Posts Tagged okeanos
The spring 2017 limited editions from Creation is Messy had a whole load of transparent greens, and a whole load of opaque grey rods.
To start with, I picked out the first few colours that appealed to me (those greens!), along with a couple I thought would go with them.
Chartreuse (left) is a luridly bright light yellowy green which I love.
Inchworm (middle above) is another bright juicy green that is more transparent than CiM’s Poison Apple, which is a more standard opalino and can strike lighter and more opaque. Inchworm (like chartreuse) didn’t opacify at all and remained a lovely uniform misty transparent.
I also love this colour (right beads), which is a uniform opalino beige. It is less streaky than Reichenbach’s mystic beige or pearl beige, and has a nice amount of translucency. Again, it does not seem to strike lighter or more opaque when worked for longer.
Yangtze and Sea Mist
I am in two minds about Yangtze and Sea Mist. They are full of micro bubbles and the end of the rod boils very easily, both of these leaving bubbles that don’t go away. The rods themselves look faintly striped inside. I would normally dismiss these as poor quality glass, but I do really like the way the nuggets look – it is different from an opalino, or an etched bead, or from baking soda bubbles. They are muted non-uniform colours which are quite different from the rest of the palate. I think they would do well to pair with or mimic semi-precious beads which have cloudiness or inclusions, where most transparent glass beads alongside those look too brash and uniform in colour. So if you have a very specific use-case, these might be useful. I think I’d buy them if they weren’t too expensive, because I do have a lot of semi-precious beads I think they would go well with (labradorite, blue lace agate and so on).
Troll is an opaque muted grey-green that is not unlike various of CiM’s other colours, but is still a type I like and find useful. I picked it as an opaque to go alongside these other colours for the two-tone beads below. It does strike greener than it appears on the rod, which is more of a blue grey.
All the nuggets!
Aren’t they pretty just on their own?
Troll and chartreuse above.
Inchworm and bubbly yangtze above. I do like the colour fade from one to the other.
Cornsilk and very bubbly sea mist above.
You can see an area of Sea Mist that boiled on the rod on the back of this bead. For use in a non-organic bead this is a no. For one that is, there’s a possibility you might want to do this on purpose. (Again I like the transition from one colour to the other).
Troll and sea mist above.
Cornsilk and chartreuse above.
For the rest of the colours, I decided to do organic beads, and paired them up for this.
Peat Moss and Safari
Peat Moss is a suitably brown-olive transparent green. I trapped a couple of bubbles but on the whole it is very clear.
Safari looks greyish in the rod, and not having looked them up beforehand, I was very surprised that it immediately struck to a light sandy brown! The bead coming out of the kiln is more uniform than it looked going in, but you can still see a darker brown in one corner below.
I put a wrap of Effetre New Ivory across the transition and twisted it. It is a very handy insta-silvered-ivory rod and I really like the way it came out.
Peridot and Van Dyke Brown
Peridot is a pale transparent yellowish green. It does bubble quite easily, but they mostly ended up like tiny champagne bubbles here rather than scum, so don’t look too ugly.
Van Dyke Brown is like Safari but darker and greyer. This bead has kept a bit more of the colour variation (but on the light side) so we have a pale milky grey and a warm brown, with some transition areas of yellow and cooler darker grey. It remains streakier than Safari did.
Eel Grass and Pachyderm
Eel Grass is a midtone green. I got a few bubbles again but not too many.
Pachyderm is a grey-brown that has streaks and variations that are less extreme than the previous two. It has come out distinctly warmer and browner than the rod here. (I like these types of greys – CiM has had quite a few of them now).
Refresh and Prussian Blue
Refresh is a very pretty pale green-aqua (and I think it looks great here!).
Prussian Blue is a dark easily-mottled streaky blue that will strike greenish. Here it has stayed mostly blue.
I added Effetre New Ivory again and I love the combination of all three colours.
Hemoglobin and Koala
Hemoglobin is a semi-transparent red (only the little nub on the side has remained particularly transparent).
