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June 26, 2017

Test Results :: Sea Mist


CiM Sea Mist is an appropriately named, pale blue, cloudy, transparent colour. I found it a little bubbly and scummy, and since I don't use a lot of pale transparent colours in my work I had some trouble figuring out what to do with it.


Here you can see the reducing Sea Mist (the bead on the right) doesn't really change its colour. That bead does look a bit darker, but that is because I use a dark background and the bead is smaller than the bead on the right. Sea Mist is not completely transparent.


I didn't do my frit stringer test with this colour, but since it turned the silver foil a golden colour when it was used over top of it, it might have worked. If you are curious, give it a try :)  I use a homemade frit blend with a random, motley, ever-changing collection of Double Helix and TAG reduction frits.


You can see in the leftmost bead that the reducing silver glass has fumed the Sea Mist with a yellowish tinge. Apart from that, there's not much to say about these beads. I think Sea Mist makes a pretty average base colour for silver glass.


Tuxedo spread on top of this colour and looks pale around the edges.  I got some separation in Copper Green, Opal Yellow, and Ivory when those colours were used on top of Sea Mist.

Here's a gobstopper bead pair made with Sea Mist. I used it as the base colour as well as in the encasement layer on the raised windows.

June 19, 2017

Test Results :: Dark Zucca


Effetre Dark Zucca (EFF426) is a somewhat muted medium burnt orange colour. I'm working my way through a pound of it and I've really enjoyed it in my palette.  It's darker and has less colour variation than Effetre Light Zucca, and it is lighter and more orange than Effetre Spanish Leather.


Here is a picture that shows it in relation to some other colours. I didn't have any Spanish Leather left, but I picked out some others that will hopefully help you place it in the palette.  Effetre Light Zucca is a little lighter than Dark Zucca, a lot brighter, and streaked with yellow (which I love!). Effetre Coral Mango is a bit lighter and brighter as well, as are CiM Phoenix and CiM Sunset.


Dark Zucca is a pretty straightforward colour. It doesn't do a lot of streaking or mottling, and reducing it doesn't change it. It does get a brownish cast to it in places, but it's not clear to me what causes it and how (if it's even possible) one might avoid that or make it happen intentionally on only a part of the work.


Silver fumes Dark Zucca a dark greyish brown colour, and in the leftmost bead above you can see that the silver also forms a lacy crust on top of Dark Zucca and looks bluish in places. When the silver is reduced and encased, the Dark Zucca's colour returns to normal and the silver continues to look blue in places and that blue deepens and intensifies.


I rather like the way reducing silver glass frit looks on top of Dark Zucca. I got pretty colours from the frit, and the dark outline that the fritty bits get from the reaction with Dark Zucca really make them pop. In my TerraNova2 Frit bead, I'm less excited. There's so much muddy brown fuming around the silver glass frit pieces that the result looks fairly muddy. I did get some nice starting colour from the TerraNova2 though, so maybe this combination has some potential.


Dark Zucca separates on top of Tuxedo and has a reciprocal dark line reaction with Copper Green. Zucca and Copper Green have a mutual influence thing going on where both of those colours separate when used on top of the other.

Opal Yellow and Ivory both separate on top of Dark Zucca and additionally develop a sort of orange blotchiness that I find interesting. When Dark Zucca is used on top of Opal Yellow, the Opal Yellow develops a thick light halo around it. When it is used on top of Ivory, the Ivory clings to the edges of the stringer dots in lines in a way that sort of reminds me of a milk mustache.

Here are some other beads made with Dark Zucca:




June 12, 2017

Test Results :: Peat Moss



CiM Peat Moss (CiM452) is a rich, earthy olive green transparent colour. It is definitely unique in the 104 CoE palette, and I hope that we see more of both this and Eel Grass, my other favourite transparent from this lot of new CiM colours.


Peat Moss doesn't change much when you reduce it.


Here, I've compared Peat Moss against Effetre Olive and Effetre Light Grass Green.  As you can see, it is significantly more on the yellow side and a fair bit browner than both of those colours. I got a lot of bubbles in all of these colours, which is no doubt my own fault, but Peat Moss does seem to be a colour that likes to bubble, especially when it is used in stringer form. I think the key to avoiding these bubbles is to work slower and cooler, which I'll practice :)


On top of Peat Moss, my silver turned yellow in a thick crusty layer. When I encased a similar layer of silver with clear on top of Peat Moss, all of the silver turned white.


I think this is the test result that confused me the most.  In all of my previous tests, when I've encased silver foil with a transparent colour, it has either turned the silver golden OR left it a shiny silver under the colour layer. Peat Moss is the first colour that has effectively deadened the silver so that it has no shine at all.


On top of Peat Moss, my reducing silver glass developed very interesting colour and edges, leading me to believe that Peat Moss is a good colour to use with reducing silver glass.  My TerraNova2 frit didn't do anything remarkable - Peat Moss seems like it would be an average base colour for striking silver glass.


Here you can see that Peat Moss does interesting things when pulled into stringer with reducing silver glass frit. I was surprised to see that I got this result but that it did not turn my silver foil gold, since up until now there has been a strong correlation between those two behaviours.


Copper Green, Opal Yellow, Ivory, and Peace all separate on top of Peat Moss.  Also interesting, Copper Green didn't develop its customary greyish patina when worked with Peat Moss.

Here are a few beads made with Peat Moss:


June 5, 2017

Test Results :: Cornsilk


CiM Cornsilk (CiM314) is a soft opalescent yellow that stays a beautiful translucent colour no matter how you abuse it in the flame. I found two of my three rods of Cornsilk to be a little bit shocky, and I did get some bubbling as I was working it, but in the long spaces between those issues, this colour was pleasant to work with, smooth, and buttery.

