SLT Feb 2016 - Soda Lime Times

Transcription

February 2016
Metal
Magic
Featured artist
Leah Nietz
Tutorials by
Trudi Doherty
Heather Sellers
Angie Roberts and Chelsea Pavloff
Soda Lime Times
Metal Magic!
By Diane Woodall
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Whether it is mesh, foil, leaf, wire, or frit, metals can add
a completely new dimension to your designs. You can use
them on the surface, encase them, make stringer from them,
or use them in shards, murrini, or twisties. And because
glass is such a reactive material, it is fun to experiment to
see what reactions you get from different metals when you
combine them with glass. You could play for a lifetime and
not discover all the secrets to using metal with glass.
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Our featured artist this month is the amazing Leah Nietz who
shares her technique for making a blown vessel embellished
with silver mesh. Leah incorporates metals into many of her
pieces, elevating them to little works of art.
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Coming next month . . .
Fun with Murrini!
Soda Lime Times Copyright 2016
All rights reserved
I
remember my first experience using silver on my beads;
I was making silvered ivory stringer and adding dots to
an amber bead. I thought I had discovered the Holy Grail!
Silvered ivory stringer opened up a new universe for me, and
then I discovered I could use silver on my beads and keep
it shiny by encasing it. Wow, this stuff was amazing! Then a
friend introduced me to the satiny beauty of palladium and I
was officially a metal junkie. If this sounds like you, then you
will love this issue because we celebrate our love (dare I say
obsession) of metals and how we can use them on beads.
Other tutorials by Trudi Doherty, Angie Roberts, Chelsea
Pavloff, and Heather Sellers show how to use silver, gold,
and palladium in fun and interesting ways.
We even have a couple of great articles about gold leaf that
will make you eager to loosen the purse strings and try gold
– finally. I hope you enjoy this issue of Soda Lime Times and
will tell your friends about our magazine. Word of mouth is
our best advertisement.
Diane Woodall/Editor
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February 2016
And now for some beads for you to enjoy . . .
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5
1. Christine Wilson
2. Anna Miller
3. Kathryn Guler
4. Joyce O’Shea
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5. Lea Avroch
6. Miriam Steger
7. Anna Miller
All rights reserved
Links to the artists appear on page 65.
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February 2016
Soda Lime Times
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2
4
1. Juli Cannon
2. Cheryl Roe
3. Connie Blowers
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3
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4. Debra Becker
5. Gail Finney
6. Joyce O’Shea
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February 2016
Soda Lime Times
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2
4
5
6
1. Lois Brillinger
2. Marlene McDonald
3. Chris Dalrymple
4. Sheila Davis
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7
8
5. Mona Sullivan
6. Rita Bennett
7. Daniela Meier
8. Mona Sullivan
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February 2016
Soda Lime Times
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3
2
4
1.
2.
3.
4.
5.
5
Laurie Ament
Lois Brillinger
Steve Hilliard
Joyce O’Shea
Suzan Elliott
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February 2016
Soda Lime Times
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2
4
3
5
6
1. Sheila Davis
2. Jane Perala
3. Denise Billups-Walker
4. Kiersten Kern
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5. Karen Fox
6. Sheri Fisher
7. Miriam Steger
All rights reserved
7
February 2016
Soda Lime Times
Your US Resource
for Czech Lampworking Glass
COE ~104 & ~96 COE Pearl/Shampoo
(other colors available by request)
Come experience the rainbow
Like us on Facebook
www.magpiesglasscache.com
[email protected]
Schedule of Classes
We have a fabulous line-up for 2016 January through May 2016. See
our schedule below. Our web site has all the details you will need. But
email us for availability, lodging details or if you have more questions.
BeadCamp
www.beadcamp.com
BeadCamp has it all!
We’re excited to be in our much
larger studio. It is only a few minutes
away from our cozy lodging. Our
rates include three evening meals
and free local transportation so you
won’t need a rental car! We also
offer pick up at Tampa and Sarasota
International Airports!
Join us in Nokomis, Florida for a
sunny getaway!
For information or to sign up,
email Marley Beers at:
[email protected]
or call 919-323-9799
Visit our web site at:
www.beadcamp.com
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Session 2
March
15–19
Jari Sheese “Ornaments,
Buttons, Hollow Beads & More”
March
22–26
Heather Trimlett
“Practical Pearls of Wisdom
for Precise Beadmaking”
April
5–9
Stephanie Sersich “All my
Best Tricks and Techniques!”
advanced beginner)
April
12–16
Joy Munshower
2-D and 3-D Sculpture
Session 1
February
2–6
Astrid Riedel “Out of the Box
Techniques” (intermediate to
advanced)
Session 1
April
26–30
Amanda Muddimer
“Cabochons, Pendants and
Ring Toppers”
Session 2
February
9–13
Astrid Riedel (same)
(intermediate to advanced)
Session 2
May
3–7
Amanda Muddimer
(same as above)
February
23–27
Corina Tettinger
“Fancy Florals and Ocean
Beads Combined!”
May
10–14
Kim Fields
“Sculptural Bead Techniques
in Soft Glass”
Session 1
March
8–12
Jari Sheese “Ornaments,
Dates
of your
choosing!
Marley Beers
Mini BeadCamps in glass,
precious metal clay or metal.
2016 Schedule
Session 1
January
5–9
Haley Tsang ”Explore the
Magic of Silver Glass”
Session 2
January
12–16
Haley Tsang ”Explore the
Magic of Silver Glass”
January
19–23
Janie Jones “The Basics
and Beyond” (beginner to
Buttons, Hollow Beads & More”
8
February 2016
Soda Lime Times
�
2016 Classes
Expand Your
Beadmaking Skills
Where glass, play & inspiration meet.
Glass Expert Webinars ™
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Corina Tettinger
Floral Beads with Fun, Fancy Stamens
Corina Tettinger, internationally acclaimed instructor and author, uses
104 COE soft glass to make stringer cane, encased cane, and filigrana
cane, then uses them to shape dots into petals and make flowers come
alive with a twist of the wrist. The result is exquisite, elegant floral beads
with an added sophistication and vitality. Corina also shares her secrets
for working in a relatively cool flame to create lifelike details and answers
specific questions on her expert techniques asked via live chat by actual
student participants.
Produced by Marcie Davis
Firelady Productions LLC
www.firelady.com
GLASS PATTERNS
Corina Tettinger
Corinabeads
www.corinabeads.com
PO Box 69 • Westport, KY 40077
800-719-0769 or 502-222-5631
Fax: 502-222-4527
www.glasspatterns.com
e-mail: [email protected]
Running Time: 2 hours, 19 minutes
Q U A R T E R L Y
©2015 by Glass Patterns Quarterly, Inc. All Rights Reserved. Content from Glass Patterns Quarterly.
Expand Your
Beadmaking Skills
WebinarCorinaTettingercasecover-N.indd 1
10/29/15 7:13 AM
Corina Tettinger, internationally acclaimed instructor and author, uses
104 COE soft glass to make stringer cane, encased cane, and filigrana
cane, then uses them to shape dots into petals and make flowers come
alive with a twist of the wrist. The result is exquisite, elegant floral beads
with an added sophistication and vitality. Corina also shares her secrets
for working in a relatively cool flame to create lifelike details and answers
specific questions on her expert techniques asked via live chat by actual
student participants.
Astrid Riedel
3D Spiky Implosions
Hip to Be Square/Op Art
Marble Twist Beads
Pleated Beads
Dichro Glass Design
Silver and Gold Fuming
February 18, 2016
February 19, 2016
February 25, 2016
February 26, 2016
February 27, 2016
February 28, 2016
$275
$275
$275
$275
$275
$275
March 17, 2016
March 18-19, 2016
March 20-21, 2016
$160
$325
$325
Silver Class
Adding Imagery to Glass
Glass Corsage
April 20, 2016
April 21-22, 2016
April 23-24, 2016
$190
$375
$375
Amy Waldman
May 5-8, 2016
$850
Holly Cooper
Simply Stringer
Design and Detail
Fantasy Flora and Fauna
Sara Sally LaGrand
Silly and Serious Lampwork
GLASS PATTERNS
Corina Tettinger
Corinabeads
www.corinabeads.com
PO Box 69 • Westport, KY 40077
800-719-0769 or 502-222-5631
Fax: 502-222-4527
www.glasspatterns.com
e-mail: [email protected]
Q U A R T E R L Y
Running Time: 2 hours, 19 minutes
©2015 by Glass Patterns Quarterly, Inc. All Rights Reserved. Content from Glass Patterns Quarterly.
WebinarCorinaTettingercasecover-N.indd 1
CLASSES
AT MESA ARTS CENTER
Reserve your seat today!
3 0 0 C LA SSES OPEN
the-melting-point.com 928.554.4754
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All rights reserved
Produced by Marcie Davis
Firelady Productions LLC
www.firelady.com
1 E. Main St. | 480.644.6500 | MesaArtsCenter.com
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February 2016
C
Flora
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Click on the ads to go to the website.
All ads are click-able.