Koala is the actually grey one out of all these grey-looking rods. It has striated here next to the New Ivory and produced strong dark lines but from the bottom of the bead looks like it would stay pretty uniform away from that.
There’s an interesting bit here where the New Ivory is underneath and thin on top of the red (and over-reacted on top of the koala).
Finally, I did a pair of tests with Safari and Van Dyke Brown as the most reactive colours, combined with silver glass Double Helix Okeanos.
For these beads I had a central cylinder of the brown, a cap of okeanos on each end with little brown dots, and a wrap of okeanos around the centre on top of the brown. (The colours of the okeanos make it look like it is below the browns, which isn’t the case. You may need to stare at it a little!)
In this first bead with Safari, the central okeanos wrap has spread to be very wide. There are dark lines and interior reaction lines in the Safari (the latter particularly obvious in the dots).
The Safari has struck a bit darker than before, which you would expect, but there is plenty of lighter shade left. Okeanos has produced its pretty blues and greens easily.
Now for Van Dyke Brown.
Here, the central band of okeanos has been swallowed somewhat by the surrounding brown, making it much thinner than the previous bead. The Van Dyke Brown has struck browner than before, and only has grey in the dark reaction lines.
These were the new CiM limited edition colours out in spring 2016. I am somewhat behind on writing this post as Flame Off happened…
Also, I got into fountain pens recently, and decided to use my post to practise my italic handwriting so that I got both the thing I had to do and the thing I wanted to do done. Pics thereof at the bottom.
This is a pale peachy brown opalino that can develop mottled striations on the surface. I made four spacers and etched two of them; they do etch and it makes the striations more visible.
I made a pair of rounds with 006 clear cores. One has a band of silvered ivory around the centre, and the other has a couple of wraps of fine silver wire, melted in so it balls up. There’s a bit of brown fuming from the silver – not a huge amount. The SIS wrap has a clearly demarcated edge and has not spread a great deal.
I made a sculptural gremlin (with bunny ears – could do with a redesign!) with a clear core. It is opaque enough not to have the teeth show through the lips, which is a disconcerting look when it happens. The striations are easiest to see on the body, which is worked longest, but there are also a couple of larger dark areas on the ears.
I did a little silver glass testing. First is a bead with a clear core, encased in Velveteen, with a stripe of Double Helix boreas. This was reduced (oxy down) and encased. There’s some darker brown fuming and the boreas is a lovely bright iridescent purple with some mottling.
The second silver glass bead has okeanos instead, again reduced. It has ended up with a variety of colours, from yellow-green to light turquoise to deep blue, again with interior mottling. The stripe has remained thin and not expanded. In the centre of the bead, there is a pronounced dark line at the edge of the silver glass, bordered with a light greenish and the deep blue pushed into the centre of the stripe.
Toto is a soft milky brown with a touch of grey. My spacers came out a uniform colour. The etched pair look softer and lighter.
This pair of rounds have cores of 006 clear encased in Toto. One has a wrap of silvered ivory stringer which has spread and fuzzed at the edges. The surface has some darker grey areas. The second bead has two wraps of fine silver wire around the centre, melted in. It has fumed a dark brown line where the silver has melted in.
My sculptural gremlin is a fairly uniform colour on the front – it has some of the darker grey visible on the back and the soles of the feet, which are cooled swiftly when I flatten them.
Silver glass beads: core of clear, encased in Toto, spiral of silver glass which is reduced and encased in clear. The first bead uses boreas, which has not come out well – it is mostly a greenish brown with only the slightest patch of iridescent purple. The base is visible as a dark brown next to the boreas. The okeanos came out much better and has struck to blue-purples with green at the ends. The Toto shows through as a warmer brown with separation lines where it meets the okeanos.
Allspice is a fairly dark amber brown opalino. Used on its own, the spacers are a lovely warm and deep colour. The etched spacers have a nice inner glow.