In case you're wondering, Effetre Yellow Opalino and this colour are not really anything alike. Yellow Opalino is much less reactive with silver, much more yellow in colour and tends to opacify. I would have made a test paddle, but I don't have any Yellow Opalino currently and resisted buying some.

The only colour we had already in the 104 Palette that really bears any resemblance to Cornsilk is Effetre Yellow Alabastro, but because I am so afraid of the Alabastro colours after my unpleasant brush with Ivory Alabastro that I couldn't make myself buy any, there's no comparison between that glass and Cornsilk happening in this post.  I'm imagining that the Yellow Alabastro is just as shocky, boily, and nasty as the Ivory was and maybe that's a little unfair. If I ever run out of other colours to test, maybe I'll screw up my courage and try it.


Here you can see that Cornsilk doesn't change much after you reduce it.  The smaller, reduced bead does look a bit darker here but I'm pretty sure that it's because my background is dark and there is less Cornsilk present than in the leftmost bead.


Here is a bead that shows the colour differences between CiM Ecru, CiM Cornsilk, and CiM Ghee. Cornsilk stays opal while those two colours are cloudier and Ghee can look downright opaque depending on how it strikes.


Silver leaf fumes Cornsilk a rich caramel colour, with the silver turning brown in places and beading up into pretty little silver balls. When the silver is reduced and encased, it mostly just looks solidly greyish under the clear.  Silver Foil under a layer of Cornsilk looks much yellower than the colour of Cornsilk would seem to justify, and so I think it's safe to say that Cornsilk belongs in the same reaction category as colours like Mojito, Pale Green Apple, Straw Yellow, and Light Brown Transparent.


Cornsilk seems to make a pretty nice base colour for silver glass.  I got pretty colours in both of these beads, and with the reduction frit, the cornsilk fumed a deeper yellow in places.

I regret not doing my reduction frit stringer test with this colour, because after seeing how it works with both silver and silver glass, I have a feeling I would have been pleased with the results.


Copper green, Opal Yellow, Ivory, and Peace all separate on top of Cornsilk. Apart from that and the pretty fuming with silver, I didn't notice much in the way of reactions with this colour.

Here are some other beads made with Cornsilk:



May 29, 2017

Test Results :: Lipstick



Reichenbach Lipstick (RL6116) is a bright, happy semi-opaque (opal) red. This colour melts really nicely, does not boil easily, and didn't turn grey on me the way Reichenbach Strawberry did, although I should really try that colour again now that I have a more powerful oxygen concentrator.


Here is Lipstick with some other colours for reference.  Effetre Light Red is actually quite similar to Lipstick, although I think Lipstick is a bit lighter and a bit less opaque.  CiM Valentine and CiM Hemoglobin are substantially darker.  CiM Maraschino is darker in colour and more transparent than Lipstick.


Lipstick does not change significantly when it is reduced.


On top of Lipstick, silver leaf really crusts up, and the Lipstick itself fumes a dark colour. When the silver is reduced and encased, it turns blue. The Lipstick stays dark though, and does not lighten under the clear the way some other colours have for this test.


Lipstick is a good base for silver glass. I got some nice colour out of both my TerraNova2 frit and my blend of reduction glasses on top of this colour, and the dark line that forms around the fritty bits really make them pop.


Here you can see that because this colour is not fully opaque, it looks significantly lighter when used over a lighter base colour.

Lipstick separates on top of Tuxedo, and the edges of Tuxedo stringer lines and dots on top of Lipstick are a little fuzzy.

All of the colours I used here with Lipstick seem to have spread on top of it.  Ivory separated and developed a lightline up the middle, and there is a greyish dark line reaction with Copper Green that is both wide and blotchy.

Here are some other beads made with Lipstick:




May 22, 2017

Test Results :: Multicolor Dark


Reichenbach Multicolor Dark (RL6206) is a reactive striking colour. It is relatively easy to strike. The rods are a reddish purple colour, they go transparent when heated, and then turn green as they cool, then striking to blue, purple, and sometimes even a reddish colour.


You can see here that reducing the Multi Dark doesn't make it shiny and doesn't cloud it up the way Raku behaves when reduced. Here, it just advanced the colour of the glass into the purple hues.

I have noticed that in order to strike this colour, you need to let it get fairly cool and then give it a thorough, deliberate reheating. I was not able to screw it up -- no matter how I did it, I still got great colour, so that's a huge point in its favour.



I've now had two different versions of Multi Dark - or at least they seem different based on the appearance of the unmelted rods.

Both of the goddesses below are solid Multi Dark.  The top one was made with the darker rods and the bottom one was made with the older, paler-rodded variety. Maybe the newer, darker-rodded batch gives more deep blues, but it's also possible that these two beads received a different amount of heat, were cooled a different number of times, etc. This is a seriously beautiful colour, and no matter what batch of it you have, it's great glass.

  



On top of Multi Dark, silver disperses such that it's not really apparent on the surface. In so doing, it seems to inhibit the natural colours of the glass, or maybe just cover them up. When the silver is reduced and encased, it forms a solid layer through which you cannot see much of the base bead.


Copper Green, Opal Yellow, and Peace all separate on top of Multi Dark, and Multi Dark does not inhibit the sheen that develops on top of Copper Green.

Ivory forms a dark line reaction and turns a dark greyish brown around the edges of the dots and stringer lines when used on top of Multi Dark, and it also seems to separate. When Multi Dark is used on top of Ivory, it gets a dark outline and fumes the base ivory a brownish colour.

Here are some other beads made with Multicolor Dark.