Archive for January 2010
I have been working with some of my Carlo Dona tools lately and I have an itch for more of these great tools and I was wondering if there were any more of you out there that feel the same way?
It is kind of hard to get Carlo Dona tools, so I have been working with my husband Mike to organize an order of certain Carlo Dona tools because Mike will be going to Murano in April. The apartment that Mike stays in on Murano is just a few blocks away from the Carlo Dona shop and I thought that this is a perfect opportunity to have him pick up some more tools.
I am mainly having Mike bring back the three sizes of raggiera or fin mold for producing fancy cane. There are two or three sizes of bell flower presses and the wire holding tool to use with them ( I tried making glass objects on the ends of copper wire by holding it with piers and the wire vibrates from the torch heat and makes working the glass very difficult) that I want him to bring back. The Carlo Dona work shop started making some really nice leaf mashers, plain mashers and ribbed mashers mounted on heavy tweezers that work really well. There are some nice bead presses like a sea shell shape, different size hearts and squares that I want him to bring back also. Another tool to consider is the glass shears, they are a well balanced hot glass cutting tool.
There are a few brass single sided press molds that I think are interesting. One is a lady’s face, one is a lion and the most interesting one is a skull.
If anyone reading this blog is interested in possibly connecting with some of these fine Carlo Dona tools, contact me at email@example.com and I will try to make your tool wishes come true. I will not know the prices until I find out from Carlo Dona what is available.
Below are some photos of the tools I am interested in.
When you order some glass colors, is it a surprise to open the box and find a radically different Tonalities of Dark Pink, Gold Pink and Coral glass rods you were use to? Well, this is something that happens with certain glass colors and it took me a long time to get the Italians to explain why this happens.
It seems that there are a handful of glass colors that are very sensitive to heat and even the amount of humidity there is in the air when the components are measured and put into the batch. Murano is built on tiny islands in the middle of a large salt-water lagoon and is constantly subject to varying levels of humidity that can make a powder (which is the form the elements that go into a glass batch come in) be lighter or heavier.
Another component of the tonality variable with certain glass colors is heat. I complained for years about the changes in the shades that Coral (591420) would shift to from batch to batch. A couple of years ago I was shown a sample book of a single batch of coral and there was a huge difference in the tonality from the beginning of the pull to the end of the pull, there was about 6 different tonalities in a single run of coral! The factory said that they try to send what they think coral should look like, but we told them that they should sell all the tonalities to us because they are all beautiful in their own way.
Two other colors that have huge tonality variables are Dark Pink (591265) and Gold Pink (591456). What you must do if you get a tonality of the three colors I have talked about in this blog and you like it a lot, get as much as you can. With these colors, it is kind of like getting yarn to knit a sweater. If you don’t get enough yarn of the same dye batch to make your sweater, when you go back to get more yarn, there will most likely be no more of the batch that you bought and your sweater will have two different shades of the same color in it.
I have been trying for 25 years to get Effetre to make a pinkish coral that I got in the very first batch of glass I ordered from them ( when the factory was still owned by Moretti) and I am still waiting.
Shown below are sample cards of the different Corals, Dark Pink and Gold Pink, to give you a sense of how different these three colors can be from batch to batch.
Zachary is what some people call baby blue, but it can also be called a very pale periwinkle. When you compare regular Periwinkle with Zachary, Zachary is 50% lighter than Periwinkle. I like the results I got by pairing Zachary with Cranberry Pink (used in the form of a rose cane), with a little goldstone ribbon thrown in the mix for some flash.
The Great Bluedini kind of looks like a transparent version of Mermaid and could be describe as a rich dense blue-green. In fact when you pair Great Bluedini with Mermaid, it makes both colors pop. I made a white heart out of Great Bluedini and decorated it with roses out of Cranberry Pink and some goldstone ribbon, with good results.
To see how Great Bluedini worked as a core color, I made a dichroic covered heart pendant with a core of Great Bluedini and I really like how it came out. I tried several more beads out of Zachary and Great Bluedini to show how these colors look in different arrangements and you can view them below.