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July 9, 2020

Test Results :: Sunset


CiM Sunset (CiM210) is a dark orange opaque, almost-but-not-quite as dark as CiM Phoenix and in a similar hue range.


Sunset is a striking colour and will get darker with repeated heating and cooling, but a simple waft through a reduction flame didn't change its colour.


Silver crusts up and gets yellowish on top of Sunset. When the silver is reduced and encased it turns blue in places.


Silver Glass reacts with Sunset in a dark-line way. I got a beautiful starting strike on my TerraNova2 frit on top of this colour.


While Sunset is only a moderately reactive colour, there are some interesting things going on in these test beads.

While nothing of note happens when Tuxedo is used over Sunset, Sunset separates on top of Tuxedo.

Copper Green separates and develops a subtle dark line around it when it is used on top of Sunset. When the Sunset is on top, the exact opposite is true and it is the Sunset that separates and the dark line is subtle but wide.

Opal Yellow and Ivory both separate on top of Sunset. When the Sunset is on top, it is the separator. In both cases, the sunset edges get 'eaten' by the base colour. The reaction in both cases is more pronounced with Ivory than it is with Opal Yellow.

These beads all contain some Sunset.








June 24, 2020

Test Results :: Loch Ness


CiM Loch Ness (CiM432) is a very dark green moonstone colour, although to me it just seems like a very dark transparent since it is quite difficult to see through, even when used in thin layers. It's a very well-behaved colour, buttery and easy to control except that it gets a lot easier to boil it when applying it in thin layers with stringer. Work cooler and higher up in your flame to avoid this problem.


Loch Ness does not change colour when you reduce it, and looks pretty much black when used in self-coloured spacers.


Silver dissolves in a fun way on top of Loch Ness, looking almost like a starscape or galaxy. When the silver is reduced and encased, it opacifies on top of the Loch Ness and develops hints of blue here and there.


This colour has potential as a good base colour for silver glass. Both my reducing silver glass and my striking silver glass got great colour on top of it.


Copper Green separates with Loch Ness, but apart from that it is not a terribly reactive colour. This reaction happens with Light Turquoise as well, so I suspect it will happen with most turquoise opaque glasses.

This colour does not react with Ivory, and it is always good to find greens and blues where that is true.


These beads all contain some Loch Ness:







June 18, 2020

Test Results :: Pale Purple (Pale Amethyst)


Effetre Pale Purple (EFF046), also called Pale Amethyst, is a very pale purple transparent colour. It is not very reactive with silver or other colours, and is reasonably well-behaved in the flame, resisting my "expert" attempts at boiling it.

Overall, I quite like this colour. I don't use a lot of pale transparents in the beads I typically make, but I like having one in each hue group that I can call on reliably when I need one.


Pale Amethyst doesn't change colour when you reduce it.


Here you can see that silver stays silver under Peal Amethyst. When silver is reduced and encased on top of Pale Amethyst, it develops a bluish haze.


Pale Amethyst is a decent base colour for silver glass, but it doesn't cause any magic to happen. in the striking silver glass frit. I quite like the way the reduction frit looks.


On top of Pale Amethyst, Copper Green separates and Ivory spreads and looks 'floaty'. Ivory and Peace both spread like mad on top of it, but Opal Yellow stays crisp and thin. Other than those observations, there's not much more to see here. Pale Amethyst is not very reactive.

May 31, 2020

Test Results :: Summer Haze / Lemongrass


CiM Summer Haze (CiM321) and CiM Lemongrass (CiM320) are essentially the same colour, except that Lemongrass is a little more opaque. They work up a gorgeous, smokey lemon yellow. The glass in these test beads is Summer Haxe, but there are beads with both Lemongrass and Summer Haze towards the end of this post. Because these colours are essentially the same formula according to CiM, I only did the colour test with one of them but I am sure that there are some subtle differences.


