Kiln Schedules

Below are my kiln schedules and their uses for both soft and borosilicate glass. I use a Paragon SC2 with a sentry 2.0 controller and are provided as a rough guide to a starter annealing schedule. The 104COE schedule is also good for 96COE as I will garage and anneal them together.

I set these based on the largest pieces I tend to make, for larger pieces remember you will need to adjust the ramps/times accordingly. The first hold is for garaging and can be nudged onto the next segment when you have finished working.

All temperatures are written as Celsius/Fahrenheit

104COE Sodalime Glass –
Beads/Small Sculptural

Segment 1

Ramp: 990
Temp: 500/932
Hold: 20.00

Segment 2

Ramp: full
Temp: 520/968
Hold: 2.00

Segment 3

Ramp: 46
Temp: 320/608
Hold: 0.00

Segment 4

Ramp: 46
Temp: 100/212
Hold: 0.00

Segment 5

Ramp: 0
Temp: 0
Hold: 0.00

 

* The Striking segment can be skipped or omitted if you are not working with kiln striking glass

33COE Borosilicate Glass – Pendants/Small Marbles

Segment 1

Ramp: 990
Temp: 520/968
Hold: 20.00

Segment 2* (striking segment)

Ramp: 700
Temp: 620/1148
Hold: 0.40

Segment 3

Ramp: 80
Temp: 567/1053
Hold: 2.00

Segment 4

Ramp: 80
Temp: 525/977
Hold: 0.20

Segment 5

Ramp: 80
Temp: 370/698
Hold: 0.00

Segment 6

Ramp: 0
Temp: 0
Hold: 0.00

Secret Bead Along – All Finished

National beading week is now over, last time I told you all about the prep work I did for the secret bead along a pattern from Jean Power designed especially for the week by giving you a little bit of beading each day.

I surprised myself with this project because I honestly didn’t expect to finish it on time, I had a spare day as our beading group met on the Saturday when the project was scheduled to finish on the Friday and I did end up taking a day off. (more on that later.)

Of course if you have been following me on instagram you’ve had all the photos in real time, my feed has been filled with tiny little beads for a whole week. I did also pop the days photos on my facebook page too but I left out a lot of the details.

secret bead along day one

Day One

With the prep work I had all but two rivolis ready so at the start of day one I opened the instructions up, got out the beads I needed and set to work. Day one was relatively simple and I had it finished quite quickly, and had just enough thread left to knot off the ends. (beaders problems, will the thread last or will you have to add a new one in just for a few stitches.) I very proudly posted my “finished” day one on the secret bead along facebook page, however when I started looking at everyone’s finished pieces I realised that I had missed a row. Thankfully it would be simple to fix, I just had to add a thread in and bead the last row, but not today.

secret bead along day 2

Day Two

Perhaps my favourite of the whole lot. I loved this from the moment I had added the first bit of fringing. I did have to adjust the pattern slightly as the bicones I used were a little larger than they should have been, but it wasn’t a problem adding in the extra bead. I got so carried away with this one it was finished quite quickly so I beaded another of the rivolis left over from the prep work and left it threaded up ready for the next day.
I did see one of these on the facebook page where all the leaves had been nicely stacked so it looked more like a pinwheel. I’m not sure if I like the random or the organised look best, they both have appeal.

secret bead along day 3

Day Three

Another fairly quick one, a simple design yet very effective. I didn’t fully understand how this was going to turn out as I was beading the first round but it really did all click together when I started the second. It’s a really well thought out design and I think my second favourite of the 5 pendants. I do however regret my seed bead colour choice as the black looked a little dark against the rest of the beadwork, though I was determined not to change my colours at any point as that would have felt like I had cheated a bit. If I make any more of these I would match the colours better and probably try it with an extra round to fill it out more.

secret bead along day one reworkedAs this one was quick I took the opportunity to go back to day one and add in the third round that I had missed. I had to bring the new thread in from the 15’s at the back of the rivoli as it was to tight to bring it in from the 11’s where I had finished the second row but I don’t think that mattered as it doesn’t seem to affect how the beads sit. This is probably one of those designs that looks great either way (2 or 3 rounds of fringing. It obviously works with 2 as I didn’t originally notice there was anything wrong.) the full pendant does really stand out a lot more though the rivoli is more obvious when there are only two rounds of fringing.

secret bead along day four

Day Four

Then onto the first time I encountered any issues. This looked simple enough to start with and round one was done in no time but as soon as I got to round two I started to have a few problems. First I read the pattern wrong and attempted a thread path that didn’t really work at all. I had also ended up beading at the back of the piece so I needed to bring my thread back round to the front. Second attempt and reading the pattern right this time it was a lot easier to follow though it was quite fiddly to stitch.

