CiM 511: Thunder Egg Ltd Run

When I test colours - I borrow a trick from the studio in order to keep track of the colours. In the studio - because we have multiple students using a common kiln, we ask everyone to "mark" their mandrels by putting a wrap of colour on the end of the mandrel. Student 1 will pick blue, Student 2 will use green, 3 will use red, etc. This eliminates the "whose bead is this?" "Did I make that?" and "I don't remember this one!"

I mark the mandrels and make notes in a book I keep by the torch.

It's especially good for those tricky silver glasses.





Sometimes, however it's good in other cases too ... .


This is CiM Thunder Egg. Ooooh - pretty colour - like paler version of Poseidon.  Thunder Egg below, Poseidon on top.

 Let's just whip off a couple of beads. Pull 'em out of the kiln the next day. Hmmm - wait a minute. Recheck notes. Two self spacers, 3rd, white core, encased Thunder Egg, with raked pattern of silvered ivory. Thunder Egg. Blue.

Hmmmm. Not blue.

 

Ahhhh - maybe check CiM's website. Thunder Egg - an Opal Light Sky Blue - click for more. Ok, clicking on more and wondering wtf ...

" ... strikes to a grey to mink colour"

Well - whaddya know? There is, in fact, almost no trace of the opal sky blue, and it is pretty thoroughly Mink coloured.

Some folks report that Mink plays well with silver. I guess that I should try silver with Thunder Egg and see what happens.

Wow - flat out one of the most completely unexpected colour changes I've ever had.

 

I guess the question is now, how to keep it blue. Because the Creation is Messy page show samples that are blue or only partially struck.  So there has to be a way!

Ooooops! Meltdown!

Well - it happens to everyone eventually. Either the kiln, or the operator, fails and ooops - the temperature goes too high and you ruin a kiln full of beads.

So it was inevitable that it happened to me at some point. And it just did.

I was just heading past the kiln, and I looked at the temperature as I went by, and instead of a temperature, it read:  "HTdE."

Hmmm. That's not normal.

Cracked open the kiln door - woo boy  - it's glowin' like Chernobyl in there. The beads have actually dripped off the mandrels, and melted into a big free form plate (proving that glass really does want to be 1/4 inch thick).

Not good. 

Ok, turn kiln off. Look again. The glass has flowed all over the floor of the kiln and the mandrel rests. The beads are one big puddle.

Nothing here is salvageable - let's try and mitigate the damage to my kiln.

Pull the mandrels out and put them aside - on something non-flamable, please!

The glass however - that's a lot of heat. Fill a bucket with water.

Pull the kiln rests out with the long tweezers, and take outside and dump into the bucket.

Inside the kiln, a few "cabochons" of glass remain - but some poking with the tweezers frees them from the floor of the kiln. Never did get around to putting on that recommended layer of kiln wash that all the books say you should put on the kiln floor for just such an emergency. Fortunately - the kiln floor was fairly dirty - which made it easier to get the glass off.

Here's some pictures so you can see the gory details.

These are the mandrels - sans beads.  :-(

My glass encrusted mandrel rests. Notice how nicely it goes with the autumn leaves?

 Pulling it out of the bucket.  A metal bucket would have been better, but I was in something of a hurry at that point.

See - it pays to not sweep out the floor of your kiln. You can see the accumulated flaked off bead release on the bottom of the glass. Once again, being lazy saves the day!

The error message, HTdE, btw - is High Temperature Deviation - meaning the kiln overshot it's target temperature by more than 100 degress. Possibly due to a stuck relay. I will be watching the kiln like a hawk for the next little while.

Or possibly because I accidentally turned the kiln off, restarted the program, and didn't give it time to establish what temperature it was at before telling it to Skip Step. Seems to me I saw this happen before - it just didn't matter because there was nothing in the kiln at the time.

So - give it a few minutes if you have to restart the program on the kiln, and never forget to check the temp occasionally - just in case.

Effetre Silver #4

After I posted about the new Effetre Silver glasses - someone posted in the comments that they understood that the point of these new glasses was to work well with silver and silver glasses, not that they have a high silver content.

So, I had another go at it.







This is a spacer of Effetre Silver #4,  with a center line of silvered ivory, and transparent dots on either side of the line. Melting the dots down "pushes" the silvered ivory into the distinctive wave form.

This is just silvered ivory on #4. The silver has fumed the #4 into a warm, chestnut colour. 

 This is Okeanos over #4.