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10
February 2016
Soda Lime Times
Leah Nietz
Creating Perfection from Imperfection
By Leah Nelson
M
ost of the time, lampworkers know they were meant to be artists, but that isn’t so for this
month’s featured artist. Leah Nietz always enjoyed art and music, but never intended to
become a beadmaker. She went to school to become a dental assistant. One day while
working, a co-worker came with some beads she created at a class at The Bead Factory in Tacoma,
Washington. Leah was fascinated, “They were so cool. I had to try it. I took the class and bought a torch
and some glass on my way home. My husband looked at me, laughed and said ‘You’re not bringing that
in the house!’ So I made beads on our front patio from July to October. Seeing that I had not burned
anything down and it was getting cold he finally let me in the house. I set up shop in our kitchen.”
All rights reserved
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February 2016
Soda Lime Times
Despite the complexity
in her beads, Leah has
only taken one other class
besides her beginner
class. She learned about
making murrini, but the rest
of her knowledge comes
from experimentation and
books, “A lot of my style is
accidental. I’ll be making a
vessel, something will go
wrong, and I’ll end up with
a shell or a lily. Sometimes
I have a specific vision and
sometimes I have no idea!”
in the glass. It’s amazing to
see the perfect handles on
both sides of her vessels.
Leah’s mandala beads
have the same flawless
quality; the layers of pulled
glass form wonderful
geometric lines and dots.
Using an 8M National
Torch, Leah creates her
beauties in her home
basement, while being a
mother to three children.
Needless to say, Leah’s
creations have been in
a multitude of magazine,
including Soda Lime
Times, Jewelry Affair
Magazine, and Bead &
Button.
After a while, Leah got the
courage to list her beads
on eBay. She was happily
surprised that they sold
quickly. By 2003, Leah
and her husband moved
to Ohio. Once there, she was able
to work full-time as a beadmaker
and she co-founded a local beadmaking club with fellow artist Tom
Kline, “Gini Behrendt was probably
my biggest mentor. She gave me
my first hollow mandrel. The Black
Swamp Bead Club met at her
home/studio and she gave some
wonderful demos. Mad Kannen is
another incredibly talented artist in
our group who has given an inspirational push to my work. She often
uses other mediums such as acrylic
paint to create some really interesting effects in her glass.”
Leah’s first hollow mandrel inspired
her to start creating her signature
vessels. She says, “It was curiosity
trying my first vessel. I wanted to
see if I could do it.” Her vessels
are intricately created with layers
of glass; some have fine swirled
details, while others conceal sprinklings of silver, gold, and other metals
All rights reserved
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February 2016
Soda Lime Times
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February 2016
Soda Lime Times
Leahs’s beads have also
been finalists in the Bead
Dreams competition, “I’m
continuously amazed at the
extraordinary talent of other
artists and much of the time
I don’t feel worthy of sharing
the same space. I’ve been
very blessed to be able
to do this for a living, but
I can’t say I’m particularly
proud of myself. It’s been
more of a gift from God than
a personal accomplishment.”
Leah’s goals for the upcoming year include making
larger pieces. She says,
“I would like to start blowing ornaments and larger
pieces. And if I could take a
class, Loren Stump or Brent
Graber would be on the top
of my list.” Leah says since
her children were born, she
hasn’t had time to do live
bead shows, but that allows
us to admire her beads, “I
sell most of my work online. I sell in my Etsy shop, on eBay, and in a few groups on Facebook.”
While making her beads and vessels, Leah says color, then texture, then symmetry are important to her,
“A lot of my designs are the result of beads and vessels misbehaving. When something goes awry, turn it
into something new. Experiment! Invest in the expensive specialty glass. If you do quality work, it will pay
for itself and it’s so fun to use.”
For more of Leah’s amazing beads and vessels, take a look online:
eBay: http://search.ebay.com/_W0QQsassZsandonfire
Etsy: www.sandonfire.etsy.com
She also sells her work on the following Facebook groups:
https://www.facebook.com/groups/LBADesignerGalleria/
https://www.facebook.com/groups/lampworkbeadsfs/
https://www.facebook.com/groups/artisanlampworkbeadsforsale/
All rights reserved
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February 2016
Soda Lime Times
Facebook
How to Sell your Work on
By Darryle Jadaa
W
elcome to 2016! This is your year – the
year you will sell, sell, sell! And there
are more places to sell your work than
ever before. In the past year, there has been a
huge proliferation of Facebook groups that are
aimed at selling lampwork creations. The number
of members in these groups sometimes numbers
in the tens of thousands – what an amazing target
audience for your work.
This article will take you step by step through the
system of selling on Facebook. Perhaps you have
been unsure or a bit overwhelmed by the process.
Not to worry – read on and hopefully it will all become clear. First, a few warnings! The information
in this article is as up-to-date as I could get it at the
time of publication, but these groups are flexible.
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February 2016
Soda Lime Times
The number of people in the groups
rises daily and the group rules change
as needed. This is good as the administrators of the groups are always trying to
make the process of buying and selling
better. Sometimes there will be only two
listings per seller allowed and at other
times, more listings are okay. The best
thing that you can do to be a good member of the group is to stay abreast of the
rules and follow them. You can find the
rules for every group under a heading
labeled “Files” at the very top of the page
(see photo right). On an iPad, you will
see “View Pinned Post.” Click on this and
you will find lots of interesting information
related to selling on that group.
As an adjunct to this article, I have made
a copy of my tracking sheet available
to all who are interested. This Excel
spreadsheet allows me to track all my
listings from beginning to end, keeps
a record of my buyers, and it also contains a list of Facebook groups, what is
sold in each group, number of members, rules, etc. You can access your free copy of this spreadsheet
by going to www.sodalimetimes.com. There are three sheets in this spreadsheet – each one can be
accessed by clicking on one of the tabs at the bottom (see photo below). Okay, ready to start your first
selling post on Facebook?
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February 2016
Soda Lime Times
STEP 1: PICK A BEAD OR SET OF BEADS
FOR SALE.
office. Ask them the cost for shipping within the US
and internationally. In an auction, the seller usually
provides a round number for shipping (e.g., $3.00)
Choose the beads you want to sell. They should
be beads with no cracks, no sharp or wonky holes, and they will sometimes post a lower-than-actual
cost of shipping so as to not discourage buyers.
and all the bead release should be cleaned out.
All of this is your choice but just be sure you are
And of course, they don’t even have to be beads
making an informed decision.
– buttons, vessels, off-mandrel pendants, all of
these can be sold in various groups.
STEP 4: CHOOSE A FACEBOOK GROUP IN
STEP 2: TAKE A PHOTO.
WHICH TO SELL.
I believe that this step stops a lot of people from
listing their work. They worry about not having
a good camera or needing a lightbox, etc. All of
those things are helpful, but I am able to achieve
great photos using my iPhone and indirect lighting. By whatever means you have, a photo should
be the best representation of your beads that you
can achieve. The beads should be in focus and
the colors in the photo should be as close to the
reality as possible. The rest is personal preference
– many people find background objects to distract
from the bead, others prefer it. Just remember
that your lampwork is the star of the show and the
photo should show this.
I have provided information on a number of Facebook groups in my Excel tracking sheet. I am sure
that this is not a definitive list as there are new
groups popping up every day, but it is a good start.
Pick a group or two to start and ask for membership. Facebook groups are usually “closed groups”
which means you need to ask to join the group
before you can see the full wall and interact with
the members. Don’t worry – joining is as simple as
clicking a button (see photo below) and the moderators/administrators of these groups usually accept
your request within hours. (These folks are really
hardworking and on their game! They all deserve a
hand for their efforts.)
If you are interested in learning
about how to improve your bead
photography, you might refer to
the October 2011 or June 2014
issues of Soda Lime Times for
articles by Dawn Scanell and
Karen Leonardo (respectively).
STEP 3: DECIDE ON YOUR
PACKAGING AND VISIT
YOUR POST OFFICE.
This step should be done before
you list your work on auction.
You want to be prepared and
be able to set a reasonable and
accurate cost for shipping. You
will want the bead to be well
protected for travel, but not so
much that it increases the cost
of your shipping. Create a mock
package and take it to your post
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February 2016
Soda Lime Times
There are different types of Facebook groups.
There are those that allow auctions of a limited
number of listings in a specified time limit. An
example of this type would be Lampwork Beads
for Sale. Then there are Trunk show sites, such
as Glass Open Market. These sites allow only one
artist to promote and auction their work for a period of time (usually two days). After that, the wall
Be polite; no drama please.
is cleaned up and then another artist is given time
Do not post any links to anything.
to sell. There is usually a calendar of upcoming
artists available for viewing both on the wall of the
Do not block the administrators.
groups and in the files. Head to the “files” section if
Do not spam the group and if you see spam, tell you are interested in signing up for your own trunk
show. There are Facebook groups that have been
the administrators.
created by a single artist where they promote and
sell only their own work. And there are also groups
If you have a problem with the buyer or seller,
that sell jewelry made specifically with lampwork
contact the administrators – do not broadcast
– in fact, there are so many groups that I believe if
this on the page.
you want to find a group to sell your specific item,
No X-rated beads or adult toys.
no matter how unusual, you can probably find it (or
make your own!).