Then I had a rest day, I had intended to prep up that last rivoli but instead I had a day off entirely.

wpid-wp-1438604814613.jpegDay 5

Another one where I didn’t read the pattern as it was written, round one was really fast and easy, though I couldn’t hazard a guess at what it would look like finished. Round two things started to take shape and then round three made some beautiful petals. I could have  left it as it was but there was another, similar, round to do behind it. This is where I failed a bit as I got to a point in the instructions that told me to repeat what I had just done and I had to ask if I was supposed to because it didn’t look like it would work to me. It does work, but I didn’t think it would for me and I left it out and continued with the rest of the pattern. I am probably going to have to get another rivoli to make this one properly or completely unpick it at some point.

secret bead along days six and 7

Days Six and Seven

These come together as it’s all about the rope, at the end of day 6 I was regretting taking that rest day as I didn’t feel I had got very far with the rope. But I also didn’t want to go too far just in case day 7 yielded another surprise. My day 7 was at our local beading group and I got most of the rope finished and the clasp made but I had to finish it off when I got home as during the group I was also helping other with parts of the pattern and showing them how bits were done. I do really love this rope though, I usually use herringbone as a rope but this is far more interesting and a lot simpler to bead as the path of the thread flows a little easier.

Secret bead along the finished piece

The End

One thing I would change if I did this again would be my thread. I’m a fireline girl and while it didn’t pose too many problems with the pendant parts the rope certainly benefits from a softer thread as it made my rope quite stiff and therefore difficult to get the pendants on where others ropes squished a bit better to allow for easier threading. I probably also needed a longer attachment to the toggle for the clasp.

All in all a very enjoyable week of beading that shows you a little each day can go a long way. I will thank Jean again for a wonderful pattern and all her help throughout the week on the facebook page.

I also read Jeans latest newsletter this morning and am already quite excited at the prospect of doing something like this again next year.

Did you take part in the bead along? Which was your favourite day? Which one did you find the most difficult?

Bead Swap Beads

One of my favourite things from flame off is the bead swap. I love seeing what surprises come out of the magic bag.

Each day you put one bead labelled with your name in the bag and you get a raffle ticket.

Towards the end of the day you come back, present your ticket and grab a bead.

two lampwork lentil beadsDay one I got a lovely silver glass tornado bead made by Teresa from Tuffnells glass.
Day two and I must have had a bit of a theme going as it was another gorgeous tornado. Unfortunately it wasn’t labelled and I can’t remember her name but when she asked which bead she should put in the swap I said it should be that one so I’m thrilled to have got it.

I’ve amassed quite a collection purely down to swaps, all from a range of people. Beads from their first year lampworking up to signature beads from well known names, It’s also great when you get one from someone a few years later and see the differences in how their style has changed or how newer lampworkers have improved.

Because of my change of direction in lampwork I went with putting in two of my garden beads which was the same as last year but different people got them. Next year I hope I’ll be putting in some shiny and technically correct boro work. (though they won’t actually be beads.)

These beads are off to my wall of fame now (a little display in my studio), they keep me inspired and it’s nice to be able to just look at them and occasionally stroke them.

Tuffy vs Fusion Revisited

Back in March I wrote about my first experiences with Tuffy bead release compared to Fusion.
Since then I have exclusively been using Tuffy, I use it in presses and rollers with no issues.
At the weekend I went up to the Tuffnells studio as part of the GBUK AGM. Through the Friday and Saturday after the meeting we were playing on the torches, making beads. One thing I really wanted to do was try out a new larger lentil press. Teresa hunted the press out for me and I grabbed a mandrel ready to go.

