Fritipedia - User contributions [en-gb]

Bracelet systems

2010-03-04T15:59:02Z

Saffie:

There are several bracelets systems available such as Troll, Pandora, Lovelinks, and Lovelinks petite to name a few. These are charm bracelets which people collect a range of beads on, including silver cored glass beads (aka [[silver core]]s)

The systems have different styles and sizes of chain and below is a guide to the sizes of the chains taken from posts on the Frit Happens forum.

Troll 3.3mm across 
Pandora 4.25mm across 
Lovelinks 5mm across 
Lovelinks Petite 3.5mm across 

Chamilia 5mm across 

for a picture of some of the bracelets systems see this thread- [http://www.frit-happens.co.uk/forum/index.php?topic=9542.0]

Devitification

2010-01-05T13:33:38Z

Saffie: New page: Take a look at the link below to find out more about devitrification http://en.wikipedia.org/wiki/Devitrification

Take a look at the link below to find out more about devitrification

http://en.wikipedia.org/wiki/Devitrification

Bullseye

2009-02-11T20:48:36Z

Saffie: /* Further information */

Bullseye [[glass]] is manufactured in Portland, Oregon.

== Further information ==
For further information please see the [http://www.bullseyeglass.com/ manufacturers website]

Torchtips follow this link! http://www.bullseyeglass.com/education/torchtips/

[[Category:Types of Glass]]

Bullseye

2009-02-11T20:48:24Z

Saffie: /* Further information */

Bullseye [[glass]] is manufactured in Portland, Oregon.

== Further information ==
For further information please see the [http://www.bullseyeglass.com/ manufacturers website]
Torchtips follow this link! http://www.bullseyeglass.com/education/torchtips/

[[Category:Types of Glass]]

Silver core

2009-01-28T11:37:34Z

Saffie: New page: This is the process of placing silver cores throught the hole in a bead. This can be done in a variety of ways: Gluing silver rivets into the bead Using a bead press and silver tube Usi...

This is the process of placing silver cores throught the hole in a bead. This can be done in a variety of ways:

Gluing silver rivets into the bead

Using a bead press and silver tube

Using dapping punches and silver tube

This is a useful link to see how silver cores can be placed into glass beads http://www.dawnandevan.com/silver_core.htm

Health and safety

2009-01-28T11:32:51Z

Saffie:

This is a very big issue within glass beadmaking and working with glass generally. There is currently little agreement about what should be included in Health and Safety information but there are many topics that should be considered.

[[eye protection]]

[[bead release]]

[[working with enamels and mica (pixie dust)]]

[[ventilation]]

Health and safety

2009-01-28T11:32:25Z

Saffie: New page: This is a very big issue within glass beadmaking and working with glass generally. There is currently little agreement about what should be included in Health and Safety information but th...

This is a very big issue within glass beadmaking and working with glass generally. There is currently little agreement about what should be included in Health and Safety information but there are many topics that should be considered.

[[eye protection]]
[[bead release]]
[[working with enamels and mica (pixie dust)]]
[[ventilation]]

Didymium

2009-01-28T11:27:24Z

Saffie:

Visit this link for more information on appropriate eye protection
http://mikeaurelius.wordpress.com/2007/12/25/visible-light-hazards-and-the-glassworker/

For an idea of styles and prices visit this link http://www.phillips-safety.com/Glass-Working-Plastic-Frame/Index.htm

Didymium

2009-01-28T11:26:07Z

Saffie: New page: Visit this link for more information on appropriate eye protection http://mikeaurelius.wordpress.com/2007/12/25/visible-light-hazards-and-the-glassworker/

Visit this link for more information on appropriate eye protection
http://mikeaurelius.wordpress.com/2007/12/25/visible-light-hazards-and-the-glassworker/

Eye protection

2009-01-28T11:25:38Z

Saffie: /* Eye protection */

Taken from Wikipedia.

Didymium (Greek: twin element) is a mixture of the elements praseodymium and neodymium. It is used in safety glasses for glassblowing and blacksmithing, especially when a gas (propane) powered forge is used, where it provides a filter which blocks the yellowish light emitted by the hot sodium in the glass, without having a detrimental effect on general vision, unlike dark welder's glasses. Blocked also is the strong ultraviolet light emitted by the superheated forge gases and insulation lining the forge walls thereby saving the crafters' eyes from serious cumulative damage.

==Eye protection==

Eye protection is an essential consideration when making [[glass beads]]. There are at least 3 reasons for this;
* The glass bead is actually virtually impossible to see if you do not have the correct eye wear on.
* Using inappropriate eye protection will, over time, affected your vision due to the high intensity [[soda flare]].
* [[Beads]] and [[glass rods]] may spit or pop and small pieces of glass can fly towards your eyes.

Eye protection comes in different forms depending on the glass that you are using, [[didymium]] glasses used for soft glass like [[Effetre]] will not be adequate for borosilicate glass.

For more information visit this link http://mikeaurelius.wordpress.com/2007/12/25/visible-light-hazards-and-the-glassworker/

Eye protection

2009-01-28T11:25:05Z

Saffie: /* Eye protection */

Taken from Wikipedia.

Didymium (Greek: twin element) is a mixture of the elements praseodymium and neodymium. It is used in safety glasses for glassblowing and blacksmithing, especially when a gas (propane) powered forge is used, where it provides a filter which blocks the yellowish light emitted by the hot sodium in the glass, without having a detrimental effect on general vision, unlike dark welder's glasses. Blocked also is the strong ultraviolet light emitted by the superheated forge gases and insulation lining the forge walls thereby saving the crafters' eyes from serious cumulative damage.

==Eye protection==

Eye protection is an essential consideration when making [[glass beads]]. There are at least 3 reasons for this;
* The glass bead is actually virtually impossible to see if you do not have the correct eye wear on.
* Using inappropriate eye protection will, over time, affected your vision due to the high intensity [[soda flare]].
* [[Beads]] and [[glass rods]] may spit or pop and small pieces of glass can fly towards your eyes.

Eye protection comes in different forms depending on the glass that you are using, [[didymium]] glasses used for soft glass like [[Effetre]] will not be adequate for borosilicate glass.

Foer more information visit this link http://mikeaurelius.wordpress.com/2007/12/25/visible-light-hazards-and-the-glassworker/

Adobe Photoshop

2008-12-03T18:50:07Z

Saffie: New page: Photoshop is software for your computer that allows you to "tweak" your photographs. Adobe photoshop can be purchased through many computer shops or on the Internet but if you just want a ...