Many sites do not want watermarks or identifying writing on your photos; some are fine with it. Once you have been accepted to the group and
Once you have been accepted, head to the “files”
section, read the rules, and then type “agree” in
the comments. This indicates that you have read
all the rules and are willing to follow them. There
are a number of common sense rules that are general across all groups. These are:
n
n
n
n
n
n
n
n
n
n
n
n
n
n
agreed to follow the rules, it is time to post your
Hide the post after the sale and while waiting for
first auction. There are many templates available
payment (I’ll tell you how below).
(usually under the “files” section) to enable you to
create a clear and comprehensive auction. Here
Delete the post at the end of the sale after
is my template and an auction post using that
receiving payment (again, see below).
template.
Specify in the original post that the shipping is
24-hour auction ends at (Time, Day, Date)
the responsibility of the purchaser; otherwise,
in (Time Zone)
you may be liable for the cost.
Most of these groups are not for chatting
although you are definitely encouraged to
comment on the beauty of the work you see –
just don’t create a post to discuss an issue –
sales only.
Starting bid is $XX; BIN $XX – BIN is good
anytime and ends the auction or No BIN
If you are buying, pay promptly. If you are
selling, ship promptly.
Payment by PayPal only please. Payment
to be completed within 24 hours of issuing
the invoice.
Shipping paid by buyer - US $X; Canada
and International $X
No selling of licensed goods.
Bead size and size of hole
List your goods in one group at a time. If it
does not sell, then you are free to list in a
different group.
All rights reserved
Artist statement, warranty, explanation
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February 2016
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Here is an example of an auction using the template above:
Back of the bead.
Photo of the back
should go in the
comments section.
Front of the bead
24-hour auction ending at 3:00 pm,
Wednesday, January 20th, 2016.
Starting bid is $30; BIN is $55 – BIN is good
anytime and ends the auction.
Anti-sniping rule: 5 minutes.
Shipping within US $3.00; Canada and International is $8; no tracking or insurance; buyer
pays for shipping.
EXPLANATION OF TERMS
BIN means Buy It Now. The seller may choose
to offer a Buy It Now (BIN) option or they may
choose to have no BIN. If a buyer types BIN in the
comments, this stops the auction and no further
bids can be placed. The advantage of a BIN is
that the seller will not have to wait 24 or 48 hours
for the end of the auction and can then take down
this post and post a new bead. The disadvantage
is that, had the auction run its full length, the bead
may have sold for a higher value than the BIN.
This bead is 30 mm wide x 35 mm high; made Anti-sniping rule: Sniping is when a purchaser
on a 3/32-inch mandrel.
will wait until the very last second of the auction
length to post a bid, thus making it impossible for
Payment by PayPal only please.
another buyer to legally overbid him. An anti-sniping rule eliminates this problem by extending the
This one-of-a-kind bead is made with a
auction five minutes beyond the last bid. So if
combination of Effetre and Double Helix
someone snipes the auction and bids at the last
silver glasses. There are additional photos in
second, then the auction is automatically extended
the comments section. All my beads are kiln
five minutes. If another person chooses to bid,
annealed and properly cleaned.
then the auction is again extended five minutes
until such time as five minutes passes without
Please feel free to ask any questions and
a bid.
thanks for looking!
In the comments section, place a photo of the
opposite side of your bead - photo above.
All rights reserved
Bump: When there is a comment made in a listing, this post automatically jumps to the top of the
wall and it becomes the first listing that people see.
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Soda Lime Times
If a seller deliberately posts a comment, with the
purpose of bringing their post to the front of the
line, it is called a bump. Most groups have limits on
the number of times a listing may be bumped. Do
not confuse bumping with commenting. If a buyer
places a bid or if someone comments on how lovely
your work is, it is perfectly acceptable and even encouraged to reply or thank your buyers for their bid.
Chatting is not usually encouraged, however.
MTO: Made to order. If the design is one that can
be easily replicated, the seller may choose to post
MTO (made to order) indicating that she/he is
willing to take orders to make more work similar to
the one posted.
STEP 5: AFTER THE AUCTION
STEP 6: FINISHING UP
At the end of the auction, edit your description
to indicate that the item is SOLD. I like to take a
photo of the posts with my phone as that is the
easiest way for me. But you can also hit “PrtScn”
on your PC then paste this into the Paint program
(under Accessories folder). On a Mac you can hit
CMD and Shift and then press “3.” This will create
a .png file that is a screen capture of what you
see. You should send a private message to the
buyer with the photo and the total owed (including
the shipping costs). At this time you can request
their PayPal address and send along an invoice
to them. Once your auction is done and you have
made contact with the buyer, you should hide your
posts. You do this by hovering over the top right
corner of your post where there is a small grey
down arrow. A menu will come up and you can
then click “hide.” This will hide but not remove your
post. After your buyer has made payment, then
please delete the listing in the same manner (see
photo above).
Wasn’t that easy? It’s time now to keep track of
your sales. Go to the Excel spreadsheet I have
provided and enter all the relevant information
like sale price, buyer name and address, and any
comments that are important. Perhaps you want
to make a note of the day of the week so you can
track when your best sales are. Or perhaps you
might want to make a note to make a similar piece
again due to the wonderful response from buyers.
All that is left is to post the package promptly and
mark the date and time on your spreadsheet.
Finally, I want to give a shout out to another Facebook group. This is not a group for selling but a
great group for asking any questions you might
have about lampworking. It is called “Lampwork
Beadmaking Tips, Techniques, and Questions”
and it is administrated by Sarah Hornik. This is a
great group of very supportive people who all love
glass and are all interested in helping each other
out. I recommend that you check this one out.
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Not everything is rainbows and puppy dogs when
selling on Facebook and I guess I have some responsibility to point out the negatives. Sometimes
no one will comment on your work and there will
be no bids. This happens to all of us but the most
important thing is to not take this personally. This
is not a reflection of your work or whether or not
you are a good artist. There can be so many reasons why there are no posts. Do not let this stop
you from posting again! Another potential negative
has nothing to do with you, but rather with the buyer. Most buyers are wonderful, lovely people who
pay on time and are thrilled to receive your beads.
They create lovely work with your art and show
the world crediting you with the creation of the
lampwork. Unfortunately, sometimes buyers aren’t
so perfect. Often people will make a bid and then
just disappear. They won’t answer your repeated
message requests. In this case, contact the
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February 2016
Soda Lime Times
administrators of the group and inform them of the
situation. Show them the copy of the listing and
bids where the buyer won the auction. Ask them
how to proceed. This is disappointing, but at least
you still have possession of your work and you can
relist it. The next situation is less fortunate. There
may be buyers who will try to scam you. They may
tell you they have not received the beads, even
though your post office tracking indicates that they
did. They may demand a refund from PayPal and
they may get it. But please don’t let these very
negative situations stop you from creating and/or
selling your work! Take your first steps in the world
of online selling and post your first beads. Or join a
few groups and lurk for a while and then post. Let
the world see how awesome your work is!
Auction Groups
Name
Artisan Lampwork Beads for Sale
# of members 4963
What to sell
Lampwork beads, headpins, vessels / Pendants with glass bail are allowed
Rules
Nothing that was added after the bead had cooled with the exception of coring
Minimum starting bid must be $5
Good quality, no cracks, annealed, no sharp holes
No pipes, no wire wrapped beads
No more than one spacer between beads unless they are lampwork and part of the set
# of listings
4
Time
Minimum is 24 hours or BIN
Name
Beadable Products and Designer Bead Auctions
# of members 1054
What to sell
Finished Beadable products made with Karen Thomas products only
Can be lampwork, polymer, or embroidered beads
Rules
Mention size of bead holes
Two bumps in 24 hours
# of listings
No limit
Time
Name
Glass Beads for Sale
# of members 1467
What to sell
Artisan beads and jewelry made with your beads, beadable items, vessels,
off-mandrel work, shot glasses, etc.
Rules
No bead making supplies like mandrels or tools
No pipes or bongs or adult toys
# of listings
6 listings at a time
Time
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Name
Gone to Pieces Lampwork Beads for Every Budget
# of members 2482
What to sell
Artisan handmade lampwork beads, pendants, headpins, leaves, charms, marbles,
orphan beads, buttons, vessels, beads on keys, pairs, cabs, small sets.
Rules
Nothing wire wrapped
No pipes or bongs or adult toys
# of listings
Time
Name
Handmade Lampwork Beads for Sale
# of members 2757
What to sell
Beads made by you, little bottles, buttons on a mandrel, headpins
Rules
Bead caps and large spacers are okay as long as they are not hiding a flaw
No beadables; made to order (MTO) okay
Watermarks are allowed; three bumps in 24 hours
If you have to leave your post up while waiting payment, put this in the original post
# of listings
Time
Minimum is 24 hours
Name
Lampwork & Bead Destash
# of members 1558
What to sell
Lampwork beads, handmade lampwork jewelry and jewelry designing supplies
Rules
Reselling allowed; can sell silver beads or crystals from your stash
No mass selling; must be annealed; must add artist’s name
2 bumps in one auction
# of listings
4 listings at a time (or multiple items in an album)
Name
Lampwork Auctions
# of members 1166
What to sell
Lampwork beads or sets you have made, off-mandrel pendants or small sculptures,
marbles
Rules
No X-rated things
One bump every 24 hours
# of listings
6 listings in a 24 hour period
Time
24 hours minimum, 7 days maximum
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Name
Lampwork Bead Auctions
# of members 1424
What to sell
Lampwork beads, beadables, cabochons, buttons, vessels, and ceramic beads
Rules
Have fun!