 This is a hodgepodge of: clear core, encased w #4, squiggles of silvered ivory and okeanos. Melt them in, apply a lot of heat, mash and reshape, and more trails of okeanos. It's kind of a muddy mess, I'll admit.

This is a base of ivory, wrapped in silver foil and melted in. Rolled in Electra frit, some Okeanos on top, more frit, and reduced. Well, what do you know. I apparently forgot to put any of the #4 in it at all. Sigh.

 The rainbow effect of the Okeanos "flames" is pretty cool though.

Do I have a conclusion? Well - the #4 does fume up like crazy, and goes some nice colours. Am I really excited about it? Not yet. It's not bad. It just has to turn blue or purple in order for me to get really excited. Green and brown I can do any day.

CiM 207: Daffodil

With a 200 series number, we know that CiM has classified Daffodil as an "orange" - instead of a yellow. This is the classic "schoolbus" colour - it looks yellow - until you put it next to something yellow - in which case - it is obviously orange. Then you put it next to something orange, and it is, of course, obviously yellow.

Schoolbuses and pencils. That colour.

And see what I mean about CiMs not shifting - the worked colour is very true to the rod colour.



It's a wonderfully creamy colour to work. A true opaque, and buttery to melt.

You can see from these two, it is a little streaky.

It's fun to work. Very creamy. 

CiM 301: Canary

I've tested this before, CiM Canary, and nothing has changed. The glass from Creation is Messy is wonderfully consistent, and the yellows, oranges and red are much more "what you see is what you get" than the same colour ranges from the Italian manufacturers.

It's a pure yellow - not quite as intense as it might be, owing to it being translucent instead of opaque. 

I wonder what it would look like in an encased cane, over a core of white, or maybe over something else, and used as hair for a mermaid or angel. Hmm.

I didn't have any problems with it boiling - but this style of bead is not worked hot. 

Mystery Mustard

I was over at Nortel the other day - rooting around through the glass - looking for a Banana Yellow. I wanted a bright, happy yellow, with no orange, but more banana than hi-lighter colour.

I thought I might struck gold, or yellow, so to speak with this glass. The rod appears to be the right colour - and Jean told me that it was an odd lots, she had multiple pounds of it, and would let it go cheap as she didn't know what it was called.

Score. So I took home a few rods to test.

Sigh - not bananas. Unless you think "bananas just before turning black and squashy." More of a mustard colour. Dijon mustard.

 Oh, and btw, this is why I am LOVING the new Foster Fire. Those loose beads FELL off the mandrel. Just slid off without any provocation. Woo HOO.

The Mystery Mustard is a slightly translucent colour, and would probably look a little brighter over a base of white. But for my purposes - it is not bright enough. So, if you love it - call up Jean and score it while you can. She has a few pounds of it, and is anxious to move it out! 

It's so frustrating with the Effetre and Vetro yellows, oranges and reds. They all shift a little in colour.

Just for fun: Obsidian + Silver

Another, just for fun, eye candy sort of a post. These beads are a core of CiM Obsidian, a layer of fine silver, melted in,  reduce, and encase with clear.

 This one has spirals pressed into the clear. There is also a cubic zirconia in there.

This one had some fine silver wire as well, just for fun.

Double Helix Terranova

Either the search function on this blog is not working worth 5h1t, or I haven't reviewed Terranova before. Which strikes me as weird. Cuz I've been using it for a while. It's a great glass - I've been using it in the Dragon Eyes for a long time.

Anyway - I was just making some beads for fun - something that I haven't been doing very often and something that seriously needs to change - and I made these. A core of Terranova, marvered, and encased in clear.

The droopy one was deliberate, btw.

Large range of colours, purples and reds. Very dramatic. Easy to get the colour too. I like this glass a lot - can't think why I haven't talked about it before.

Or, as I said, the search function is just broken.

Experiment: Hadar's Quick Fire Clay - Rose Bronze on a Lampwork Bead

 Ha - I told you I would try the bronze as well. 

This is a metal clay product. In case you are completely new to jewelry, or have been living under a rock for a decade or so, you can buy clays that are largely metal. When you fire them, the binder clay burns off and they "sinter" and become all metal pieces. It's very, very cool. There has been lots happening in the last couple of years with non-precious metal clays being made - that can actually be afforded by mere mortals. The sky-rocketing price of silver has forced the price of the silver clays into the stratosphere, and that they are distributed by the manufacturer in a manner that is much more like multi-level marketing than it is like regular wholesale/retail process hasn't really helped either.

