtleties of true understanding are revealed visually. \u00a0look for it. \u00a0The Silver under proper flame trucks<\/span> quickly through various colors of deepening pearlescent pinks until it rushes to glasses with the immediate molten fluidity of the fusetime, which is where the work is done. \u00a0so, in the beginning, pay attention to learning the fast color progression leading to fusetime. \u00a0the window is small and disaster lurks in the short opportunity. <\/span>
\nfusing requires a quick hot flame. \u00a0valuable expressions will be had with anything different.<\/span>
\n>when you first see glass, the melting point has been reached. \u00a0this melting point will be quickly followed by the fusetime. \u00a0the actual work done during fusetime is something that must be experienced to be learned and assimilated. \u00a0it is good to recognize these requirements in any art because attainment of skills is generally a matter of developing muscle memory to follow the way of an understanding. \u00a0both mind and muscle respond well to repetitive process. \u00a0mentally, try and accelerate the time it takes to learn fusetime. \u00a0go slowly with deliberation. \u00a0properties to see: \u00a0other than color progression, know that The Silver under flame is undergoing constant and rapid atomic change, as heat excites movement and opens space. \u00a0this is the alchemy of Silver.<\/span><\/p>\n

now comes the rub. <\/span>
\nany fluid, no matter the temperature, can be moved about in a painterly way. \u00a0In the above rings, the first two show a pronounced gathering of Silver near, but not at, the site of the join. \u00a0in a fluid state, under fire, the Silver ran this way. \u00a0what caused this? \u00a0how is it repeatable? <\/span>
\nconsider this; \u00a0purposefully applying increasing heat to it\u2019s natural end will result in a globular sphere of Silver. \u00a0much like quicksilver, the molten metal will rush together to find this peace, where environmental pressure is at it\u2019s most equal. thus, the globe, the earth, the planets and the sun. \u00a0.999Silver is all about universal truth.<\/span>
\nfusing is natures casting box. \u00a0the fluid nature of molten .999Silver does not directly follow the patterns of water in a pressurized gravity. \u00a0where water would fall flat, Silver flows in curious directions with volition. \u00a0it will fall and fill naturally, this is the mailers art, but it will also flee the flame, bulge and thin, and ultimately seek regulated spherical peace. \u00a0with larger amounts of metal, gravity will collapse the sphere into a disc. \u00a0how then to apply the brush to the begging flow? \u00a0heat; \u00a0zoning temperatures along the continium will cause Silver to seek in the direction of the highest heat.<\/span><\/p>\n

Painting With Molten Silver<\/span> <\/span>draft 9610<\/span><\/p>\n

a friend here in Sitka gave me an ammo box filled with student \u2018mistakes\u2019. \u00a0check this out:<\/span><\/p>\n

$\"\"$ <\/p>\n

these examples are not reticulated.<\/span>
\nthis photo is my proof of Silvers paint-ability.<\/span>
\nso now what are the tools?<\/span>
\nwhat is the ground?<\/span>
\nO-1 tool steel seems an obvious choice for ground, given it\u2019s ease of heat treating, general design versatility and workability using hand tools, and a insatiable hunger for environmental patina. <\/span>
\nreadily available as precision plate and rod, junked O-1 can be identified by the unique spark it throws. \u00a0any steel that will take Silver will do, the O-1 is interesting in that it represents a versatile studio ground with repeatable values.<\/span>
\nonly beware of the coated steels under flame. \u00a0some of the fumes released are downright nasty.<\/span><\/p>\n

there. \u00a0this is my exercise for this time:<\/span>
\nO-1 plate as ground. \u00a0.999Silver plate (20 gauge) and wire: 12, 14, 16, 20, 24, 26.<\/span>
\nfusion and anything goes. <\/span>
\nthere, I\u2019ve shifted.<\/span><\/p>\n

f<\/span>ineSilvers want to go globular when fire-wet represents a force of movement that can be utilized in design execution or overcome by mechanical means. <\/span>
\ngiven no interference, molten Silver will rapidly flow like Mercury at room temperature, and pool collectively into a spherical form submissive to atmospheric pressure and gravity.<\/span><\/p>\n

the following actions on liquidous Silver would require a dedicated fire room or space that can be effectively ventilated and defended from unwanted fire and heat.<\/span>
\nfull fire skins and hood would be minimum protection\/\/\/.<\/span>
\nbeware! \u00a0water+molten metal=explosive reaction as rapid fluid to steam transition empowers great force.<\/span>
\nof course, this too is an application technique of high risk.<\/span><\/p>\n

consider that moving molten Silver is a radical dance of circumstance.<\/span>
\ninitiation could be costly.<\/span>
\nit would be good to have a concrete floor.<\/span><\/p>\n