Photoshop is software for your computer that allows you to "tweak" your photographs. Adobe photoshop can be purchased through many computer shops or on the Internet but if you just want a basic photo editor free of charge paint.net is recommended. Follow this link to download the software http://www.getpaint.net/

Photography

2008-12-03T18:47:11Z

Saffie:

[[Image:AutomaticPhoto.jpg|thumb|300px|A Picture taken on fully automatic under tungsten light, notice the orange tinge to the picture and the fact that it is also underexposed (i.e. too dark)]]
[[Image:WB_Adjusted.jpg|thumb|300px|This picture is now taken with the white balance set to manual in the camera by setting it from a grey card, notice the fact that although the picture is still underexposed the white paper is now grey rather than orange]]

Photography is an entire subject that could take up a whole Wiki all by itself. What follows here are some hints and tips for [[beadmakers]] wishing to get good photographs of their [[beads]] or [[glass]] work.

It is generally regarded that the better your original image (off the camera) the better the final result will be. Yes you can adjust pictures in Photoshop afterwards but the final quality of the image will suffer (see final pictures).
For the best image quality you should aim for an image that is as close to how you would like it before it even touches [[Photoshop]]. Then all you need to do in there is a bit of sharpening (perhaps) cropping and maybe adding a watermark.

== Problems with glass ==
Generally speaking [[glass]] is actually quite a difficult subject to photograph due to its reflective nature, but given a few simple tips a bit of patience and some quite simple equipment it is possible to get very good results.

== Basic Set-up ==
[[Image:Plus_1_stop.jpg‎|thumb|300px|The same as above, but now with one stop of exposure compensation added. Notice that the white paper is still a slight shade of grey...we still need a bit more compensation]]
[[Image:Plus_2_stops.jpg|thumb|300px|The same as above, but now with two stop of exposure compensation added. Notice that the white paper is now much closer to white, but interestingly now has a slight pink tinge. This is because the camera is not adjusting correctly for the white balance of the light as the exposure has changed.]]
The basic set-up required to photograph beads is actually very simple.
* A light source (desk light or window).
* White piece of paper.
* A Digital Camera.
* Tripod (if you have shaky hands, or not much light, or both)
* Oh yes and some glass work to photograph.

You do not really need more than this to take basic good quality photographs of your work.

When taking pictures with this type of equipment it is important to set up the camera correctly to get the best shot, because if you just turn your camera on and take a picture you will generally be very disappointed with the result.

'''Just to make a point, all the pictures on this page were taken with no more than a white piece of card (balanced on a clothes airer) under a halogen ceiling spotlight.''' (OK the camera was a Canon EOS 20D but I could have (and have) got very similar results with a point and shoot camera, as long as it has white balance and exposure compensation adjustment)

There are two setting that are very important that you understand to be able to take good bead photographs.

* White Balance
* Exposure Compensation

== White balance ==

===What is white?===
As many of you may know there are many types of white, our eyes are very good at compensating for different light colours and different shades of white, and we just ''know'' that something is white. Cameras on the other hand are dumb, and have to be told what white is, otherwise they will get it wrong.
Therefore the white balance setting in a camera is to make sure white is actually a white and not yellowy orange or blue.

Most cameras do this automatically when you take pictures, but quite often get it wrong, especially if there is a lot of one colour in the scene. Higher end cameras will often allow you to take a picture of something grey or white and set the cameras white balance from that picture, many low end cameras often have this feature as well, so it is well worth checking your user manual for "'''Manual white balance'''".

In real life, due to the nature of white not always being ''pure white'' I would thoroughly recommend buying a [http://en.wikipedia.org/wiki/Gray_card grey card] from the likes of [http://www.jessops.com/online.store/categories/Accessories/General%20Camera%20Accessories/Grey%20Cards/products/Jessops/Grey%20Card%208%20x%2010in-9652/Show.html Jessops]. This is calibrated to be a mid grey (often called 18% grey card) and is ideal for setting the white balance and also for getting the correct exposure as the brightness of the card is also calibrated. But if you do not have one don't worry a piece of the whitest paper you can find will be fine.

Despite the fact that white balance makes sure that white is white it should not be confused with

== Exposure Compensation ==
This ensures that white is white and not grey!!!

Basically this setting allows you to over/under expose your pictures, that may sound wrong but the reason you would need this is because all cameras have to work out the correct exposure for a given scene.

The problem comes when what you are photographing is a picture of a bead on a white piece of paper and this is certainly not typical, and the camera will under expose it. (as wrong as it might seem this is the correct behaviour as most scenes that you photograph will average out to a mid grey in terms of brightness).

Many people think that under exposed pictures like the ones shown on the right are due to not having enough light, but that is wrong, adding more lights will not solve this problem. To correct this you need to "fool" the camera into ''over exposing'' the image so that white paper actually looks white and not grey. (remember this is not to be confused with white balance as described above)

By changing the exposure compensation to add 1 or 2 [[stops]], that picture of a bead on a white piece of paper will be white and not grey and the colours in you beads will be much more vibrant, thus removing the necessity to process all your pictures in Photoshop.

== Results ==
[[Image:FinalPhoto.jpg|thumb|300px|The final version that has been ''slightly'' adjusted in a photo editor, to remove the slight colour cast, and brightened just a little bit]]
[[Image:Corrected_From_Original.jpg|thumb|300px|This is the original under exposed and incorrect white balance version of the photo, but ''corrected'' in a photo editor. This is as close as I could get it to the right look. Notice though that the colour is not as vibrant as the picture above and that the shadows have a slight orange tinge. The picture is also more ''grainy''. Although this may be acceptable to you the correct version is far superior.]]
You can see the results of these techniques in the last photograph above, but I personally would tweek them a bit in Photoshop (see the two photographs on the right).

The final two pictures are quite similar but the first one is a very ''slightly'' corrected version of the best shot from the series, this is just to correct the small amount of ''colour cast'' that was there and brighten it just a bit more, as +2 stops was not quite enough, but my camera only allowed me to add 2 stops. I could have used manual mode, but we will go into that later.

It is possible to get the pictures even better from the camera, but beware that if you push the exposure too far, then you are in danger of ''burning out'' the image, and you will then loose highlights. It's much better the leave a bit of ''headroom'' in the image and then adjust out that little bit in Photoshop as you are in complete control over the amount you can change the exposure by.

The final picture on the right is a ''[[photoshopped]]'' version of the very first underexposed and bad white balance picture at the top of this page.

Although this does not look too bad the colour vibrancy is not as good, and the ''[[grain]]'' of the camera's sensor is also visible and detracts from the image. The picture is just not as sharp or as crisp, especially when viewed large or printed.

Click on the images to see larger versions...

