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Tips, Techniques, and Questions -- Technical questions or tips

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  #1  
Old 2009-12-22, 1:02pm
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Default Pleated Beads

I have done my searching to understand what all these pleated beads I have been seeing lately with beautiful silver glasses , but I am still confused how they are made.

Are they just encased striped beads, or?

Thanks!
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  #2  
Old 2009-12-22, 1:54pm
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Did you check out this thread?
http://www.lampworketc.com/forums/sh...=pleated+beads
Post #19 in that thread has a great link to check out also.
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  #3  
Old 2009-12-22, 2:28pm
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I do mine this way if it helps - I start with a small round of silver glass and then take my razor tool (just a blade attached to a hemistat) and then heat each place I want a pleat. Then push down with the razor almost to the mandrel. Then, I reduce the glass and take a small stringer of clear and fill in just the valleys between the pleats and then melt them in. Reduce again and as I'm encasing I try to pull the pleats just a bit with the encasing glass. I used Ekho to do the single bead. The second set is Aion. Both of these strike during encasing. You might not need to do the reduction first - I am on a HH and it helps me to get the colors to bloom. I hope this helps! Cheers! Joan
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  #4  
Old 2009-12-22, 3:29pm
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Are you talking about the so-called "vertabrae" beads? There are some good tut's out there but the basic idea is to make a base bead using a silver glass, reduce it, then use a stringer-size application of transparent to encase, winding all the way around the bead from top to bottom (or bottom to top, as the case may be), but leave a small amount of space between each round, so the glass underneath is exposed. Then slowly melt in the encasement (slowly so it melts in evenly). As the encasement glass melts in, the exposed glass underneath rises to the surface, looking like "lines" or "pleats". Have fun!
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Old 2009-12-22, 3:31pm
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The other thread was about the Tonbo Dama pleated bead...sorry if that was what you wanted.
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  #6  
Old 2009-12-22, 4:41pm
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Oops! My bad if my post wasn't what you wanted. I thought you were talking about the Anouk-style silver pleat running through some of her gorgeous beads. You could do the razor technique just on a stripe of silver glass to get that effect I think, but I don't know if she does it that way. I guess you could lay down a twistie as well, but the silver pleats look more razored to me. Someone on LE does these amazing beads that look like the leaves of a book - I think it might be Jayne from Badger Beads, but I'm not sure.
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  #7  
Old 2009-12-22, 5:07pm
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Hum...there seems to be some confusion as to what the OP is calling a Pleat? I'd tell you what my Mom used to call a "French Pleat", but it's rather crass, involves undies getting tucked into locations they ought not to, etc...I'll save that for another day!

Nevertheless, here's my understanding:

This one is referred to as a "Roly Poly", and there's a wonderful Tut for it; Tut is here: http://www.lampworketc.com/forums/sh...d.php?t=146703



Then there's the Pleat that's done with a very tightly made stringer, with clear atop gently worked to "stretch" the stringer to the holes; Cynthia teaches this technique in her class, I believe - see Post #9, first bead shown by MTuttle, in this thread: http://www.lampworketc.com/forums/sh...hlight=cynthia

Then there's the technique using either a razor blade or a v-slot marver; an example bead and some discussion can be found here: http://www.lampworketc.com/forums/sh...attwalk+marver

Maybe one or several of these links will help you. Which one, though, not sure!

De
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  #8  
Old 2009-12-22, 7:01pm
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Okay I don't know any other way to explain which type of pleating except to post a link to a a picture. I am pretty sure this artist is a member here but I have seen other's do this type of technique too.........I hope she does not mind

Here goes

http://www.etsy.com/view_listing.php...ng_id=19273944
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  #9  
Old 2009-12-22, 7:02pm
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I am not referring to the pleats of clear glass. I am referring to the blue pleats inside the heart.
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  #10  
Old 2009-12-22, 8:08pm
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I don't know the answer but what a pretty heart!!
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  #11  
Old 2009-12-23, 6:30am
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Just a guess - Base of something like Opal Yellow encased with something like Psyche, razor cut through the silver glass to the base, melted smooth, reduced, clear cased, shaped and ruffled. ??
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  #12  
Old 2009-12-23, 6:37am
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I believe that is the style I am referring to, thank you!


