First Look :: Solar Storm

I think CiM Solar Storm (CiM224) might be my favourite 'streamer' colour so far. I am looking forward to trying the rest of them because I really like the streaky look they give. It's like the streaks you get when you apply coloured frit to a bead using a clear gather to transport and spread it except that the end result is easier to control and more predictably coloured. There's a time and place for both and I am glad to have this option in orange :)

With all of the streamer colours, I've found that it's important to use a contrasting opaque colour underneath them as the bead 'core' so that they have something to sparkle against. Otherwise, the lighter streamers get really lost against the bead hole.

Here are some fun beads that I made with Solar Storm:

First Look :: Jacaranda

CiM Jacaranda (CiM636) is a very pretty transparent lavender. It's a bit pinker than Effetre Dark Lavender, and I expect that it does the same colour shifting thing.  I think CiM Jacaranda is exactly the same colour as Crocus, but because it is more transparent it just seems brighter. I added some to the order I already placed after I made these beads because I really enjoyed using this colour. I used to have a small hoard of Crocus and Wisteria, but I've used a lot of it up, so I am really happy to welcome this colour into the fold.

Silver stays silver under Jacaranda.

Here are some fun beads made with Jacaranda.

First Look :: Scotch Broom

I am intrigued by this new, beautiful orange-yellow opal colour from Creation is Messy called Scotch Broom (CiM327). It's like nothing else I've ever tried, and everything I made with it so far is pretty ugly because I just don't have it figured out yet. The only thing a girl can do in this situation is buy a full pound of it and really buckle down to figure it out, so I just messaged Nortel to ask them to add a pound of Scotch Broom to my order.

OK, so why, if everything I've made with it so far is icky, have I just ordered a pound of Scotch Broom? Because I love the colour so much in the rod and in the plain spacers I made that I really need to figure it out. It's completely unique and crazy beautiful.

This is Scotch Broom in spacers. It seems like it is slow to strike back to opalescence, so these beads just look transparent. What a gorgeous, warm colour!

These little beads are Scotch Broom with silver leaf. The bead on the right is encased with Effetre 006 Clear.

The only surviving things I have made with this colour are truly ugly, and out of those, this is the least embarrassing one that made it past the water jar, so this is the one I'll put here:

This bead has Kniphofia in the core, encased with Scotch Broom. I made an incorrect assumption when I started using this colour that it would end up more opaque like the rod, and that was not the case. I got more opacification of it in this bead than in the little spacers, so it seems like working it longer can help with that if opacity is what you're after.

No one will ever know what possessed me to put blue and aqua flowers on top of this colour, and I did not expect the flower petal colours to let so much orange through. The flower effectively looks brown. 

I will repost about this colour when I've been able to give it a better workout. My results here definitely don't seem reflective of its potential.

First Look :: Kniphofia

Kniphofia from Creation is Messy (CiM225) is a medium orange transparent that is a bit slower to strike than other transparent oranges, but apart from that and the fact that it does not seem to opacify the way Clockwork does, it's very similar to Clockwork. It seems not so slow to strike as Goldfish was last year so it doesn't have quite as much range as that colour did. It is a gorgeous colour, though, and I appreciate both the flexibility of hue and how this colour seems to stay more transparent when fully struck.

It is very difficult to make two beads at the same time from a striking colour and have them come out the exact same colour. I made these two beads together and you can see how the one on the left struck a little deeper. In this case, I'm happy about it, because I think it might be fun to make a whole bunch of them to use in a necklace and it will be better if they aren't all identical anyway, but most of the time this is a frustrating problem. 

The only ways I've found around it are:

• to hang around in the flame (and out of it, intermittently) until both beads look fully struck like they can't possibly strike further, 
• to painstakingly restart the striking sequence in each bead after getting the initial gather on the mandrel but before starting to shape them and then being very careful to give both beads absolutely equal treatment.

But both ways take a long time, and even then I'm wrong half the time because things look so different when they're hot. When I want matching pairs with striking colours, I generally make 4 or 5 pairs and then pick out the best matches out of all the beads to be paired together.

Here are some beads made with Kniphofia:

I used Kniphofia in the stripes on the sides of these beads.

Here, Kniphofia is in the more orange of the orange stripes. The orange stripes that are a bit yellower in hue are CiM Scotch Broom.

And here, I've used Kniphofia under Clear and Double Helix Clio to make a beautiful, cloudy (because I over-reduced them) pink.

