Posts Tagged silver glass
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!
Indian Summer is an interesting one – it’s a striking amber.
I took an on-mandrel pic to show the striking.
Here are Indian Summer and Dirty Laundry spacers. Indian Summer didn’t etch particularly consistently – the very dark bead appeared to etch more. Dirty Laundry is an opal white, and looks as expected here.
I expected both of these colours to be reactive so had hope for the silver glass results.
The bead on the right here shows that Indian Summer is not good as a surface encasing colour – it just gets too dark, especially as this bead had a core of Indian Summer as well. The silver glass in that one was Luna 2.1 which is mostly transparent and you can just see some streaks round the middle. The other two beads had a core of 006 clear, encased in Indian Summer, then Luna 2.1 scrolls on the left and Boreas dots in the centre bead. Both promising: the Luna 2.1 scrolls have sharp light edges in some places and fuzzier edges but a defined centre in others – those are the purpler more transparent areas. The Boreas dots have a concentrated very shiny centre, then a ring where it appears the Indian summer has displaced it, then an outer ring which has a shiny area and then a dark sharp outer line.
I then did a pair which have an Indian Summer core, a spiral of silver glass and encased in 006. Very interesting! Boreas is on the left – the core looks extremely dark and the boreas is a dark blue with bright green edges fading to brown. (Ignore the grey bubbles at the bottom – the end of my clear was dirty and I didn’t notice until too late).
The Luna 2.1 bead (right) is the usual pinky-purple and has developed blue-green lines and haze in the centre of each spiral. The edges of the spiral are the lighter amber areas.
Luna 2.1 scrolls on the left, Boreas dots on the right. Both colours get some slight outlining effects, but what is most interesting is the different ways the base has fumed in each case. Under the Boreas, the Dirty Laundry has gone a cold yellow-green, while under the Luna 2.1 it has flushed a warm colour. (Boreas isn’t a great colour to put over pale white or tan opaques because as a transparent purple it will always show brownish).
These next two are fabulous though.
These are both encased in 006. The silver glass in both cases has a mottled and feathered look with noticeable edges. The Boreas on the right is blue-purple and the Dirty Laundry underneath has fumed a darker caramel brown. The Luna 2.1 bead on the left is lovely. The silver glass has again formed dark then light lines in the centre, and the darker amber lines are the gaps between the spirals. The Dirty Laundry hasn’t fumed very far though, leaving cloudy white ends which I love.
Here you can see the Dirty Laundry parts of the Boreas bead – they have still fumed somewhat tan and have darker outlines rather than the fuzzy ones with the Luna 2.1.
Finally, a silver glass pair on Ogre.
Luna 2.1 scrolls and Boreas dots, as before. You can see slight separation lines around the edges of the scrolls, and the Boreas dots are again very shiny and have sharp brown rings around them. Around the beadholes has also tended to go brown. Quite interesting for organic beads.
These are both very pretty transparents.
Limelight is a clean, cool green with no hints of yellow. Charlotte is a warm pink that is saturated enough to hold its own. I don’t think we’ve had anything else in 104 quite this colour (not counting CiM’s Paris, out at the same time and very similar). Both have a tendency to develop microbubbles, especially Charlotte – if you heat them further out they may get fewer.
(The last Charlotte spacer was half out of the etching liquid on this side – I left it like this because I liked it).
Here’s a comparison with a couple of other pinks I had to hand – Lauscha transparent pink is a baby pink and cooler in tone than Charlotte. I think the very pale one is Effetre rose quartz 067 – it is definitely Effetre, and their transparent pink tends to be a little peachier most of the time. You can see how well the colour shows in the etched Charlotte. I’d call this a cherry blossom colour. (The dark violet is just there because it was on the same string as the pink).
I then tried encasing silver glass with these transparents. I’ve been using Boreas for this for a while – it is a transparent reducing purple. This time I also added Luna 2.1 which is a mostly transparent striking colour.