== Manual Exposure ==

If your camera has a full manual mode (i.e. allows you to set both [[shutter speed]] and [[aperture]] together this is the way to go.)

If you don't have a [[grey card]] and you want to get a good approximation for 18% grey for metering you can do a lot worse than using the back of your hand....(assuming you are a white skinned Caucasian that is) I'll tell you how to do this, but I would suggest getting a [[grey card]] anyway, they are also useful for [[white balance]] as described above...

Basically, set up your [[photo studio]] [[lighting]] as usual then fill the frame with your hand and try to take a picture of the back of your hand (in the same position as the bead would be), remember try to ensure that as much of your hand fills the fame as possible, don't bring your hand closer to the camera than the bead, but zoom in with the camera to the level that you would want to photograph anyway.

Now note down the [[exposure]] and [[aperture]] that your camera used to take this shot. e.g 125th second at f5.6

Now if you set your camera to manual and dial in the same settings as noted above. Now any pictures you take should be exposed correctly for the scene, assuming the [[lighting]] does not change.

The camera will desperately be trying to tell you the picture will be over exposed... but don't believe it... It's lying (after all what does it know, it's only a camera, it isn't as educated as you in glass beads)

And that's it... if you '''do''' have a [[grey card]] then you do exactly the same thing but replace your hand with the grey card... well... keep your hand attached to your wrist, just put the card in front of your camera where you hand once was. (I think you understand!)

It is sometimes also useful to leave a bit of the [[grey card]] visible in the corner of a shot so that when you come to crop and edit your shots later you can double check both the white balance AND the [[exposure]] in Photoshop as they grey card should read at 50% grey in Photoshop and with an even [[white balance]]. You can click it with the eye dropper tool to select the white balance setting.

== Technical bit - Why can't I just edit in Photoshop? ==

Well.. of course you ''can'', but if you have managed to read through the information above then you should now know why photoshopping your images to correct these basic problems is a bad idea... but for a technical reason then read on.

But if you are easily ''geeked out'' then stop reading now!

One of the problems is with dynamic range... a picture on a computer can only store a limited number of colours. In fact although it can represent over 16.7 million different colours it can only store a paltry 256 levels of grey. This is because each colour is made up of varying quantities of red green and blue. Each of these 3 primary colours is represented by a byte (with a value ranging from 0 to 255) the problem comes when grey is concerned. Grey is made up of equal values of each colour. So 50% grey has a value of 127 for red 127 for green and 127 for blue. As you can see (or perhaps not) as they have to be the same you can therefore only have 256 different levels of grey. This restriction is also true for other colours, but is generally not noticeable in the same way.

To cut to the chase, if you take a picture where you have not correctly set the camera for white balance and brightness then when you edit in photoshop it has to ''stretch'' the colours and levels that ''are'' available in the picture to make it look right, this ultimately reduces the quality of the end result, because you have less colours and shades in the picture than you should have, you can really notice it in greys and gently shaded areas as mentioned above so by only using a few of the available colours in your original image by not exposing correctly, then you are starting out from a bad position and the end result will never be as good.

== Light cubes ==

To help with photography and reduce reflections you can use a light cube.

These are [[translucent]] boxes, usually made from cloth, that allow you to photograph your work in an easy way. You still need to follow all the instructions above, but be warned that unless you introduce deliberate [[reflections]] your [[glass]] will appear dull or [[matt]]

== Further information ==

*[http://www.tabletopstudio.com/HowTo_page.html Tabletop Studio Techniques]
*[http://www.beadybugs.co.uk/hintsandtips.htm How to clean up photos - by Helen P]

[[Category:Tutorial]]
[[Category:Techniques]]

Stringer

2008-11-20T18:51:25Z

Saffie: New page: Getting detail onto glass beads can often involve the use of stringer. Stringer can be made by the artist or bought commercially. Stringer can be used to get lines and dots on beads as wel...

Getting detail onto glass beads can often involve the use of stringer. Stringer can be made by the artist or bought commercially. Stringer can be used to get lines and dots on beads as well as being used to form twists / swirls in beads.
===How is stringer made?===
Choose the rod of glass that you want to use as stringer and heat the end of the rod to form a [[gather]]. once the gather has formed allow the glass to begin cooling and then use tweezers to grip the end of the gather and pull. The faster you pull the thinner your stringer will be, if you want a thick stringer allow the glass to cool quite a bit and pull slowly. The stringer can then be broken off from the rod and used in designs later on.

===Stringer control===
This takes practice!!!

Batch anneal

2008-11-20T18:46:09Z

Saffie: New page: There are 2 main ways of annealing your work in glass beadmaking: you can either work to the kiln or you can batch anneal. Batch annealing is where you make your beads, cool them in [[verm...

There are 2 main ways of annealing your work in glass beadmaking: you can either work to the kiln or you can batch anneal. Batch annealing is where you make your beads, cool them in [[vermiculite]] or [[fibre blanket]] and then anneal tham at a later date.
This is an option for people who do not have their own [[kiln]]. They can make their beads and then send them to someone else for annealing.

CiM

2008-11-15T09:52:18Z

Saffie: New page: CIM stands for Creation Is Messy. They are suppliers of glass which hs a CoE of 104 and is compatible with Effetre, Vetrofond, Lausha and the other 104 glasses. Visit their website for m...

CIM stands for Creation Is Messy. They are suppliers of glass which hs a CoE of 104 and is compatible with Effetre, Vetrofond, Lausha and the other 104 glasses.

Visit their website for more information:
http://www.creationismessy.com/

Ventilation

2008-11-15T09:49:26Z

Saffie: New page: When glass is melted to form beads and other shapes various gases and fumes are released. Using other things in lampworking to embellish your work can also lead to fumes, gases and dust. A...

When glass is melted to form beads and other shapes various gases and fumes are released. Using other things in lampworking to embellish your work can also lead to fumes, gases and dust. All of these are considered to be detrimental to health and for this reason ventilation has to be a major consideration.

There is much discussion on FHF about ventilation and other forums as well which are worth reading. This link also takes you to a book recommendation which has some information on ventilation.

http://www.amazon.com/More-Wanted-About-Glass-Beadmaking/dp/0965145808

As a very bare minimum windows should be open when lampworking but ventilation systems are more efficient at exchanging the air in your workspace.

Some substances that can be used will also require you to wear a [[mask]]. These include [[silver foil / leaf]] and [[enamels]].