the weak presentation of butane flame from hand torches makes it difficult to move the silver.<\/span>
\ngood in the application of heat for fusing, soldering, and patinization, the butane flame carries no force of will with which to move the Silver.<\/span>
\nthe tanked fuels, combining pressurized Oxygen and a fuel source of Acetylene, Propane, and so on, will move the silver, and the regulators should control the required pressures. \u00a0experimentation will show how both temperature and pressure ratios can be consolidated in a controllable, effective form at the torch head.<\/span><\/p>\n

key is the temperature point of flow, ~1762<\/span>f<\/span> for .999Silver. \u00a0no more heat than this is required as a technicality, but added heat will obviously effect the window of time required to melt.<\/span>
\nsculpturally, the transition point between the <\/span>solidus\/liquidous state is precise, experimentation will reveal any tendency for soft plasticity occurring just before flow. \u00a0various specific temperatures could be held with precision in a kiln. \u00a0given a zone of plasticity, the metal might be sculpted as butter and left to dry hard.<\/span>
\nArgentiumSterling is especially interesting in this light, given it\u2019s wide window of 1410<\/span>f<\/span> to 1610<\/span>f<\/span> solidus\/liquidous range.<\/span><\/p>\n

mechanical means for painting with Silver:<\/span><\/p>\n

>running a nail through the molten. \u00a0experiments with Silver\/Bronze handcasting show a globular form in the crucible, and a standing raindrop on ground. \u00a0it is the way of the sphere to preserve itself. \u00a0a small nail run through may coat the nail under the right temperature conditions, but the stoke is unlikely to significantly disturb the sphere, which carries the quality of <\/span>self-healing<\/span>. <\/span>
\nyou know if you know.<\/span><\/p>\n

>sandwiching the molten between plate, causing lateral flow. \u00a0with studied process, the plates may be moved and parted at the proper temperature for plasticity of the metal, creating moonscape dimension, and interesting one-off Silver leaf. <\/span>
\nin thick based paint, which sorta resembles well whipped mashed potatoes,<\/span>
\nwith gravy…the sandwich-pull-and lift movement results in striking contour. <\/span>
\n.999Silver, with it\u2019s precise flash temperature window leaves little room for the practice of art, as it becomes mechanical in it\u2019s repeatable nature, and the nature of plasticity is not evident in a torched transition. \u00a0it would be of interest to those discovering fire, to witness a kiln and the precision time and temperature controls that allow complete control of the ?oxidizing temperature. \u00a0ArgentiumSterling is again squarely in the mix as a source of Silver, and moving swiftly to the forefront on reputation alone. \u00a0my reservations in bringing a copper alloyed Silver into the studio, are overcome by proven possibility. \u00a0?given it\u2019s lower temperature and a possible \u00a0plastic nature around flash point, ArgentiumSterling, as researched, brings some drawback; <\/span>
\nadmittedly in the minority, I am most attracted to oxidized surfaces, and the general patina expressions available to <\/span>f<\/span>ineSilver through various means. \u00a0the Germanium content of ArgentiumSterling will resist oxidation. \u00a0this represents a most valuable attribute to the jeweler. \u00a0and some Artists will choose ArgentiumSterling for it\u2019s unique tooling and casting abilities. <\/span>
\n ArgentiumSterling is not <\/span>f<\/span>ine<\/span><\/a>. <\/span>
\n <\/span>
\n*controlled blasts of air, well regulated to push the silver over various temperature zones applied to the ground.<\/span>
\neffective ground resists and flux materials to guide the Silver into the corral of design intent.<\/span><\/p>\n

*ultimately, a high temperature wand applicator spraying molten metal through various designed heads, would serve the hand and mind. \u00a0what current industry would have such a technology available for use?<\/span><\/p>\n

liquidous Silver could be thrown or poured from the crucible.<\/span>
\nflying molten Silver would bounce from cool steel. <\/span>
\nbut at proper temperature, the ground would accept the Silver as granulation (an Art within itself {<\/span>0 <\/span>1<\/span><\/a> <\/span>2<\/span><\/a> }).<\/span>
\nit is expected that the Silver in air will resort to a more pure spherical form, impacting the prepared ground much like spattered watercolor. <\/span>
\n*Argentium is perhaps the standard for this approach. \u00a0I cannot speak to it until the next shipment of Silver shows up.<\/span><\/p>\n

and fire.<\/span><\/p>\n

*fire for fusing<\/span><\/p>\n

*fire for silver wire solder, representing an important tacking agent that will not need temperatures that destroy shape. \u00a0\u00a0there are several hardness levels to Silver solder, each allowing a level of protection from the next.<\/span>
\nand so on to building dimensional representation with the tools and materials at hand.<\/span>
\nand finally fire for patinazation. <\/span>
\nat the end of any design execution it is surface patina that is displayed, catching light and carrying the artists voice to the viewer. \u00a0structure emerges subliminal as the eye describes the focused light on the retina into various understood dimension.<\/span>
\n>just as there is recordable eye scan patterns in response to print media, so too with free form sculpture.<\/span>
\nthe eye insists on a repeatable scan pattern, which the artist is free to interrupt, encourage, or disavow.<\/span>
\nsurely a language to be quickly learned, and just as quickly forgotten.<\/span>
\nenter Miles Davis.<\/span><\/p>\n