# of listings
4 active listings at a time
Name
Lampwork Beads for Sale
# of members 10,552
What to sell
Handmade artisan lampwork beads or vessels
Headpins are allowed
Rules
No pendants, finished jewelry, pipes or marbles, wire wrapping of beads
Properly annealed, cleaned, inspected, free of cracks, ready to ship
No bead caps or large spacer beads that cover view of hole in photo (use 3mm
or less spacers)
No finished products of any kind with the beads (e.g., ring toppers)
Mandrel holes through all the bead unless they are cabs, leaves, or vessels
No watermarks, seller names or logos on the photos
Bump once every 12 hours and one hour before end of auction
# of listings
2 at a time
Time
24 hours minimum to 72 hours maximum
Name
Lampwork Bead Market
# of members 10,966
What to sell
Beads made by you, beadables, vessels, buttons, off-mandrel leaves, cabs
Rules
Two listings at a time
Nothing that classifies as a pendant or finished jewelry, pipes, dabs or dishes
Can sell as a fixed price or as an auction
No made to order (MTO) arrangements
No Boro except mandrel wound beads
Two bumps in 24 hours; okay to say thanks to bidders
# of listings
2 at a time
Time
Minimum 24 hours unless sold by BIN
Name
Simply Lampwork
# of members 2177
What to sell
Lampwork, jewelry designed with lampwork, non-jewelry lampwork art
Rules
No mass produced beads or jewelry
# of listings
5 posts of any kind in a day (listings, chats, posting photos)
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Name
Perfectly Flawed Glass Beads
# of members 1680
What to sell
Actually flawed beads, not just something you don’t like
Rules
Starting prices should be low - they are flawed
Have to show the flaws in the picture
One bump in 24 hours
# of listings
2 posts in 24 hour period
Time
24 hour minimum
Trunk Show Sites
Name
Artisans Open Market - Handmade Lampwork Glass
# of members 5478
What to sell
Trunk show site / one show per month
Artisan lampwork beads made by you
Beadable items (e.g., pens, wine stoppers, key rings, etc.)
Glass art and ornaments, off-mandrel glass art
Glass ring toppers, ear plugs, pendants without chains or cords
Rules
Go to Calendar Dates to book a show
No finished jewelry or pipes; no fused or slumped glass
No misfits, cracked beads, must be annealed, no sharp or rough holes
Bumps allowed and encouraged
# of listings
A minimum of 15 listings at the same time (lessening as show comes to a close)
Time
All shows are 48 hours
Name
Glass Open Market (Sister site to Artisans Open Market)
# of members 4169
What to sell
Rules
# of listings
Time
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Name
International Glass Open Market
# of members 1575
What to sell
Rules
# of listings
Time
Name
Glass Melters Open Market
# of members 1286
What to sell
Trunk show site / budget friendly
Anything made from melted glass
Rules
No made to order
# of listings
A minimum of 10 listings at a time
Time
Name
Lampwork Bazaar
# of members 2189
What to sell
Trunk show site
Lampwork glass beads and beadables
Rules
One showcase per month
No anti-sniping in listings; up to five made to order posts at a time okay
Bumping is encouraged
Time
Showcases are 47 hours (12 pm US Eastern - 11 pm US Eastern 2 days later)
Click the SOLD sign to download your
free copy of a spreadsheet to help
you track your sales.
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About the Author
Darryle Jadaa is a Canadian Lampworker who has been exploring glass
since 2010. She has always been interested in art and sculpture and is
an accomplished wood carver. Once she discovered glass, she focused
all her attentions on learning this medium. She has been very fortunate
to study with some well-known lampworkers such as Corina Tettinger,
Amy Johnson, Joy Munshower, and Stephanie Sersich.
Darryle is also a Doctor of Clinical Psychology who has retired to pursue
her love of glass. She is a strong supporter of Beads of Courage and
loves to make beads for the kids!
www.darrylejadaa.com, www.facebook.com/darrylejadaa
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16 Fun and Easy Tutorials for $20
www.bocbook.com
.LL.
JAX
IS
BACK
More information at
janicepeacock.com
A Bead in the Hand
Book Two in the
Glass Bead Mystery Series
Now available in paperback
and ebook editions at
Amazon and other online retailers.
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February 2016
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How is Gold Leaf Made?
By Diane Woodall
I
f you have ever worked with gold leaf you know
it is tissue thin and very delicate, but the process
of making it takes just as much skill as using
it. While some gold leaf is produced in modern
factories, the technique for making it is thousands
of years old. Many craftsman around the world still
manufacture the old-fashioned way because, while
modern machines might have made the process
faster, gold leaf made the traditional way is just as
good.
Five thousand years ago, it was the Egyptians who
first made gold leaf. They discovered that gold was
very durable and malleable (gold is the most ductile and malleable of all metals). They found that it
wasn’t necessary to create an object entirely out of
gold to achieve the look of gold. You could cover
just the surface of an object with a thin layer and
the gold would still be strong and retain its characteristics. This process, known as gilding, has been
popular around the world for centuries; gilding is
an art form all its own.
The process the Egyptians developed for pounding Hatnofer’s gilded funerary mask, photo by Mary Harrsch
gold into super thin sheets is called goldbeating.
Goldbeaters are still using a similar technique
today to produce gold leaf as there really is only
one way to get it thin enough to be leaf – beat it!
You can roll it just so thin and from that point it’s all
up to the hammer. Whether it is done by hand or
by machine, gold must be pounded with a heavy
hammer to produce gold leaf.
Antique mirror with a gilded frame
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February 2016
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From the raw gold to finished gold leaf requires many
steps. The first step in making gold leaf is to melt the
gold (which has a small amount of silver and copper
added) in a crucible. The liquid gold is poured into a
mold to form a long, thin bar which is then fed though
a roller numerous times until it is about 1/1000-inch
thick (like thick foil) and up to several hundred meters
long. These thin ribbons of gold are then cut into small
squares (from one to two inches in size). It is these
small squares of gold foil that will be beaten into gold
leaf. Yes – it takes a lot of beating!
In order to produce thin sheets of gold leaf, it is necessary to place the gold squares between layers of a
protective material before pounding them. Historically a
variety of materials have been used for this, including
velum skins made from ox intestines and parchment,
though some modern manufacturers use Mylar. In Japan they even use specially coated paper. The squares
of gold are placed in the center of four-inch squares
of the material and stacked one on top of the other
(about 150 squares high). Parchment and vellum are
so strong that they can withstand the hours of pounding
that must take place to create gold leaf. This packet of
parchment is called a cutch. The cutch is then wrapped
in several bands of parchment to hold the individual
pieces together during the beating process.
Now the cutch is ready for beating. The
goldbeater will use a 15-pound hammer to
pound the cutch, rotating it in a pattern so
that the little squares spread out evenly. It is
hard work! Pounding machines have made
the work easier, but many goldbeaters still do
the pounding the old-fashioned way. Once
the gold is beaten and spreads to about
four inches in size, each piece is carefully
removed from the cutch, transferred to a larger
piece of skin and pounded even thinner.
French golf leaf production 1784
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February 2016
Soda Lime Times
German goldbeater 1698
Mechanized goldbeating in Japan
The pieces are removed again, cut into four smaller squares, placed again between layers of skins,
and the process of pounding, quartering, and
pounding again continues until the pieces of gold
are large enough to be cut into 3 ½-inch squares
using a cutter made from sharpened bamboo.
The entire goldbeating process takes many hours.
These finished pieces are placed between sheets
of paper that are sewed or staples together into a
book so they can be sold.
As beadmakers we can use this magical material
to add warmth and beauty to our beads and give
them a richness that is only possible with gold. So
don’t be afraid to take the plunge and try gold leaf.
Your precious beads deserve to be gilded in gold!
Videos:
Would you like to see gold leaf being made? Below are links to several videos that I think you will enjoy,
showing various techniques for producing gold leaf by hand and machine.
This first video is my favorite. It was produced in 1959 in England and is not only educational but delightfully entertaining: https://www.youtube.com/watch?v=2Lak64SAaIY
This video shows how gold leaf is made by a Chicago goldbeater in a small shop with only minimal
tools and equipment: https://www.youtube.com/watch?v=-ITkkfZ9KKI
This video from Japan and shows every detail of how traditional Japanese gold leaf is made. I was
amazed at how much work goes into the making of this product:
https://www.youtube.com/watch?v=k7dgrTuCq20
This final video is not in English, but you don’t need to understand the words to enjoy the process of
seeing gold leaf made the traditional Thai way: https://www.youtube.com/watch?v=LEZ6ms9uqF0
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Using Gold Leaf
By Karen Leonardo
G
old leaf, once mastered, can add beauty and value to your beads. If you are nervous about using
gold leaf because of cost, are having a hard time handling it, or are burning it off when you put
it back in the flame, read on. Gold leaf is very expensive to just play with. Here are some tips to
help you learn the properties of glass and gold leaf.
