Posts Tagged lauscha
This 100 coe glass from Lauscha is mostly used for making glass pens. I was sent some to see if it would be useful to beadmakers too. I received some clear and some striped rods.
The striped rods have a core of clear, then a multi-stripe on two sides that is again thinly encased in clear. So the black and white cane has one stripe in black with a thin border of white and one that is white with a thin border of black.
One cane is transparent pink with three thin stripes of white on one side and the same with transparent green on the other side.
The last cane is red and goldstone, going black-red-gold-red-black on one side, and the same with white instead on the other.
I made some spacers first.
The black/white and pink/green work better as spacers, as the red and goldstone one turns out rather muddy because of the black in it. You can see that this is a blue-based black.
These are rather pretty beads – they do mimic the effect of frit painting, though, and I think they are less striking than the cane because you lose the sharp bands of colour, instead getting a random wispy effect. So they would be an easy way of making large numbers of these same beads, but with frit painting you have as many colours as you have frit.
For a compatibility test, I tried encasing Effetre black with the clear.
Cracks! This was what I expected to happen, really. The clear also developed quite a few microbubbles – it doesn’t feel as clean as the 104 Lauscha clears. It did melt very easily.
I went on to try with some Plowden & Thompson 100 coe glass that I have.
This is P&T vanilla with a spiral of the red/goldstone cane and then fully encased in the clear. I added raised leaves or flowers with the cane. No compatibility problems showing up here yet. (I will keep an eye on it for a month or so).
I think this is quite a pretty bead, but the visibility of the red and goldstone is very much diluted by the amount of clear it has around it. The leaves just have thin bits of colour in them.
If you have other 100 coe opaques, you can do more with this glass, but you are still up against the amount of clear that they have in them.
Finally, I made an off-mandrel squiggle.
Now, *this* is a good and different result! It keeps the sharp defined bands that are in the rod, and you can twist it to have them spiralling around. The beads have the problem that they could be made in other ways – you don’t need this cane for those effects. I don’t think the beads look as good as the cane does. I could also have pulled the cane down into twisties, but again I can make my own easily as you don’t need this level of precision in the stripes of a twistie because they even out when they are twisted and pulled down. I think this glass looks best when it is kept looking like the rods, so in sculpture.
My conclusion is that you can definitely use this cane to make pretty beads, but the ways you can use it are limited. It comes into its own if you use it for sculptural work.
Lauscha have made a new batch of SNT 219, the more transparent of their reds. I was sent a sample to test, and here are the results.
Firstly, this is an absolutely gorgeous red. The 05/13 is a darker colour than the 02/13 batch and it is a true transparent. I made a plain lentil bead first, and there is no mistiness or opacity developing at all. (The last batch began to go a bit misty). New lentil is in the bottom left.
You can see that in colour it is more like a transparent version of the old SNT 220 I have, while the other two lentils are a brighter red. The clarity and depth of colour is beautiful.
I did some layered dots: here we have a base of red, tehn dots in white and red. By the light shining through on the bottom right you can see that this bead is still transparent (it is harder to see that on this type of bead because the opaque dots block the light). You can see the dots show as orange when used so thinly and do not spread quite so much as the brighter reds. The dots struck and unstruck as I added more layers: it isn’t hard to strike them at all and in larger amounts no deliberate striking is needed.
I made two dotty ladybird beads – these have a core of SNT 219, encased in SNT 100 clear and black dots on the surface. You can see they are definitely still transparent. I then etched them to give a nice inner glow.
I made a rose to compare with the others. The difference in transparency is huge! This is still a true transparent. The edges of the outer petals have an orange cast – this is fairly typical since the glass is thinner there and is not worked for long. The heart of the rose shows as the darker red.
Finally, the new rose on its own!
I love this colour. Like all the Lauscha transparent reds, it doesn’t go brown when worked for a while and it’s also very easy to strike. And it has the bonus of being truly transparent!
I did make a few more beads with the reds at the weekend.
These lentils definitely illustrate the difference between the reds! I should have done them first, probably, but was having fun with the other designs. The difference in transparency between the new SNT 220 and SNT 219 is much more obvious here. They’re basically the same colour, but the 219 is far more transparent. I included the old SNT 220 for comparison.