Soft glass

2008-11-15T09:43:04Z

Saffie: New page: ==What is soft glass?== Soft glass is glass that has a relatively low softening point, for example Effetre

==What is soft glass?==
Soft glass is glass that has a relatively low softening point, for example [[Effetre]]

Borosilicate

2008-11-15T09:40:53Z

Saffie: New page: http://en.wikipedia.org/wiki/Borosilicate_glass

http://en.wikipedia.org/wiki/Borosilicate_glass

Gather

2008-11-14T19:46:07Z

Saffie: New page: This is the term given to the molten blob of glass on the end of the rod. This is the bit of glass that you lay down onto the mandrel or you use to pull stringer.

This is the term given to the molten blob of glass on the end of the rod. This is the bit of glass that you lay down onto the [[mandrel]] or you use to pull [[stringer]].

Incompatible

2008-11-14T19:44:25Z

Saffie: New page: Different glasses have different CoE e.g. Bullseye and Effetre. When these glasses are heated up and then allowed to cool the outside of the glass cools quicker than the inside...

Different glasses have different [[CoE]] e.g. [[Bullseye]] and [[Effetre]]. When these glasses are heated up and then allowed to cool the outside of the glass cools quicker than the inside. This is what leads to glass cracking and the failure of the bead. If you use 2 different glasses that have different rates of expansion then this proces is magnified and the incompatability will definitely lead to the demise of the bead!

Mandrels

2008-11-14T19:40:57Z

Saffie: New page: See mandrel

See [[mandrel]]

Propane

2008-11-14T19:39:06Z

Saffie: New page: Follow this link for information on propane: http://www.answers.com/topic/propane

Follow this link for information on propane:

http://www.answers.com/topic/propane

Beads

2008-11-14T19:36:44Z

Saffie:

Beads are generally small objects made from a variety of different materials that can be used to make jewellery with. They are commonly round in shape but most different shapes can be found and used in jewellery as well as a huge range of sizes.

===Websites offering an insight into the history of beads===

http://www.sicc.sk.ca/saskindian/a97jun20.htm

http://www.crystalflair.com.au/html/bead_history.html

http://www.lapidaryjournal.com/feature/299str.cfm

Beads

2008-11-14T19:34:52Z

Saffie: New page: Beads are generally small objects made from a variety of different materials that can be used to make jewellery with. They are commonly round in shape but most different shapes can be foun...

Bead release

2008-11-14T19:30:40Z

Saffie:

Bead release is the substance that you put onto your mandrels to prevent your glass sticking to the metal. This means that (provided you can get the bead off)your mandrels are reusable.
There are many different brands of bead release available including:

===Foster Fire===

===Foster Fire smooth and tough===

===Sludge===

===Fusion Bead Separator===

===Bucket of Mud===

===Dip and Go Sludge===

Some bead release is available ready made and some are in powder form that you need to add water to in order to use.

Bead release

2008-11-14T19:30:23Z

Saffie:

Bead release is the substance that you put onto your mandrels to prevent your glass sticking to the metal. This means that (provided you can get the bead off)your mandrels are reusable.
There are many different brands of bead release available including:

===Foster Fire===

===Foster Fire smooth and tough===

===Sludge===

===Fusion Bead Separator===

===Bucket of Mud===

===Dip and Go Sludge===

Some bead release is available ready made ad some are in powder form that you need to add water to in order to use.

Bead release

2008-11-14T19:30:10Z

Saffie: New page: Bead release is the substance that you put onto your mandrels to prevent your glass sticking to the metal. This means that (provided you can get the bead off)your mandrels are reusable. T...

Bead release is the substance that you put onto your mandrels to prevent your glass sticking to the metal. This means that (provided you can get the bead off)your mandrels are reusable.
There are many different brands of bead release available including:

===Foster Fire===

===Foster Fire smooth and tough

===Sludge===

===Fusion Bead Separator===

===Bucket of Mud===

===Dip and Go Sludge===

Some bead release is available ready made ad some are in powder form that you need to add water to in order to use.

Advertising your work

2008-11-14T11:15:40Z

Saffie:

==Selling your glass creations==
Many people don't make their beads or sculptural pieces to sell but many do. In an area of art and craft that is rapidly expanding how do you go about advertising and getting yourself known? Remember you are not only competeing with mass imported glass from China and India but also with other lampworkers from here in the UK and internationally.
Competition should not be about undercutting others prices in order to gain a sale but it should reflect the value that you place on your work. Competative pricing is a key component though!

==How can I advertise my business?==
There are many things that you can do to raise your profile and begin selling.
===Join a forum such as Frit Happens===
This means you are getting the support and constructive feedback from others who are in the glass industry as well. This networking is invaluable.

===Pay for advertising===
This can range from being fairly inexpensive to costing a small fortune! For example a very reasonable small yearly fee means you can have an advert on Frit Happens. You can pay to advertise in national magazines that specialise in beading and glass. Advertising locally in your newspaper can also raise your profile at a local level. If you are canny enough this could be free! Tell your local paper that you have an unusual craft and they may run an article on you!!!

===Start and maintain a blog===
Blogs are very current and a good way of networking and getting yourself known. There are many places on the Internet where you can start a blog free and gain a following. There is a thread in [[Frit Happens]] where members with blogs have posted their blog addresses.

===Start a Flickr account===
Upload your photos of your work to an online photo album such as [[Flickr]]. If you spend some time tagging your photos then people who do not know you could find your work if you have tagged it. Commissions have been got this way.

===Read up on the topic extensively!===
Perhaps this should be the first point but before entering any business you should read up on it first. Not least so you have some understanding of what you are getting yourself into! Highly recommended is the following book!

''Viki Lareau (2006) Marketing and selling your handmade jewellery: The complete guide to turning your passion into profit. Interweave Press.''

Advertising your work

2008-11-14T11:15:11Z

Saffie:

==Selling your glass creations==
Many people don't make their beads or sculptural pieces to sell but many do. In an area of art and craft that is rapidly expanding how do you go about advertising and getting yourself known? Remember you are not only competeing with mass imported glass from China and India but also with other lampworkers from here in the UK and internationally.
Competition should not be about undercutting others prices in order to gain a sale but it should reflect the value that you place on your work. Competative pricing is a key component though!

==How can I advertise my business?==
There are many things that you can do to raise your profile and begin selling.
===Join a forum such as Frit Happens===
This means you are getting the support and constructive feedback from others who are in the glass industry as well. This networking is invaluable.

===Pay for advertising===
This can range from being fairly inexpensive to costing a small fortune! For example a very reasonable small yearly fee means you can have an advert on Frit Happens. You can pay to advertise in national magazines that specialise in beading and glass. Advertising locally in your newspaper can also raise your profile at a local level. If you are canny enough this could be free! Tell your local paper that you have an unusual craft and they may run an article on you!!!

