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.
I have been personally struggling over the past 10 years with the challenge of getting prescription eyewear to use while doing torch work. In the past I have had to buy new prescription didymium glasses every time my eyes changed significantly and I had to get new glasses made. Read more
I am writing about the Effetre Silver and Zucca Glass for Lampworkers colors named “The Silver Challenge 7 Rod Assortment”, which were given out or sold with orders placed in mid-November. I am urging everyone who got this glass to please send in photos of their results (good or bad), so that they can be entered into the raffle for a box of rare glass from Mike’s vault.
A beadmaking friend, Sue Stewart and I both did test beads and I am posting different examples of what we got from these new colors. We want to see what everyone else made out of these new colors.
I liked the Silver #4 the best out of the four silver colors and I really like the yellow and orange colors from this group. Listed below are the names and reference numbers for the “Silver Challenge 7 Rod Assortment”.
- Silver #1 – 591718
- Silver #2 – 591719
- Silver #3 – 591720
- Silver #4 – 591721
- Yellow Ocra – 591411
- Lt. Zucca – 591425
- Dark Zucca – 592426
BTW Sue Stewart is teaching several different classes at Frantz Art Glass focusing on techniques for using silver glass in beadmaking.
One of the most basic and useful detail elements used in lampworking beads is the rose cane. I notice them being used in the old beads I saw in the catalogs of antique beads that I looked at to teach myself bead designs. Through experimenting I discovered that the cane needed to be both transparent and opaque to make an effective embellishment.
Though a rose cane is a very effective way to depict a rose on a glass bead, it is also a great detail cane for other decorative applications like feathered lines or bright pink squiggles.
Start heating both the white and the pink rods at the same time, but heat the pink more by holding it below the white in the flame because the white will slump much faster than the pink and you need it a little stiff to apply the pink.
As you get a gather of pink on the end of your rod, start applying strips of the pink to about 1 to 1 ½ inches of the white rod. Continue applying the pink around the white rod until you have coated all the way around. You can vary the depth of the pink you apply to the white rod depending on how dark you want your rose cane to be.
Once you have the desired thickness of gold pink applied to your white rod, you need to marver the rose cane into a smooth cylinder to insure that the cane pulls evenly.
At this point you need to keep your rose cane warm and apply the second punty to give you a handle to hold onto during the pulling process. Once the punty is applied and cool enough to not stretch, start moving the pink coated section back and forth in the flame, being sure to rotate it frequently to heat it all the way through. I like to pull the cane into a football shape when I am heating it to get more of the mass of the cane in the middle and not so much on the punty.
When your cane is thoroughly heated, start pulling slowly at first because white tends to get very liquid and thin out the cane if you pull too fast at the beginning. When you start feeling a little resistance in the glass, start pulling faster until you achieve the desired size of rose cane that you want. I like to use a punty that is at least 13 inches long so that I can move my hand down to the far end to extend my reach which helps to get the maximum length out of your cane pull.
Once you have stopped pulling the cane, hold the cane still and straight until the glass firms up. White glass stays flexible for an amazing length of time and holding the cane until it is firm saves you from having crooked cane.
Next lay the cane flat on a table placing the right punty down to cut it into usable lengths and let cool until you can pick it up. If the rose cane appears too light, don’t worry because gold pink tends to strike and un-strike as you heat it and it will develop the desired color when you use the cane.
Aventurine Marron is the Italian name for a specialty glass the Americans call Goldstone. Before I got into lampworking I would see cut stones and beads made out of goldstone in lapidary shops and I have always thought it was really cool looking glass.
Frantz Art Glass buys its goldstone/aventurine from Effetre, but on one trip to Murano, Italy we found out that Effetre didn’t actually make the goldstone, but instead was a middle man for another glass company. This lead us on an adventure to find out where and how it was made because we were looking for a source for larger chunks (fist size boulders), so that we could offer a larger range of goldstone piece sizes.
The formula for making adventurine /goldstone has been a much guarded secret through the ages in Europe. The story goes that it was originally developed by glass making monks, but I can’t say how accurate this charming tale is. I know for sure that the goldstone we buy from Effetre is made in a glass factory in Northern Italy.
One of the reasons that this particular type of glass is so expensive is the fact that when they make a crucible of goldstone, only one third of the batch is “A” quality with the familiar bright flakes in it. The other two parts of the batch are “B” quality that has a lot of veins of brown in it and the last third is waste and they have to break the crucible off the glass when it has cooled, so they lose the crucible ever time they make a batch and crucibles are expensive.
You can get goldstone/aventurine to use in five sizes from powder to large chunks that you can use as is or process into what ever stringer or cane you like. Last year we were fortunate to obtain a batch of specially made goldstone ribbon cane that was made by a glass artist that we know on Murano. Recently we received another batch of ribbon cane and this batch is really great! It is thicker, brighter and easier to use than the last batch and I have been enjoying using it.