Here I added a rose and stacked dot bead made from the old SNT 220. Again, big difference. The dots on white are darker and crisper, and the rose petals, while still transparent at this thickness, are noticeably less transparent than the other two. (I love how this rose has come out – am getting better with the shaping!)
I was asked to check how this colour behaved when mixed with others so made a few beads this weekend.
Here are the initial beads I made a while ago – the chromium green was used as the bulk of the body for all of these.
1. Two plain spacers, one etched.
2. A round with iris gold frit on the surface.
3. A gremlin with Wild Eye murrini eyes.
Chromium green comes in rough bumpy rods that are fairly brittle (but don’t seem shocky in the flame). Tiny subtle sparkly flecks can be seen in the surface sometimes.
My new tests:
The round bead on the right is chromium green encased with Effetre 006, then chromium green stripes on the surface.
For the long tube bead, I first mixed together chromium green and Effetre white into a stringer, then made the bead from that.
The two tiles at the back have bases of half-and-half Effetre red roof tile and sediment, then have a wrap of chromium green round the centre, one of silvered ivory on top of that, then another of chromium green. Those were melted in and the whole bead allowed to sag under gravity before shaping them into tiles again.
None of these beads have any incompatibility problems. I really like the tiles, may have to make more!
Lauscha sent me two new batches of reds to test. We have SNT 220 (07/02/13 batch) and SNT 219 (11/02/13 batch). I also have an older batch of SNT 220 that I included for comparison.
Here’s a nice labelled picture of them all. You can see that both new batches are fairly similar at a glance, and both are oranger and more transparent than the darker, tending-to-translucent old SNT 220. (I do very much like the old batch – it is similar to CiM maraschino in that it is semi-opaque when used thickly, giving a lovely depth of colour).
I’ll go over each type of bead side-by-side now.
First we have the spacers. I did not attempt any deliberate striking of these as I wanted to see whether they were auto-striking or needed a little more effort. So I just made four spacers on each mandrel and put them in the kiln. I was surprised how unstruck the SNT 219 ones came out, because they appeared darker when I put them in the kiln.
Verdict: unlike the old SNT 220, they definitely need to be deliberately struck. From the later beads, they don’t seem difficult to strike, but for spacers the attention needs to be paid.
These two beads were rounded off in a bead roller and have a wrap of Double Helix psyche, heavily reduced. (Excuse the iffy end!) This was the darkest red I got out of either colour. Both base beads are still transparent, though – you can see into them. The difference in outlines round the psyche is may just be due to the way it was melted in, rather than the base – it’s difficult to tell without further testing.
These two little beads show how they stand up to being layered. I used Effetre white to make stacked dots. The new SNT 220 came out darker than the SNT 219, which is very orange in the dots. Both had a tendency to unstrike between layers – the SNT 219 was trickier to stay struck at the end.
Finally, I made a pair of sculptural roses to see how they behaved when repeatedly heated and cooled, since these go in and out of the flame repeatedly as I add each petal. Both roses remained mostly transparent – the SNT 220 has a little cloudiness whereas the SNT 219 is almost perfectly transparent. The SNT 219 has stayed a little less struck in the centre and at the outer edges of some petals, which is a lovely effect in this kind of bead. Both are still orange-tinted reds.
Both of these are very nice reds. There was no tendency to go brown in either of them. I’d probably pick one rather than both as they’re quite similar, it’s just tricky to choose which one! The 219 is lovely as a rose while the 220 is better in dots and probably marginally easier to strike.
For further testing, I plan to make the same beads with my old SNT 220, and to make a plain lentil bead in all three of the reds. I may make a heart in the two new reds too.
I made two pairs of earrings this week. First I made a pair of little lampwork hearts with the luscious Lauscha transparent red (I love this, it’s actually semi-opaque when used in any volume, but keeps a whole lotta depth and juiciness).
#4 Red Queen
Red lampwork hearts by me, sterling silver.
I had another go with my rubber tube – I like spirals so made some with the frosted lime tubing. I had some little o-rings in tangerine that fit on the tubing so added those for some zing. Then I decided that I wanted little lampwork dangles in the centre, so made a pair of orange and green encased dotty beads. I messed around a bit with different types of endings on the brass – tried some spirals but didn’t get them centred in the orientation I wanted, so in the end I went for a hammered widened end and added a little green seed bead to stop the lampwork sliding off.
