Posts Tagged reichenbach

CiM colour testing: Mahogany and Cobblestone

Mahogany

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Mahogany is a really nice warm opaque brown, that is properly brown rather than dark red.

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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.

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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

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Cobblestone is a nice slightly brownish grey. Fairly uniform and non-streaky here.

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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.

Mixed rounds

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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:

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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.

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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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Some more 96 coe beads

Here are a few more beads I made with the 96 coe glass.

I made a latticino with steel blue and heliotrope and used it on this little bead (which vaguely reminds me of an elephant). I probably pulled it down a tad too small, but you can still see the lines.

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I made some flowery beads – these include a vine cane made of steel blue and vanilla.

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I forgot to include the swirly blue bead in the pictures above – it was made from the end of the cane pull.

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Finally, these are some little cylinder beads similar to my previous test beads that I am going to make a necklace from.

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96 coe (ish) colour testing, part 3: transparents

I had a go at my friend Sue’s idea for getting very thin amounts of transparent over a clear base. Basically, gravity swirl the bead rather than trying to encase it fully, because that gives too thick a layer of colour no matter how thinly you try to do it.

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Colours used:
Plowden & Thompson clear
R0254 fuchsia light
R0002 gold ruby
R0005 gold ruby extra
R0094 steel blue
R0043 plum blue

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Here are the spacers. You can see that for the pinks in general, I ended up with one of each pair slightly more struck than the other. I made these two to a mandrel and it was very difficult to get the second bead to strike as much as the first, no matter how much I let it cool. The thinness of application here gives an effect you could probably get with frit, especially as there’s some little mottling on the surface in places. However, when using transparent frit on the surface of clear, I usually get bubbling where the cut edges of the frit were, and you don’t get that here. I can use the same technique to get more coverage by starting with more colour yet still keeping it thin.

The fuchsia light is light enough that there is only the bare hint of pink here. The gold ruby is thinned down to a nice peachy shade (one bead has struck a little more pink). The gold ruby extra has the largest difference, with one bead pink and one going a noticeably redder tone. The steel blue is a dark sapphire, even when used this thinly.

Plum blue

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The plum blue is actually an opaque and I didn’t notice! I didn’t look that closely and thought it was one of the very dark transparents. It is a silver plum type of dark blue-purple. There’s some darker veins on the surface of these beads and the first bead has gone a bit more bronze than the purple of the second. I didn’t reduce these (granted, my flame’s not very oxy-rich), the metallic surface developed in normal use.

Dark olive and gold ruby extra

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Watermelony! Base of dark olive, clear dots, gold ruby extra on the clear dots, then another layer of clear dots. I was tired and didn’t properly think this through – I should have put a light opaque under the ruby because the green showing through makes the dots slightly muddy, but it came out better than I had reason to expect.

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96 coe (ish) colour testing, part 2 and pinks

13.04.28_PileOReichenbach

Here’s last weekend’s haul of beads. I made a lot of small pairs this time because my stash of small beads was hugely eaten into at the Flame Off and I’m running out of earring beads! (I had an orphan bowl where I’d just poured all my usable leftover and test beads that dated all the way back to when I started lampworking and was charging £5 to fill a small ziplock bag. It was quite popular! I’d never have used them all myself, so that was good, but now I do need a few more).

Honey yellow and Orange Grove frit

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To begin with, I made a pair of little cylinders in R 0017 honey yellow with granny apple green frit. The honey yellow opacifies a lot.
I also made a pair of frit painted cylinders using Plowden & Thompson clear and Jolene Wolfe’s Orange Grove frit. These are neon bright!

Pastel green and isar blue

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This next pair of colours are reaction tests. I made pastel green bases and put fine silver leaf on top. This was to double-check the result I got last time. Yep, the leaf definitely goes a lovely darker colour. Heating and cooling did seem to develop the colour after the initial melting in of the leaf.

I also tested iris gold frit on isar blue bases. The iris gold is dark brown in the centre with a yellowish ring around the outside, and the isar blue has developed separation lines in its surface.

Lemon yellow and isar blue

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The blue pair have an isar green base, with pastel green dots, steel blue transparent dots and more pastel green dots. The pastel green is decidedly translucent in this application – the first row of dots in it don’t really show at all, having been swallowed by the blues. The steel blue is tinting the top dots.

The other pair are vanilla and lemon yellow stacked dots. The lemon yellow is something of a transparent olive in the rod – fairly saturated but not so much as to look black.

Old rose and heliotrope

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These cylinders have a base of old rose and then heliotrope stacked dots. The heliotrope fuzzes out at the edges and pushes the old rose around.

Pinks and purples

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Caroline at Beadbug has a sample pack of all her Reichenbach pinks and purples: these are the opaques. Aren’t they pretty? No devit here – they seem to strike a little, though I have no idea if they’d do that once in the kiln anyway.

In order from pink to purple: old rose, soft rose, opal dense rose, coral pink, opal raspberry, lilac red, opaline pink.

The opaline pink is oddly named in my opinion, as it’s the darkest purple one here. The coral pink is noticeably redder than the others.

Vanilla Carousel

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Finally, a set of tiles. Vanilla, opal dense rose, opaline pink, isar blue (including a twistie made from the vanilla and pinks).

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96 coe (ish) colour testing

At the UK Flame Off at the beginning of April, I came home with rather more 96 coe glass than I’d been planning… Caroline of http://www.beadbug.co.uk was there and I planned to get some stuff from her – she’s importing Gaffer and Reichenbach rods to the UK, as well as frit. But Barbara Beadman was also there, selling off Reichenbach and P&T glass. That added quite a weight to what I had to drag back home after!

