Raked star beads

I'm back in Margo Knights class at Spruill Center for the Arts for the spring term.  For our first class, Margo demoed raked star beads.  The concept is simple:  start making a disc bead with two or three layers of class.  instead of continuing to add layers, add dots around the edge of the disc.  Build up as many layers of complimentary colors as desired.  When you are satisfied with the layers, heat just the area to be moved, then rake towards the center of the bead with a metal rake or the end of a stringer.  It sounds simple, but the placement of the dots is critical.  Also, the dots must be uniform in amount of class used.  My attempts are shown below.  I didn't try anything more adventurous than 6 pointed stars.

For a more complete tutorial on raked star beads, see the thread on WetCanvas.

New addition to my workshop

I'm back after an incredible vacation in Arizona, Utah and Colorado.

Before I got started making beads again, I decided to invest in a reconditioned oxygen concentrator, to avoid hubby having to cart heavy oxygen cylinders back and forth from the gas supplier (although the oxygen concentrator is heavy on its own).  The one below was purchased at Flametree Glass in Roswell, GA.

Here it is:

It doesn't deliver as high a flow of oxygen as an oxygen tank, but it is adequate for my torch (a minor burner).  So far, I haven't experienced any problems working with it.  Its flow rate is adequate for the size beads I usually make.  And its nice not to have to worry about running out of oxygen---it's there when you need it.

Copper cut outs

In a second week of working with copper at Spruill Arts Center, we used copper cut outs.  Using paper punches and very thin craft copper sheet (greater than 38 gauge), we cut out butterflies, leaves, dragonflies, etc.  and applied them to glass beads.  If you apply the cut outs directly to the hot glass bead, then encase with clear, the copper will burn to a red color.  If you encase the cut out with a gather of hot clear, then add that to the bead, the piece will retain its metallic copper sheen.   Below are some of the results:

All of the beads but the one on the right were made with a white base bead with copper foil overlay followed by addition of frit, then the copper cut outs.  The bead on the right was made on a white base bead with a mixed green frit followed by the copper cut outs using the two different methods of positioning the cut out.  Looks like autumn!

Scallops

These beads are a take on scallop shells and are easy to make with a lentil press.   I started with light ivory glass, adding enough glass onto the mandrel fill the center of the lentil press, but not enough to go out to the edges.  Next I wrapped a twistie around the bead, and pressed again, this time filling the lentil press.  I used a variety of glass for the twistie:  light ivory and light amber, light ivory and dark amber and light ivory and rose quartz  (CIM 511907).  Finally, I textured the lentil with a knife, adding indentations along the edge of the bead, and the making incisions from the indentation of the middle bottom of the bead.  Here are the results:

The bead at the top left is made with a dark amber/ivory twistie, the one on the top right from a light amber/ivory twistie and the one on the bottom with the ivory/rose quartz twistie.  I should mention that I tried a twistie of pink opalino with ivory and the pink turned a nasty brown color as I was texturing the bead.  Evidently I got the bead too hot.  I haven't had problems with pink quartz.

I've been making so many shells that I've run out of light ivory, so I'm going to have to make a run to Flametree Glass to stock up.

Lucky seven bracelet

Yesterday, at the monthly meeting of Southern Flames, we made a leather bracelet using seven lampwork glass beads that we made or purchased.  Gerry and Stephanie White, of Beads by Design, guided us through the process.  Basically, we strung 2 to 3 beads on three strands of leather held in place with a jig.  The ends were finished with knots which were glued in place.  The completed bracelet is shown below:

The beads themselves were made from Ekho glass from Double helix.  The class was cooled then heated until I was pleased with the colors;  then the beads were encased.  I used 3/16 inch mandrels so that I could easily string the beads on the leather cords.  I'll be making more of these!

Sedona stripes

A few years ago, my husband and I took a road trip to Sedona to visit my step-daughter.  I fell in love with the landscape, the red rocks, the pine trees, the sunsets.  These beads are a homage to Sedona:

I start the bead with a base layer of red roof tile (440), then add stripes of yellow ochre (460), EDP (254), light turquoise (232) and Vetrofond tangerine (944).  I place a layer of silvered ivory between the turquoise and the EDP, and wrap a few inches of fine silver wire (26 gauge) over the silvered ivory and burn it off, forming beads of silver.  Before I place the bead in the kiln for annealing, I heat in the hottest part of the flame to remove the white deposits which form on the EDP.  When the beads are cool, they are ready form make into jewelry which I sell in my Etsy shop (etsy.com/shop/DeborahDRoss).