#5 Lime Twizzlers
Green and orange dotty lampwork beads by me, lime rubber tubing, tangerine o-rings, brass.
I think these could look good in a bunch of different colours.
(I also made the earring tree to have a nicer display to hang earrings on – the bit of wire I had hanging from my lamp was functional but doesn’t look great in photos! I might do another with enough wire for roots and glue it to a rock, but this one works)
52 little things links
• Craft Pimp Week 4 thread
• Linda of Earthshine Lampwork Bead and Jewellery Design: http://www.earth-shine.co.uk/
• Sue of BlueBoxStudio: http://www.blue-box-studio.blogspot.co.uk
• Jolene of Kitzbitz Art Glass: http://kitzbitzartglass.blogspot.co.uk
I’ve posted these test results in dribs and drabs on Frit-Happens and Craft Pimp: time to consolidate!
Lauscha blueberry is a new version of supernova that has more silver and is bluer in the rod. They sent me samples from several batches to test.
These are all from the 14.6 batch. They sent me a couple of pics from a glassblower – he got a fairly silvery sheen to the surface that I haven’t managed to get in beads yet. Not a solid mirror surface, but a transparent silver over the blue.
L to R:
1. Small round, formed in neutral flame and reduced at the end. I got a little wisp of blue around the beadhole nearest to us, but that was all. (For reference, supernova doesn’t really do anything when reduced on its own. Sometimes it goes brownish).
2. Base of SNO 639 faded rose, spiral of blueberry supernova, reduced. Nope :p
3. White base, then encased in blueberry supernova in a reducing flame. Reduced more at the end: some bits of interesting colour, some sooty streaks.
4. Long bead. the base is faded rose, striking red and Vetro lapis. I wound a spiral on in a reducing flame and melted in. Got blues and greens (and the lapis went purple in the reduction).
R to L to be different:
1. This one’s a mess, really. Base is blueberry supernova, melted in reducing flame. I wrapped a loose spiral of clear around and melted that in. I added the little dots in a neutral flame and reduced them afterwards, but I don’t think that reduction did anything as the end of the rod was already stormy from being used before.
2. Clear base, spiral of blueberry supernova in reducing flame, melted in, pressed. I then reduced it a bit more and did some heating and cooling in a neutral flame. It *looked* a bit like it was striking somewhat – it seemed greener to start with. I’ve got various shades of smoke here and subdued tones. Definitely interesting, but quite dark. The glass is supposed to be able to go bronzey shades, which is kinda sorta what this is going towards.
3. I used a neutral flame for this one and wrapped on the already-reduced end of the rod. Then a spiral of SNT 100 clear followed by a full encasing. Best result by far! The interior colours didn’t vanish with a lot of heat when I was encasing, either.
Close ups of the last two (you can see the other side of the crunched bead has a random streak of teal!):
Thoughts: It is a bit like an auto-storming glass. If you get the end of the rod molten in a reducing flame and let it cool a bit, you can then use a neutral flame to put it on a bead as normal and it’ll have the little wisps inside it. It is definitely easier to get something to happen than supernova was.
This is 14.6 properly stormed over various colours of base dot.
Stormed 14.6 blueberry supernova over (R to L): directly on ivory, light red, triton, itself.
Stormed it is much the same as supernova – looks best over darker colours. Even the red is a bit light for the best effect here.
12.6 (light blueberry)
This one’s called light blueberry since it is lighter in the rod.
First, plain bead, made in neutral flame, pressed and reduced.
I tried making the bead and then reducing it, including trying a dragon’s breath flame: very little joy. There’s a tiny bit of blue barely visible round the centre but that’s all.
This one was melted in a reducing flame and encased. Some blue at the ends, but the middle has mostly gone an odd yellowy brown. I suspect too much reduction.
Base of caramello with a spiral of light blueberry: I applied the spiral in a neutral flame, melted it in with a reducing one and tried letting it cool and waving repeatedly through a slight reducing flame. It did appear as if the colour was altering during this, though it’s hard to tell from what. You can see there’s a light blue-green surface haze here – caramello isn’t the best base to show it up on.
All together, then one at a time.
Tried dragon’s breath reduction: very little going on.