The ribbon cane is really nice to use because it has a very thin coat of clear glass over the goldstone which keeps the ribbon cane looking brilliant even when exposed to high heat. I learned the hard way that to get goldstone from pieces to look bright after being torched, it is best to have a thin layer of clear glass over it. When I first started messing around with goldstone, I would have the raw goldstone in the flame and it would turn kind of khaki brown-green with almost no sparkle to it – very disappointing!
Aventurine/goldstone comes in a few other colors which the most common are blue and green, though I have seen red goldstone in the past. You have to be careful with the really rare colors of goldstone because sometimes it is not compatible.
I am a die hard dichroic fan, but I had not paid much attention to the CBS Dichroic on Copper Sheet because at first I couldn’t get my head around it. When I first saw some dichroic on copper sheet, it was Silver and it just didn’t catch my attention. Recently I was shown a dichroic on copper sheet that was a pattern called “Mixture” that has soft blues and pinks in it as well as silver and I said to myself – WOW, this stuff is really neat looking. I had a sheet that had been slightly broken up and the bag was full of cool looking dichroic bit-shards. The dichroic shards really got me motivated to make some beads with it and I really like the results.
You have to be careful when you open the bag of Dichroic on Copper and have a sheet of paper under the bag to catch any shards that might flake off. I put the dichroic shards that I had on a graphite pad that I use for rolling up shards on to beads and it works really well.
The dichroic on copper sheet was designed to provide dichroic that can be put on any glass, so you don’t have the problem of matching the glass you are using with what ever the dichroic is coated on. Another great thing about the dichroic on copper is the fact that the dichroic layer on the copper is 3 times thicker than any other way that dichroic is normally applied. The thicker coating makes the dichroic much more durable and less likely to burn to that gray scum that everyone hates.
The copper sheets also allow the artist to cut patterns or strips of dichroic in the sheet and roll the dichroic right up off the copper onto a hot bead or other lampworked form.
CBS (Coatings by Sandberg) has a good instructional video posted on the web that is good to watch and it provides some great working points that help in using this product. If you have never seen dichroic on copper used, I recommend watching this short educational video on the Sandberg website.
In case you are wondering what to do with the sheet of copper once you have used all the dichroic, the copper is of a thickness and quality that it can be used to apply cut out patterns of copper on to a bead. I have seen some stunning examples of this technique and highly recommend giving it a try.
here are three New Colors from CiM this week, that were made at the request of the lampworking community. The new colors are:
I have had the pleasure to make beads with these three new colors this week and I must say that I was pleasantly surprised with the results of my experimenting.
In rod form, Poison Apple looks very translucent bright green, but as you work it in the heat it becomes denser and loses some of its translucent look. The first bead I made with it was a straight forward Sangre (red) and Poison Apple (green) short bicone with a band of goldstone ribbon cane and red opaque bumps. I got many comments that the bead looked very Christmassy. The next bead I made had a core of Poison Apple with a band of reduced Triton that was twisted into swirls around the bead and encased in Aether. That combination really popped and the bead was both simple and flashy at the same time. I made an even bigger Poison Apple bead with a spiral wrap of reduced Triton that was swirled and encased with Aether. I really like this bead, it made me a lover of Poison Apple and I have never liked any of the greens similar to Poison Apple before.
The next big surprise was the Mink which is a medium opal brown. I have never seen any color in soft glass that looks like Mink and that alone makes it an important addition to the available glass color palette. I was wowed when I paired the Mink with goldstone ribbon cane and Sangre, it looks so good I wanted to eat it. I also made another bead with goldstone ribbon cane and reduced Triton around the middle and was really pleased with the results.
The last color is Mermaid which kind of looks like a cross between Petroleum Green and Dark Turquoise. This color has received the strongest positive response from most beadmakers and rightly so because it is beautiful and fills an empty place in the present glass color palette. I have made several beads out of Mermaid and I like them all.
There is a fourth color that arrived this week that is a remake of a previously released green called Commando. I was told by CiM that too many beadmakers complained that Olive and Commando were too close in hue, so Commando was reformulated and the result is a drab camouflage green that looks a lot like what the plant “Green Sage” really looks like. The reformulation of Commando has given the lampworking community yet another green thathasn’t been available until now which I think is great.
I have been thinking about the holidays lately because of the weather change and I thought I would talk about Great Christmas Colors for lampworkers that I like for Christmas projects.
If you have made beads for any time at all, you are probably familiar with how difficult it can be to get a great Christmas red to make all your Christmas projects out of. In my experience as a lampworker, I found it next to impossible to find a transparent red that wasn’t too orange or that didn’t turned kind of brown after you worked it in the flame for a while. Not to worry, CiM – Messy Color has a great transparent red called Sangre, which is a true Christmas red.
Another great Christmas color that was just recently introduced by CiM – Messy Color is a transparent green called “OZ”, which as it turns out is a perfect green to pair with Sangre to produce the green and red that is the hallmark of most Christmas themes.
I have been making some snowmen for the holidays out of glass, and I think CiM – Messy Color “Peace” is a perfect white for making anything that is snow orientated. The combination of “Peace” and “Sangre” is perfect for making glass candy canes and other white and red holiday objects.