Anyway - I thought I would try some of this on a bead. As I did in my previous experiment - I made a core bead, rolled it in the powder, and applied heat. This one was not quite as difficult to get the bronze to stick as the copper. But the end result - well - it puts the ugh in ugly.

 For my next attempt, I did the same, base bead white, roll in powder, but I encased this one. Some cool hints of red in there! This one did not crack either.

 With the first experiment, I encased the bead and it cracked all to pieces - but just the encasing. This is the copper powder again, but not encased. When it was hot, I could see some hints of green (on the right, below the mandrel) - and while the bead did not break - lordy - it ain't purdy.

So - I tried it - meh. Not getting anything I think is worth pursuing. I can get nicer results using pieces of copper metal.

Effetre Silver #1

 Another Silver glass from Effetre! This one labeled "#1."


Again, I had no idea whether I had a striker or a reducer on my hands.







This is a core of clear, heat the #1 to clear, and encase. Cool, and strike. I thought I saw some purple on it at this stage - but it disappeared. I reduced it, and no change. I encased it in clear - no change. I mashed it, and used the spiral press.

This one is a clear core, encased in #1, cool. Heated to clear, cool. Kilned - I notice that it struck to this dark amber colour as it cooled. It has a slight haze to it, hard to spot in these photos. 

I don't know. Did I over heat it? It's a nice smokey topaz, but am I supposed to get excited over it? Maybe it would be better combining it with something that reacts with silver. Maybe trails of ivory.

Not unattractive, but rush out and stock up? Needs further research before going there!

CiM 405: Emerald City

 Don't know how I missed this one - this is CiM Emerald City.

It's a very dark green - lovely colour once spread thin.

The two beads on the left are self coloured, the 3rd from the left is over white, and the one on the right is over clear.

Lovely shade of green - but so dark it is almost black. Use for encased stringer or other thin applications.

Effetre High Silver #4

 Looks like Effetre (Moretti) is taking a run at the high-silver or silver-saturated glasses. And why not, why should they miss out on all the fun?

This was labeled "#4" - so I don't know what the name is.

What I can tell you is that reducing it hot or cold makes a big difference!





This is a clear core, encased in #4. At this point - I didn't know if I was dealing with a striker, or a reducer. So I heated it to clear hot (mostly, anyway), and then struck it. Didn't do anything. So then I tried reducing it. It quickly developed a metallic surface. I reduced it again. Et voila!

Still checking for striking, I made the two on the left, heated to clear, then made bead, and the two on the right, I made much cooler. I struck all four, and then reduced the two on the right. Which you would never guess from the colours.

 Here, all three have a clear core, and encased with #4. The one on the left was reduced hot (while the bead is still glowing) and the two on the right were reduced cool (wait for the bead to stop glowing before introducing to a reduction flame.)

 

In cross section, the rod has multiple layers (rings) - so I'm not sure how that effects the colours you get either. The colours I got are interesting, but I think further practice with this one is in order to see if I can get anything brighter, less moody-broody.

Goldstone Stringer

If you make your own goldstone stringer - have you tried making it with an encasing colour OTHER than clear?

This is handmade goldstone stringer, encased in Rubino.

Who'd a thunk it?

I got this from a couple of different classes I've taken. Maybe everyone but me knew about it.

To make your own goldstone stringer, buy a chunk (or chunks) of goldstone. Select a piece about the size of a walnut, or perhaps a little smaller if this scares you.

(If your piece is too big, wrap some sturdy fabric around it, a chunk of leather is great, and put it on the floor and hit it with a hammer.)

Pop it in the kiln to warm up - you don't have to put it in a cold kiln, just put it in the kiln at your regular temperature, and let it warm up for a while. 15 mins or so - longer is ok. (I once put a piece in the kiln, forgot about it, was reminded when I emptied the kiln, left it there, forgot it again, kept doing that for a week! It was fine!)

When you are ready - punty onto the chunk in the kiln. To do this, take a nice long piece of clear, melt the end, reach into the kiln with the clear, and stick it onto the chunk. Take it out of the kiln and go to the torch. Start way out at the end of the flame, warming it.

You want to warm it enough to soften the goldstone and refine the shape before encasing, as it is probably pretty lumpy and irregular. Warm it slowly and keep it moving. Don't let it start to glow red, especially on the edges. As soon as it is soft enough to shape, squeeze it into a brick with your mashers. As it approached the right temperature to work, it will look dull and dark - but it will be soft enough to move, BEFORE it starts to flow and glow. This is important. If you get it all flowy and glowy before encasing - it will not have as much sparkle. Continue to work up in the cool, end of the flame. Patience is key here.

