Posts Tagged green
Indian Summer is an interesting one – it’s a striking amber.
I took an on-mandrel pic to show the striking.
Here are Indian Summer and Dirty Laundry spacers. Indian Summer didn’t etch particularly consistently – the very dark bead appeared to etch more. Dirty Laundry is an opal white, and looks as expected here.
I expected both of these colours to be reactive so had hope for the silver glass results.
The bead on the right here shows that Indian Summer is not good as a surface encasing colour – it just gets too dark, especially as this bead had a core of Indian Summer as well. The silver glass in that one was Luna 2.1 which is mostly transparent and you can just see some streaks round the middle. The other two beads had a core of 006 clear, encased in Indian Summer, then Luna 2.1 scrolls on the left and Boreas dots in the centre bead. Both promising: the Luna 2.1 scrolls have sharp light edges in some places and fuzzier edges but a defined centre in others – those are the purpler more transparent areas. The Boreas dots have a concentrated very shiny centre, then a ring where it appears the Indian summer has displaced it, then an outer ring which has a shiny area and then a dark sharp outer line.
I then did a pair which have an Indian Summer core, a spiral of silver glass and encased in 006. Very interesting! Boreas is on the left – the core looks extremely dark and the boreas is a dark blue with bright green edges fading to brown. (Ignore the grey bubbles at the bottom – the end of my clear was dirty and I didn’t notice until too late).
The Luna 2.1 bead (right) is the usual pinky-purple and has developed blue-green lines and haze in the centre of each spiral. The edges of the spiral are the lighter amber areas.
Luna 2.1 scrolls on the left, Boreas dots on the right. Both colours get some slight outlining effects, but what is most interesting is the different ways the base has fumed in each case. Under the Boreas, the Dirty Laundry has gone a cold yellow-green, while under the Luna 2.1 it has flushed a warm colour. (Boreas isn’t a great colour to put over pale white or tan opaques because as a transparent purple it will always show brownish).
These next two are fabulous though.
These are both encased in 006. The silver glass in both cases has a mottled and feathered look with noticeable edges. The Boreas on the right is blue-purple and the Dirty Laundry underneath has fumed a darker caramel brown. The Luna 2.1 bead on the left is lovely. The silver glass has again formed dark then light lines in the centre, and the darker amber lines are the gaps between the spirals. The Dirty Laundry hasn’t fumed very far though, leaving cloudy white ends which I love.
Here you can see the Dirty Laundry parts of the Boreas bead – they have still fumed somewhat tan and have darker outlines rather than the fuzzy ones with the Luna 2.1.
Finally, a silver glass pair on Ogre.
Luna 2.1 scrolls and Boreas dots, as before. You can see slight separation lines around the edges of the scrolls, and the Boreas dots are again very shiny and have sharp brown rings around them. Around the beadholes has also tended to go brown. Quite interesting for organic beads.
These are both very pretty transparents.
Limelight is a clean, cool green with no hints of yellow. Charlotte is a warm pink that is saturated enough to hold its own. I don’t think we’ve had anything else in 104 quite this colour (not counting CiM’s Paris, out at the same time and very similar). Both have a tendency to develop microbubbles, especially Charlotte – if you heat them further out they may get fewer.
(The last Charlotte spacer was half out of the etching liquid on this side – I left it like this because I liked it).
Here’s a comparison with a couple of other pinks I had to hand – Lauscha transparent pink is a baby pink and cooler in tone than Charlotte. I think the very pale one is Effetre rose quartz 067 – it is definitely Effetre, and their transparent pink tends to be a little peachier most of the time. You can see how well the colour shows in the etched Charlotte. I’d call this a cherry blossom colour. (The dark violet is just there because it was on the same string as the pink).
I then tried encasing silver glass with these transparents. I’ve been using Boreas for this for a while – it is a transparent reducing purple. This time I also added Luna 2.1 which is a mostly transparent striking colour.
This is a core of clear encased in Double Helix Luna 2.1 (left) and Boreas (middle and right) encased with limelight. I did two with the boreas because I had an insufficient reduction moment with the middle bead. The limelight is pale enough that you don’t notice it much. There’s some good electric blue from the boreas on the right, and you can see the range of striking that Luna gets, from opaque yellow to transparent pinky purple. Probably not the best use for limelight, just because you can’t really tell it is there and it doesn’t appear to be affecting the silver glass.