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Never touch the gold leaf with your fingers. It
will stick and you will have a hard time getting it
off. Use tweezers.
n
Keep the leaf from blowing away. The Baz Box
developed by Amnon Elbaz is a small, battery-operated metal box that keeps your leaf from being
carried by the simplest puff of air. See the details
at Arrow Springs (www.arrowsprings.com). It may
help you control the leaf better than sitting on your
table. You know how much I love tools to help
make beadmaking easier (photo right).
n
As is any technique, heat control is the main secret to keeping your gold leaf on your bead. Once
you learn to control the heat and when to apply
the leaf and where to keep it warm, you will have
mastered it. I know, sounds simple, doesn’t it?
n
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Here’s how to do it:
n
Make your base bead and flame anneal it.
Heat the area where you want the leaf to a
slight orange glow. Use your tweezers to add the
leaf quickly and marver it on. It will not stick if not
warm enough and will disappear if too hot. Do not
push the bead on the marver but slightly touch the
surface as you roll the bead smoothly across it. Or
use the Baz Box as a marver.
n
Keep the bead higher in the flame to keep it
warm. Add any other components you want to
add, but you have to do it in a warm flame, not a
hot flame.
n
Adhere the gold leaf well. Any gold leaf that did
not adhere will come off when you clean it. That
means you need to heat the bead just a bit more
when laying the leaf and marvering it on just a
little faster, possibly flame annealing just a bit
warmer too.
n
Good luck and happy beadmaking. Practice,
practice, practice. If you want to learn more about
using gold leaf, I have published a tutorial that is
available on my website called Gold Leaf Application. More than 40 pages of great tips on how to
get the most out of gold leaf both as surface decoration and encased. Like any new technique, using
gold leaf successfully is just a matter of the proper
technique and practice.
Components you add after applying the gold
leaf must be raised. You can no longer heat the
bead hot or the gold leaf will disappear.
n
Finish the bead as quickly as possible. The less
time in the flame, the better. Always flame anneal
when you are finished adding your components
and then put in the kiln. I run mine at 860°F degrees for 104 COE.
n
About the Author
Karen Leonardo is the author of numerous books, articles, and
courses on bead and jewelry making, Vendor manager for the ISGB
Gathering, entrepreneur, founder and owner of Leonardo Lampwork
Tools and Beads, and co-founder and now Production Editor of Artisan
Jewelry Times magazine. Karen Leonardo has over 25 years experience in Art Jewelry design, business management, Internet marketing,
Lampwork beadmaking, and publishing in multiple media.
She received her Bachelor of Science from Indiana University of
Pennsylvania in 1988, where she was named to the Outstanding
College Students of America for that year. She also has been recognized by the International
Who’s Who™ of Entrepreneurs, nominated for Artist of the Year in Pennsylvania, and served as a
Regional Director for the International Society of Glass Beadmakers.
Please visit her at www.leonardolampwork.com ; https://www.facebook.com/karen.j.leonardo ;
https://www.facebook.com/LeonardoLampwork and https://www.facebook.com/artisanjewelrytimes.
All rights reserved
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February 2016
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Large Hole
Fresh Water Pearls
Quantity Discounts Available
Etsy shop - https://www.etsy.com/shop/svenghaus
Web site - http://www.moltenglassdesigns.com
850-496-3528
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February 2016
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Making Beads Using
By Cynthia Tilker
Brass Frit
B
rass frit can create beautiful bubbles in your beads
if you follow a few easy steps. You want to apply
your brass frit well at the beginning of the bead that
you are creating. In other words, add it within the first or
second layer. If you add the frit too late, it will rise to the
surface and pop leaving very large holes. The set in the
photo was made on a base of blue silver glass, with a
buffering layer of clear between the base bead and the frit.
Tools and Supplies:
Brass frit
Base bead color of your choice
Clear for encasing
Step 1: Start your bead by adding
one to two layers of glass onto your
mandrel. Marver so it is the shape of
a tube. This will be the shape that the
bead will be kept in throughout until the
very end.
1
2
Step 2: Because my base bead is
silver glass and will react with the frit,
I am encasing it in clear to create a
buffer layer. When you are ready to add
frit, make sure your bead is very hot.
Step 3: Roll the bead in a flat layer of
frit.
Do not mound the frit on your marver.
Once you have layered your bead, do
NOT put it back into the flame as this
can cause sparking and spitting.
3
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4
35
Step 4: Encase your bead immediately.
February 2016
Soda Lime Times
Step 5: Next, heat the bead.
This is a process. You have to
watch what the frit is doing. It will
take some time for it to “bloom”
into bubbles. Heat the bead and
the brass should start to “bloom.”
You do not want the bubbles to
get too big at this point.
6a
5
6b
6c
Steps 6a - 6e : Add another
layer of clear glass and repeat
this process until your bead is
large enough to round it out. The
bubbles, by this point, should be
pretty large and golden.
I want to mention a few tips. I
always sandwich the brass frit
between clear layers. If you
add the frit to silver glass and
some other colors, it will turn
to a dirty bronze color. Also, for
those of you who use pale aqua
for clear, that will give the same
result. Make sure you use clear.
I use Effetre clear so I am not
too familiar with all of the clears
that are out there. You might get
different results. Maybe better.
You can get a great effect by
using brass wire with this same
method for a spiral bubble effect.
I love doing that. It turns out
really cool.
6d
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6e
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February 2016
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Memorial Glass by Tammy Rae
www.memorialglassbytammyrae.com
-and-
Glass by Tammy Rae
www.tammyrae.com
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February 2016
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nergy
essel
E V
By Leah Nietz
I
love the unexpected surprises that pop up when
glass meets metal. The interactions are always
unique and color comes out where you least
expect it. This vessel tutorial demonstrates just
that. Who knew you could pull aqua blues out of
intense black with a little silver and heavenly Double
Helix reactive glass?
This is an intermediate/advanced tutorial. Always make sure
you have proper ventilation, especially while working with
metals. If this is your first attempt at blowing a vessel,
practice with a clear gather of glass skipping steps 2-6 and
15. You can always etch a design in the clear glass. I will
have an introduction to blowing vessels video tutorial
released in mid to late January 2016.
Tools and Supplies:
¼-inch hollow mandrel dipped in bead release (make sure
you blow it out of the end)
Graphite paddle
Tungsten pick
Marble mold
Flat shaping tool or steel butter knife
Steel tweezers
Flat mashers
1 to 2 strips (3-4mm wide) fine silver mesh
Extra select size 000 cork stopper (www.widgetco.com)
Epoxy made for glass
Tin foil
Rubbing alcohol
Diamond bead reamer
1 rod White 104 COE
1 rod Double Helix Kalypso
1 rod Black 104 COE
1-2mm stringer of Effetre Intense Black
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February 2016
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The Vessel:
Step 1: Blow out your hollow mandrel to make sure it isn’t plugged
up. With the white glass rod, gather a nickel-sized ball on the end
of the hollow mandrel. Make sure the glass covers at least 3mm
of the end of the mandrel. Allow the glass to cool slightly until just
stiffened.
1
Step 2a and 2b: Heat the end of your Kalypso rod until molten
and as runny as you can make it without it dripping off. Spread the
molten glass over the white gather until all of the white is completely
covered. Allow the glass to cool slightly until just stiffened.
Steps 3a and 3b: Gently heat the intense black stringer and wrap it
around the center of the gather. Melt it in completely. Allow the glass
to cool slightly until just stiffened.
Step 4: Heat the intense black portion of the gather and, using your
tweezers, wrap the fine silver mesh around the center of the gather.
NOTE: The mesh won’t stick if the glass isn’t hot enough. Avoid
placing the unattached mesh directly in the flame as it will immediately melt and evaporate.
2a
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Steps 5a and 5b: Once you have the mesh completely wrapped
around the center, heat the gather until the silver has beaded up.
Allow the glass to cool slightly until just stiffened.
2b
3a
3b
4
5a
5b
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Step 6: Intensely heat the intense black/silver mesh center rotating
constantly. You will see the intense black start to spread and web
out. If the gather becomes too molten, allow it to cool until manageable again and reheat it. You may have to cool and reheat a few
times before you get the desired webbed effect.
Steps 7a and 7b: Thoroughly and evenly heat the entire gather until
mobile, but not runny. Holding the gather up at an angle gently blow
it out into a sphere.
6
7a
7b
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February 2016
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Steps 8a and 8b: Heat the end of your black rod
until just beginning to glow. Heat the bottom half of
your sphere, touch the tip of your black rod to the
bottom, and gently pull it to a point. Flame cut the
black rod from the point.

NOTE: At this point, it’s important to remember that the walls of glass are thinner than a
normal bead and you’ll have to make sure
to pass it through the flame often enough to
keep it from shocking throughout the entire
process.
8a
Step 9: Continue to heat the end of the black rod
into a pea-sized ball and wrap the black glass
around the mandrel just above the blown portion of
your vessel. This is a good time to add a little ball
of glass to the tip of your vessel as well.
8b
Step 10: Heat the gather around the mandrel as
you would a bead, and using your graphite paddle,
flatten it at a slight angle until it touches the vessel
body and is even all the way around.