As soon as it is mashed into a shape that is reasonably regular and that you can encase, go ahead and encase it. As I mentioned, it doesn't have to be with clear. These pics show Rubino Oro over goldstone and it is pretty fabulous.

Once it is encased, add another punty (handle) to the opposite end, and now you can start heating. Again, the appearance of the glass will be deceiving. It will stay looking dark for a long time while you drive the heat into it. (It's ok to go for glowing now.) Be sure and wait until it is soft right through the middle before you pull - so that you get a nice, even stringer.

Don't use goldstone beads that you might find. While these are the same thing - Goldstone - you don't know if it is the same COE - if it is compatible or not.

Why make your own? Other than cost? Commercial goldstone stringer tends to be less sparkly, and of course, doesn't come in colours. It can be hard to find too. Goldstone rod - also encased, but a thicker rod - sort of like filigrana - tends to be as shocky as all get out. The flat ribbon is fabulous, but, colors, cost, etc.

So, if you have that chunk that you bought a while back, and haven't worked up the nerve to use, it's time to dig it out, warm it up, and encase it to make something fabulous!

Nice, eh?

Nice, eh? What is it?

Not sure.

My NOTES say that it was Belladonna Aqua Splash - but I'm not seeing ANY hint of the underlying transparent aqua - so I'm not sure I believe it. Might be the wrong mandrel.

Anyway - they are pretty cool - so I thought I'd share them any way. ;-)

Belladonna: Aqua Splash

Belladonna is a Boutique glass - just offering a few, select, specialty colours. This is Aqua Splash. It is an intense aqua colour that reduces.

These are 5 self-colored spacers - all reduced. 

This is a base of white, with stripes of Aqua Splash, then reduced. The white has fumed to a dark ivory colour. The Aqua Splash kept going muddy on my, and I had to unreduce it a number of times. Finally, I got it to reduce in a manner that I didn't hate.

It's not so much a metallic reduction as more a misty/cloudy type effect. With some hints of iridescence.

Torch Test: Bethlehem Alpha: Second Impression

I wanted to see how the Alpha would perform with a single oxygen concentrator.  Not everyone has two of them under the table!

This is the Alpha on a single, 5 litre oxy con. While it does melt glass and make beads - I would find it frustrating to work this small.

  And here - the bead has struck - it's Rubino.

You can get a wicked sharp flame - so if 10 mm x 6 mm beads are your thang - there you go. Personally - I would be gnawing a leg off with frustration.

--

These were both done on the Alpha using just the 9 litre oxygen concentrator. There was easily enough heat for this small sculptural bird skull, and also enough to make the 4 rather lumpy - deliberately lumpy - spacers. My intention is to sand-blast these for an even more bone-like look.

I thought I would see how it does with boro too. For this, I turned the second concentrator on - so this is a 9 litre plus a 5 litre. I'm not sure how much difference the 2nd concentrator actually made. Anyhoo - this is a boro icicle. It's not very large - see second picture for scale - and it's not particularly wonderful, because - well - it's Boro - and I don't do boro - so what the heck do I know. But it did seem to be melting it adequately.

Overall - the Alpha pumps out a lot of heat - concentrated into a small area. The reversed controls from the Nortel torches that I am used to are annoying to me - I have to think very deliberately before turning the torch off - but that's just because of what I am used to. It has the capacity to make a very focused, tight flame, without it getting turbulent. I think this is a good choice for those interested in detail work. It really does want the bigger concentrator, though.

Making Better Flowers & Leaves

Want to make your flowers and leaves more realistic looking? Here's a video that will give you a deeper understanding of how petals and leaves grow and form patterns.

It's not glass - but it's good stuff and anything that helps you understand the world is a good thing. ;-)

Plus, I think it's just really, really cool.

Effetre 756: Rogue

 Rogue - an interesting streaky grey - streaked with browns.

Not sure if this is a reaction, like a reduction, or a streakiness. Any way - these four spacers are just wound out of Rogue. The grey is a sort of a blue grey - and the brown streaks - which are variable - almost like a transparent - add a very interesting and organic touch.

Normally - I would assume this is a streaky glass - but something about the end of the partially worked rod just has me wondering about that.

Anyway - interesting colour and bears further experimentation.