===Start and maintain a blog===
Blogs are very current and a good way of networking and getting yourself known. There are many places on the Internet where you can start a blog free and gain a following. There is a thread in [[Frit Happens]] where members with blogs have posted their blog addresses.

===Start a Flickr account===
Upload your photos of your work to an online photo album such as [[Flickr]]. If you spend some time tagging your photos then people who do not know you could find your work if you have tagged it. Commissions have been got this way.

===Read up on the topic extensively!===
Perhaps this should be the first point but before entering anything business you should read up on it first. Not least so you have some understanding of what you are getting yourself into! Highly recommended is the following book!

''Viki Lareau (2006) Marketing and selling your handmade jewellery: The complete guide to turning your passion into profit. Interweave Press.''

Advertising your work

2008-11-14T11:14:37Z

Saffie:

==Selling your glass creations==
Many people don't make their beads or sculptural pieces to sell but many do. In an area of art and craft that is rapidly expanding how do you go about advertising and getting yourself known? Remember you are not only competeing with mass imported glass from China and India but also with other lampworkers from here in the UK and internationally.
Competition should not be about undercutting others prices in order to gain a sale but it should reflect the value that you place on your work. Competative pricing is a key component though!

==How can I advertise my business?==
There are many things that you can do to raise your profile and begin selling.
===Join a forum such as Frit Happens===
This means you are getting the support and constructive feedback from others who are in the glass industry as well. This networking is invaluable.

===Pay for advertising===
This can range from being fairly inexpensive to costing a small fortune! For example a very reasonable small yearly fee means you can have an advert on Frit Happens. You can pay to advertise in national magazines that specialise in beading and glass. Advertising locally in your newspaper can also raise your profile at a local level. If you are canny enough this could be free! Tell your local paper that you have an unusual craft and they may run an article on you!!!

===Start and maintain a blog===
Blogs are very current and a good way of networking and getting yourself known. There are many places on the Internet where you can start a blog free and gain a following. There is a thread in [[Frit Happens]] where members with blogs have posted their blog addresses.

===Start a Flickr account===
Upload your photos of your work to an online photo album such as [[Flickr]]. If you spend some time tagging your photos then people who do not know you could find your work if you have tagged it. Commissions have been got this way.

===Read up on the topic extensively!===
Perhaps this should be the first point but before entering anything business you should read up on it first. Not least so you have some understanding of what you are getting yourself into! Highly recommended is the following book! Viki Lareau (2006) Marketing and selling your handmade jewellery: The complete guide to turning your passion into profit. Interweave Press.

Advertising your work

2008-11-14T11:10:15Z

Saffie:

Advertising your work

2008-11-14T11:05:55Z

Saffie: New page: ==Selling your glass creations== Many people don't make their beads or sculptural pieces to sell but many do. In an area of art and craft that is rapidly expanding how do you go about adve...

==Selling your glass creations==
Many people don't make their beads or sculptural pieces to sell but many do. In an area of art and craft that is rapidly expanding how do you go about advertising and getting yourself known? Remember you are not only competeing with mass imported glass from China and India but also with other lampworkers from here in the UK and internationally.
Competition should not be about undercutting others prices in order to gain a sale but it should reflect the value that you place on your work. Competative pricing is a key component though!

==How can I advertise my business?==
There are many things that you can do to raise your profile and begin selling.
===Join a forum such as Frit Happens===
This means you are getting the support and constructive feedback from others who are in the glass industry as well. This networking is invaluable.

===Pay for advertising===
This can range from being fairly inexpensive to costing a small fortune! For example a very reasonable small yearly fee means you can have an advert on Frit Happens. You can pay to advertise in national magazines that specialise in beading and glass. Advertising locally in your newspaper can also raise your profile at a local level. If you are canny enough this could be free! Tell your local paper that you have an unusual craft and they may run an article on you!!!

===Start and maintain a blog===
Blogs are very current and a good way of networking and getting yourself known. There are many places on the Internet where you can start a blog free and gain a following. There is a thread in Frit Happens where members with blogs have posted their blog addresses.

===Start a Flickr account===
Upload your photos of your work to an online photo album such as Flickr. If you spend some time tagging your photos then people who do not know you could find your work if you have tagged it. Commissions have been got this way.

Oxidising and reducing

2008-11-14T10:54:21Z

Saffie:

==Types of flame for lampworking==
There are 3 types of flame that can be used to make glass beads and sculptural pieces. Neutral flame, oxidising flame and a reducing flame. It is important that you learn how to use each of these in order to get the best results from your glass. It takes practice though for you to become familiar with these flames

==Neutral flame==
This is where you have an even amount of oxygen and propane in your mix. The cones in the flame should have a slightly fuzzy look to them.

==Oxidising flame==
Increasing the amount of oxygen that you have in your mix will give you an oxidising flame. Alternatively you can decrease the amount of propane that you are using. Metallic leaf likes a slightly oxidising flame. If you are getting brown or black smudges on your work then increase the amount of oxygen.
The cones in an oxidisng flame should be sharp and defined.

==Reducing flame==
This is where there is more propane than oxygen. The flame should have longer yellow tops to it and is often described as being bushy. Not all glass likes a very bushy flame so you will have to experiment to find how much propane glass that can be reduced actually likes. A reduction flame also helps bring metallics to the surface.

Striking

2008-11-14T10:53:16Z

Saffie:

==Striking==
This is where the glass is reintroduced into the flame after cooling to bring out certain colours. The bead or sculptural piece should be made in the usual way and then removed from the flame and allow to cool. As a general rule of thumb the piece should be allowed to cool until the glow is almost gone. The glass should then be reintroduced into the flame high up (at the top of the flame) and slowly moved towards you. Whilst the glass is being moved down the flame you should be watching for colour changes. Don't reheat the glass to glowing again otherwise you may have to restrike it.

An example of a striking glass is Cirrus from CIM.

Striking

2008-11-14T08:51:39Z

Saffie: New page: ==Striking== This is where the glass is reintroduced into the flame after cooling to bring out certain colours. The bead or sculptural piece should be made in the usual way and then remove...

==Striking==
This is where the glass is reintroduced into the flame after cooling to bring out certain colours. The bead or sculptural piece should be made in the usual way and then remove it from the flame and allow to cool. As a general rule of thnub the piece should be allowed to cool until the glow is almost gone. The glass should then be reintroduced into the flame high up (at the top of the flame) and slowly moved towards you. Whilst the glass is being moved down the flame you should be watching for colour changes. Don't reheat the glass to glowing again otherwise you may have to restrike it.

An example of a striking glass is Cirrus from CIM.