Now because most people are used to fusion, the mandrels in the studio were all pre-prepped with fusion. The lentil I was trying out was also huge (45mm) on my first attempt the bead release broke, I was able to rescue it and make a smaller lentil though. Second attempt, the bead release broke again. I know I haven’t had a whole lot of time in my own studio over the past couple of months but I couldn’t have lost my touch for making beads just like that.
When a third attempt went into the water pot, there was only one thing left to try, I asked Teresa for some Tuffy. After mixing up a batch I had another go and first time a perfect lentil. I was rather happy with that, I loved the press and wasn’t going to accept it didn’t work for me.

Now I wouldn’t completely give up on fusion, I did use it for some other beads through the weekend with success but it really does go to show that it isn’t so much about the release as much as what you are used to. After all I did use fusion for a rather long time before Tuffy became available. The biggest thing I can take from this is that over time between the two there really isn’t a lot of difference in using them. If you have struggled with one the first few times, don’t give up on it and stash it away until it’s all dried up.

Making the Garden Series

One of my favourite beads to make.
This video shows some of the different aspects that go into making one of my garden series beads.

Tuffy vs Fusion

tuffyOther than Guinness there aren’t many things that I have seen Martin Tuffnell excited about, but when he found a bead release that was Crystalline silica free (nasty stuff) and could be shipped in powdered form, you could see the little bounce.
Not only was this new bead release classified as non toxic it was pegged to be better than Fusion, the brand we were currently using.

I had to put this one through its paces. Firstly I had to mix it up, 200g powder to 170ml water into a jam jar and give it a shake. I treated it a little like baking adding the water slowly and stirring it in with an old mandrel bent up at the end. Once all the water was added I put the lid on the jar and gave it a really good shake. At first I thought it was far to thin and was going to question the ratio of water to powder, but I left it overnight and gave it another shake in the morning before dipping the mandrels.

I’ve used fusion for 5 years and never had any real problems with it. I have made a variety of beads with Tuffy to test how it works for me and I have made two (nearly) identical beads as a side by side comparison. They are nearly identical as I needed to be able to tell which bead was which.

On consistency

Fusion has always been smooth for me, though I have seen some lumpy batches. Tuffy does have a slightly grainy texture.
Lumps in Fusion cause dents in the bead hole that you can never seem to get all of the bead release out of. As Tuffy comes away from the glass easier it does mean that the texture falls away with it. There was a concern raised about it leaving the bead hole bobbily but after cleaning the hole inside the bead appears as smooth as it does with Fusion.

On pressing/rolling

Bead release occasionally breaks when it is knocked on a tool. This is a problem with most bead releases though there are brands that hold up better than others if they are knocked about.
I don’t often break my bead release but when it happens it can be the end of a beautiful bead. (because if it’s going to break it only does it on the good ones.) When fusion has broken during pressing I have found it generally cracks all the way to the glass and will stick to the bead. I hit the Tuffy on the side of a press while I was making a bead to force it to break on a test bead. It came away from the mandrel cleanly and easily but instead of cracking all the way to the bead I was making, only a small amount came away where I had hit it. It also didn’t stick to the bead which meant I could finish the bead quite happily with plenty of bead release still on the mandrel and none of it stuck to my bead.

Removing the bead from the mandrel

beadholesI’ve never been able to remove a bead from the mandrel without pliers to hold the mandrel. I still can’t but Tuffy required less grip to remove the bead than Fusion. I also didn’t end up with loads of release still on the mandrel. I could wipe the mandrel down with a dry cloth and re-dip it to start again with Tuffy. Fusion has always required me to wash the mandrel and dry it before the next use.

On cleaning

This is probably the ultimate test for me. I use a manual reamer, no dremels or battery operated reamers here. This is where my side by side test bead really came in I used a clear glass base so it was possible to see the difference. Both beads had exactly the same amount of cleaning.
When removed from the mandrel without any other cleaning the Tuffy left far less residue in the bead hole. After a rinse with water not much changed on both the Fusion and the Tuffy beads.
comparingAfter a short clean the Tuffy was winning out over the Fusion, though after a full clean the difference isn’t overly obvious. But this was both beads cleaned to how I normally clean fusion. Which is submerged in water and a lot of elbow grease behind the reamer.
With some other beads I cleaned them by running them under the tap and used the reamer a little less vigorously and I achieved the same result as I would have scrubbing at it under water.