First Look :: Avalon Milky & Avalon Misty

CiM Avalon Milky (CiM4003) and Avalon Misty (CiM4002) are soft, minty, pale green, translucent colours. They melt beautifully, with no bubbles or scumming. These glasses are really only different as regards their opacity, so I feel like it is makes sense to post about them together. In general, I typically prefer the misty colours to the milky ones because I enjoy the brightness of them, and this was true for me with Avalon as well.

You can clearly see here the difference between the milky and misty versions of this colour. They are both beautifully translucent, but the misty beads show just a bit brighter and lighter because more light is passing through them.

Silver Foil under Avalon turns an odd lemon yellow colour.

I decided to try this just because the silver foil turned a bit yellow, but it turns out that lemon yellow is not quite yellow enough to do anything impressive with the frit. These streaky results are pretty, but they are also achievable by using regular colours rather than the expensive silver glass ones, so I'll never do this again.

Here are some fun beads that I made with these colours. I'm not really sure which is which now, but you can rest assured that whichever of these colours you choose to buy, you're getting something pretty neat. The butterfly murrini were created by the lovely and talented Jackie Gundelfinger.

First Look :: Pink Pansy

CiM Pink Pansy (CiM930) is a medium transparent pink colour. The colour is a little warmer than what I typically get from CiM Cranberry or Effetre Rubino Oro, and a bit lighter in saturation than Cranberry (Rubino Oro varies from batch to batch, so it's hard to say something really definitive about it here). This colour does not require any special handling in the flame to develop its rich, pink colour.

Other testers have posted about this colour having a butterscotch aspect to it, but for one reason or another, I didn't really see that in my test beads.

Silver leaf isn't very interesting with Pink Pansy, and so I almost didn't bother doing the next test. I'm glad my fixed habits sometimes win out over my lazier impulses or I'd never discover anything good :)

Silver foil under Pink Pansy is a rich coppery gold. This is a really beautiful result, but the most exciting thing about it is that colours that turn a rich gold like this make gorgeous silver glass frit stringer.

This is Pink Pansy pulled into frit stringer using my random blend of TAG and Double Helix reduction colours. I've put it over a core of pink pansy in most of the beads, which is why you can see a lot of pink poking through. The beads on the very ends give you an idea what the stringer would look like without the pink core. 

And here is a fun pair I made. The base of these is Effetre Skyberry, and I've also used some CiM Mediterranean in here. The windows are made with aqua dicroic.

First Look :: Burnt Sugar

CiM Burnt Sugar (CiM733) is a brown transparent glass that is a pale brown in thin layers. Like all transparents, the more of it is bulked together, the darker it is. 

Burnt Sugar is a light brown transparent that fumes very dark with silver. Silver foil encased with this colour turns a rich bronze colour.

On top of Burnt Sugar, silver foil looks amazing. 

I love the way it crusts up on the surface, and when the silver is reduced and encased, it forms a blue-ish haze around it and looks quite magical.

Because Burnt Sugar does such amazing things with silver, I thought it might be a good candidate for using with silver glass frit in stringer, but unfortunately the reaction is so strong that the results are too dark to be interesting.

I'll show you two other tests like this from the new batch of colours in future posts, and you'll see what I was hoping for here in one of them.

This colour melts like butter, and although it is possible to boil it if you hold a thin stringer directly in the flame, it is very nice to work with. In thin layers, it is a gorgeous pale brown, and in thicker layers, a deep brown. The denser the Burnt Sugar, the darker a bead made entirely of Burnt Sugar will appear.

Here's Burnt Sugar in a group with many of the other colours from this batch of Limited Runs:

Test Results :: Medium Topaz

 

Effetre Medium Topaz (EFF014) is the colour of amber or maple syrup. Some vendors call it Root Beer.

This colour is part of a small family of topazes, which we can all appreciate because it is very nice to have a series of 3 or more tranparents that are all the same hue but at different saturation levels. We have to be more inventive to create this kind of graduated effect with other colours. I wish someone could do this with reds and oranges.

Because all of the great colours have more than one name, this one is also sometimes called Root Beer, so if you're looking for Medium Topaz and can't find it, that could be part of your problem.

Reducing Medium Topaz doesn't have any effect on it's colour.

In the rightmost bead, you can see Medium Topaz sitting smack between it's two cousins, Light Topaz and Dark Topaz.