Flameworking shaping tools is an interesting subject that comes up often in conversations with other artists who like to work in hot glass. There were no tools to speak of when I started flameworking and I find it delightful that a cornucopia of tools have become available to flameworkers over the past 20 years. Here are the Tools for Shaping Flameworked Objects.
When I first started flameworking I only had a graphite marver that I acquired from a scientific borosilicate tool supplier. I started out with a 5″ x 3″ graphite marver, thinking that bigger is better but I found it very heavy after awhile and switched to a 2 ½” x 1 ½” marver that I use to this day.
You can make a lot of different shaped beads with just a small graphite marver plus a pair of mashers. Oh yeah, there were no mashers when I started and I had my first prototype masher made from a cut off pair of pliers and two squares of metal welded onto the pliers. My first prototype pliers were better than no tool, but today there is a plethora of mashers available on the market and I like several of them. The big deal with mashers besides the size is whether
they produce a parallel mash when you use them. My two favorite mashers are the Adjustable Parallel Mashers (#325202) and my second most favorite are the Adjustable TP Mashers (#325204) which are great for people that find the Parallel Mashers hard on their hands. The TP Mashers also have many interchangeable graphite pads like the lentil, small radial head, large radial head, a square head and the ever useful flat head that can be changed out with the use of an Allen wrench that comes with the TP Mashers.
There are many different metal bead mashers on the market (mashers that produce the same size and shape bead every time) and I think that the lentil shape is the most popular of these, though there are many beadmakers I know that are tool junkies and have all the different bead shapers.
You can get bead shaping tools in graphite also that have grooved shape in them that make producing the same size and shape bead easier for people making sets of beads and or marbles.
There are a bunch of other glass shaping tools available for flameworking that are very handy. I love my Stump Shaper (originally designed by Loren Stump hence the name) which is a wedge shaped paddle made out of brass (also available in graphite – #306522). The brass shaping tools allow you to really push the hot glass around where the graphite tools are kind of slippery and not as effective as the brass tools for pushing.
There are smaller brass and stainless steel tools for making smaller impressions in hot glass. There is a brass tool called a Stick Shift and some stainless steel probes and small paddles that came out of the dental tool market, for instance.
One of my all time favorite shaping tools is a single edge razor blade mounted in a craft knife handle. I use this tool for fine lines in sculptural beads and to make melon beads. I started out using the dental paddles to make the small dents, but found that the razor gave the cleanest mark and didn’t stick to the glass if you kept it from getting too hot.
I can’t forget to mention the different tungsten probes that are available for flameworking. There are three sizes of the straight probes for poking holes through glass or making dents and then there is the tungsten rake that works very well to do controlled feathering on beads.
The lampworking technique call Feathering has been in use for hundreds of years by Italian lampworkers and I think it is very useful for decorating beads.
There is several ways to do feathering on a glass bead. One way to create a feathered design is to lay down lines on your bead with a stringer. The stringer lines can be wrapped around the bead in a spiral from hole to hole on the bead and melted enough to keep it from popping off while you are feathering the other side of the bead. I use a 1 1/2mm stringer that is the same color as the stringer lines and it is about 6 inches long. To make the feathering marks, it is best to heat one side of the bead at a time to prevent moving to much glass as you drag the molten stringer lines. At the end of each drag (if you are doing the hole to hole kind), take the glass that will be clinging to your dragging stringer and make the glass go around the end of the bead which gives your feathering lines a very finished look. Continue around the bead making the feathering go back and forth which usually takes about four passes to complete the whole bead. The bead will always get a little distorted from the feathering and will require some reheating and shaping.
You can make very pleasing leaf patterns on your beads using the short stringer to feather your bead. There are two ways to do feathered leaves: The first can be done by placing two dots of glass next to each other (about ¼ inch apart) in a row and then marver them down a little before you heat a manageable section of dots and drag the stringer between the dots. This technique draws the dots out into a garland looking decoration. The second leaf pattern can be produced by taking a stringer of a leaf like color and laying down a squiggle where you want the leaves to be. Heat and marver the squiggle down a bit to keep it from popping off while you are feathering, then take your 6 inch stringer and drag it down the middle of the squiggle in manageable sections. This technique produces very fluid looking leaf garlands.
A feathering stringer can also be used to produce swirls in color lines on a glass bead. To make a swirl, heat the spot you want the swirl to be and insert the stringer and twist it. At this point, you must wait a few seconds to let the glass stiffen up which will make it very easy to snap off the stringer that is stuck in the middle of the swirl. You can also place five or six dots in a circle and heating the center of the circle, insert the feathering stringer and spin it which will make the dots swirl around the center dot made by the stringer, producing a swirled flower design.
Another way to feather designs into hot glass that produces a more controlled look, is to use a bent tungsten pick. I use the bent tungsten pick when I want really crisp points in my feathered design. I love my bent tungsten pick, it has so many uses and gives you so much control over the molten glass.
I use the tungsten pick to produce zigzag feathering, where I have laid stringer color in strips from hole to hole around my bead. You can use zigzag feathering in lots of design situation, with pleasing results.
I hope this short blog on feathering will inspire other lampworkers to give it a try.