CiM oz is an emerald green and cranberry pink is a deep reddish gold pink, CiM’s version of rubino.
I don’t have a lot to say about oz – it’s emerald! A very nice emerald too. I have plans to do a nice big side-by-side of all my greens, but that requires a bit more organisation. Here it encases a core of CiM soylent, with white scrollwork on top and emerald over white dots.
I decided to do a head-to-head test of cranberry pink vs rubino, and I threw in Reichenbach gold violet as well, because I had a rod handy. As you can see, gold violet is indeed more violet. Reichenbach also has pink lady, which is less dense, and gold ruby light which is lighter and peachier.
The white in these beads is Effetre. The left bead has tri-petal flowers, cranberry pink on the left, gold violet in the centre and rubino on the right. The cranberry is darker than the rubino in small dots.
The centre bead has the colours in the same order, over a periwinkle core, with white dividing stripes and little flowers. Rubino over periwinkle is a classic combination to get purple – I prefer the shade you get from it to the one you get from the cranberry pink. The gold violet gets something much bluer.
In the right bead I left out the gold violet. White core, cranberry pink on the left and rubino on the right, with 006 clear in the centre. It wasn’t obvious until I took it off the mandrel after annealing, but the cranberry pink has cracked in three places, going along the mandrel until it hits the white, then the crack sharply changes direction and stops. This has me suspicious that it may not be thermal, especially as I have read other threads of people having problems encasing both Effetre and CiM whites with cranberry. I can’t entirely rule out thermal shock since I spent a while shaping the ends of the bead, but I haven’t seen a thermal crack that changes then stops like that. Needs more investigation.
This is a bead with cranberry pink and oz over dirty martini. Dirty martini is a very handy pale dull minty green that makes a good background for all kinds of things, including reactive colours and frits.
Very final test: this is the classic colour reaction of rubino, opal yellow and periwinkle, over a black base. I decided to duplicate Jolene’s test which replaces rubino with cranberry pink and tests opal yellow against CiM stoneground.
The base in both cases is CiM tuxedo. The scum on the beads is either because I boiled the surface a tad, or I had some traces of silver leaf left on my marver – that’s totally my fault. The right bead is the original combination. Things to note: stoneground strikes more easily than opal yellow so is darker and less contrasting in this application. The cranberry is redder. In this case I prefer the originals, but I think taking care not to strike the stoneground too much would make them more similar. (Most of the time, stoneground’s easier striking is a very good thing). I didn’t replace the periwinkle because it’s cheap and available. The one I am using is Vetrofond.
Conclusion: cranberry pink is a deeper, redder colour than the batch of rubino I have, but is also rather more expensive. I prefer the colour of rubino for a deep pink, and also in the classic colour reaction bead. I am a bit worried by the cracking over white I got. I’ll try it again to see if it repeats. It is a beautiful colour in spacers, though.
Gold violet’s different enough from both to keep in my palette.