Final thoughts

For me Tuffy is now my bead release of choice. Being Crystalline silica free and non toxic is a benefit enough. Also even the strictest cleaning of bead holes isn’t going to remove every trace of bead release, every time. I had no trouble with it in a press, roller or normal general use. I tried it both air dry and flame dry with no problems and I found it easier to clean.
Other benefits include it being thinner than Fusion so the bead hole size is closer to the mandrel size. I also noted that the clear glass in the comparison test seemed clearer around the Tuffy than the Fusion. The glass came from the same rod and I made the Tuffy bead first so that difference isn’t down to scum near the cut in the glass.
If you are a heavy press/roller user and are searching for a stronger bead release you are probably not going to fall in love with this one. But Fusion is your your first choice for bead release I strongly suggest trying Tuffy, as lampworkers we are around this stuff every day and the health benefit is a major factor.
Oh and I didn’t mention it’s cheaper, because you aren’t paying for the extra weight of a tub and some water thats £5.50 you can spend on more glass. That’s a whole half a kilo of clear! Or if you don’t need glass as well you will save on shipping. Once mixed it fills a jam jar which is also larger than a Pot of Fusion.

Where to buy Tuffy

First Experience: Lampwork

My first taste of lampwork was certainly interesting. I wanted to be able to make beads and I got talking to a few US lampwork artists after a disaster in trying to use polymer clay. I met Martin Tuffnell at a local bead fair and he explained the hot head torch to me. It seemed like the perfect way to try it out, I did need to convince my husband though (let the lady have a flame thrower.)

The Starter Kit

Making Beads

  • Hot head torch
  • Bead release
  • Mandrels
  • 1 kilo mixed glass

I also needed to buy MAPP gas and some Vermiculite to slowly cool the beads, both bought from the hardware store.

What it was like

My first attempt and to be honest I was a little scared. I had to ignite the gas coming out from this torch. (note: we don’t have mains gas, I have never put a match near gas.) I asked my husband to supervise/help if I needed it.
It took a few attempts but I finally got the torch lit. I had at least had the foresight to have dipped the mandrels in the bead release earlier that day.

It was time to make a bead I grabbed a rather random rod of glass from the bundle and tried melting it, all the while glancing over at the written instructions that accompanied my kit.  The glass was melting, I had managed to get some of it on the mandrel (though as I noticed afterwards I had broken the bead release) There was a rather wonky lump of glass attached to a stick in my hand, I was doing it.

I was laughing, the feeling of making this first bead was one of the best feelings I have ever had related to a craft. I did as the instructions said and turned the mandrel slowly and use gravity to round out the shape, it became more rounded. This was it I had a bead and, at that time, it looked amazing. It was actually still slightly wonky but it didn’t matter, I had made it.

Is lampwork something you have ever wanted to have a go at?

What it costs to make a bead

Let’s talk about lampwork beads and their cost. All of my beads are handmade, same with my findings for jewellery making, but that’s another story.
lampwork glass beadLets use this bead as an example, a decorated focal bead. Before I make this style of bead there is a certain amount of prep work first. Stringers, Murrini and Shards need to be prepared a base bead is then made, using a press and it is decorated with frit, then a shard, the stringers are added and finally the murrini. All told it takes me roughly an hour to make the bead. Typically a bead like this would retail at around £18

But what does it cost to make a bead like this?

Initial set up

I started out with a hot head single fuel torch it was a Christmas present, after much begging, from my husband. The kit he bought me had the torch, a kilo of glass, a bead reamer, mandrels and bead release and it cost around £60. With that I still couldn’t make beads as I needed propane to fuel the torch, at first I started with bottles of MAPP gas (£14 and lasted 2-3 hours) before buying a bulk fuel kit for £40 and a large bottle of propane for £28 which lasts me around 5 months. I also needed specialist glasses that protect my eyes from the UV rays and the sodium flare given off by the torch a cheap pair costs £40.

I then upgraded my torch to a basic duel fuel setup. (£175 for the torch and £235 for the oxygen generator)

Now I use an upgraded set up with two oxygen generators and a Nortel mid range plus (£325.)

