The problem with testing the silver saturated "special colours," like that glass from Double Helix, is that some of them just don't shine as a colour just by themselves. It's when you start using them as part of an over all scheme that some of them are truly stunning. And often, the variables there are so complex that you can be hard pressed to say just exactly which caused what.
Here we have Olympia Rain. Double Helix notes on their website that they improved this colour and created Aion - but have made a batch of Olympia Rain due to popular demand. With the caveat to not whine about seed bubbles and over striking, because that's why they made Aion. Fair enough.
By itself, it's a fairly nice misty amber colour. I kind of like the seed bubbles - seems to me that you could do a nice 3-d sculptural piece and nail the look of amber.
The colour seemed to develop with striking. The darker bead on the top mandrel was struck and reduced - not convinced that the reducing made it darker - I suspect it was just a longer striking process.
However, here, it developed a wonderful blue iridescence that ripples and glows as the bead is moved. You can actually see it in this photo.
This bead was:
- base of clear (stiffer, easier to control, uses up odds and ends)
- encase w black
- encase Olympia Rain
- mashed it
- noticed it was getting sort of muddy coloured in the middle. Guess that is the over striking.
- Added the stringer decoration - left over from the dragon eyes - so this is ... who knows what. Nyx or Kronos encased in clear is my best guess
- encased in clear.
- Mashed really thin. The muddy effect is not nearly as pronounced now.
You know - it really pays to take notes. If this blog has taught me anything, it is that the steps that seem obvious when I do them will have blended into the background noise by morning.