Friday, January 20, 2017

Effetre 023 Mosaic Green

This is one of those colors that lurks in your stash, waiting to be rediscovered. The reason that it is particularly effective at lurking is that it looks like rods of black. And you think - oh, a stash of black (if you have lost the label) - and then you use it, and blammo - not black.

Which may or may not mess you up. 

You see the green as it cools when you are working it - so it doesn't come out of the kiln a complete surprise. The rods might be all black, or they may have some green streaks. It is a creamy, soft color to work - which is your first indication that you do not have a black on your hands.

It is, apparently, a copper-laden green - judging from the red patches of reduction that can form accidentally if you are not working in a balanced flame. 
 And it doesn't alway convert fully to green, with some areas staying quite dark. I have not yet successfully figured out if this is a function of heating, whether I can control it, or if it is due to heterogeneity in the glass (uneven mixing).
 If you reduce it deliberately (cool, reheat in the tip of a low oxygen flame) - you get a rather interesting antique copper lustre, reminiscent of some of the Devardi glass photos. (I tried the devardi glasses - never got the results.) However - these went into the kiln with extensive, all-over reduction, and came out with mere traces - so whether that is the glass, or just my reduction eating kiln, I'm not sure.


Fun, eh? Lovely little color, this one.

Wednesday, January 18, 2017

Double Helix Skylla

Double Helix Skylla - I had a fair amount of success getting gorgeous colors - but I'm still not sure that I have the process really nailed.

This piece - I did not put in the kiln. (And it cracked.) This is freakin' awesome. This is the back.  This I would be happy with to get on a consistent basis.



And this is the front - with the spiral pressed into it. The back is nicer. I left this one out of the kiln to see if I would get different results from the ones that I annealed. (As I have been finding that with the reduction glasses.) (FWIW - for this striking glass - I can't see any difference between the annealed and the unannealed - that I can lay at the doorstep of annealing, anyway.)



My basic approach was to get it melted to clear, so hot that it was drippy and out of control. I would then make the whatever I was making, let it cool to no-glow-at-all, and then strike it gently in the edge of the flame. This worked fabulously as you can see above. However, because I was heating it gently - I never got enough heat into it to firepolish out the chill marks from the mashing - and that makes me crazy!



Here is a the grouping, you can see I got quite a variety! The rods themselves are a light tawny brown. When heated to clear - it is a slightly greenish clear that you get.












And the rods do hint at the possible colours.

With this style of piece, there is less opportunity to get it so hot. There is a lot of colour there - too bad about the mud puddle in the middle.














The other side is nicer.

This one, I didn't strike at all - I just put it in the kiln a greenish transparent. You can see, it struck on it's own, but mostly it's just black.




Double Helix says of Skylla:

Skylla is a silver striking and copper ruby glass. The silver strike produces bright blues, purples and teals while the copper ruby produces reds when applied in thin layers all the way to black if thickly applied. (See above!) Skylla has several improvements over our previous silver/copper striking colors. The colors are brighter, the reset is complete, the nucleation is heterogeneous and the copper ruby is redder.
 
For best results follow the striking sequence; Reset in a hot flame, Cool until the glow fades, Reheat at the tip of the flame.

This was made the same as the first above - but kilned. I would venture to say that this shows a nice example of the Copper Ruby. 



Again - not enough heat during striking to polish out the chill marks.

And backlit.

This one is quite opaque. And more of the light sagey green.
and the flip side.
Blobs (I won't dignify them with the word "dots") of clear - it does brighten and lighten the colours.
And the other side. Could be useful for saving a very dark piece.

Don't know what happened to this one. Maybe I over struck it.
And the other side.
This one has a base of clear, and the Skylla, and a cap of clear on top. The fuchsia is nice, but why is it in a band and not all over?
And here is the back, which I frankly like better.
Backlit.
And this one, over white. Very dark.

Skylla, at first glance, seems capable of some extra-ordinary colours. How you work them into your bead without losing control or over-striking seems to be, as usual, the issue.

I think that I am frequently happier with the back of pieces than the front is telling me something, but I'm not sure what. Am I striking the backs less or more? I'm not sure. More testing might reveal an answer.

Monday, January 16, 2017

Double Helix Thallo

Double Helix Thallo is a medium transparent emerald green. It is a reduction glass, and Double Helix calls it a "super lustre."

I found it to be quite subtle in it's effects - although it easily produces a nice gold lustre, and some blues and purples possible.









Note - the smooth leaf shape to the left was not annealed, and appears to have retained more of it's lustre than the annealed shapes.

Significantly more reflective.




Strongly backlit. 



If you want to retain some of the character of the original colour of the glass - the green-ness - or if the very strong reduction effects overwhelm your designs, then you might appreciate the subtlety of this one.

Saturday, January 14, 2017

Double Helix Melia

Double Helix Melia is a reduction glass. Double Helix says it is "a satin textured, iridescent luster glass."
They also say that is is related to Arke, Iris, and Iaso and that it has at least three types of luster effect: silver, iridescent, and a textured satin finish." 

They also say that super heating Melia will cause separation in the components, giving you striations and veining when reduced. I have observed that, but at this point, I can remember if it was with Iris or Melia - as I wasn't in testing mode at that time (i.e. writing things down.)

The unworked rod is a very attractive teal green, and the reduced items do seem to have a greenish overtone. 




 I do think it is prettier and easier to use than Iris - a little more colour to the reduction.




 Backlit.
 Strongly backlit.


Only more usage will reveal if I continue to prefer it. 

The "textured satin finish" that they refer to - I have seen it once or twice - Usually when I am making something that I am about to encase, and so it gets encased and I don't get a chance to photograph it. Whether it would survive annealing - I don't know. I have always assumed not, but maybe I should not encase it next time I see it.

Thursday, January 12, 2017

Double Helix Iris - and Reduction Loss from Annealing

Double Helix Iris - a killer metallic lustre reduction glass.

You might remember that I have been speculating that I have been losing some of the reduction effect during annealing - so in this case - I left one of my little bits out of the kiln to see if there was a difference.

That unannealed piece is on the left, then the stub of the rod, and 4 annealed pieces.


You will note that the rod is so dense that it really looks black - just the barest smidge of a red purple shows - so make sure you don't store it next to your black, eh?

Here they are again -this time flipped over to show the other sides, still with the unannealed on the left, the others on the right.
 It is super easy to get good reduction on this glass. I found I got best results from cooling to not-glowing, and then reducing in the tip of the reduction candles, as opposed to in the blue part of the flame, past the candles.
They are pretty dramatic, although I rather prefer the blue and purple tones to the metallic olive.


But here is the kicker - this is the un-annealed piece from the left above - after going through an annealing cycle.

 And the other side.
 And from another angle.

And just one more. 

It has, in fact, lost it's purple and blue tones, to a large extent.

So - is it the temperature that I anneal at? The speed? The atmosphere in the kiln? What?

Tuesday, January 10, 2017

Effetre 065 Metallic Black.

Ok - you've seen this before. Metallic Black. But I just found my stash of it and ... I still love this glass. Silky texture, muted rainbow hues, and effortless.

Going to integrate these into the "project" for sure.  Which if you don't know what that is, you can follow me, @therealdragonjools on instagram and find out.