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December 3, 2014

Test Results :: Gold Violet

1 - Plain (reduced), 2 - Plain, 3 - Over Clear, 4 - w/ Silver Leaf, 5 - w/ Silver Leaf (reduced & encased), 6 - w/ Silver Glass Frit (reduced), 7 - w/ TerraNova2 Frit, 8 - Over Silver Foil, 9 & 10 - w/ Tuxedo, Copper Green, Opal Yellow, Ivory, and Peace

Reichenbach Gold Violet is a beautiful pink, if you use it over something that dilutes its colour. Used alone, it is so dark it is almost black. It is an exciting alternative to CiM Cranberry and Effetre Rubino Oro, because compared to those colours, it is barely reactive at all but still has all the beautiful pinkness.  I haven't tried Pink Lady or Gold Ruby yet (other Reichenbach 104 pinks), but I am interested to see whether they react more like this colour or more like the CiM and Effetre varieties of dark pink transparent. This testing is pretty fun stuff :)

Gold Violet is pretty with silver, and it is awesome to have a transparent pink that can be used with Ivory without turning the Ivory black.  The other thing that is really cool about Gold Violet is that it seems not to mind being encased.


Here, you can see that when silver is used on top of Gold Violet, the colour of the Gold Violet browns up a little and the silver geads up on top of it.  If you reduce and encase the silver, it turns blue and leaves a blueish haze across the base glass.  The bead on the left is unimpressive and sort of icky looking, but it can be easily transformed into the bead on the right by reducing and encasing it with Clear.


Here, you can see that encasing silver foil with Gold Violet has resulted in the colour of the gold violet being lightened and reflected back at us with minimal discolouration. I was expecting it to turn orange the way it did when I encased silver with Cranberry, and was pleasantly surprised that it didn't really do that.



Reducing silver glass is gorgeous on top of Gold Violet. Not only did I get beautiful, vivid colour, but I also got some interesting mottling and edging to the fritty bits that I do not see with a lot of other colours.  I got some colour out of my TerraNova2 frit as well, but because that colour strikes mostly pink and purple, it is sort of lost against the base.


And now this is the most magical part of my show and tell about Gold Violet.

Instead of separating and going turquoise with Gold Violet, Copper Green develops a dark patina. I'm not sure this is very attractive, but it is an interesting change.  I probably wouldn't do this on purpose, but it is good information for you because you should absolutely not approach using this colour with Copper Green (or anything else) the way you would approach it with Rubino or Cranberry.

On top of Gold Violet, Opal Yellow and Peace both develop a subtle border that makes those colours look three-dimensional on top of Gold Violet. In my opinion, the reaction with Peace on top of Gold Violet is really attractive.

Ivory is the biggest surprise here. You can see that on top of Gold Violet, the Ivory has separated and curdled a little, but mostly stayed in place. It has not turned black or brown even a little bit. When I used Gold Violet on top of Ivory, nothing weird happened there either.


Finally, here is a goddess bead made with Gold Violet. You can sort of see pink in her if you look close where the light is shining through, but anything sculptural made from this colour is going to look almost black because the colour is so dense.

November 26, 2014

Test Results :: Cobalt

1 - Plain (reduced), 2 - Plain, 3 - w/ Silver Leaf, 4 - w/ Silver Leaf (reduced & encased), 5 - w/ Silver Glass Frit (reduced), 6 - w/ TerraNova2 Frit, 7 - Silver Glass Frit Stringer (encased), 8 & 9 - w/ Tuxedo, Copper Green, Opal Yellow, Ivory, Peace

Effetre Cobalt Transparent is a deep, rich cobalt blue transparent. It is moderately saturated, meaning that while it is a nice, dark colour, it still looks blue rather than black when used to make spacer beads. It is moderately reactive with silver and other glass colours, making it an interesting addition to my palette.

It's sort of funny to me now that I've been avoiding this colour for the last six years or so. I always regarded it as too bright or something, and never wanted to use it. I had no idea how much I was going to like it once I tried it. I guess I'm getting over my fear of bright colours or something.


On top of Cobalt, silver more or less stays put and forms a fine, webby network.  When it is reduced and encased, it takes on a blue/green appearance under the clear.

I read a post on Lampwork Etc. by Sarah Kay about her Blue Bead using this colour and silver, which you should also read if you are interested in how to really exploit the effects you can get by reducing and encasing this colour.