Above is a second view of the limelight beads.
I did the same thing with Charlotte – this time I did two Boreas beads because the thicker encasing on the rightmost bead just ended up a murky green-brown. The middle bead has a thinner encasing and you can see some hints of pink at the top, while over the most reduced areas it is still the weird greenish colour. Silver tends to fume pinks brown – I don’t think I’ve ever tried similar with a transparent pink before. Luna 2.1 on the left is a better match – the pretty pink wisps inside go with the encasing. On the whole, you probably want this glass to look like itself rather than use it with silver glass though. (You can also see some areas of the microbubbles on these beads – once they’re there, you can’t get rid of them).
Continuing my writeup of the September batch of new CiM colours, here are a pair of opaque greens: Ogre and Leaf Men.
Ogre was a remake of Tortoise that came out an entirely different shade – I must say, I love it more than Tortoise. The light green and warm brown it develops are a lovely autumnal combo, cleaner than the purple that Tortoise gets.
I took a picture on the mandrel so you can see how the spacers struck. (Making more than three spacers of this size on a mandrel does not work for me – if I do more and let the early ones cool, one or two will crack, no matter how careful I am not to let the flame brush the first ones. So I do the ‘keep all three warm’ method and they survive). On the mandrel with three Ogre beads, the one nearest the end went into the kiln a light grey-blue, which is the colour this looks when not struck at all – it went green in the kiln.
Ogre gremlin on its own: multiple strikings on areas has given the pinkier brown.
Ogre and Leaf Men spacers side-by-size. Ogre is lovely and soft etched.
Leaf Men is streaky as you would expect from green and nicely… leafy. Not bright, not olive.
Leaf Men gremlin:
Here are some more bags for Beads of Courage that I made in October.
Two in green camo-print and another red car bag.
Here we have a swan, a blue and peach swirly feathery design (I have a fair bit of that, in odd-shaped long thin pieces – it’s an 80s possibly-wax-print fabric), and a gold on beige patterned bag. I really love the way that one looks with the burnt orange I used to line it.
Rearranged so you can see the feathery one.
I’ve just received some Designers Guild kids range samplers (also Scrapstore), and there are some really lovely and cute pieces in there, so I will be making bags from those next.
I also made myself a new pincushion – since I have two sewing machines now, I keep finding my pincushion is at the wrong one… (My current pincushion is one I made at primary school – two squares of felt hand-sewn together). This is a Scrapstore fabric that I’m hoarding somewhat since I love the design, suns and planets on red – I decided to use a little bit of it to make something for me.
I stuffed it with thread offcuts – I keep those along with trimmed frayed edges and other tiny little unusable scraps in a box for this kind of thing.
I also did a little experimenting with fabric paints – the ones I used here are Pebeo paints, but I also have medium to add to my normal acrylics, and I have some Procion dyes. Paint sits on top of the fabric so makes it stiffer – I thought of using dye for most of it and then possibly adding thin lines for illustration with paint, if I want to illustrate it. I was just doodling with this to see how the paint worked. (White fabric also from the Scrapstore). The frame is a quilting hoop that is very handy for this – I noticed that The Works had small hoops when I was there, so got a pair of those too for smaller pieces of fabric.
New colours to test! These are the three that I picked out first, pretty autumnal opaques.
Moccasin is the milky mocha brown, Autumn is the peach, and Eucalyptus is the muted green.
They don’t strike differently when making multiple spacers – all very uniform colours.
This Moccasin gremlin has a little bit of Autumn on the shoulder – I wanted to see how much they stood out against each other. Moccasin was nice and smooth to work with.
Autumn is a really lovely colour (there are not many opaque peaches!). It does have tiny micro-bubbles that come to the surface, pop, and leave little marks. These did not show up in the spacers, but do in the gremlin, particularly on the back. (There are a few on the front too but they are less obvious). The rod was also fairly shocky for me – it shot off a number of hollow cone shapes when returning the rod to the flame (rather than solid chunks, which is more usual).
Back showing pits from micro-bubbles.
