Quote:
Originally Posted by Ofilia
It's super super easy! All I do is rip my pieces of silver and copper foils, and have them handy. After doing a simple gather bead, I'll pick up the pices with tweezers, and try to burnish it on to the surface so it's not all in the air, or it will evaporate away. Very random placement. Can overlap or just do patched of the two metals if you want.
I also like to use that sheet that is French vanilla, an opal orange and the aventurine opal green... sorry, don't know name BE gives this color combination, but it's super cool after striking. Initially, it looks more like an Irish flag, with the colors looking more close to primary colors, but after striking, the orange gets a nice rich coral color, and the sparlies in the green aventurine really are tantilizing  ! You spot it with random spots of just a transparent clear, and you THEN layer the foils over it..... YUM  ! Very organic, of course, but I love the colors. This opal color sheet is so rich, that adding some random spots of transparent, just illuminate those lucious striations of colors! |
BE's sheet of 'French vanilla, an opal orange and the aventurine opal green' sounds yummy so I have added it to my Ed Hoy's ordering wish list. But now I have another question that I have been thinking about for a while now.
I understand why I pay more for the BE swirl sheets if I am fusing or doing stained glass but for lampworking ??? Since BE sheet glass is cheaper when one buys solid colors, especially the thinner half sheets, versus buying the beautiful swirling glass, would it be wiser to just buy thinner half sheets of BE and use small cut up squares of different solid color combos? Or does BE's swirly glass produce a better coloring
?