The pair of rounds with cores of 006 clear and surface decoration have a wrap of silvered ivory stringer and a couple of wraps of fine silver wire. The SIS has not spread much and has sharply defined edges. The silver has a small dark outline immediately adjacent. These beads both have some mottling in the surface of the Allspice. (So do the spacers a little, but it isn’t so evident to the naked eye).
In my sculptural gremlin, the Allspice is just thick enough for the white of the teeth not to show through. There is only visible surface mottling on the back.
In my silver glass beads, the wraps did not spread and the edges and swallowed, giving very narrow bands. These beads have a core of clear, encased in Allspice, a spiral of silver glass, reduced and encased in clear. The Allspice has visible mottling. The boreas has a shiny band of purple surrounded by a darker brown – the same colour as the mottles. The okeanos has narrow very dark edges surrounding the centre stripe with ranges from brighter to darker blue, with some lime green near the holes.
For anyone interested in fountain pens.
Here is my normal handwriting, where I composed the text. I can write reasonably straight without guides.
These were written with a recently-acquired Osmiroid 75 fountain pen with an italic extra fine straight nib. The ink is whatever was in the pen – I’d just added enough water to get it going and decided to write it empty because I just discovered piston fillers take forever to clean out by sucking up and expelling water… You can see it ran out during the third composition – I’d added more water but it was too faint by then so I finished cleaning it.
Here’s the first go – this was still with the old ink. I’d printed out some guide paper and this was the first time I’d used it. I was trying to get it all on one sheet (and failed) hence the lack of paragraph spacing. I was also putting one letter in each grid box, meaning my spacing is rather odd – the ‘m’s are very squished and some words are over-expanded. I used this calligraphy paper PDF generator printed out on my normal printer paper.
I aso realised I hadn’t practised capitals at all…
Second post: ink had run out so I refilled with Diamine indigo. The two look closer in the pics than they should – the original ink was a nice blue/blue-black and indigo has more of a steel grey tint in it. This time I used slightly smaller paper – 0.5 rather than 0.6mm nib size, and with halfway vertical guides too. I mostly ignored the guide boxes this time, just using them to go vaguely in the right direction and not for spacing. Also less obvious in the photo, it starts out with wetter writing so the letters are darker, then for the rest my writing angle must have changed, as I have drier writing and it also gets bigger. That was partly the fault of writing without bright enough light coming from the right direction, as I couldn’t always see the guidelines… The part at the bottom is darker and smaller again. I couldn’t work out how to write the correct s at that size – it’s supposed to be a narrow letter and it was very difficult not to write it wider.
Third: I went back to the bigger size but kept the extra verticals. It’s looking a bit better, though still various irregularities.
Some practise, may also show the ink colour difference a little.
Big practice, back with the Lamy Joy and 1.9mm nib. I managed the s shape once or twice at this size!
Mahogany is a really nice warm opaque brown, that is properly brown rather than dark red.
I used Tiger Lily for the pumpkins on this gremlin, and you can see that the opacity varied a lot. Some of the pumpkin segments stayed very transparent.
These bicones have a base of Mahogany, with a wrap of Poppy round the centre, and the largest has a thin wrap of Tiger Lily on top of that. This was in the same sessions as the gremlins, so I didn’t actually know they weren’t opaque at that point! Tiger Lily especially looks pretty opaque in the rod. So the result is rather more subtle than I was expecting.
Cobblestone is a nice slightly brownish grey. Fairly uniform and non-streaky here.
I used Double Helix Okeanos on top of Cobblestone here (unreduced), and got some fab colours! The Cobblestone has fumed darker and browner around the dots especially. Showing both sides, as one is bluer and one greener.
I decided to do more combos with Mahogany. These are small rounds with a tiny core of clear, to make my rod of Mahogany go further. Definitely a true opaque! I wrapped one in fine silver wire, the next has a wrap of SIS, then Cobblestone dots, a spiral of black, and finally spreading dots of Reichenbach Kermit (a special: SPL1000).
I did the same thing with Cobblestone, here you go:
They’re both nice colours to use like this, and look great with each other, both staying crisp in the dots. They are both somewhat reactive with the silver, ivory and green, but not overwhelmingly so.