Quote:
Originally Posted by 2kids&atorch View Post
Are you talking about the so-called "vertabrae" beads? There are some good tut's out there but the basic idea is to make a base bead using a silver glass, reduce it, then use a stringer-size application of transparent to encase, winding all the way around the bead from top to bottom (or bottom to top, as the case may be), but leave a small amount of space between each round, so the glass underneath is exposed. Then slowly melt in the encasement (slowly so it melts in evenly). As the encasement glass melts in, the exposed glass underneath rises to the surface, looking like "lines" or "pleats". Have fun!
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  #13  
Old 2009-12-23, 8:45am
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Quote:
Originally Posted by gemsinbloom View Post
I believe that is the style I am referring to, thank you!
That heart is not made in the vertebrae style
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  #14  
Old 2009-12-23, 9:04am
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Quote:
Originally Posted by j2canoe View Post
I do mine this way if it helps - I start with a small round of silver glass and then take my razor tool (just a blade attached to a hemistat) and then heat each place I want a pleat. Then push down with the razor almost to the mandrel. Then, I reduce the glass and take a small stringer of clear and fill in just the valleys between the pleats and then melt them in. Reduce again and as I'm encasing I try to pull the pleats just a bit with the encasing glass. I used Ekho to do the single bead. The second set is Aion. Both of these strike during encasing. You might not need to do the reduction first - I am on a HH and it helps me to get the colors to bloom. I hope this helps! Cheers! Joan
I am on a HH too and am relatively new to lampworking. What do you mean when you say 'reduce the glass' please?

Your work is gorgeous by the way!
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  #15  
Old 2009-12-23, 9:17am
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Thanks, Kristina! Reducing the silver glass just means to take the bead out of the flame until the glow is gone and then cover up the holes on the HH so that you have an all-propane flame. Then you re-introduce the bead into the back of the flame (waaaay back) while turning it until you start to see a color shift. Then remove it from the flame and wait a second or two until the colors "bloom". If the colors are where you wish - encase (hold bead under the flame while encasing) or repeat the reducing process to get more opaque/different colors until you are satisfied. Cheers! Joan
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  #16  
Old 2009-12-23, 11:19am
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Quote:
Originally Posted by j2canoe View Post
Thanks, Kristina! Reducing the silver glass just means to take the bead out of the flame until the glow is gone and then cover up the holes on the HH so that you have an all-propane flame. Then you re-introduce the bead into the back of the flame (waaaay back) while turning it until you start to see a color shift. Then remove it from the flame and wait a second or two until the colors "bloom". If the colors are where you wish - encase (hold bead under the flame while encasing) or repeat the reducing process to get more opaque/different colors until you are satisfied. Cheers! Joan
WOW - thank you for the clear instruction! I can see it will be a great addition to what I do now.

What do you do/use to block the air holes?
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Old 2009-12-23, 12:13pm
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Hi Kristina!!!

Here is a tutorial I found on reducing on a hot head... (thanks, DeAnne!!!)

http://www.theglasszoneonline.com/BL...20TUTORIAL.pdf

She uses a welders glove to reduce. I've also seen where you can make a collar of aluminum foil to block the air holes. Hopefully you'll have better luck than I've had...
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Old 2009-12-23, 1:08pm
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Originally Posted by carolinainmymind View Post
Hi Kristina!!!

Here is a tutorial I found on reducing on a hot head... (thanks, DeAnne!!!)

http://www.theglasszoneonline.com/BL...20TUTORIAL.pdf

She uses a welders glove to reduce. I've also seen where you can make a collar of aluminum foil to block the air holes. Hopefully you'll have better luck than I've had...

What a neat Tutorial! Thank you so much for it! I am really thankful to have the pics and equipment spelled out!

Merry Christmas, you gave me and others a great gift I can use for years to come!
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Old 2009-12-23, 1:35pm
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Those of you working on HH's, just a side note...I know there are a lot of people out there using HH's and getting beautiful results with their glass, so this is not to disparage anyone at all, but I should say: If you are planning to use the heavily silver-laden glass families such as those produced by Double Helix, Precision 104, etc, you might consider investing in a dual-fuel torch at some point. Simply because you will get much better results if you have the capacity to quickly move from extremely high to extremely low temperatures quickly, as well as the ability to achieve variations in your flame environment such as reduction flame (high propane) or higher levels of oxygen. I also agree with Carolyn, the heart in the picture was probably made using a razor blade to accomplish those pleats. It looks like DH's Ekho, encased and then pleated with a razor, to me.
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Old 2009-12-23, 8:16pm
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I got that effect when I pressed my hot glass onto the radiator piece that my son got me.