Oxidising and reducing

2008-11-14T08:46:33Z

Saffie: New page: ==Types of flame for lampworking== There are 3 types of flame that can be used to make glass beads and sculptural pieces. Neutral flame, oxidising flame and a reducing flame. it is importa...

==Types of flame for lampworking==
There are 3 types of flame that can be used to make glass beads and sculptural pieces. Neutral flame, oxidising flame and a reducing flame. it is important that you learn how to use each of these in order to get the best results from your glass. It takes practice though for you to become familiar with these flames

==Neutral flame==
This is where you have an even amount of oxygen and propane in your mix. The cones in the flame should have a slightly fuzzy look to them.

==Oxidising flame==
Increasing the amount of oxygen that you have in your mix will give you an oxidising flame. Alternatively you can decrease the amount of propane that you are using. Metallic leaf likes a slightly oxidising flame. If you are getting brown or black smudges on your work then increase the amount of oxygen.
The cones in an oxidisng flame should be sharp and defined.

==Reducing flame==
This is where there is more propane than oxygen. The flame should have longer yellow tops to it and is often described as being bushy. Not all glass likes a very bushy flame so you will have to experiment to find how much propane glass that can be reduced actually likes. A reduction flame also helps bring meatlaiics to the surface.

Eye protection

2008-11-12T19:14:28Z

Saffie: New page: Taken from Wikipedia. Didymium (Greek: twin element) is a mixture of the elements praseodymium and neodymium. It is used in safety glasses for glassblowing and blacksmithing, especially w...

Taken from Wikipedia.

Didymium (Greek: twin element) is a mixture of the elements praseodymium and neodymium. It is used in safety glasses for glassblowing and blacksmithing, especially when a gas (propane) powered forge is used, where it provides a filter which blocks the yellowish light emitted by the hot sodium in the glass, without having a detrimental effect on general vision, unlike dark welder's glasses. Blocked also is the strong ultraviolet light emitted by the superheated forge gases and insulation lining the forge walls thereby saving the crafters' eyes from serious cumulative damage.

==Eye protection==

Eye protection is an essential consideration when using propane to make glass beads. There are 2 reasons for this; firstly the glass bead is actually virtually impossible to see if you do not have the correct eye wear on. Secondly, if you do not wear appropriate eye protection over time your vision will be affected.

Eye protection comes in different forms depending on the glass that you are using, didymium glasses used for soft glass like Effetre will not be adequate for borosilicate glass.

Etching

2008-11-12T18:56:33Z

Saffie: /* Etching liquid */

==What is etching?==
Etching is the process by which the glass is given a matt effect. This is acheived by using etching liquid or cream.

==Etching liquid==
To use etching liquid you need to place the beads in the liquid for the specified time. The beads need to be moved around to ensure that they are uniformly etched. Once etching has been finished the bads should be thoroughly washed in warm soapy water. Some places recommend that you rinse in Bicarbonate of Soda.

==Etching cream==
This is the same as the fluid except the cream is applied to the areas that you want to acheive the etched effect on.

Etching cream contains ammonia and should be treated accordingly. Contact with the skin should be avoided and it should be used in a well ventilated area.

Etching

2008-11-12T18:56:06Z

Saffie: New page: ==What is etching?== Etching is the process by which the glass is given a matt effect. This is acheived by using etching liquid or cream. ==Etching liquid== To use etching liquid you nee...

==What is etching?==
Etching is the process by which the glass is given a matt effect. This is acheived by using etching liquid or cream.

==Etching liquid==
To use etching liquid you need to place the beads in the liquid for the specified tim. The beads need to be moved around to ensure that they are uniformly etched. Once etching has been finished the bads should be thoroughly washed in warm soapy water. Some places recommend that you rinse in Bicarbonate of Soda.

==Etching cream==
This is the same as the fluid except the cream is applied to the areas that you want to acheive the etched effect on.

Etching cream contains ammonia and should be treated accordingly. Contact with the skin should be avoided and it should be used in a well ventilated area.

Strain point

2008-11-12T17:38:10Z

Saffie:

This is the temperature at which the molecules in the glass stop flowing and moving.
Below this point if the bead has not been [[annealing|annealed]] correctly these stresses will remain in the glass. (unless the glass is then subsequently [[annealing|annealed]]).

The strain point varies for each glass depending on the manufacturer, elements contained within the glass and the [[coefficiency]] of the glass

==Effetre glass==
The annealing temp is between 493C - 520C but the strain point is 448C

==Bullseye==
The annealing temp is 504C and strain point is 437C

Strain point

2008-11-12T17:37:26Z

Saffie:

Effetre

2008-11-12T17:17:49Z

Saffie: New page: There is some information about Effetre contained on the Bullseye page

There is some information about Effetre contained on the [[Bullseye]] page

Bullseye

2008-11-12T17:16:09Z

Saffie:

==Which glass should I use to make beads from?==

There is a bewildering assortment of glass out there from which to make beads at the torch. The simple answer is - use whichever glass is easiest to find for which you like the colour range or which suits your budget. Of course the considered answer is more complicated than this. Firstly, let’s look at the form that the glass is in. Glass that has been developed for use in a torch flame is normally in the form of rod. The rods of glass are nominally 1 metre or so long and between 3 and 10 mm thick. The glass has been pulled from a mass of molten glass as a thick thread, so the resulting rods have a circular cross-section. There are several manufacturers of glass rod but there are only 4 that I have worked with to a greater or lesser extent. These are

Plowden and Thompson (English)

Effetre (Italian)

Bullseye (American)

Satake (Japanese)

===Plowden & Thompson===
P & T are based in Stourbridge, West Midlands. They supply 2 ranges of glass, based around 2 different coefficients of expansion, 93 and 100. There is a good choice of colour for both ranges, though there is a wider choice of transparents in the 100 series.

The glass is a bit stiffer than Effetre, which makes it good for keeping surface detail but is slower to work with. I use a Nortel minor torch; if you use a Hot Head you might find it takes significantly longer to make a bead.

P & T glass is competitively priced.

===Effetre===
This is the major manufacturer on the island of Murano, Venice. Glass beads have been lampworked in this city for a good 400 years. The glass has a mean coefficient of expansion of 104. There is a wide colour choice, though be warned, the opalino and alabastro ranges have a reputation of not working wonderfully well with the rest, though I cannot confirm or deny this as I do not use them significantly.

Effetre is a much softer glass, in that it melts quickly and most colours stay soft over a wide temperature range. Surface features melt in very quickly with a Minor burner and it is quicker to make a bead on a Hot Head.

It is a little more expensive than P & T, with the hand pulled colours being much more expensive.

