A Little Eye Candy

Just a little eye candy - some organic pendants I have been working on. Still have quite nailed what I want from them yet - might have to try some transparents next.

Caliente Cane - Cranberry

And from deep in the stash, from a looooong time ago - Caliente glass - pulled rods of - I think furnace glass. I don't know if Caliente is still in business - there is a Caliente Hot Shop - but I don't think there is a connection - links I have found are dead.

Caliente was a 96 COE - so it sits with other incompatible glass in my stash - now that everything I do is one colour at a time, I can haul this stuff out and play with it.

This is a really pretty pink, no livering, very nice. The rods are skinny - stringer size actually. In theory - it should be a little stiffer, as a 96 COE, but I didn't really notice a difference.

I guess, when it's gone, it's gone for good. I seem to have a lot of that stuff now!

Unknown Lauscha Light Mint Green

I have this stash of Lauscha glass with no label - no idea what it is called. I know it is Lauscha because of the size of the rods - my stash all has these big, fat rods.

This is a translucent minty green in the rod, but opacifies in the kiln to an semi-opaque light green. The edges, that would have cooled more, are more opaque.

Extreme Copper Green

Wowsers! Are these ever extreme! I decided to just whack off a bunch, with minimal reheating, just melt, shape and toss in the kiln, under the apparently erroneous assumption that would get me less of the metallic blush. Um, not! In fact, less reheating appears to have resulted in more metallic bloom than less. Interesting!

Effetre 508 Yellow Opalino

Effetre Yellow Opalino - reminded me a bit of CiM Ghee.

The 5xx series numbering tells us that this is from the Effetre Opalinos - colours that have something of a bad rap for being shocky, tricky to work, pricier, and not fond of being encased. In fact - encasing them is a waste - they loose their ethereal quality easily that way. You may even run into compatibility issues with encasing them.

But I have always liked them anyway.

You can see that there is a shift in colour from the rod to the end result.

The end results is more of a maple butter, apricot, antiqued ivory than "yellow."

 Flipped over.

 Here is one next to the melted rod. You can see that the colour change is not apparent in the rod - so that these came out of the kiln as something of a surprise. They went into the kiln as a shaded from translucent almost clear to light yellow. While in the kiln - they took on a very dark aspect - which is what reminded me of CiM Ghee - which, as you may remember, starts translucent pale yellow, and takes on a toasted aspect.

That there are two distinct colour pairs is telling, I think. Two were done at the beginning of the session, and got a much longer turn in the kiln, about two hours more, than the two done at the very end of the session.

So I suspect that longer annealing or garaging makes for deeper colours, but as I didn't record which were done first, I can't say for certain.

I think I like the richer colour of the two deeper coloured ones better. If I can't have ethereal floaty translucent white to yellow, I'd rather have apricot butter.