Celeste
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  #21  
Old 2009-12-23, 8:23pm
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From looking at the picture, I don't feel the bead is textured. It seems to be smooth to me but the stripes give it that look.

I am back to being confused about this technique.

No idea what it is.......


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I got that effect when I pressed my hot glass onto the radiator piece that my son got me.

Celeste
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Old 2009-12-24, 9:27am
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Quote:
Originally Posted by gemsinbloom View Post
From looking at the picture, I don't feel the bead is textured. It seems to be smooth to me but the stripes give it that look.

I am back to being confused about this technique.

No idea what it is.......
It is smooth because it is encased after the creases are made. The creases can be made using a textured marver, rad piece, whatever, or using a razor blade, and then cooled and carefully encased.
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  #23  
Old 2009-12-24, 10:55am
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The artist who made the heart is Conny, her name here on LE is Goldfisch, and she does do the most beautiful work. I have admired her beads since I first started lampworking, and she consistently gets better and better. You could possibly email her and ask the technique, she posts on here regularly, she may be willing to share. That being said, if you texture your base bead, and then encase while the base is set without distorting it, you can usually preserve whatever texture or pattern the base bead had. I would assume this is the case here. I think the real trick would be to preserve the reduction on the base glass.

Being on a HH myself, I would say that 2kidsandatorch is correct in that if you use any silvered glass that strikes you will have a hard time acheiving good results, however, if you pick silver glasses that reduce, you will have good results with these (Aurae and Triton are two especially good ones for hot heads). It's all in choosing what works best with your flame chemistry. Hope everyone has a great christmas! Laura

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Old 2009-12-31, 5:10pm
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I love that heart, she does wonderful work it almost looks like she just wrapped silver glass stinger around and it was close enough that it would spread and touch and just leave a line as it was melted in, or maybe an encased stringer. Sure hope she will give a hint or maybe make a tut to buy. I can't get silver glass to do much for me, she has made it sing.
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Old 2010-01-01, 6:28am
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Several of the posters on this page, myself included, are on HH's. I would like to point out that having a larger torch does not always correlate to producing better beads! There are many posts that can be found on this forum from those on the "big girl" torches who are clueless as to how to work these glasses and also many from HH users who have little trouble with them (and vice versa). Many factors go into working with these glasses, not least the skill of the artist involved. It is more important to understand how to work with your equipment as well as your particular strengths, skill set and the properties of the glass that you are working with IMHO. Sometimes a particular glass will work for one artist and elude another with the same set-up! I guess we all have our favorites! Personally, I have worked on both types of equipment - and, while the big torches aid in producing the heat required for some of the strikers, the HH's are ideal for many of the reducers. Striking can be achieved with some tweaks to the process and patience. Some of the glasses are kiln strikers (Pandora, Black Cherry) and it makes no difference what type of torch you have as long as you keep the bead hot until placing in the kiln. Many others strike further in the kiln (too many to mention!). I personally find the DH glasses and some of GT's and even some of the TAG (Deep Purple/Taxco/Golden Emerald) to be extremely easy to work on the HH.
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  #26  
Old 2010-01-01, 7:00am
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Quote:
Originally Posted by j2canoe View Post
Several of the posters on this page, myself included, are on HH's. I would like to point out that having a larger torch does not always correlate to producing better beads! There are many posts that can be found on this forum from those on the "big girl" torches who are clueless as to how to work these glasses and also many from HH users who have little trouble with them (and vice versa). Many factors go into working with these glasses, not least the skill of the artist involved. It is more important to understand how to work with your equipment as well as your particular strengths, skill set and the properties of the glass that you are working with IMHO. Sometimes a particular glass will work for one artist and elude another with the same set-up! I guess we all have our favorites! Personally, I have worked on both types of equipment - and, while the big torches aid in producing the heat required for some of the strikers, the HH's are ideal for many of the reducers. Striking can be achieved with some tweaks to the process and patience. Some of the glasses are kiln strikers (Pandora, Black Cherry) and it makes no difference what type of torch you have as long as you keep the bead hot until placing in the kiln. Many others strike further in the kiln (too many to mention!). I personally find the DH glasses and some of GT's and even some of the TAG (Deep Purple/Taxco/Golden Emerald) to be extremely easy to work on the HH.

WOW, looking at your Etsy offerings I say you speak from experience!

As a Hothead User and new lampworker (6-8 months) I have found it very difficult to get information on special effects glasses that work best on a HH.