This is a core of clear encased in Double Helix Luna 2.1 (left) and Boreas (middle and right) encased with limelight. I did two with the boreas because I had an insufficient reduction moment with the middle bead. The limelight is pale enough that you don’t notice it much. There’s some good electric blue from the boreas on the right, and you can see the range of striking that Luna gets, from opaque yellow to transparent pinky purple. Probably not the best use for limelight, just because you can’t really tell it is there and it doesn’t appear to be affecting the silver glass.
Above is a second view of the limelight beads.
I did the same thing with Charlotte – this time I did two Boreas beads because the thicker encasing on the rightmost bead just ended up a murky green-brown. The middle bead has a thinner encasing and you can see some hints of pink at the top, while over the most reduced areas it is still the weird greenish colour. Silver tends to fume pinks brown – I don’t think I’ve ever tried similar with a transparent pink before. Luna 2.1 on the left is a better match – the pretty pink wisps inside go with the encasing. On the whole, you probably want this glass to look like itself rather than use it with silver glass though. (You can also see some areas of the microbubbles on these beads – once they’re there, you can’t get rid of them).
The last two are a pair of pretty transparents.
Ice Floe is a lovely pale icy blue. Gorgeous on its own in nuggets. The bead at the back has a base of Effetre clear, rolled in silver leaf and encased in Ice Floe – the silver’s definitely silver, so this could be a handy encasing colour to prevent it going gold. For the ribbed bead, I did a small core of Notos, which has lost most of the iridescence leaving a slightly aqua-tinged centre. Ice Floe did develop some trails of microbubbles in all these beads, but that’s less of a problem in a colour like this – they look watery not scummy. I don’t think I really noticed while making the beads, or I could have tried working it a little differently.
Trapeze is another dark lavender-alike… but this one looks and photographs as purple under halogens rather than blue! It does look *more* purple in sunlight, but it definitely colour-shifts far less than the others. So if that shift annoys you, this is a fab alternative. For the ribbed bead, I encased a base of Double Helix Psyche. That worked much better here than the last time I tried it!
So in sunlight it still has a lot more oomph… but if you weren’t looking at the two pics side-by-side like this, the above one still gives a better impression of the purple than the baby blue you get with dark lavender.
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.
The main beads in these are two of my silver glass lampwork beads that were greenish. One is opaque and darker, with swirly cloudiness. The other is brighter transparent green with a peacock iridescent spiral around it. The dangles at the bottom are faceted labradorite. I wire-wrapped everything in copper. There’s a small Indian agate rondelle in greenish brown alongside the green lampwork, and I added some little hollow copper beads in too, with two of them wrapped onto the earwires.
52 little things links
• Craft Pimp Week 41 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
To test the striking colours in circumstances where they’re more likely to strike, I made pressed lentil beads.
Radio Flyer: definitely opaque-looking.
Bing: has opacified a bit more. You can see the mandrel hole, but I’d list this as semi-opaque.
Absinthe: still very transparent.
Tandoori: has struck much oranger and has gone cloudy. (Though slightly unevenly at one end, which is lighter than the other). I also did a bead with psyche scrolls on tandoori – the psyche shows up as dark blue with plenty of shine and the tandoori has darkened more.
Here’s a close up of the tandoori beads.
Next I tested mint chip with copper green and psyche.
The mint chip has gone a bit streaky under both of these, but more so with the psyche. The copper green has done its thing where it goes darker in the centre with a pale halo, but it has also greyed up a great deal. Psyche has fumed the base yellow and is showing up as brownish purple. That’s fairly expected.
Here is psyche on the other neutrals.
Cake batter has stayed very clean-looking and has only been fumed a very small amount. The psyche appears very brown.
Antique Lace is a bit streaky, has stayed a pinkish brown and the psyche is fairly brown.
Muskmelon has gone streakier and fumed darker, and the psyche has blue hints. This seems the most reactive base out of the three.
A pair with a lot of motion this week!
#37 Magic Can Swing
These have a pair of my lampwork beads in a striking silver glass that goes all shades of blue, purple, and a bit of green. They are wire-wrapped in sterling silver and swing and dangle about freely.
52 little things links
• Craft Pimp Week 36 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
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.