Step 11: Heat a small pea-sized gather and wrap
it around the edge of the pressed black glass to
make the lip. Gently melt it to your desired shape
using your flat tool or butter knife to guide it.
9
10
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11
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Steps 12a and 12b: Decide which sides will be
the front and back; heat the end of your black rod
and make a dot of glass on the right and left side
of the lip and then directly underneath on the body
of the vessel 2mm to 3mm from the neck.
Step 13: Heat a small pea-sized ball on the end of
the black rod and attach the top and bottom dots
on each side to form the handles.
Steps 14a and 14b: Heat one handle until mobile,
12a being careful not to let it touch the neck, and use
your tungsten tip to shape the handle by gently
pulling it up and out and pressing in at the bottom.
Continue shaping until it’s as symmetrical as possible, then repeat for the other handle.
12b
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Step 15: Reduce your flame by turning down your
oxygen a little and increasing your propane. Rotate the body of your vessel in the reduction flame.
The Kalypso will turn metallic and the intense
black will develop blue edges. Place your vessel
into a preheated kiln.
13
14a
14b
15
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The Stopper:
Step 1: Heat your black rod to form a large pea-sized ball and press
into the smallest form on your marble mold to form a dome.
Step 2: Using your graphite paddle, heat and shape the dome into a
cone.
1
2
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Steps 3a - 3c: Heat and touch the intense black stringer to the tip of
your cone to form a cold seal. The stringer will be used as a punty.
Heat and flame cut the black rod from your cone and flatten the
remaining glass from the black rod with your paddle to form a base
on the bottom of the cone. Allow the glass to cool slightly until just
stiffened.
Steps 4a - 4c: Hold the stopper with preheated mashers (you can
heat them in the flame) and flame cut the stringer from the stopper. Place the stopper in your preheated kiln. Once annealed and
cooled, clean out the bead release from your vessel and scratch
up the bottom of your stopper with a diamond bead reamer. Clean
the scratched portion with alcohol and place it in a wad of tin foil
with the bottom up to hold it in place. Press the cork into the vessel
and use a pen or your fingernail to make an impression where the
cork should be cut to be flush with the top of the lip. Cut the stopper
using a serrated knife where you marked it. Mix the epoxy and glue
the cork to the glass stopper. Tada!
3a
3b
3c
4a
4b
4c
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Variations:
The photos below show other vessels I made using this technique. There are some subtle differences,
which you can expect when working with silver glass. The vessel in the center was made the same way
but without silver mesh.
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February 2016
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Show-Stopping
Starburst Heart
By Trudi Doherty
I
LOVE palladium … really, really love it. It adds
such a wonderful shimmer to beads that is just
so different than silver. Once you try it, you’ll fall
in love with it too! Add dichroic, goldstone, and
mica, and you’ll think you’re in glitter heaven!
goes a long way. If you can only buy it in a book,
why not split a book with a friend or two!
In this tutorial I am using a lot of elements, but I
won’t be overloading the bead with too much of
each one. I’m aiming for a subtle look, so that as
But the benefits don’t stop there. Palladium can
the bead moves different sparkles will catch your
take so much more heat than silver. If you add
eye. The added components will add depth to the
some to your bead and you need to add palladium, bead which will be enhanced with the facets. I’ve
just re-heat and add. You don’t need to encase
overcome my obsession with only using one metal
it to protect it! It also stays intact better when it’s
at a time and I’m also using gold leaf in this too!
encased too; however, with extreme heat you
Not everyone will have all the exact components
will see it start to dissipate (but it’s just fine when
and that’s fine. At the end of the tutorial I’ll add
working with normal heat). Some people are put
some pictures of other beads to show you ideas
off with the cost of palladium, but there are so
on what other components and techniques you
many advantages to using it, and a little really
can use!
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Tools and Supplies:
Dipped mandrel
Heart press (or you can form your own
heart without a press)
Texture stamp
Cutters
Scissors
Non-serrated tweezers
Self-locking tweezers
Marvers
Brass marver
CiM Frost (or Celeste is a close match)
CiM Leaky Pen (Saturated color)
Strips of cut up palladium and gold leaf
Red/Silver Blue crinkle dichroic – from Riley Designs
Dichro stringer (instructions to follow)
Goldstone twistie (instructions to follow)
Thick clear stringer
Before you begin:
As there are lots of components going into this, it’s best to be organized and get things ready before
you start.

TIPS:
1 - Sprinkle your mica onto
a marver (it shows up well on
black).
2 - Cut up your dichroic and
place it somewhere to pre-warm;
torch marvers and tops of kilns
are good.
1
3 - Cut up your gold leaf. I
find it best to carefully slide it
between two sheets of paper.
Avoid touching it with your hands
as it sticks! If you need to use
tweezers use flat, non-serrated
ones; again it will stick to serrated
surfaces!
4 - To stop your leaf flying off,
place a marver over it until you are
ready to use it.
5 - I often pull dichroic stringers
in advance and have pieces left
over. If you punty them up to a
rod you can write the color (or
colors) you’ve use on the rod for
easy reference. This easily wipes
off or burns out in the flame and
is very handy.
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Making the Dichro Stringer:
Instructions and photos by Diane Woodall
Step 1: Begin with a piece of pre-fused dichro that is ½-inch wide.
This wider glass makes it faster and easier to make the stringer.
1
Dichro strips have glass on one side and dichro on the other. You
do not want to put the dichro side directly into the flame, and that
is why we will be encasing that side in clear. We only have to apply
clear to the dichro side because there is already clear on the other
side. Nifty huh?
Step 2: Begin by heating the dichro strip high in the flame, dichro
side away from the flame. With a thin rod of clear (I like to use thin
rods of Zephyr from Double Helix), apply swipes across the strip as
shown. Apply clear to the front (dichro side) and edges, but not to
the back.
Work fast and apply pressure to the clear to chase out any air
bubbles that might get trapped in between the swipes of clear.
2
Step 3: Apply some heat to the clear you just applied and with
mashers, squeeze firmly to smooth it and force out any air bubbles.
Work in a cool flame, and don’t try to do the mashing in one step or
the strip may become hard to control. Give it a little heat and press,
then heat again and press, until the clear is smooth.
Step 4: Using a rod of clear as a punty (or you can use an old
mandrel), punty up to the now encased dichro strip. Heat the strip in
the upper part of the flame until it is soft enough to pull into stringer.
Step 5: If you pull the stringer slowly you will get a flat ribbon, or
you can pull a little faster and get a rounder stringer. It’s hard to see
in this photo, but these dichro ribbons are sparkly! Now your dichro
stringer/ribbon is ready to use on your bead!
3
4
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Making the Goldstone
Twistie:
I learned to make this kind of stringer from Sarah
Hornik’s eBook 11 Things to do with Goldstone,
which you can buy in her Etsy store at
www.sarahhornik.etsy.com. Thanks Sarah!
Steps 1a and 1b: Heat the end of a clear rod and
roll in goldstone chips. Heat gently to smooth as
much as possible. Avoid excess heat as this will
burn out the sparkle.
1a
Step 2: Take a second clear rod and encase fully.
Melt in smooth.
Step 3: Use the second clear rod to attach to the
other side of the gather. Heat thoroughly, remove
from the flame, twist with each hand going in opposite directions, and pull into a stringer.
Burn off one side and set aside.
Now let’s make a heart bead!
1b
2
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
NOTE: The instructions for making the heart include using a
press, however if you want to form the heart without a press you
can use a marver for the pressing steps and adjust the other
steps accordingly.
Heart Bead
1
Step 1: Wind a small cone-shaped bead using Frost glass. Add
glass only to half the size of your finished bead. We’ll be adding a
lot of glass to this, so start small!
Steps 2a and 2b: Heat your bead and roll along your marver to
attach the palladium. Use a marver to burnish this to the bead.

TIP: I have a little “scrap” pot handy for any little scrap pieces of
palladium that rip off but are still useable, and I often find I need
just a little bit more. It’s expensive stuff, so waste not, want not!
2a
Step 3: Encase the palladium with Leaky Pen. Leaky Pen is a saturated color, so if you want to see more palladium – use clear, a light
transparent, or a mix.
Step 4: Flatten and place in the press to see how much space you
have left. If you aren’t using a press, just flatten with mashers.
Step 5: Add your gold leaf in the same way, but you will need to
encase this to preserve it.
2b
3
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
TIP: If you want some of it burn away, you can flash it in the
flame quickly before encasing.
6
Step 6: Working in a cooler flame (I find it helps to prevent the
dichroic cracking if you turn the flame down for this step), spot heat
one side of the bead, pick up a piece of dichroic glass with your
tweezers (I like the self-locking ones), and flash through the flame
to warm (I bring it coated side into and quickly through the flame).
When both the bead and the dichro are warm, press the dichroic
glass to the bead (coated side down). Repeat for the other side.
Step 7: Gently warm the sides of the dichroic, and press down to
seal the edges. I do this in small sections without super heating. You
want to make sure the sides are sealed down to prevent the dichroic
burning. Once sealed you can apply more heat.
7

TIP: I like to use a brass marver when melting in my dichroic. I
find that it helps to “grab” and move the encasing layer over. If
you struggle a bit with this, you could pull thick, clear stringers
before you start and melt these around the edges! The main
thing is to get that dichroic sealed in so that you don’t burn it!