This one’s a bit more interesting. I started with a paddle on the end of the rod, then in a reducing flame I melted, twisted and squished it. Then used a neutral flame to make the base, encased it and pressed it. You can see wispy lines in the centre, but it also has the iridescent blue ‘envelope’ surrounding that. You can ignore the lines: I was also testing Lauscha’s deep silver black which spreads rather a lot.
This is a popper-sized cab. Melted in a reducing flame, switched to a neutral one and then encased. A bit too much reduction.
I made this bead in a neutral flame, then gravity swirled it in a reducing flame. I like the part where it has broken up into lightnings. Fun stormy sky effect in all.
This is a base of Lauscha transparent red, spiral encased half in light blueberry and half in 15.6 blueberry. I razor cut spirals in the other direction and encased. The light blueberry hasn’t reduced to such an opaque effect as the other, so you can still see some of the red through it. Got a lot of brown on both halves though.
Lauscha transparent red, spiral of 15.6, melted in with redcuing flame (too much!), encased, pressed and capped with more red. Mostly a disaster, with a hint here and there of what it could look like. Given that I seem to have to get it molten for any reduction to stick, it’s tricky to control how much you end up with.
I got a better hang of it here, though!
Both beads consist only of 15.6, copper mesh and clear. (I’ve been using Lauscha SNT 100 for all these, btw).
For both of these, I started by making a decent sized gather of the 15.6, then heating the surface in a reduction flame so you could see things happening on the surface, then letting it drip onto the copper mesh. I encased the whole blob with clear, draped it onto the mandrel and in the first one I added more 15.6 to the side without the mesh until it was roughly the same all the way round and encased it, pressed and filled out the lentil shape with clear. In the second bead, I made the spirally fronds in a way that Astrid Riedel showed us. I rather like how they came out.
I managed to reduce these less, despite still doing it hot and melting the glass, so I have more blues and less brown.
I am doing some colour testing for Lauscha. Here we’ve got a new batch of SNT 150 orange transparent vs the 13/02/12 batch (*cough* which I have for sale on Lauscha.co.uk *cough*).
The new 08/12 orange is darker and transparent in the rod (not that you can see that in the photo – it is, though!), whereas the 13/02/12 batch is a sunnier orange, translucent and ringed.
Here’s a photo showing everything from both batches.
I made three spacers from the 08/12 orange – I’ve left them on the mandrel so you can see that this version is more sensitive to striking. They have stayed transparent, unlike the 13/02/12 spacers. The yellow spacer was the last one made and is unstruck. The centre bead received most heating and cooling, and is the darkest. With the 13/02/12 batch, you can see the spacers are not transparent (one is etched). You can see a little way into the surface but not all the way through.
I went on to make hollow pumpkins from both oranges. Quite a lot of heating and cooling goes on here: the 08/12 batch has struck deeply and quite uniformly. If you hold it up to the light, you can vaguely see inside, but only just. It stayed transparent just next to the holes, but not further out. The 13/02/12 batch is streakier and has transparent streaks you can see into. It also has a rather nice effect where it is yellower in the grooves and blushes oranger on the face of each segment.
The 08/12 batch is more like CiM clockwork in colour, though does not go misty like that can.
Edit: Here are a couple of gremlins I made. I’ve shown the backs too so you can see that the 08/12 batch has some transparency left here – you can see the mandrel line.
Note: the lips and eyelids are an egg yolk-coloured batch of Effetre opaque dark yellow. I used that instead to avoid having any white show through them. On the 13/02/12 gremlin, the lips aren’t the same colour as the body, but my camera isn’t picking that up. (These oranges are tricky to photograph correctly in the first place, because they’re so bright the camera just completely over-saturates them and I have to fiddle about with my colour balance to get them looking as they do).
We have a LOT of gorgeous handmade prizes, rare glass, classes, and the list keeps growing!
I’ve donated two packs of Lauscha pinks. We have lampwork tuition, metalwork tuition (I am so hoping for this!), jewellery, beads, pendants, custom fused glass, Double Helix odd lots, glass that is no longer available, bags, silk ribbons, custom murrini, frit, and more!
Tickets are £1 each, see the post for details (it’s via a JustGiving page – put Raffle in the comments). Prizes should be drawn around the 17th-18th December. Then the winners and prize donators will get in contact with each other, so leave some sort of contact details!