Medium Topaz is a very vivid colour with reddish overtones, which is very appealing but maybe a little frustrating if what you really want is a medium brown colour. If you're facing this problem, consider choosing CiM Indian Summer  or CiM Maple instead, since they are less red but about the same level of saturation. Medium Topaz is brighter and more saturated than Reichenbach Amber, brighter than CiM Indian Summer, and significantly redder and darker than the old Vetrofond Streaky Topaz.

On top of Medium Topaz, silver spreads out and forms a brownish crust. When that crust is reduced and encased, it turns a bluish grey. Medium Topaz deadens silver. I encased silver foil in the rightmost bead, and usually I expect to see the silver glinting out at me with some intensity, whether the colour of it is changed or not. Medium Topaz seems to have eaten it.

Medium Topaz makes a very interesting base colour for reducing silver glass frit. I got interesting outlines around the fritty bits here, and I also got very nice colours in the frit. My TerraNova2 frit got some interesting colour in it, but everything is so dark in that bead that it seems like maybe the reaction between it and the Medium Topaz was too strong. I'll have to try this again and see what happens.

In my frit stringer test, I certainly got a reaction but instead of the blues and greens that I get with colours like Yellow, Straw Yellow, Mojito, and others I instead got a lot of grey and pale yellow with the barest hints of blue. This combined with its behaviour with silver makes me think that the Topaz family's reaction profile is a lot like that of an Ivory. That sort of makes sense based on the little I know about glass colouring and I can't help remembering that Ivory is sort of amberish when it's hot.

Medium Topaz lightens up considerably when used on top of other colours.

Copper Green, Opal Yellow, Ivory, and Peace all separated on top of Medium Topaz, but I didn't notice much in the way of reactions when the Medium Topaz was on top.

Here are some beads that include Medium Topaz:

Test Results :: Dark Emerald

Effetre Dark Emerald is a vibrant, pure medium green transparent. It is relatively inert with other colours -- even with Ivory it has only a very slight brown line reaction. I was expecting it to be more reactive than it is, so I was pleasantly surprised.

Here, you can see that reducing Dark Emerald makes no appreciable difference in itsappearance.

Dark Emerald does nothing with silver until you reduce and encase the silver - then you get faint bluish hints here and there that remind me of how silver interacts with the cobalt blues.

Dark Emerald seems to make a nice base for both reducing and striking silver glass.

And finally, here you can see how very non-reactive this colour is. You'll notice there's a weird, dark sooty line between the Ivory and Peace, but I think that is nothing to do with Dark Emerald and quite a lot to do with me needing to clean my torch head. Also, there was a batch of Peace that did this fairly easily a few years back, and it's possible that I still have a few rods of it mixed in with my newer stock.

And here are some fun beads with Dark Emerald.  On the whole, I think this colour is a bit brighter than I really like to work with. If I am going to use the rest of my stock, I think I will probably mix it with other transparent colours to see what I can do with it in blends.

Test Results :: Antique Ivory

Effetre Antique Ivory (EFF481) is a dark ivory-coloured glass that has a similar reaction profile to Light Ivory and Dark Ivory but it is just a little more muted in hue. Like the ivories, this reacts interestingly with silver and makes good Silvered Ivory Stringer.

Here, you can see that Antique Ivory doesn't change colour when you reduce it.

Silver darkens Antique Ivory and crusts up on its surface. When the reaction is reduced and encased, the darkening of the Antique Ivory goes away.

Like Light and Dark Ivory, this colour makes a good base colour for silver glass. The colour develops well on top of it, and it has interesting blackening/crinkling at the edges of the fritty bits, too.

Apologies for the dirt you can see on the Tuxedo end of the leftmost bead. It's been hard to find time to do anything bead-related over the last few months and I don't have the energy to retake that photo.

You can see in the rightmost bead here the Antique Ivory curdling underneath the other colours I used it with. Like Light and Dark Ivory, this colour gets a dark line around it when used with Copper Green, although the line is more subtle with this colour when the Antique Ivory is on top.  Ivory spreads out on top of this colour.

The edges of Tuxedo dots and stringer lines get all blurry on top of this colour but, interestingly, Antique Ivory on top of Tuxedo seems not to be a reactive pairing. 

Like Light and Dark Ivory, this colour forms a subtle brown line reaction with Opal Yellow.

Here are some fun little pairs that include Antique Ivory.