Posts Tagged reichenbach
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.
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.
I made some flowery beads – these include a vine cane made of steel blue and vanilla.
I forgot to include the swirly blue bead in the pictures above – it was made from the end of the cane pull.
Finally, these are some little cylinder beads similar to my previous test beads that I am going to make a necklace from.
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.
Plowden & Thompson clear
R0254 fuchsia light
R0002 gold ruby
R0005 gold ruby extra
R0094 steel blue
R0043 plum blue
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.
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
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.
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
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
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
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
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
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.
Finally, a set of tiles. Vanilla, opal dense rose, opaline pink, isar blue (including a twistie made from the vanilla and pinks).
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:
P&T birch green
R 0113 vanilla
R 0175 pastel green
R 0245 isar blue
R 4291 dark olive
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:
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.
Strawberry and clear
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
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.
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).
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.
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
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
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.
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 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 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.
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.
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.
Another thing I’ve been doing recently is heart beads. Lots of heart beads. We’re having a Valentine’s bead swap on Frit-Happens so I made a whole bunch and chose 3 of my later ones to send in. Piccies of those and what I received when I get them!
Firstly, these are made with my Carlo Dona heart press.
This is Lauscha champagne, which is a very pale transparent. I used bicarbonate of soda to make the bubbles. I made this a tad too big for the press, so it’s shaped by pressing and also by hand afterwards.
Then I did these, which I am calling Mysterious Hearts of Gold.
I made the core of this with shorts in clear, yellow and green, then sprinkled some green aventurine frit, added more clear and a little pulsar, pressed it, and added raku spirals and dots to the surface. I was very pleased with the result – these hearts have a lot of depth, and the sparkle and randomness means you can spend a while staring into them. Also a great way to use up your ends of rods!
Love this one. It’s the same idea but has amber and sangre shorts and goldstone frit. Some raku stringer again, a red encased twistie one one corner and a few dots and lines of aurae.
This one… is not so good. I didn’t really think about what effect doing the core this way would have – it’s dirty martini with transparent green on top, then clear and a bit of bluestone ribbon. I have put deep twists in the ribbon in places, though they don’t show up too well here. I think the width and concentratedness of the ribbon doesn’t work as well as the frit in the other hearts, and the lime green and blue is a bit garish. I also totally messed up the surface decoration – it has terra 2 dots and a wrap at the borrom (which is showing up as reddish brown, clashingly) and some stormed supernova on one front lobe, which I left a bit raised and just serves to make the heart shape lumpy. Then my hades stringer which was an attempt to make it look more deliberate balled up on me. Not a success, and this is a cautionary tale that sometimes the kitchen sink approach just gives you unexpected fugly! Annoyingly, this one probably has the best puckered bottom end… (The shape on the second one looks good, but it tapers a little too thin for a pucker).
Something a bit different: theme of the month for February is Dots, so here’s an etched dotty heart.
White core, dark lavender encasement, Reichenbach pink lady stripes and filling out of one lobe. White dots on the surface with pink lady on top of some of them. I made it too long for the press, but could use the lobe end to shape the top anyway. Then I etched it and I think it’s very pretty. Shame the bottom end is just slightly chipped after cleaning – getting the ends neat on these is definitely a challenge.
When these came out of the kiln, you could say that I was pleased!
Triton caterpillar over CiM mermaid (you can see a little bit of mermaid in the second pic, but not much is visible) with SiS on one end and a magic+hades twistie on the other. Look at the colours in the magic!
The next one uses Ekho:
Using Anouk’s secret recipe for hot pinks! Actually, I have no idea if that is a secret or not, but she is doing a third silver glass tutorial that will cover it. I think the wraps on the ends were multicolour dark.
This is aurae spiralled over Reichenbach mystic pink. The wisps have more iridescence in person. The surface is triton dots and one of my triton murrini, believe it or not! I think I reduced multiple times for it to end up like this.
I haven’t quite got as good results since, from the ekho at least. But I’ve been zipping about trying out different glass, so it probably just needs a bit of attention. I like triton, it’s well-behaved!
This BHB is raku over opaque orange, encased and with multicolour dark on the ends. Plus my triton murrini, that were reduced and then covered in dots of clear. This has made them go a paler blue-silver. I was surprised how the raku came out! It’s unusually uniform and looks rather like standard multicolour. I do like the colour though – it’s muted but very pretty.
I also created an enormous fugly monstrosity of a lentil that has many things wrong with it, but these things happen!
At this point, my silver glass stash included triton and aurae, plus some stringers (including the Ekho) and single rods I got from Knatty Dreadz when he was still selling them. It didn’t take me very long after the class to place a nice big order with Double Helix for their seconds! (These are rods that have failed visual quality control – ie they may be slightly knobbly or curved or oval. To be honest, I can’t tell the difference with most of them, and most glass manufacturers would happily sell them as firsts. Got me some aether too – their clear, which I am yet to try).
When it comes to clear, Anouk recommends Reichenbach 1011 crystal, because it doesn’t affect the colour of the silver glass and can also be worked long and hot without ill effects. The beads above are using Effetre 006 because it’s what I had. My batch is decent, but I have noticed you can’t work it quite as hot.
A final thing to sign off: this is mystic pink with stormed supernova dots and clear dots. Lauscha supernova isn’t the same as Double Helix reduction colours: you don’t get an easy surface sheen by reducing it – I spent a long time and it stayed purple! It’s a very nice purple, though. However, it can be stormed. Storming is a technique by Amy Kinsch, see her tutorial Taking Reduction Glass By Storm.
Anouk visited Diana East’s studio in the UK to teach a silver glass course at the beginning of January. She’s on Flickr here and Etsy here, if you want to drool over her creations! She also sells tutorials, incidentally. My boyfriend paid for my place on the first day, which was an introduction to silver glass, as part of my Christmas present. (The other part was a biiiiig CiM order. I had a good Christmas this year! And he didn’t need to spend time stomping round shops *grin*).
I made these beads the day before the class, so these are without the benefit of her knowledge.
This is Lauscha blue-purple with silver leaf, reduced and encased in soft clear. Mmm, I like.
This is CiM mermaid with a spiral of aurae, reduced, encased and pressed. I liked the result but had no idea if I’d got the right effect with the aurae!
The BHB is a tuxedo base with a mermaid+magic twistie on top and encased. Not struck properly.
The class was great. I went on the Friday, which was an extra date and so was quieter than the Saturday class. If you want to know about silver glass without having to waste so much getting to grips with it, try and take a class with someone who knows. It’s invaluable. I knew technically how to work striking and reducing glass, but it’s all the little things that you can’t find out otherwise. For example, I was surprised by just how long Anouk reduces for, and how long you can have a big bead out of the flame without it cracking. She also came round when we were making our beads and pointed out when we were getting them too hot (still my problem!) and when we were working it too long and things like that.
We made stonking huge focals and some test round beads, then opted to get Anouk to demonstrate all sorts of things for us rather than making more beads ourselves. It was a wonderful day, and Di’s studio is a great place to have a class.
I need a nice big crunch press! Next up, the beads I made after the class :)