7/32" Silver Backed Foil - 1.2 Mil

Price $10.95
Your Savings: - $2.70
Your Price: $8.25 USD   (25% Off)
Item# 5571
In Stock Usually ships in 1 to 2 business days.

Product Features

  • Flexible copper foil created for the stained glass artisan
  • High tack and heat resistant adhesive back securely holds foil in place
  • Use with transparent glass when you will be leaving solder seams silver
  • Standard 7/32" foil width for most stained glass projects


Product Description

Top quality, Venture brand foil. 108 feet long. 1.3mil thick. 7/32" wide.

Standard width for working with stained glass. Use silver backed foil to match lead solder and other non-stained metals.

Project by artist Beth Kauffman. From "Illuminations" book #5997.

Delphi Tip: Choosing the Correct Foil
When using transparent glass and bevels, choose your foil based on the color of your solder seams.

  • Choose copper backed foil if using a copper patina
  • Choose black backed foil if you are using black patina
  • Choose silver backed foil if you are leaving your solder silver
Choose the correct foil image

Customers Who Viewed This Item Also Viewed

Customer Reviews

5 out of 5 stars
5 star  
  3
4 star
  1
3 star
  0
2 star
  0
1 star
  0
See all 4 customer reviews
Write a customer review

Product Images from Customers

Be the first to share product images with other customers
5 out of 5 stars
  •  
By on
Pros :
Cons :
Was this review helpful to you?  
3 of 5 people found this review helpful
4 out of 5 stars
  •   silver backed foil
By on
Pros : I like to use this foil with transparent and semi-transparent glass.
Cons : none
Was this review helpful to you?  
5 of 15 people found this review helpful
5 out of 5 stars
  •   Thicker, and match solder color
By on
Pros : Matches "inside" to leaving solder without patina. Thicker tape, which can be both a pro and a con. Doesn't tear or poke through as easily, but also doesn't conform as readily to glass with a lot of ridges in it.
Cons : Costs more than Copper foil.
Was this review helpful to you?  
2 of 16 people found this review helpful

See all 4 customer reviews
Related Content
Mar 05, 2012
It is true. Even the best of us get bored. We work and learn and experiment with one medium or one itty piece of said medium (which, like a new love, we are infatuated with - can think of nothing else)but, after a while -things can get stale. Its normal. The beauty is to realize that all these lovely and wonderful and awe inspiring mediums do not have to live in a vacuum. When you get bored with onedo a little of what I like to call Medium Mash-Up. My latest mashups have been with my own fused glass and silver. You can only fuse so many pendants and plates before youve had enough. For me, that means its time to move on to another process for a while. After working in silver (mostly rings) and loving itone day I found myself staring longingly at my lonely and unused kiln
May 23, 2012
Instructions are also available in .pdf format Download Silver Band Ring ProjectViewing this downloadable file requires the use of the free Adobe Acrobat Reader. If you do not have the free Adobe Acrobat Reader on your system, you may download it from the Adobe web site. Materials/Tools Pmc Ring Kit #1046 or individually o PMC+ Silver Clay #67016o Ring Sizer #63233o Ring Mandrel #69031o Jewelry Clay Roller #62401o Craft Knife #5536o #2 Detail Brush #17101o 5 Piece Metal Clay File Set #69721 Olive Oil or Bag BalmSelf-Adhesive Sticky Notes Optional PMC+ Silver Paste #67016 Wipe Out Tool #68712 Fire With Butane Torch #6722050 and Fire Brick #64401 or Skutt Firebox Kiln #FIREBOX Jewelry Kiln such as Paragon SC2 #67401 Polish With Stainless
Sep 20, 2010
Sometimes necessity is the mother of invention, and sometimes invention comes when you have nothing to lose. Early in my career, I had three metal-clay-and-fused-glass pendants fail in a single day. The glass cabochons simply shattered and fell away from the silver after the pieces were fired because I had neglected to cut an expansion hole underneath the cabochons. Augghh. Lesson learned. But now I was left with three ugly pieces of silver, each with small pieces of glass permanently fused into bizarre locations on the surfacea loss I could not afford. Weeks later, after tryingunsuccessfully to remove the glass, I decided to try fusing glass in patterns onto the surface of the pendants. The results were surprising, and the Stained Glass process was born This technique begins with any fired metal clay with a flat surface. Small shards of fusible glass are then attached to the silver. After