Step 8: Melt smooth and re-press the bead.
Step 9: Add random waves with your goldstone stringer and melt
smooth.
Steps 10a and 10b: Add a random wave with your clear stringer.
Leave raised, and while it’s still warm, press into your mica flakes.
This will help to place the mica where you want it. Encase with clear
and melt smooth.
8
9
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Step 11: Turn the flame down a bit and add a random wave around
the bead using the dichroic stringer. Melt in smooth.
Step 12: Allow the core of the bead to cool and firm up. Give the
surface a good heat and press with your stamp. Repeat on the other
side; gently warm the bead, especially where the mandrel is, and
place in kiln!
11
Now you may not have all the exact components to make this bead,
but other great components you can use are goldstone pieces (gold
or blue), silver glass (encased or on the surface), and silver mesh. If
you don’t have a texture stamp, you could add twists in the surface
with a blunt-end stringer (remember to fire polish them to remove
any sharp bits), or use a transparent stringer to draw a pattern on
the bead and leave slightly raised!
On this page are a few more beads using this technique. Hope you’ll
give it a try and see what you can create.
Resources:
12
Heart press from Bavarian Beads
Starburst stamp from Perlenpresse
Dichro: http://www.loririleydesigns.com
Dichro: http://shirleygiles.com
The finished bead!
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February 2016
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Palladium vs. Silver
One more thing I want to share with you and that is the difference between palladium and silver when
you encase them. Palladium is a softer, less shiny metal as you can see in the two photos below. On
the left is a collection of encased beads made with silver foil, and on the right I used palladium. As you
can see, both yield beautiful results, but there is a subtle difference.
About the Artist
Trudi Doherty is a U.K. lampworker based in the Midlands. She is
a full-time lampworker and in addition to selling her beads on Etsy,
she also teaches and was a regular contributor to Beads & Beyond
Magazine. Trudi is also a member of British Lampwork and is
lucky enough to live close to other lampworkers and enjoys getting
together to share ideas and have fun!
Website – www.glitteringprize.co.uk
Etsy - www.etsy.com/uk/shop/GlitteringprizeGlass
Facebook - https://www.facebook.com/Glitteringprize
Pinterest - www.pinterest.com/GlitteringTrudi/lampwork-beads/
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February 2016
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Silver Foil Recipes
T
By Chelsea Pavloff and Angie Roberts
he following two recipes for using silver foil on your beads come from our recently published
eBook 40 Silver Foil Lampwork Bead Recipes. It is not a book of tutorials as much as a lampwork “cookbook,” giving instructions for forty fun and easy bead designs using silver foil. Readers
should already have some experience making beads and a safe studio in which to work. Beyond that,
the tools and materials are basic and easy to find.
Our eBook is available on Etsy at www.BIMSBangles.etsy.com.
Gothic Gold
Tools and Supplies:
CG Beadroller (BR-44 Small Chunky
Donuts) - optional
Bead rake
Shaping tool
Frit tray
Effetre Dark Ivory
Silver foil
Val Cox Montmartre glass frit
Step 1: Using dark ivory make a bead one size smaller than what you’d like the final size to be.
Step 2: Roll hot/warm bead in a section of silver foil and burnish with the curved side of your tool.
Step 3: Using the back of the flame, slowly burn the silver foil off your bead and when hot, roll the bead
in Val Cox Montmartre glass frit.
Step 4: Still using the back of the flame, melt the frit in completely and then rake through the center of
the bead to create a flowing design. Finalize the shape using the rim of a beadroller cavity or gravity.
Step 5: Lightly roll the bead through a slightly reduced flame (turn down your oxygen) and then pop it in
the kiln.
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February 2016
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Moroccan Nights
Tools and Supplies:
CG Beadroller (BR-44 Small Chunky
Donuts) - optional
Bead rake
Shaping tool
Frit tray
Effetre Dark Ivory
Effetre Light Sky Blue
Silver foil
Glass Diversions Marrakech glass frit
Step 1: Make a bead one size smaller than what you’d like the final size to be using light sky blue.
Step 2: Roll hot/warm bead in a section of silver foil and burnish with the curved side of your tool.
Step 3: Using the back of the flame, slowly burn the silver foil off your bead and when hot, roll the bead
in Glass Diversions Marrakech glass frit.
Step 4: Again, using the back of the flame, melt the frit in completely and then rake through the center
of the bead to create a flowing design. Finalize the shape using the rim of a beadroller cavity or gravity.
Step 5: Lightly roll the bead through a slightly reduced flame (turn down your oxygen) and then pop it in
the kiln.
About the Authors
B.I.M.S. Bangles is a mother/daughter company based out
of Tampa, Florida specializing in the creation and sales of artisan glass beads. Daughter, Chelsea Pavloff, oversees the
day-to-day operations of the company while raising her four
daughters ... Britni, Isabella, Mackenzie, and Sarah whose
acronym became the company name B.I.M.S. Bangles.
Chelsea
Angie
For six years, Chelsea and Angie participated in art shows throughout Florida selling artisan lampwork
bead jewelry. Mother, Angie, made the glass beads and Chelsea designed and fabricated the one of a
kind jewelry pieces. However, as the girls grew up, being away at art shows every weekend became
too hard on everyone so Angie now makes the glass beads and sells them to artists for use in
their creations.
To see more of Angie’s work visit her Etsy store at www.BIMSBangles.etsy.com.
All rights reserved
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February 2016
Soda Lime Times
Zoom Zoom
By Heather Sellers
S
tar date 47,634.44, an object has been spotted zooming across the Milky Way. Astronomers watching the star-filled sky have determined an unidentified flying object is voyaging
toward Earth from another galaxy. Let’s roll out the
red carpet and fire up the jazz band to welcome
the curious visitor. Yes, I hear the little guys like
jazz! Who knew?
All rights reserved
If you are wondering how we are going to use
silver to make a bead for Beads of Courage, the
answer is that we are going to encase it. For BOC,
make sure any metals you use are not on the surface of the bead, but safely snuggled beneath an
encasing layer. This goes for silver glass too. The
good news is you can use these wonderful materials to add depth and texture to your beads as long
as they aren’t on the surface.
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February 2016
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Tools and Supplies:
3/32-inch dipped mandrel
Frit tray
25mm straight-side lentil press
Graphite marver
Stainless steel shaping/paddle tool
Tweezers for pulling stringers
Effetre 204 Pastel White
Effetre 004 Clear
Double Helix Iris
1x1 inch square of fine silver foil
Blue Aventurine frit
A mixed shard created from Effetre Lapis Dark Avorio (293) and Light Ivory Pastel (264)
Effetre 268 Gray Pearl Pastel
Effetre 252 Dark Gray
CiM Pulsar
CiM Hades
CiM Elphaba
CiM Butternut
CiM Goldenrod
Step 1: Using a 3/32-inch
dipped mandrel, create a narrow
cylinder shape from pastel white.
Step 2: Add a spiral wrap of
Double Helix Iris. Make sure to
leave room for the white base to
show.
1
2
Step 3: With a pair of tweezers,
begin to apply the shard to the
surface of the bead.
Step 4: Gently smooth the shard
onto the bead and smooth flat
using a paddle tool.
3
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February 2016
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Step 5: Place the silver foil onto
a graphite marver. Gently roll the
warm bead onto the foil.
Step 6: Continue to roll the bead
over the graphite marver to
burnish the foil until smooth.
Step 7: Introduce the bead back
into the flame and allow the foil
to melt away.
5
6
Step 8: Gently roll the bead in
fine blue aventurine frit.
Step 9: Turn down the oxygen
level on the torch to produce a
reduction flame. Let the flame
wash over the bead for a few
seconds. The silver glass will
start to shimmer.
7
8
Step 10a and 10b: Balance the
flame back to neutral by increasing the oxygen level, then begin
to spiral encase the bead with
clear. Avoid the direct flame to
preserve the silver reaction.The
shimmer of the silver glass will
be apparent once the bead is
fully encased.
Step 11: Place the hot bead in
the press.
9
10a
10b
11
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57
Step 12: Press the glass into a
lentil shape, then flame polish.
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February 2016
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Step 13: Using a stringer of light
gray, draw the top line of the
alien’s space ship.
Step 14: With the same gray
stringer, draw an angled line for
the left side of the ship.
13
14
Step 15: Repeat the previous
step and add an angled line for
the right side of the ship.
Step 16: Draw the bottom of the
space ship using a curved line to
connect the two sides.
Step 17: Gently shape and fix
any wobbles in the stringer with
a smooth paddle tool.
15
16
Step 18: Using a 5mm stringer
of light gray, begin to fill in the
spaceship outline.
Step 19: Make sure not to trap
any air bubbles.
Step 20: Smooth the glass with
a paddle tool.
Step 21: Heat the surface of
the ship and continue to let the
glass flow into the outline shape
created by the stringer work.
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17
18
19
20
58
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February 2016
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Step 22: Repeat the smoothing
process until the glass fills the
space.
Step 23: Using the Pulsar transparent blue, add a dot above the
space ship which will become
the glass windshield.