===Bullseye===
This is manufactured in Portland, Oregon. Bullseye make flat glass as well as rod with the same coefficient of expansion, 90, and it is the glass of choice for many of those who wish to make lampworked details for inclusion in fused pieces. The colour palette is different from P & T’s and Effetre’s, the opaque colours mostly not being quite so opaque and some colours especially being deliciously acidic.

Bullseye is stiffer than Effetre and does not stay soft over the same wide range of temperature, so beads are quite slow to make with a Hot Head torch.

It is more expensive than the two above in this country.

===Satake===
Satake has a high coefficient of expansion approximately 113 - 120. There are lead free and lead-containing colours, including some really nice transparents but it is not advisable to mix the two. It is very soft, melting very quickly. I would think that it would work well in a Hot Head flame but I have not tried it. With the Minor, the flame needs to be quite soft and the working area further from the torch, i.e. cooler.

It is hard to get in the UK and very expensive.

===Other glass rod manufacturers===
There are several other manufacturers, including Lauscha (German), Czech and Vetrofond. The latter is interchangeable with Effetre, having COE of 104. Lausha clear is supposedly compatible with Effetre too and is optically good. It was popular as an alternative to Effetre clear which was acknowledged to be prone to scumming. Personally I have never found a need to get into it as I never did much encasing until recently; I think the batch I have must be improved, as it seems fine.

The colour palette of these varieties is limited.

===Using sheet art glass===
There are a number of producers of sheet art glass and their products can be used to make beads. The glass needs to be cut into strips or small pieces. There are, however, two serious snags.

Strips of glass are more prone to shocking in the flame and the sharp edges can make little clouds of bubbles a problem, especially with transparent glass.

Not all sheet glass is compatible. If you use scrap glass (really cheap) from your nearest stained glass supplier you can’t mix colours without doing compatibility tests. The exceptions are the art glasses used for fusing, such as Bullseye 90 and Spectrum 96. These glasses are tested compatible within ranges at the factory, so if you are sure of the source you should be OK.

===Scrap glass from bottles etc.===
It is possible to cut up wine bottles into strips and use those. I have tried it, to get a wide range of greens. The same arguments apply as for sheet art glass but with one additional disadvantage. The glass is difficult to work also because bottles are made of glass which stiffens up quickly out of the flame – well, it has to, if you think about it, otherwise you’d see lots of very deformed, partially slumped bottles on the shelves, wouldn’t you?

Finally
There are glasses out there which I have not discussed, such as Reichenbach and Kugler from Germany and Uroboros from Portland, Oregon. The omission is because I have little or no knowledge of these products, not because of their suitability or otherwise.

'''All information on this page comes from: http://www.glass-beads.co.uk/Flame/June06/WhichGlass.html (accessed November 2008)'''

Bullseye

2008-11-12T17:15:39Z

Saffie:

==Which glass should I use to make beads from?==

There is a bewildering assortment of glass out there from which to make beads at the torch. The simple answer is - use whichever glass is easiest to find for which you like the colour range or which suits your budget. Of course the considered answer is more complicated than this. Firstly, let’s look at the form that the glass is in. Glass that has been developed for use in a torch flame is normally in the form of rod. The rods of glass are nominally 1 metre or so long and between 3 and 10 mm thick. The glass has been pulled from a mass of molten glass as a thick thread, so the resulting rods have a circular cross-section. There are several manufacturers of glass rod but there are only 4 that I have worked with to a greater or lesser extent. These are

'''Plowden and Thompson (English)

Effetre (Italian)

Bullseye (American)

Satake (Japanese)'''

===Plowden & Thompson===
P & T are based in Stourbridge, West Midlands. They supply 2 ranges of glass, based around 2 different coefficients of expansion, 93 and 100. There is a good choice of colour for both ranges, though there is a wider choice of transparents in the 100 series.

The glass is a bit stiffer than Effetre, which makes it good for keeping surface detail but is slower to work with. I use a Nortel minor torch; if you use a Hot Head you might find it takes significantly longer to make a bead.

P & T glass is competitively priced.

===Effetre===
This is the major manufacturer on the island of Murano, Venice. Glass beads have been lampworked in this city for a good 400 years. The glass has a mean coefficient of expansion of 104. There is a wide colour choice, though be warned, the opalino and alabastro ranges have a reputation of not working wonderfully well with the rest, though I cannot confirm or deny this as I do not use them significantly.

Effetre is a much softer glass, in that it melts quickly and most colours stay soft over a wide temperature range. Surface features melt in very quickly with a Minor burner and it is quicker to make a bead on a Hot Head.

It is a little more expensive than P & T, with the hand pulled colours being much more expensive.

===Bullseye===
This is manufactured in Portland, Oregon. Bullseye make flat glass as well as rod with the same coefficient of expansion, 90, and it is the glass of choice for many of those who wish to make lampworked details for inclusion in fused pieces. The colour palette is different from P & T’s and Effetre’s, the opaque colours mostly not being quite so opaque and some colours especially being deliciously acidic.

Bullseye is stiffer than Effetre and does not stay soft over the same wide range of temperature, so beads are quite slow to make with a Hot Head torch.

It is more expensive than the two above in this country.

===Satake===
Satake has a high coefficient of expansion approximately 113 - 120. There are lead free and lead-containing colours, including some really nice transparents but it is not advisable to mix the two. It is very soft, melting very quickly. I would think that it would work well in a Hot Head flame but I have not tried it. With the Minor, the flame needs to be quite soft and the working area further from the torch, i.e. cooler.

It is hard to get in the UK and very expensive.

===Other glass rod manufacturers===
There are several other manufacturers, including Lauscha (German), Czech and Vetrofond. The latter is interchangeable with Effetre, having COE of 104. Lausha clear is supposedly compatible with Effetre too and is optically good. It was popular as an alternative to Effetre clear which was acknowledged to be prone to scumming. Personally I have never found a need to get into it as I never did much encasing until recently; I think the batch I have must be improved, as it seems fine.

The colour palette of these varieties is limited.

===Using sheet art glass===
There are a number of producers of sheet art glass and their products can be used to make beads. The glass needs to be cut into strips or small pieces. There are, however, two serious snags.

Strips of glass are more prone to shocking in the flame and the sharp edges can make little clouds of bubbles a problem, especially with transparent glass.

Not all sheet glass is compatible. If you use scrap glass (really cheap) from your nearest stained glass supplier you can’t mix colours without doing compatibility tests. The exceptions are the art glasses used for fusing, such as Bullseye 90 and Spectrum 96. These glasses are tested compatible within ranges at the factory, so if you are sure of the source you should be OK.