$\"\"$ <\/p>\n

draft 82810<\/span>
\nthe only way forward is to layer .999Silver wire and sheet of various gauges together and start fusing sculpturally.<\/span>
\nalready, I have a talking chain promised.<\/span><\/p>\n

tectip: burn yourself as soon as possible and get it over with.<\/span> $\"\"$
\n#1 \u00a0Five Rings<\/span>
\n $\"\"$
\nFirst Chain<\/span> $\"\"$
\nFirst Chain<\/span><\/p>\n

$\"\"$
\nBed Rings<\/span><\/p>\n

Tool List 82810<\/span><\/p>\n

Materials Inventory 82810<\/span><\/p>\n

9410 notes<\/span>
\nALL Argentium instudio will be unround.<\/span><\/p>\n

bounce heat from flame- from charcoal, solderite, firebrick surface to work.<\/span>
\nneeded: industrial heat shield products. \u00a0foil, cream, etc<\/span><\/p>\n

a kiln is simply a device designed to reflect and hold heat.<\/span>
\nin any heat reflective structure, there will be focal points of various temperatures to be had.<\/span>
\nthe better the kiln, the more constant and variable the temperatures available, usually combined with accurate timing devices to run elaborate heat treating recipes.<\/span>
\nSolderite is a good material for fabricating small scale heat reflective \u2018kilns\u2019 and structures to accomidate specific tasks for fusing, granulation, and soldering. <\/span>
\na widened saw kerf cut in the Solderite will help apply concentrated heat to wire. \u00a0lay the wire in the cut channel and apply flame.<\/span>
\nfor general work, a charcoal block fire surface is preferable.<\/span><\/p>\n

a crimp is a compressed wrap.<\/span><\/p>\n

.<\/span>
\nOp3tektip: \u00a0a magnet in a tin can is a great way to pick up steel bits, like the steel shot I just spilled in my sink.<\/span>
\nthe bits will stick to the bottom of the can, then, when you have the can over you intended container, simply remove the magnet and the bits fall from the bottom of the can. \u00a0old speaker magnets work great.<\/span><\/p>\n

produce 0-1 springstock of various presentations to hold high temperature work<\/span>
\nresearch expected temperature ranges. \u00a0Rc may be above normal springstock.<\/span><\/p>\n

granulation technique is fusing refined.<\/span><\/p>\n

patina: selective Oxidation removal and application,. +chemical.<\/span><\/p>\n

notes to torch manufacturers:<\/span>
\nthe common \u201cBlazer\u201d butane hand torch is fine for the hand.<\/span>
\nit\u2019s construction is fine for it\u2019s price point, <\/span>
\nbut there is a level above that should be designed and provided.<\/span>
\nthe design would incorporate a mechanical air vent, actuated by the rear striking plunger.<\/span>
\nthis would allow for the artist to accurately control a range from reducing flame to bushy, to a clean cutting edge.<\/span>
\nActively, in real time.<\/span>
\nthe current placement of the adjustment ring is serviceable, but too far forward.<\/span>
\nreflective heat finds the thumb.<\/span>
\nthe standard workings must be tightened for the next level. <\/span>
\nboth the reducing flame, and point must be precise in their own way.<\/span>
\nBlazer<\/span> II<\/span><\/p>\n

design:<\/span>
\n12, 16, 20, 24\/26\/28 .999.<\/span>
\ntrees in winter<\/span>
\nfired cork base, under domed glass.<\/span>
\nbriteness adjustable led footers.<\/span>
\nnightlight\/bedside reading lamp.<\/span>
\ntitle:<\/span>
\nDragonspace<\/span><\/p>\n

Op3tek: \u00a0heat the surface of Bur Life like a candle for a through coat to your blades.<\/span><\/p>\n

Op3tek: \u00a0everything that moves molecules is a blade. <\/span>
\nfrom the tiniest lapping grit, to the lazer;<\/span>
\na knife.<\/span><\/p>\n