(I’m calling everything 96 coe for simplicity. It’s more of a range than that: P&T nominally gets referred to as 93, Reichenbach as 94 and Gaffer as 96, and they all have a +/- value of at least 2 on that – the exact value varies per colour).

The colours I was playing with in this session were:

Opaque
P&T birch green
R 0113 vanilla
R 0175 pastel green
R 0245 isar blue
R 4291 dark olive

Transparent
P&T clear
R 0011 heliotrope
R 0139 strawberry
R 0043 steel blue
R 0039 brilliant copper blue

I was fairly wiped out after the Flame Off and Silverstone bead fair days, so I decided to just play with my new cylinder combo roller from http://www.pegasuslampworktools.co.uk. Now, I can make cylinders that are longer than they are fat well enough with a marver – part of the reason to get this was to make them the same size. However, the cylinder ‘discs’ aren’t something I’d like to try to make without this! Oh, I could, but I’d need to be very careful not to let them spread out along the mandrel.

One cylinder combo roller with beads:

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I didn’t have much of a plan for how I was going to decorate them either, other than knowing I wanted to use some silver leaf with the opaques.

Here’s a group shot.

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Strawberry and clear

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This is a core of clear, a thin encasing of the cylinder surface with strawberry and then with clear again. That shows how saturated the red is (and this is one of the lighter transparent reds – a lot of the 96 transparents look almost black in the rod).

P&T birch green

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This is a lovely very dark opaque green. The spacers are plain, and the bead on the right has a wrap of pastel green (which looks quite blue over the birch green) and diagonal spirals of steel blue and brilliant blue, both transparent. The steel blue is extremely dark, even as a thin stringer.

Dark olive

The cylinder at the back is a base of dark olive with silver leaf melted in and some dots and lines in vanilla. I added strawberry on top of the larger dots and it has a deep jewelled colour. The dark olive has gone blue around the edges of the silver leaf in some places (easier to see in the group shot).

Vanilla

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Both cylinder beads in the foreground have vanilla bases. The left is vanilla and isar blue. Isar blue is a soft, spreading colour.
The right is vanilla with silver leaf. I think what I did here was to put vanilla lines and dots on top of the leaf and then isar blue fine lines and dots on top of those, giving the fuzzy blue centres and the brown where the vanilla meets the silver. I added heliotrope dots on top.

Pastel green

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Here’s where it gets unexpected. This pastel green reminds me a bit of Effetre opaque uranium yellow – don’t know if the greenness is the same as I don’t have any to compare, but it’s a similar sort of shade. In spacers it is ghostly and the cylinder in the middle shows what happens when you add silver leaf! It’s gone dark caramel. The darkest dots are strawberry and the lines and small dots are vanilla with steel blue centres. It looks opulent.

What I want to do is work out a bead design to show off the jewel tones in these very saturated transparents, and do something less messy with the pastel green bead.

Layered dots are an obvious thought for the transparents, though I have a slight disadvantage in that I have no white just now…

At the bottom here I’ll add another two test beads I made in a second session.

Steel blue and heliotrope

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This is a little pillow of clear with steel blue over one side and heliotrope over the other – the steel blue is still incredibly dark here. The heliotrope got some brownish streaks so you need to be careful to keep that one cooler and higher up in the flame.

Dark olive and pastel green

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I made this pillow bead from dark olive and encased half with pastel green, then put iris gold frit on top. It has made the dark olive go blue underneath the frit and there are some pale greenish outlines. The frit has gone a darker amber on the pastel green side and there’s some yellowing of the green in places.

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Off-mandrel hearts

Serendipitously, Holly of Holly’s Folly Glass posted this off-mandrel heart tutorial and I thought “Ooh, that looks interesting” so I went off to have a go.

First off-mandrel heart

First try! I used a thick rod of transparent pale blue for the base and added twistie ends in neutral and green. I twisted the centres, shaped the heart end and added a loop in baby blue (tricky!). Then I held the heart in my reverse-action tweezers, not the loop, in case it might shock. I took off the rod and heated the end to round off, then tried to put the heart into my kiln… but the tweezers wouldn’t let go! So I stuck it in my annealing bubbles to cool down. My tweezers have very thin pointy ends, and one of them had got embedded in the glass. I hadn’t put them in the flame, but I most have got them too hot anyway because it was well and truly stuck. In the end I just bent off the tweezers, so now one of the points is shorter than the other, and the remains are still in this bead… After this, I used my needlenose pliers instead and always hold the loop!

I made heart 2 (the blue one below) in the same way, without the mishap. Then I read Mr Smiley’s heart tutorial (there are pics later on in the thread) and I made more… and more. They’re fun and rather addictive, but I still find the loops tricky!

Blue and pink off-mandrel hearts

Blue heart: pale blue with a blue twistie and a green+brown twistie.
Pink heart: Reichenbach mystic pink mixed about with Lauscha soft clear. Goldstone ribbon on the surface and encased. The shape has a bit too much on one side for my liking.

Citrine twistie heart

This heart is Lauscha citrine with my red roof tile twistie. There were a couple in between the pink heart and this one, but they’re off to the Valentine’s swap so I won’t show them yet. The RRT twistie hasn’t been a great success – basically it may as well be RRT and hades only, because those are the colours that take over.

Opalino raku heart

I really like this one. It’s a white opalino base with coe 96 raku frit. I didn’t strike the frit properly, though I did get the opalino hot enough that it’s started displaying faint black spiderwebbing in places. Neither of which I mind – I think it gives it a delicate look, and the muted colours go well with it.

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