The results I got from putting silver glass on top of Cobalt, for lack of a more descriptive set of terms, is just sort of odd.  More experimentation is going to be required to figure out whether it is good-odd or bad-odd.  The reducing silver glass frit got beautiful colour and some interesting curdling and outlining effects on top of Cobalt, and my TerraNova2 frit developed colour well, but in a murky purple way that I'm not sure I'm a fan of.


Using Cobalt in my silver glass frit stringer test yielded a partial success.  It is interesting that it did something, even if that something isn't what I am usually hoping for in this test's results. It's wispy, and not solidly streaky like I have experienced with other reactive transparents like Yellow, Straw Yellow, Light Brown, etc.


Unfortunately, in the right-most bead, I seem to have done two stringers of Opal Yellow instead of one of Opal Yellow and one of Ivory. As a result, if you are very interested in how Ivory behaves on top of Cobalt, you are going to have to try it yourself.  Sorry about that!

In terms of reactions with other colours, Cobalt is not very interesting, although it is certainly nice to have some stable, non-reactive colours in our palettes.  The only things I observed in these test beads are that Opal Yellow, Peace, and Copper Green all separate on top of Cobalt, and that Copper Green develops a dark patina when used with this colour.


And finally, here is the Cobalt goddess bead. She has a little lint on her, but if you ignore that, you can see the richness of this colour and the different hues it takes on, depending on the thickness and how the light hits it.

November 19, 2014

Test Results :: Yellow

1 - Plain (reduced), 2 - Plain, 3 - w/ Silver Leaf, 4 - w/ Silver Leaf (reduced & encased), 5 - w/ Silver Glass Frit (reduced), 6 - w/ TerraNova2 Frit, 7 - Silver Glass Frit Stringer (encased), 8 - Over Silver Foil. 9 & 10 - w/ Tuxedo, Copper Green, Opal Yellow, Ivory, and Peace

I never expected to love Effetre Yellow, but making these test beads has made me love it a lot. The best thing about falling in love with a colour like this one is that it is both cheap and readily available in addition to being really interesting and beautiful. And this is coming from someone who doesn't even really like yellow.

Yellow is reactive with silver but stable with other colours. It is on the golden side of yellow, and so is less livid than a lot of other shades of yellow glass I've used.  It melts nicely without bubbling or boiling, and it doesn't pit or do other unpleasant things when you're working it. The reactions that Yellow has with other colours fall in with my expectations of the family of colours that includes Kelp, Straw Yellow, Light Brown Transparent, and Mojito.


In the leftmost bead here, you can see that the silver has darkened the Yellow significantly, and beaded up on the surface of the bead in a strange way.  In the bead on the right, encasing the silver has produced a blueish/greenish reaction in places, and you can see the darkened yellow through the gaps where there is no silver on the base bead.


For this bead, I made a base of Yellow, rolled it in silver foil and then encased with more Yellow. Underneath the encasement layer, the silver looks almost burgundy.  I expected it to turn a coppery colour the way it does with Straw Yellow, but I guess the more saturated nature of this Yellow yields a darker, richer result.


I got beautiful, vivid colour from my reducing silver glass frit on top of Yellow, and I also got decent colour from TerraNova 2.  The biggest, most exciting surprise that Yellow gave me was what happened in the rightmost bead.  I did not expect this colour to work this way as silver glass frit stringer, but it not only worked but has amazing striations in it and beautiful blues and greens.

To make the bead furthest to the right, I melted a big blob of Yellow on the end of a rod, and then dipped it in my reducing silver glass frit blend.  I melted that in and re-dipped it a couple of times and then pulled it out into stringer.  I used that to encase a core of Yellow, and then without reducing it, encased the resulting bead with Clear.  I love this effect a lot.


Copper Green behaves a little oddly with Yellow.  When I used Yellow on top of it, a light line formed around most of the Yellow dots and stringer lines, and the Copper Green developed a sort of mottled, pinkish look to it.  When I used Copper Green on top of Yellow, it got pretty dark and seemed to pit more than usual.  Tuxedo on top of Yellow seemed more translucent than I am accustomed to it being.  Apart from those things, I didn't notice much else of interest in these beads.


And here is the Yellow goddess.  She shows how rich this colour is when used alone in a sculptural piece. I will post some more sample beads when I come back to this colour, although I am not sure when that will be.