Posts Tagged red

Sewing: BoC bags

Here are some more bags for Beads of Courage that I made in October.

Two in green camo-print and another red car bag.

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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.

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Rearranged so you can see the feathery one.

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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.

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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.

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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.

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CiM colour testing: French Grey and Tortoise

French Grey

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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!)

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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.

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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.

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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).

Tortoise

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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.

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My spacers came out different shades, but mostly on the green side. Etches fine and is pretty that way.

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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.

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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.

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CiM colour testing: Chamomile and Caboose

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!

Chamomile

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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.

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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).

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End-on: those green variations make me happy! The rightmost bead in particular: I just find the distribution pleasing.

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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.

Caboose

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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.

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Spacers, left two etched.

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A little gremlin with steely blue flowers.

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This one’s quite a small gremlin!

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CiM colour testing: Tiger Lily, Poppy, Heartthrob, Cinnamon Jelly

Creation Is Messy have sent me some more colours to test!

This post is for some juicy reds and oranges.

Tiger Lily

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Tiger Lily is a semi-opaque/semi-transparent orange (whichever way round you prefer to describe these!). I used a core of clear for these gremlins, so you can see where that changes or doesn’t change the body colour. Here you can see there’s a difference between the body and lips, but the body is still opaque enough not to see through. It is also streakier.

Poppy

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Poppy is a bright light red, also semi-opaque. It came out fairly uniform here, whether over clear or not.

Heartthrob

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Heartthrob is a darker semi-opaque red, more of a blood red. This colour darkens more under halogens than the others, so is a tad brighter in sunlight, but still darker than Poppy. Again quite uniform in colour.

Cinnamon Jelly

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Cinnamon Jelly is streakier and more transparent than the others – you can see that a bit at the corners of the mouth. It’s a dark orange-red.

Comparisons

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Here’re the red gremlins side-by-side.

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I also used these four colours to make dots over Effetre white. Tiger Lily and Poppy had a bit of a tendency to bubble on the rod as I was making dots, which are the smeary ones. Possibly should have done that cooler. I had the base shape a little smaller on the other two, so they fit the press better and were worked less.

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Side by side, which stops the white bases melding into the background.

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I made a pair of nuggets in each colour as well. You can see that Cinnamon Jelly is definitely the streakiest, and also the least opaque when used solidly like this. Tiger Lily and Poppy are lovely and bright, and again Heartthrob can look a little brighter in sunlight.

ETA: Here’s a pic in sunlight.

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You can see Heartthrob is lighter, though we also have a problem with them all being oversaturated by the camera… The Heartthrob gremlin on its own is a reasonably accurate representation.

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Red White Scatter beads

I made these to go with my Red White Scatter nail art.

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The three ornate bicones at the back didn’t work so well – the twistie I put on those was red and black with no white core, so the black shows through the red and it all turns out rather muddy.

I like the button and lentil pair, though! That’s Lauscha SNT 220-L transparent red, Reichenbach deep black stringer and some intense black frit (on Effetre white).

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Nail art: Red White Scatter

Last week’s nails.

Colours:
• Revlon white (part of a neon duo set)
• Collection 2000 Hot Looks – Big Hair (the red)
• Pretty – Scatter effect (black dots in whitish grey)
• Sinful Colors Time Off (nail art black)
• Seche Vite top coat

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I like the way this came out. I wanted something to try out the scatter polish with. It needs a base under it because it is a very translucent whitish grey with the little black dots in it. It isn’t hugely saturated with glitter either, so you get quite a thick layer of polish with not a great deal of dots, so to layer it up itself to opaque would be tricky.

Big Hair is a lovely bright red that I like a lot.

The Sinful Colors nail art black was a very handy find, also in Poundland. I didn’t actually know it was a nail art one when buying it, I was just after any black, and the label was printed in black… The brush is really nice – very long and thin and great for making the lines.

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Oh and this last one was from before. The beads are ornate bicones in a nice creamy coloured base with flame shards applied. The nail polish was Revlon’s Chroma Chameleon aquamarine, which has lilacs at some angles. I put Chit Chat Ariel on top, which is another of Poundland’s. Very pretty blue-aqua hex glitter in two sizes, though again there’s a lot of thick base polish and the glitter’s not so saturated. This was two coats, with Seche Vite stuck on top to get it to actually dry – the clear base is a very jelly one. Still pretty, just don’t try and get full glitter coverage with these!

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Colour testing: CiM Orange Crush, Firecracker, Rudolph, Ocher, Sunset

In the limited edition reds and oranges section, I have three transparents and two opaques.

Orange Crush, Firecracker and Rudolph

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I left these trios of spacers on the mandrel so you could see what the striking is like. I deliberately struck all three colours, which was not difficult. Orange Crush is an orange that strikes from transparent to misty. The bottom of the furthest out bead is transparent while the top is cloudy.

Firecracker is a medium light red with orange tones – you can see that the end spacer is less struck and much more orange.

Rudolph is a true red, and has less colour variation in striking. The end bead is mistier but is still red.

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I also made lentil beads and small dotty rounds which have a core of Effetre white encased in the colour and then white dots. You can see from the lentils that both the reds go quite opaque, while orange crush has streaky translucent and transparent areas.

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One of the orange crush spacers cracked on one end – that end had a thicker layer of orange and you can see that it went more opaque and lighter than the other bead – may have had something to do with it?

CiM Ocher and Sunset

Ocher is CiM’s spelling, I would normally write ochre :p

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Ocher is a greenish mustardy yellow. Sunset is an orange coral type of colour. I could see Sunset striking as I worked, but it doesn’t really seem to unstrike again so I got a more uniform colour than I was expecting.

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You can see in the spacers that ocher is bit streaky and the sunset is pretty uniform even as spacers.

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I made a gremlin out of each to see how they did sculpturally – there is still variation visible in the ocher. The only lighter part of the sunset gremlin was the soles of its feet, which you obviously can’t see here! They are done at the very end. I used marine for the little heart on the ocher gremlin, and the sunset one has a scar and an awesome little skull murrini by Jolene Wolfe (Kitzbitz Art Glass).

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I did some random thin stringer trails over a background of Effetre black. You can see a little bit of colour variation in the sunset dots, and also that at this thinness they aren’t entirely opaque, particularly the ocher.

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Last of all, I did some tiny ribbed cylinder beads with ocher, sunset and Effetre dark sky blue. Ocher and the dark sky blue react together a little to give a dark out line, while sunset doesn’t. What I find interesting here is how different the ocher looks with other colours next to it – it is much yellower when alongside the sunset. Dark sky blue on top of sunset has a tendency to fuzz out and spread at the edges instead of having a sharp line.

I used dark sky blue rather than turquoise as it tends to grey up less. I did give them a bath in Lime & Grime to remove any that there was.

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