Eucalyptus is a faded blue-tinged green. As a sculpture there’s a tiny bit of streaking in the colour on the flatter expanses, but not much at all.
I then made some rounds to test reactions. These are all over cores of Effetre 006 clear to make them go further. This pic has them in pairs, moccasin and autumn bases with the same treatment (apart from the rightmost two, which are moccasin bases with dots of autumn or eucalyptus).
Here are all the moccasin bases together.
1) Two wraps of fine silver wire. It has darkened where the wire has actually melted in, but not fumed the rest of the bead.
2) Copper green dots. They have a crisp line round the edges and the copper green itself has greyed up a little (haven’t soaked these in anything to remove it) but there’s not much else going on.
3) Covered in fine silver leaf! This has a greenish sheen.
4) Autumn dots. This has made some streaks in the moccasin underneath, otherwise clean dots.
5) Eucalyptus dots. Very smooth join between the colours – nothing has spread or shrunk.
The autumn bases:
1) Two wraps of silver wire. Again very little fuming.
2) Copper green dots. Same effect as moccasin.
3) Fine silver leaf – colour is brownish as expected.
So, moccasin and autumn are two fairly unreactive colours that keep their original look and smoothness most of the time. Should test for silver glass bases.
This is a gorgeous colour – a bluish grey that isn’t entirely opaque. CiM have it described as an opalino – it’s less opalino than some. From the rod you assume it’s opaque, when working it remains looking surprisingly transparent, then when it comes out you have a slight softness to the surface (and a lot of lovely mottling, for me anyway!)
Spacers: the right two are etched. The darker spacers had more glass added right at the end and not struck so much – it goes lighter, bluer and more opaque the more it is worked.
The gremlin has come out similarly: not very much difference from the longer working time – the lips are lighter and the mottling is less visible on them.
This egg got plenty of mottling while being worked. The stripe is Effetre white, which has feathered into the grey and started swallowing the thin caboose stripe. The dots are tortoise and have kept crisp edges though have reacted in the centres. (French grey is an excellent egg colour! Adds all the interest itself).
I know a lot of people were intrigued by this one! Described as a blue canyon de chelly and with the ability to strike different shades.
My spacers came out different shades, but mostly on the green side. Etches fine and is pretty that way.
My gremlin has more variation, with that blue-purple that came out in the middle of the lips! The eyelid tends a little more to blue as well.
This needs testing with silver glass as well, to see what happens there.
This egg is a base of caboose (no devit issues this time) over 006 with tortoise dots – they’ve stayed lovely and sharp on top, without very much variation.
I got a lovely big pile of new colours to test and then had kiln controller issues, which means so far I have only had time to try these two!
This colour surprised me! Look at the difference between the rod colour and (most of) the beads. Those spacers were batch annealed because of the aforementioned kiln problems, and before they went in the kiln they were much more like the rod colour – still swirly with transparent and less transparent areas, but a yellow ochre rather than a green ochre. The gremlin went into the kiln straight away, and they all came out like this! Which frankly I find far more interesting.
A spacer close-up: I etched the left two. I’m not what I did to the warmer-coloured one differently than the others – struck it less? The stripe round the middle suggests I added a small last amount of glass to match size with the previous one. (Which I did, though I couldn’t tell you with which bead).
End-on: those green variations make me happy! The rightmost bead in particular: I just find the distribution pleasing.
I made a gremlin with little red flowers. You can see it’s opaque enough as lips and eyelid, but there’s still glow and reflected light from transparent/translucent areas. The feet are yellower and more transparent – they were done towards the end, just before I added the vine, so they get much less in-and-out of the flame. There’s an area on top of the lip that’s gone yellow again too. That’s next to where I heated and raked a bit of the vine, so that’s consistent with it being the initial colour and the green developing as it strikes more, unless you reset it.
Overall, the swirliness and colour differences remind me of some of the Vetro odds, but a lighter, non-cored colour. I’d like some more, which I hadn’t thought I would from the rod alone.
This is a coral red. It does look slightly darker here under my halogen light than under incandescents or sunlight, but it doesn’t change nearly as much as some reds. It’s pretty uniform and not streaky, which can again be an unwanted issue with many opaque light reds.
Spacers, left two etched.
A little gremlin with steely blue flowers.
This one’s quite a small gremlin!