===Scrap glass from bottles etc.===
It is possible to cut up wine bottles into strips and use those. I have tried it, to get a wide range of greens. The same arguments apply as for sheet art glass but with one additional disadvantage. The glass is difficult to work also because bottles are made of glass which stiffens up quickly out of the flame – well, it has to, if you think about it, otherwise you’d see lots of very deformed, partially slumped bottles on the shelves, wouldn’t you?

Finally
There are glasses out there which I have not discussed, such as Reichenbach and Kugler from Germany and Uroboros from Portland, Oregon. The omission is because I have little or no knowledge of these products, not because of their suitability or otherwise.

'''All information on this page comes from: http://www.glass-beads.co.uk/Flame/June06/WhichGlass.html (accessed November 2008)'''

Bullseye

2008-11-12T17:13:13Z

Saffie: New page: Which glass should I use to make beads from? NB. All comments in this article relate to soda glass! There is a bewildering assortment of glass out there from which to make beads at the ...

Which glass should I use to make beads from?

NB. All comments in this article relate to soda glass!

There is a bewildering assortment of glass out there from which to make beads at the torch. The simple answer is - use whichever glass is easiest to find for which you like the colour range or which suits your budget. Of course the considered answer is more complicated than this. Firstly, let’s look at the form that the glass is in. Glass that has been developed for use in a torch flame is normally in the form of rod. The rods of glass are nominally 1 metre or so long and between 3 and 10 mm thick. The glass has been pulled from a mass of molten glass as a thick thread, so the resulting rods have a circular cross-section. There are several manufacturers of glass rod but there are only 4 that I have worked with to a greater or lesser extent. These are

Plowden and Thompson (English)

Effetre (Italian)

Bullseye (American)

Satake (Japanese)

Plowden & Thompson
P & T are based in Stourbridge, West Midlands. They supply 2 ranges of glass, based around 2 different coefficients of expansion, 93 and 100. There is a good choice of colour for both ranges, though there is a wider choice of transparents in the 100 series.

The glass is a bit stiffer than Effetre, which makes it good for keeping surface detail but is slower to work with. I use a Nortel minor torch; if you use a Hot Head you might find it takes significantly longer to make a bead.

P & T glass is competitively priced.

Effetre
This is the major manufacturer on the island of Murano, Venice. Glass beads have been lampworked in this city for a good 400 years. The glass has a mean coefficient of expansion of 104. There is a wide colour choice, though be warned, the opalino and alabastro ranges have a reputation of not working wonderfully well with the rest, though I cannot confirm or deny this as I do not use them significantly.

Effetre is a much softer glass, in that it melts quickly and most colours stay soft over a wide temperature range. Surface features melt in very quickly with a Minor burner and it is quicker to make a bead on a Hot Head.

It is a little more expensive than P & T, with the hand pulled colours being much more expensive.

Bullseye
This is manufactured in Portland, Oregon. Bullseye make flat glass as well as rod with the same coefficient of expansion, 90, and it is the glass of choice for many of those who wish to make lampworked details for inclusion in fused pieces. The colour palette is different from P & T’s and Effetre’s, the opaque colours mostly not being quite so opaque and some colours especially being deliciously acidic.

Bullseye is stiffer than Effetre and does not stay soft over the same wide range of temperature, so beads are quite slow to make with a Hot Head torch.

It is more expensive than the two above in this country.

Satake
Satake has a high coefficient of expansion approximately 113 - 120. There are lead free and lead-containing colours, including some really nice transparents but it is not advisable to mix the two. It is very soft, melting very quickly. I would think that it would work well in a Hot Head flame but I have not tried it. With the Minor, the flame needs to be quite soft and the working area further from the torch, i.e. cooler.

It is hard to get in the UK and very expensive.

Other glass rod manufacturers
There are several other manufacturers, including Lauscha (German), Czech and Vetrofond. The latter is interchangeable with Effetre, having COE of 104. Lausha clear is supposedly compatible with Effetre too and is optically good. It was popular as an alternative to Effetre clear which was acknowledged to be prone to scumming. Personally I have never found a need to get into it as I never did much encasing until recently; I think the batch I have must be improved, as it seems fine.

The colour palette of these varieties is limited.

Using sheet art glass
There are a number of producers of sheet art glass and their products can be used to make beads. The glass needs to be cut into strips or small pieces. There are, however, two serious snags.

Strips of glass are more prone to shocking in the flame and the sharp edges can make little clouds of bubbles a problem, especially with transparent glass.

Not all sheet glass is compatible. If you use scrap glass (really cheap) from your nearest stained glass supplier you can’t mix colours without doing compatibility tests. The exceptions are the art glasses used for fusing, such as Bullseye 90 and Spectrum 96. These glasses are tested compatible within ranges at the factory, so if you are sure of the source you should be OK.

Scrap glass from bottles etc.
It is possible to cut up wine bottles into strips and use those. I have tried it, to get a wide range of greens. The same arguments apply as for sheet art glass but with one additional disadvantage. The glass is difficult to work also because bottles are made of glass which stiffens up quickly out of the flame – well, it has to, if you think about it, otherwise you’d see lots of very deformed, partially slumped bottles on the shelves, wouldn’t you?

Finally
There are glasses out there which I have not discussed, such as Reichenbach and Kugler from Germany and Uroboros from Portland, Oregon. The omission is because I have little or no knowledge of these products, not because of their suitability or otherwise.

Phone: +44 (0)1793 327304
email: Info@Glass-Beads.co.uk

All information on this page comes from: http://www.glass-beads.co.uk/Flame/June06/WhichGlass.html (accessed November 2008)

Frit

2008-11-12T16:23:40Z

Saffie:

=Definition=
Glass that has been ground to to various size "bits" that can be applied to beads to achieve different effects.

Frit

2008-11-12T16:23:21Z

Saffie:

=Definition=
Glass that has been ground to to various size "bits" that can be applied to beads to achieve different effects.
[[Image:http://s198.photobucket.com/albums/aa198/saffie_05/?action=view&current=fireworks-1.jpg]]

Frit

2008-11-12T16:22:54Z

Saffie:

=Definition=
Glass that has been ground to to various size "bits" that can be applied to beads to achieve different effects.

[[Image:[IMG]http://i198.photobucket.com/albums/aa198/saffie_05/fireworks-1.jpg[/IMG]]]

Frit

2008-11-12T16:22:32Z

Saffie:

=Definition=
Glass that has been ground to to various size "bits" that can be applied to beads to achieve different effects.

[[Image:http://i198.photobucket.com/albums/aa198/saffie_05/fireworks-1.jpg]]