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21/11/2011
Greetings!

      

 

Winner of the fantastic perfume bottle by Christian Arnold is Barb J of Cowwarr
in Victoria.  Congratulations Barb! :)


Like blue glass?  Well, check out our new product page!

           Get Ready for Xmas
 
 
PriceMatch
BEES, BUGS & FLOWERS
Bev Butler
Bev Butler Flowers
Flowers by Bev Butler


Bev Butler shared this series of three tutorials with us a while back and now the sun is out and weather is brighter I thought it a good time to revist these great tutorials!
 
Bev, you have been very generous with your time making these to share and it's appreciated once again. Thank you!




 

O-BUGGAS

 

I get strange looks when I say these are O-Buggas. (It's what I said when I broke the first one I made and I thought why not.)

 

Simple tools only are needed. If you don't have a lentil press, just flattening a round bead would give you your own style. Flattening one side only will give you a good ladybug shape.

BUG 1

  

  

  

 

  

Make a round bead to fill the press if you are using one.

 

 

 

 

 

BUG 2

 

 

Roll in frit. Or if you want a ladybird - choose red and dot with black after shaping.

 

 

 

 

 

 

 BUG 3

 

 

Press  

 

 

 

 

 

 

BUG 4

 

 

Add a small round bead at the front. Make sure it has made a join that is not too thin. If you have overheated this section, run a blade between the two sections to sharpen the appearance.  

 

 

 

 

 BUG 5

 

Choose the front and spot heat. Use a sharp blade and make a crease for the wings. 

 

 

 

 

 

 

BUG 6

 

 

Add two raised dots for eyes.

 

 

 

 

 

 

 

BUG 7

 

Add raised dots for legs on the underside. Treat these as a decorative pattern. You could try three dots on either outside edge close to the head.

 

 

 

 

 

 

 

 

                    BUG FINISHED     BUG TOOLS

 

 

 

Have fun, Bev Butler

 

Giving Back
BLACKS - They're not all the same!
 
Hades
CiM Hades
I had a question this week on which black to use to avoid the purple look that Effetre transparent black produces. 
 
Just a quick aside here.  If you are looking for Effetre Black in the opaques, remember that it's actually a transparent :)
 

Glass Artist Anastasia suggests the use of Reichenbach Deep Black or Black for very fine stringer work saying that  It does not go purple or bleed plus has good opacity. 

Other blacks to consider are Hades by CiM.  Messy Tester's Feedback on the Creation is Messy website  say that Hades is "really black" without devitrification, it webs like Intense Black and gives good reactions with silver foil, leaf and silver glass, keeping its colour when pulled into a stringer and applied.  The general consensus is that Hades is a premium black.

Tuxedo is CiM's regular black.  It stays black when applied to a lighter colour but tends to go a bit fuzzy. It is dense even in a stringer but will web if a lot of heat is applied.    

The general concencus seems to be that Effetre black is good for a base but if you want fine lines or a true Opaque black then try Reichenbach Deep Black or Black and Hades. These are all premium colours that cost a bit more for the benefits they offer.  If you are looking for a black that is truer to colour but cheaper, take a look at Tuxedo. 

Read the CiM testers feedback on Hades here.
Red the  CiM testers feedback on Tuxedo here
 Bev Butler Bugs
Bev Butler kindly contributed this wonderful tutorial.  Bev's website

IMPLOSION MARBLE TUTORIAL    
Anakin's Glass Eye offers this free Implosion Marble Tutorial.  This is a Borosilicate glass tutorial.  

The same techniques can apply to soft glass but your heat control would be more imperative.
 
Imploded Marble
There is lots of good information in this tutorial and the excellent photograpy lets you see exactly what you need to do.





FLOWERS TUTORIAL - BEV BUTLER
Bev Butler 1
Thanks Bev!

PERFECTION - It's in the eyes of the beholder!
Belissimo Jewels
Belinda from Bellisimo Jewels shared these wise words with us about a year ago and I thought it would be good to reshare this for all the many new readers. Last time I received very positive feedback from people saying it had changed the way that they looked at and felt about their work. Thanks again Belinda!

There's nothing I love more than drooling over a picture of a 'perfect' bead - whether it has been made by a Master glass beadmaker or by a fellow novice.  Whenever I do this I always think "why can't I get my beads to come out like that!!" Invariably I toss my failures into the "failures bin" and grunt and groan but do you know, given time, I ALWAYS come back to that bin looking for a bead of a particular colour and come across all these BEAUTIFUL beads.....why did I ever think THAT one was imperfect.

I have been lampworking for about 4 years and I love it! I love watching the glass rods become molten and flow around the mandrel, I love making organic beads - they never end up the way I envisage at the start and THAT is the beauty of lampworking.  I never really think I am 'as good' as everyone else ....until I go hunting through my failures bin and fall in love with a bead I originally thought was a disaster and create a unique piece of jewellery to adorn the neck of its new owner!

It was a real eye-opener to have a stall at the 2009 Melbourne Bead Expo - my first foray into the retail bead world!  My biggest sellers were my "failures" - go figure!!  All the beaders out there thought they were beautiful, all I could see were imperfections.

I believe striving for "perfection" can sometimes inhibit our creativity.  There are some amazingly beautiful works of art out there in this lampworking world, but how many beads are in THEIR "failures bin"?

Why aim for an EXACT replica of that bead in that book?  To me that's not what this art is all about, it's about making it YOUR work of art, making it YOUR own.  If you try to make it a PERFECT replica - is it really your work?

It's all about trial & "error", having confidence that YOU are good at what you do, and as with any Art form - it's all in the eye of the beholder.  When someone says to you "how did you do that?" and you can't really answer because you can't remember!......that to me is a unique creation.

Like many lampworkers, I started designing jewellery and quickly became bored with the variety of beads available.  I wondered if it was possible to make my own. Sure enough I hunted through the latest Australian Beading Magazine and found Pauline Delaney here in Melbourne.  After one workshop, I fell in love with the glass rod and quickly set myself up at home and started making my creations in my workshop.  I have met some lovely people along the way and formed some lasting friendships. Workshops are really helpful,  I try to do one workshop a year to improve my skills - they are invaluable for learning new skills but at the same time allow you to go over the basics and to pick up tips and hints from other beadmakers - sometimes this is all it takes to solve a problem or make the "penny drop" when it comes to a creative block.

So, keep it simple, don't strive for "perfection",  whatever you create is YOUR creation, have faith in your ability and embrace the art form - it's all in the eye of the beholder.

SILVER & GOLD FUMING

Gold Fuming

Fuming is when you heat a metal to the point of getting a metal vapor. You apply said metal vapor to a hot bead and get some really cool reactions.

 

You can find  Silver Leaf and Gold Leaf on the store for fuming.  

 

Firefreak on Lampwork Etc  posted this thread on Silver and gold Fuming Basics.  

Fuming Silver and Gold: The basic by firefreak on LE 

 

Some key points are:

  •  Be safe! Make sure you have the correct ventilation!
  •  Use pure metals
  •  Use boro punties to attach  the gold or silver too
  •  Gold takes more heat to fume.  Use a strong tight flame

See a video demonstration on gold fuming a bead here 

.

Read a WetCanvas thread on fuming here. 

 

Another good video demonstration here of a silver fumed bead.  

 

Thanks for your time and have a great week!
Warm Regards,

Kerry

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