Glass

That first kilo didn’t last long, I used it up learning how to make beads. glass rods cost anywhere from £3 a quarter kilo up to in excess of £30 a quater kilo. a quarter is generally about 10 rods of glass and I will use a rod to make a set of 5 beads on average.
Under the heading of glass there is also frit (crushed glass) and murrine (patterened rods of glass cut into small chips rather like a stick of rock.) Once set up glass is the largest contributor to cost, it gets used quickly not just for stock but also to test ideas to continue to bring out new designs, of course not everything works and a few beads usually end up in the bin.

Kiln

An essential part of glass work. While I could happily learn to make beads without a kiln cooling the beads slowly in vermiculite they were prone to stress. all beads have to be annealed in a kiln to remove these stresses. I was lucky enough to be able to get a second hand kiln for £200 from someone that was upgrading to a larger one.
After a year with the small kiln I was able to upgrade to a larger one that cost around £600

Tools

Most of my beads are made using tools in one form or another. I wouldn’t be without my marver top on my torch and my selection of ‘proddy’ and ‘pokey’ tools for moving the glass. I also have beadrollers and presses for more complicated shapes and as guides for making even beads for sets. Tools range from £5 to £80, though there are some that are around £150 upwards.

Workshop

A space to call my own, thankfully my father in law built my studio space so costs were low there, I needed a bench to work at and shelving and storage for all my tools, books and glass. I also needed ventilation for health and safety reasons. On top of those things I had electric wired into the studio to run the kiln and oxygen generator and lighting so I could see what I was doing.

Books and Classes

I am mostly self taught, mostly through trial and error and books. I have a small library of books and magazines in my collection. After 5 years I did begin taking classes to expand my skill set. Books are priced much like any other reference material, the lampworkers ‘bible’ retails for around £60-70. Classes are priced anywhere from £25 to £300 upwards, dependent on how long the class is and who is teaching it.

I’ve bought everything I own over a time, expanding my studio when I have had extra revenue to make the purchases.

As well as all of that there is the time I have invested learning and developing my craft, Typically around 10 hours a week is spent at the torch since 2006.

Learning Tri-Quad Stitch

examples of tri-quad stitchLearning new skills and developing them is one of the most enjoyable parts of the creative process, closely related to the elation of a successfully completed project.
One of the things I wanted to do this year was develop my head weaving skills beyond peyote and herringbone stitch, while there is an awful lot you can do with those stitches after a while you do want to try something a little different.

While I was learning how to use Google+ (another learning curve for the year.) I happened to find a few beadweavers and I stumbled upon a lovely piece. I was also pleased to find that the artist behind the piece kept a blog and had a tutorial for the very stitch used in the design.

Tri-quad stitch by Eyekandy Creations

I like to make small samples of stitches and keep them for future reference with the instructions. The photo shows me making the first test. I had decided to use up some size 11 seed beads from my last project and picked out a few 4mm glass pearls for the dangles. My beading thread is fireline and a size 12 beading needle.
The instructions were very clear and the very handy hint of three up two down meant I didn’t have to look back at the instructions every time I started a new round. As you can see from the photos the first section turned out pretty well and then I had to add the larger beads in.
On the first one I had to un-thread the beads and go back because I had one to many beads over the top of the larger bead which made it a little slack. The tutorial mentioned you may have to decrease or increase the number of beads at that point dependant on the size of beads you were using.
I got to the end of the test piece with no problems. It did look to me that the tension was a little slack so I threaded back through the whole piece rather than just enough to secure the thread to tighten it up a bit. (I did make a little mistake when I was threading back through and bunched up the beads on the very end.)

tri-quad beadweaving finished sampleI did still think it still didn’t look right, either because of my tension or it was because I had used fireline which is a more rigid thread than nymo or ko so I made another test piece using nymo thread (which personally I’m not keen on but I wanted to see what difference it would make.
The result, I think the stitch certainly looks better. It’s more fluid, I can’t curve the one on fireline like this one as you can see in the picture and I am a lot happier with it, though if I was making a full piece I would favour the similar ko thread over nymo because the fibres don’t part as easily.
Working the stitch for the second time as well made me realise how well the instructions had sunk in. I was always checking with the first test piece. But once I had got to the first pearl second time around I didn’t need to check the instructions at all. I was also a lot more careful retracing the thread path to secure the stitch.

So there we have a new stitch. What do you think of it? and if you would like to have a go don’t forget to check out EyeKandy’s Blog.