Op3tek: saw cuts begin with a file edge of appropriate size and applied direction.<\/span>
\nthey continue with a gloved holding hand. <\/span>
\nyou know who you are.<\/span><\/p>\n

design:<\/span>
\n0-1, 1\/2 inch rod,<\/span>
\nnarrow V triangle.<\/span>
\nto be used as an alternate bench pin<\/span>
\nto secure abstract shapes for tooling. <\/span>
\nespecially chain ring.<\/span>
\nV face allows for saw frame<\/span>
\nas you push rings onto the point.<\/span>
\nbolts or clamps to solid work frame.<\/span><\/p>\n

design:<\/span>
\n.999 at it\u2019s most elegant.<\/span>
\nsimple wire with fused teardrop ends.<\/span>
\nall gauges.<\/span>
\neveryday twist ties, and lengths for multiple uses.<\/span><\/p>\n

marketingnote:<\/span>
\nthe idea of bursting through the manufactured lives we live<\/span>
\nwith elegant every day use items.<\/span><\/p>\n

design:concept<\/span>
\nWeaponized.Silver<\/span>
\nfused loop ends<\/span>
\n8\/10\/12\/14\/16\/18 gauge.<\/span>
\n.999 and ArgentiumjSterling<\/span>
\nhard.<\/span>
\n18 – 24 inches.<\/span>
\n+ custom: fused wrap of 21, 24, 26 gauge.<\/span>
\nwith break away (open link) pinch closure of .999. fused tear drops.<\/span>
\ngoes as an elegant necklace<\/span>
\ngarrotte.<\/span><\/p>\n

design:<\/span>
\n8, 10, 12, 14, 16, 18, 20, 21, <\/span>
\n.999 and Argentium.<\/span>
\nfinger wraps.<\/span>
\nfused teardrop ends.<\/span>
\npinch to close (aligned teardrops will weakly clasp.<\/span>
\noptional: one end fused loop for pinch clasp.<\/span>
\nNote: dead soft .999 is inherently moldable to any body part.<\/span><\/p>\n

design:<\/span>
\nWeaponized.Silver<\/span>
\n8, 10, 12, 14, 16<\/span>
\n.999 and Argentium<\/span>
\nRC Hard<\/span>
\nbarbed wire wrist wrap bracelet, and rings.<\/span>
\nfused teardrop barbs.<\/span>
\noptional:<\/span>
\nappropriate barbs, <\/span>
\nSharpened.<\/span>
\nmilitary only; 0-1 barb cores.<\/span><\/p>\n

explore the properties of glycerin.<\/span>
\ndiscover hand enrichment preparation<\/span>
\nthat can be used with neutral effect while working .999<\/span>
\nBeesWax.<\/span>
\nsoftened with Lavender.<\/span>
\nProduct Name: \u00a0\u2018My Silver Hands\u201d \/ \u2018My Golden Hands\u201d \/ \u2018My Studio Hands\u201d.<\/span><\/p>\n

\/\/\/<\/span><\/p>\n

<\/p>\n

<\/span><\/p>\n

<\/span><\/div>\n","protected":false},"excerpt":{"rendered":"

updates 9610 Op3Studios 2010 act ii. \u00a0ed.i.fice Fusing Fundamentals .999Silver round wire \/ dead soft 16 gauge preface Pureflame & Silver draft82510 consider fire. the ultimate servant and destroyer of man. we think we know fire, yet few of us know more than the weak candle flame of fire, that is, fire at it\u2019s low […]<\/p>\n","protected":false},"author":155,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[1],"tags":[],"_links":{"self":[{"href":"https:\/\/userblogs.ganoksin.com\/op3studios\/wp-json\/wp\/v2\/posts\/15"}],"collection":[{"href":"https:\/\/userblogs.ganoksin.com\/op3studios\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/userblogs.ganoksin.com\/op3studios\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/userblogs.ganoksin.com\/op3studios\/wp-json\/wp\/v2\/users\/155"}],"replies":[{"embeddable":true,"href":"https:\/\/userblogs.ganoksin.com\/op3studios\/wp-json\/wp\/v2\/comments?post=15"}],"version-history":[{"count":2,"href":"https:\/\/userblogs.ganoksin.com\/op3studios\/wp-json\/wp\/v2\/posts\/15\/revisions"}],"predecessor-version":[{"id":14,"href":"https:\/\/userblogs.ganoksin.com\/op3studios\/wp-json\/wp\/v2\/posts\/15\/revisions\/14"}],"wp:attachment":[{"href":"https:\/\/userblogs.ganoksin.com\/op3studios\/wp-json\/wp\/v2\/media?parent=15"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/userblogs.ganoksin.com\/op3studios\/wp-json\/wp\/v2\/categories?post=15"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/userblogs.ganoksin.com\/op3studios\/wp-json\/wp\/v2\/tags?post=15"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}