Frit-Happens !
April 01, 2020, 02:23:15 AM *
Welcome, Guest. Please login or register.

Login with username, password and session length
your ad here
News:
Where are you?? Add yourself to the NEW FHF map here  | On flickr? Join our Frit Happens group: here

VISIT THE WIKI HERE
Get FH Status updates via twitter @FritHappens

 
   Home   Help Search Calendar Login Register  
Pages: [1] 2 3 4 ... 10
 1 
 on: March 30, 2020, 02:27:10 AM 
Started by bubblefizz - Last post by beadysam
I have never tried Bullseye, but some of the colours are very lickable!   I have always been impressed their website and educational content too.  I must get some when I have some spare dosh,  and Satake glass is another one on my must try list! 


Moira that flower is a stunner!!!

 2 
 on: March 29, 2020, 01:59:22 PM 
Started by bubblefizz - Last post by Moira HFG
I love the way threads are reappearing!

I sometimes work with Bullseye rods, itís quite firm and seems to hold the heat well, which is excellent for sculptural work.

You can get the rods - also frit - from Warm Glass (UK), or from Glass Studio Supplies. If you have sheets of Bullseye you can slice them and use that, but rods are nicer to work with.

Here's something I made recently. The base bead is in Bullseye Seaweed - it's a lovely streaky green with aventurine sparkles!

Lily bead

Lily bead back

 3 
 on: March 27, 2020, 06:06:56 PM 
Started by bubblefizz - Last post by Dietmar
Yep, Bullseye has a lot of different colors. I love their old Ringmottled styles, because I like to play with the opacifier. They have two very interesting shades of aventurin green and sometimes aventurin blue. All these metallic colors are very usefull partners in color mixing.

For a nice sparcling spring green mix (not fully complete) opaque yellow and some dark aventurin green.

Try also the two colored streaky styles for base beads and spacers. They make a nice variety of shades and striations for spacers. If you add most of the glass by dotting instead of winding in layers, the beads get a total different patern.

The SCHOTT AR-glass has a much higher viscosity than BULLSEYE. The viscosity of Uroboros COE90 glass is in between AR and Bullseye. Try to use it to your advantage.

 4 
 on: March 27, 2020, 09:40:08 AM 
Started by bubblefizz - Last post by petrahergarden
I use sometimes Bullseye because the lovely colours, and for clear i use Schott 90 rods, works very well

 5 
 on: March 24, 2020, 06:53:49 AM 
Started by beadysam - Last post by Dietmar
The link moved again: http://technical-articles.hooverandstrong.com/wordpress/opalino-marbleized-beads/

 6 
 on: March 24, 2020, 04:40:58 AM 
Started by CarolB - Last post by Dietmar
I think this is more a thermal problem while melting the clear for the encasing. When finally there is enough molten clear the core bead might be too cold and get a thermal shock. Since you don't melt the bead down to the mandrel, again, the crack stays where it started. The bead is coling faster on the surface than inside. The stiff outer parts don't follow the still shrinking inside and there is the start of a crack te release the stress. Krxxx!

What helps?
Keep the core bead nice and warm, the whole time while melting the clear. Just let the surface cool a little bit before the big swoosh. Or go for a different method of encasing, swiping on in stripes instead the big-gather-and-swoosh methode.

 7 
 on: March 24, 2020, 03:57:48 AM 
Started by Summershed - Last post by Dietmar
The cure might be to leave the black dots raised untill the pattern is finished.

I had this issue on one bead with red, black, white and yellow dots in a special pattern. I wanted the dots in digonal rows. I got them in diagonal rows, the red and black ones in one direction and the white and yellow ones in the opposite way. I'm lucky with this (ehm) mistake for this bead.

 8 
 on: March 24, 2020, 03:43:30 AM 
Started by DeanWilson - Last post by Dietmar
Back to topic and some exercises:

Reduction is one of the most common problems on a Hot Head torch for beginners. If you learn to see it while working you can either avoid it or use it as a design element.

Start your torch, please. Look for the color of the flame and see ig it has a pure bue (maybe with a slight purple hue) or it has a turquoise hue. If it has the turquoise hue try to turn it smaller, to the smallest setting it still burns stable. Take a rod of glass (just any will do) and hest the end in the flame untill it glows. Look at the flame without filter glasses and see the real size indicated by the yelow flare. All the other work is done WITH filter glasses.

Let's start with a small to medium sized bead from turquoise (sky blue, petrol green, ...) glass. Melt the glass about two thirds away from the bright blue cone towards the end of the yellow flare. Melting the glass might take longer, but we want a clean color for this exercise. Once the bead is at least in decent shape come out of the flame and look at it under good illumination. It should look uniform in color. Go back into the flame and move closer to the bright blue cone. Watch the glass surface and look for an oily shine. Take the bead out of the flame again and see the red spots. Go back into the very end of the yellow flare and watch the oily spots disappear. Control the result under good light and decide how to finish the bead.

By now you learned how to reduce tuequoise on purpouse and how to remove reduced spots while working. You can draw patterns with clear glass on your bead and reduce it or reduce the bead before drawing the patterns. These are two options to use this as a design element.


The black or pewter coloration, mostly on the bead ends, is the reduction of zinc. It comes out while working a longer time in not-so-hot conditions of a neutral to slightly reducing flame. You can avoid it by working slightly hotter and cooling the bead outside the flame before the next boost of heat. It's very tricky to do on purpouse, but comes whenever you fool too long with a semiheated bead.

 9 
 on: March 24, 2020, 03:11:12 AM 
Started by Tonyb - Last post by Dietmar
It if effetre - 591432 Opaque Medium Red with Enamel White frit.
Here we go...
The red contains a cadmium compound with sulfur, selenium or tellurium as the colorant. The enamel white contains lead as a majour ingreadient to get a lower melting temperature. The lead causes a very low surface tension and makes the enamel "creep" over the bead. Finally, there is a reaction between lead an sulfur (...) that gives black lead sulfide.

If you use Effetre white (the regular one) you'll get white dots with a sharp edge. Ivoury (both) works simillar, but makes less defined edges on the dots and doesn't get the grey to black halos.

 10 
 on: March 23, 2020, 02:10:05 PM 
Started by Penglass - Last post by Dietmar
"Liquid glass"...? Are we talking about molten sand with some additives like soda and limestone?

It might be a kind of resin or polymer solution or a UV-sensitive material, you are talking about. I need more information about the liquid begore recommending a material or shape.

EDIT sayes: Or are you talking about a slurry of powdered glass in a kind of water based glue matrix?

Pages: [1] 2 3 4 ... 10
Powered by MySQL Powered by PHP Powered by SMF 1.1.21 | SMF © 2015, Simple Machines Valid XHTML 1.0! Valid CSS!
Page created in 0.027 seconds with 15 queries.