22
23
Step 24: Flatten and shape the
dot into a smooth dome shape
with the use of a paddle tool.
Step 25: With a fine stringer of
dark gray, draw a contour line
across the spaceship.
Step 26: Create the alien’s
V-shaped antenna with a fine
stringer of Elphaba.
24
25
Step 27: Gently smooth the
stringer work from the previous
steps.
Step 28: Add a dot of Elphaba
for the alien’s face.
Step 29: Gently flatten the dot
with a paddle tool.
Step 30: Place a white dot in the
middle of the face to create an
eye.
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26
27
28
29
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February 2016
Soda Lime Times
Step 31: Flatten the dot onto the
alien’s face.
Step 32: With a fine stringer of
Hades, add a dot for the mouth
and a dot to finish off the eye.
31
32
Step 33: Using a dark gray
stringer, draw the line to
separate the space ship and
windshield details.
Step 34: To create extra interest,
add three evenly spaced dots of
Butternut.
Step 35: Add two dots of
Goldenrod in between the
previous orange dots.
33
34
Step 36: Gently flatten the
dots onto the surface of the
spaceship.
Step 37: Flame polish the final
bead, then place the finished
bead into a preheated kiln.
35
36
Zoom Zoom
27
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February 2016
Soda Lime Times
About the Artist
Heather Sellers has been working with glass in various forms for more
than 25 years, including stained glass and flameworking. As a young girl,
she was captivated by the art of glass sculpting. One of her first childhood
memories involves feeling a sense of absolute amazement while watching
artists create glass vases. The skillful dance of fire and molten glass was
an experience which never left her mind. She instantly fell in love with the
texture, shine, and color play of glass.
Heather finds inspiration for her art in everyday life. She enjoys sharing
her love of glass as an instructor at Mesa Arts Center in Arizona. She feels
compelled to continue developing her talent, while helping others through
giving works programs such as Beads of Courage. Because of her commitment to making beads
for children, Heather is a member of the Beads of Courage Hall of Fame and the author of a new
collection of BOC tutorials, Born of Fire, Glass, and Love, which is available at www.bocbook.com.
You can see more of her work on her blog at http://dragonflylampworks.blogspot.com/.
And on her Facebook page at https://www.facebook.com/profile.php?id=100008188278358.
All rights reserved
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February 2016
Soda Lime Times
Cool Stuff for Hot Glass
Lampworking Tools, Supplies and Services
ARC PHOTOGRAPHIC IMAGES
Photography for Artists
BEAD BOX MAN
Cigar box bead storage & display
www.arcphotographicimages.com
www.beadboxman.etsy.com
CORINA LAMPWORK TOOLS
Beads, tools, tutorials & classes
http://www.corinabeads.com
GLASS SORBET
GRACEFUL CUSTOMS
LAMPWORKING TOOLS
Hold-Me-Tight rod holders & Mashers
www.GracefulCustoms.com
WALE APPARATUS CO.
Lampworking Supplies
http://waleapparatus.com
See your ad here.
Contact Paul Woodall at
[email protected]
for information
Lampwork Classes, Glass, Supplies
http://www.glasssorbet.com
HEATHER TRIMLETT
Tutorials and Tools
www.heathertrimlett.com
CG BEADS, INC.
Graphite cavity tools, findings
www.cgbeads.com
GLASS DIVERSIONS
Captivating Frit Blends
www.GlassDiversions.com
LEONARDO LAMPWORK TOOLS
Tools, tutorials and beads
http://www.leonardolampwork.com/
Teaching Studios
DREAM FIRE STUDIO
(San Antonio, TX)
THE GLASS SHOPPE STUDIO
(Ottawa, Canada)
Workshops*Glass*Tools*Beads*Jewelry
Classes*Glass*Supplies* Findings
www.dreamfireglass.com
www.theGlassShoppeStudio.com
BEAD CAMP
(Nokomis, Florida)
THE MELTING POINT
(Sedona, AZ)
Workshops in glass, pmc, metalsmithing
Where glass, play & inspiration meet
www.beadcamp.com
www.the-melting-point.com
Glass for Flameworkers
ARTISTRY IN GLASS
ART GLASS EAST
MELT GLASS ART SUPPLY
Hot, cold & warm. All COEs!
www.meltglass.com
Lampworking supplies in Canada
Lampworking tools, glass & supplies
AUSTIN THIN FILMS, INC.
Full Line of Dichro products
www.dichro.com
GG GLASS
Handmade veiled cane, 96COE
www.ggglass.com
Glass addict? I can help with that
All rights reserved
www.artistryinglass.on.ca
62
http://www.artglasseast.com/
HOWACO GLASS
www.howacoglass.com
February 2016
Soda Lime Times
Jewelry Making Supplies
12BEAD(Netherlands)
Jewelry making supplies, including Poppers!
www.12Bead.com
METAL ME THIS
Unique Metal Stuff & Patinas
www.metalmethis.etsy.com
Until next time . . .
May all of your rainbows yield a pot of gold!
All rights reserved
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February 2016
Soda Lime Times
Coming Next Month. . . Murrini!
The March 2016 issue (coming out on February15th) is all about murrini! We would love to publish
your photos! We are looking for beads that are decorated with murrini. Please send your photos to
[email protected] by February 1st and you might just see your beads in our next issue.
Submission of photos: please send photos that are in focus, no watermarks, no harsh shadows,
and please remove the beads from the mandrels and clean them. Larger photos are better as we can
always size them down, and the higher the resolution, the better. Include a link to your Facebook page,
Etsy store, website, etc. so we can include that in the artist credits.
Soda Lime Times is released every month on the 15th and is available to subscribers for $4.95 per
month. To subscribe to Soda Lime Times, please visit our website at www.sodalimetimes.com. If you
are interested in becoming a contributor to the magazine, either as a one-time contributor or on an
on-going basis, please contact Diane to share your ideas. We are actively seeking interesting content
for our magazine and would love to visit with you.
Please contact Diane Woodall at [email protected] with any questions or comments.
Diane Woodall / Managing Editor
Leah Nelson / Copy Editor and Contributing Editor (Featured Artist) ([email protected])
Darryle Jadaa/ Feature articles and proofreader
Debby Gwaltney/ Graphic Design
Paul Woodall / Webmaster
All photographs contained herein are published with permission of the artist.
All materials contained in Soda Lime Times are protected by United States copyright law and may not
be reproduced, distributed, transmitted, displayed, published or broadcast without the prior written
permission of Soda Lime Times. You may not alter or remove any trademark, copyright or other notice
from copies of the content. You may download material from Soda Lime Times and print one copy for
your personal, noncommercial use.
Links to Websites other than those owned by Soda Lime Times are offered as a service to readers. The
editorial staff of Soda Lime Times was not involved in their production and is not responsible for their
content.
For further information, see our terms of service at www.sodalimetimes.com
Safety notice: Readers of this magazine acknowledge that there is risk associated with lampworking
and that it is the responsibility of the reader to work in a safe studio. Soda Lime Times assumes no
responsibility for injuries or damage caused as a result of using any of the material in any publication
produced by our company. It is up to each individual reader to determine if they possess the skills
required to safely execute a project.
All rights reserved
64
February 2016
Soda Lime Times
Artists Appearing in This Issue
Laurie Ament: http://www.glassbead.etsy.com
Lea Avroch: https://www.facebook.com/LeaAvrochArtGlass/
Rita Bennett: https://www.facebook.com/Avalon.Designs.by.Rita/?ref=bookmarks
Debra Becker: https://www.facebook.com/DebsGlassWorld?ref=hl
Denise Billups-Walker: http://firedancelampworkbeads.blogspot.com/
Connie Blowers: [email protected]
Lois Brillinger: https://www.facebook.com/profile.php?id=1262662689
Julie Cannon: www.studiojuls.com
Chris Dalrymple: http://www.cdalrympledesigns.com/
Sheila Davis: http://www.stonedesignstudio.com/
Trudi Doherty: www.glitteringprize.co.uk
Suzan Elliott: https://www.facebook.com/Fire-Light-Beads-256503961178341/
Gail Finney: [email protected]
Sherri Fisher: www.GlassArtRevealed.com
Karen Fox: [email protected]
Kathryn Guler: https://www.facebook.com/KathrynGuler/
Steve Hilliard: http://www.steveghilliard.com/
Kiersten Kern/Red Opal Designs: www.redopal.etsy.com
Karen Leonardo: www.leonardolampwork.com
Daniela Meier: www.nelaschmuck.ch
Marlene McDonald: www.marlenemcdonald.com
Anna Miller: www.catsmeowart.etsy.com
Leah Nietz: http://search.ebay.com/_W0QQsassZsandonfire
Joyce O’Shea: https://www.etsy.com/shop/joycelo
Jane Perala: https://www.facebook.com/jane.perala
Angie Roberts: www.BIMSBangles.etsy.com
Cheryl Roe: www.beadroe.com
Heather Sellers: http://dragonflylampworks.blogspot.com/
Miriam Steger: www.facet-design.com
Mona Sullivan: www.monaslampwork.etsy.com
Christine Wilson: www.bludragonfly.etsy.com
All rights reserved
65
February 2016

SLT Feb 2016 - Soda Lime Times

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