Reducing Summer Haze didn't really alter its colour. It might have gotten a bit darker, but I also need to remember that it is a smaller bead on a dark background, which probably explains the colour difference in the two beads above all by itself.


Silver develops a slight 'mistiness' on top of Summer Haze, and when the silver is reduced and encased it shows some areas with blue halos under the encasement layer When you use Summer Haze over silver foil, the foil turns bright gold. This means that Summer Haze has interesting potential as a base colour for silver glass frit stringer.


Summer Haze is an unusually good base colour for silver glass. My reducing silver glass and striking silver glass both really bloomed on top of it.


Summer Haze is not a very reactive colour, but it did cause separation in Opal Yellow, Ivory, Peace, and Copper Green in my test beads.

Here are some other beads made with Lemongrass and Summer Haze.

Lemongrass

Lemongrass

Summer Haze





May 7, 2020

Test Results :: Troi


CiM Troi (CiM558) is a vibrant medium teal opaque. It reminds me of Mermaid, only a bit lighter and bluer.

I was a little unprepared for how vibrant it would be, because the rod colour is a little more subdued than this colour ends up being after working and annealing it. It's quite a streaky colour, leaving little trails and veins of darker teal all through it no matter how carefully you work.


Like many other colours in the turquoise/teal families, you can get a brick red reduction on Troi. You sort of have to work at it, though, and the result I got was blotchy. I tried a variety of strengths of reduction flame, and a variety of flame-height positions while reducing this and was not able to achieve an even coverage. Maybe you'll have better luck?


The reason Troi's vibrance surprised me so much is that in rod form, Troi is almost exactly the same colour as Quetzal. However, after working Troi gets darker, and Quetzal must get a bit bluer because they are nothing alike after coming out of the kiln.


Troi reacts predictably with silver. Silver leaf only seems to turn this odd shade of mustard when it is reduced and encased on teal glass. I really like how the silver leaf coalesced in the veins where the Troi separated from itself in the leftmost bead.


My striking silver glass frit in the bead on the right developed some interesting colour.



On top of Troi, Copper Green and Opal Yellow both separate.

Ivory and Troi develop a reciprocal dark line reaction, and the reaction is so strong that it discolours the stringer line's interior as well as its edges. When Troi is on top of Ivory, the brown line creeps into the Ivory in varying amounts.

Troi separates on top of everything because it's so streaky.


Here are some other beads that contain Troi:




May 1, 2020

Test Results :: Black Marble


Effetre Black Marble (EFF774) is a streaky, dark brown-black colour that has the same consistency as Effetre Dark Ivory. Also like Dark Ivory, it does a crazy reticulation thing that looks like little cells of different shades of brown and ivory in between veins of darker colour. It's in this glass' reactions to other colours where some big differences lie.

On a bit of a side note, this colour does not look like marble, and it is also not really black. It's more of a 'rich farmland soil' kind of dark, streaky brown.


Black Marble doesn't really change much when it is reduced. It's possible that the bead on the right got a bit darker, but it's hard to be sure since this colour has so much variation anyway.


Here I did Black Marble as stringer (wrapped about three times) on the left side of the bead and then the same amount of Silvered Black Marble on the right side. The silvered stringer is darker overall (my best guess is that the silver reacted with whatever ivory-like glass forms the lighter streaks?) and has tiny flecks of silver in it that make me happy. I made the Silvered Black Marble the same way I make Silvered Dark Ivory.


I sort of expected this colour to behave the same way with silver as light and dark ivory glasses do, but I was wrong. The silver leaf on the surface of this colour is a more interesting light golden hue. When I reduced and encased the silver, the golden-ness went away and it blushed blue in places which I have not had it do with ivory glasses.


Silver glass is very beautiful on top of Black Marble, which seems to make a decent base colour for both reducing and striking colors.