Can you (or anyone) list some great glass for Hotheads, and what the glass produces? I know myself and a lot of people on HH's would really appreciate it.
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  #27  
Old 2010-01-01, 8:41am
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WOW, looking at your Etsy offerings I say you speak from experience!

As a Hothead User and new lampworker (6-8 months) I have found it very difficult to get information on special effects glasses that work best on a HH.

Can you (or anyone) list some great glass for Hotheads, and what the glass produces? I know myself and a lot of people on HH's would really appreciate it.
Check out the etsy shops & websites of some of the HH users--a lot of us (though I'm not an "us" anymore--I switched to a cricket ) have our torch type listed in our signature line . If you surf the gallery, you'll see a lot of stuff in the threads that does have "what we used" in it, (particularly in threads about specific glasses/brands) so that's a great place to get some hints--when new glass comes out there's often show/tells about what's working too! A lot of times "we" don't know what's going to work & how/why until we try it & figure it out
(the previous poster just listed 5 that worked for you!) Also another great resource is Hayley's silverglass bead swap/challenges--they're pages long, but give HUGE amounts of information on "how to" on the silver glasses--anything that's a "reduction" glass *should* be adaptable in some degree to the hothead. Ditto on "kiln-striking". Reading those threads (I think She's up to 5? 6?) is an entire education--& if you don't want to wade through them, she's written them up into purchaseable booklets with pictures of the beads!
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  #28  
Old 2010-01-01, 9:22am
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Originally Posted by Carolyn M View Post
It is smooth because it is encased after the creases are made. The creases can be made using a textured marver, rad piece, whatever, or using a razor blade, and then cooled and carefully encased.
Couldn't have said it better . That's exactly how this look is made. I used it a lot in my crunchies too. Older beads, but it's for the visual effect . I'm using this technique for my Ekho bead in my newest tutorial as well. Love the "Caterpillar" look.
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  #29  
Old 2010-01-01, 9:26am
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j2canoe j2canoe is offline
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Thanks so much! This is a quick reference I did on another forum to help someone who was having trouble with icky colors coming from Psyche and Gaia. It might help you a little to get started - but definitely take Luna's advice and visit Hayley's threads - she is one of the Master's with this glass! So here it is just to get you started - most of the advice applies to many of the reducers - but each of the glasses has its own little quirks:

I do a lot of work with both of those glasses. You don't say if your murky brown is out of the kiln or at the torch - so I'll try to help you with both. If the murky brown is coming out of the kiln, your kiln atmosphere is probably off. Try adding about a teaspoon of activated charcoal (yep, the fish tank kind) in the bottom of your kiln before you anneal - it will burn up, but should change the atmosphere enough to keep your reduction from going away. If the murks are coming at the torch, you are over-reducing this glass. The glass MUST NOT be glowing when you reintroduce it briefly to the back of the flame. Your flame for both of these glasses needs to be almost solid propane - no oxy (cover the holes on a HH, adjust the mix on the others). Psyche will quickly reduce to purples and blues (don't blink or you'll miss it). If you take the bead out of the flame and want more reduction, subsequent passes through the BACK of the flame will tend more toward the greens and your reduction will turn more opaque until eventually you will burn off the silver and just get muck. Both of these glasses are fairly forgiving in that they will let you reheat to glowing to erase a reduction so you can re-reduce a couple of times, but more than that you will exhaust the silver and your reaction will not happen. Try to experiment so that you know when to come out of the flame. Resist the urge to re-reduce (probably the hardest part) when you have something you like until you know what the glass is going to do colorwise as sometimes more is NOT better with these glasses! I hope this helps some. I am on a HH and have a great time with these glasses. I work with the windows open in my studio and therefore am "climate controlled" - i.e. whatever the climate is, I'm controlled by it - and I find that I get different reactions depending on the ambient temps and humidity. I get the reactions I like the very best when it is warm and rainy. Also, one more tip, if you are getting reactions that you really like, and are making a set, be sure to finish the set at that session as you are not likely to get the same reactions the next day. Silver glass is beautiful, unique and can be VERY finicky Cheers! Joan The first set is solid Psyche just barely reduced (note the weather - rainy and warm) and the second is Psyche on left and Gaia on right.
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  #30  
Old 2010-01-01, 10:50am
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Fine Folly Glassworks Fine Folly Glassworks is offline
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WOW - thank you all so much for the pointers and direction (and inspiration)!
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