Black Marble has a much milder version of the same reaction profile as Ivory - which is to say that it does a gentle dark line reaction with Copper Green, and it is also gently reactive with Opal Yellow. Because both colours are spready, you can see where Ivory and Black Marble were used together that there is some interesting bleed at the edges of the stringer dots and lines.

My most important takeaway from these beads is that Black Marble is really awesome as stringer.

Here are some other beads that include Black Marble:






April 24, 2020

Product Review :: Warm Transparents and Blueberry Muffin

This week I have been focused on using some of the new transparents and the new lapis-hued semi-opaque colour called Blueberry Muffin. 

Candlelight (CiM322) is a very pale yellow transparent colour. It comes out very true to the colour of the rod, although while you are working it it blushes a deep yellow. I wasn't exactly sure what I was going to get when they went into the kiln and was thrilled when they came out such a unique and useful colour..

This colour works beautifully without any bubbling or scumming or fuss. I found the melted ends liked to crack off when reintroducing them to the flame, but that happens with many of the transparent colours from all the manufacturers.


Here you can see that Candlelight is substantially paler than Effetre Straw Yellow. I am excited about this colour and want more of it, because it has so much potential for fun.


One of the tests that I like to do with pale and medium transparents is to see what happens to silver foil when I use them to encase the foil. When I do this test, this is exactly the reaction that I am hoping to find - check out how golden and beautiful the silver foil went under Candlelight. This means that Candlelight will also make wicked silver glass frit stringer. 

Other colours that do this to silver foil include Effetre Straw Yellow, Effetre Light Brown Transparent, Effetre Pale Green Apple, Effetre Kelp, and CiM Mojito. I am sure I am forgetting some in that list, and there are colours I have not tested yet, so that list is not definitive.

These beads all contain Candlelight:

  

Goldfish (CiM218) is a slow-to-strike transparent orange that, when fully struck, is pretty much identical to Clockwork. I found this colour slow to develop in the flame, so if you want the deep, bright orange that it can become, you will want to use it in larger or more complex beads that have longer working time so that the beautiful colour has time to develop. I would not say that this colour is difficult to strike, but it does take some time and patience. Like Candlelight, Goldfish is a transparent colour without bubbliness, scumminess or other workability problems. Like Clockwork, this orange opacifies as it strikes, and looks very opaque in thick layers when fully struck.

Understruck Goldfish ranges from yellow to golden orange, and I sort of appreciate the variation you can get from it. All of the other oranges that I've used (pictured below) develop colour much more readily, which can be nice but does not offer the flexibility that Goldfish does, where you can strike it as much or as little as you want to get different shades of orange.


Here you can see Goldfish with Effetre Orange, Vetrofond Orange, and Clockwork. The three other oranges all strike much more quickly than Goldfish.I like all of these colours for different reasons, and isn't it nice that they are so different from each other and differently useful that we can totally excuse owning all of them?

These beads all contain Goldfish. As you can see, I was much more successful striking it in these 'real' beads than I was in the test cylinder above because the working time was substantially longer and the beads all had more heating/cooling cycles as I decorated them.

  

Firedragon (CiM124) is a beautiful orange-red transparent, a few shades warmer and lighter than Sangre. I found this colour equally nice to use as I did Candlelight and Goldfish. It fills a bit of a gap in my palette, since there really are no other transparent colours that I know of that are on the cusp of orange and red the way this one is.



Here are some beads that include Firedragon:

   

Blueberry Muffin (CiM633) is supposed to be the same hue as CiM Lapis. It seems lighter in most of my beads because I have used it in thin layers over light colours. 

This colour is pleasantly reactive, and I absolutely think that CiM should keep making it. It's like a deep, dense ink blue with fun reactive potential and I am very excited about all the crazy things we will do together. 

If I could change anything about this colour it would be to make it more translucent. Even in thin layers, it can look almost opaque. I wonder what it would be like as a Misty Opal?

    


That's all for this week!  I am not sure what I'll post next because there are still so many delectable choices, but I will be back next week with more colour news.