Some Words on Lampwork Glass Quality and Prices

I am currently working on the new CiM test batch, and should have a blog post or two done this week. In the meantime, I want to talk a bit about something that has bugged me for years. This year will be my 15th year of lampwork beadmaking. Not to be cliche or anything, but time sure has flown by!

Over the course of the last 10 years or so, I have noticed a steady decline in the quality of some of the 104 coe glass I have worked with, particularly with Effetre. I'm not putting Effetre down - I still love their glass. They easily have the most variety in color and, for the most part, the best prices. That's changing, though.

One thing I have been experiencing over the last decade or so is the increase in the air bubbles that run lengthwise through an Effetre glass rod - especially in the handmade opaque colors like Dark Pink, Opal Yellow, Copper Green, Sage and Avocado. Air holes like this cause shocking (and the eventual shattering), but they also make the glass impossible to use for making encased stringer. This might not be such a major deal if the prices for these glass colors wasn't so high.  When I pay a higher price for handmade glass, I don't expect it to be practically unusable. Especially since the quality of the handmade rods used to be really nice, around a decade ago. Granted, Effetre does have machine made glass that is somewhat less expensive, but the machine made versions of those colors just are not the same shades. Machine made Sage is a lot less rich and brown than the handmade version.

Speaking of Sage, the last time I bought the handmade version of it, all of the beads I made with it cracked - something I have never dealt with before with that color.

This brings me to the issue of different batches of the same color name. Effetre is not the only glass company that has issues with this - all of them do. And they aren't all that consistent with labeling when it comes to a difference in a color batch. For instance, I use CiM Adamantium and CiM Lapis regularly. They both used to be darker in color. CiM is usually really good about changing the name of a color if it comes out different, but once in awhile they don't. Effetre almost never lets us know when the batch is off on some colors like Rubino Oro or Silver Pink. But they have so many different shades of Coral and Dark Pink that it borders on ridiculous. And we have not seen the original shades of either color in years and years.

Shocking was never a problem for me a decade ago - now I am careful with every opaque rod I put in the flame, no matter what brand it is, because easily 50% of them shock a little, and I have way more problems with a total shattering rod than I ever used to have. Shattering rods are a complete waste of my time and money - and when it's an expensive color, I want to scream when it happens. 10 years ago, I barely knew what shocking was. Now it seems like everyone talks about it as a common occurrence.

The one company that seems to almost never have quality issues is Double Helix. Since they have decided to make their version of Rubino (called Rhea) a regular color, I am switching to it, no matter how much more expensive (and it really is expensive), because it is just so much better. Hopefully they will eventually make a version close to the Vetrofond version that I miss so very much. I'd pay really good money for that. DH glass is such good quality that I pay easily 4-5 times more for their clear glass - I will never go back to the scummy, bubbly, crappy monstrosity that is Effetre clear, no matter how much people try to convince me that it is an okay clear. It's not. Not for what I like anyway - which is optical clarity and neutrality.

Speaking of scumming and bubbling - I've noticed that has increased as well over the years in lighter transparent colors - especially blues and pinks. CiM's colors that bubble will respond to more heat and the bubbles will evaporate away most of the time - especially with their aquas and even their newer clear (which is the only one I would ever consider using in place of DH Zephyr if I ever can't get any). Effetre's transparents however will not respond that way - the more you heat them, the more they bubble. I have to be ultra -gentle with their pinks for sure.

For these reasons, I have more and more been replacing my Effetre colors with CiM colors when I find an equivalent. CiM's glass almost never has air bubbles running the length of the glass, and their rods tend to have more consistency in color than Effetre - with a few exceptions. CiM can be somewhat more expensive, unless it's on sale (which at Frantz it often is), but the quality is worth it. I do use Effetre still - some colors are just not found anywhere else (Dark Pink, Ink Blue Violet, Grass Green). It just irks me when a color I love (Opal Yellow!!!) has declined so much in quality but still costs a lot.

I guess, such are the trials and tribulations of being a perfectionist when it comes to glass. I don't think the Italian glassmakers really pay much attention to beadmakers, and never have (from what I've been told). They have much bigger markets to pay attention to. So the quality of the glass they send to Frantz is not high on their priority list. We get what they give us, period.

I am happy that companies like CiM and Double Helix do pay attention to us and are concerned with giving us the highest quality glass they can. So, silver linings. :) Rant over - thanks for reading if you got this far!  Comments and discussion are encouraged. :)

Glass Beadmaking: Absence of Color - Focusing on Design

This time of year, I usually start making beads in fall colors - purples, ambers, oranges, greens, browns, etc. For some reason this year, I remain sort of uninspired.  Maybe it's the weather (which has been uncharacteristically warm in the Northwest this year). Maybe it's the stress. Who knows. So, I decided to take the color out of the equation this week and just work with black and white. 

Glass used: Vetrofond Black, Effetre White and Double Helix Aether.

Working with black and white is fun because the stability of the glass I use allows me to go crazy with stacking, masking, raking and twisting, and still end up with crisp, clear designs on the beads.

My favorite bead uses encased white stringer with masked black and white dots.

For black, I primarily use Vetrofond Black. It's sad, though, because it's been discontinued and I can't find it anywhere anymore.  I am down to my last two rods (!!)  I am hoping that CiM Hades will work in its place, but we'll have to see.

For those who are unaware, all black glass is not alike.  The reason why is that black is not an opaque color - it's a very, very dark transparent color, technically speaking.  Effetre Black, which I think is the most commonly used black glass out there (in beadmaking anyway), is really just a super dark transparent plum/purple. It's not dark enough to prevent it from bleeding into other colors, though, and that's most evident when you use it with white.  Lines are not as crisp, and you can see a slight purpling of the edges of the white when both are layered together.

Most other black glasses I have used have similar issues. They either spread, feather or discolor any pale opaque color used with them.

Some black glasses are actually made that way on purpose (Effetre Intense Black for instance). Some beadmakers are very adept at using that property to their advantage when making beads with organic, freeform designs.

Vetrofond Black is great, because it is based in blue and not purple, and it seems to be darker and to have more stability.  So the lines are really crisp, and there is very little bleeding.

CiM has several black glasses, and I have read that Hades is the best when it comes to stability and darkness.  Yey!  In the meantime, I am going to keep my eye out for stashes of Vetrofond Black.

Beads with designs close to the holes

I got a lot of joy making black and white beads this week.  I think my designs have gotten more intricate over the years, and my beads have gotten slightly smaller.  I really love tiny intricate work!

 I've also been focusing on asymmetry - making the designs pull focus toward the hole and not toward the center of the bead. Just for fun and visual interest.

Next week, it's back to fall colors, I think.  I really do love autumn, so hopefully inspiration will find its way back to me. :)

These are all available on my website of you're interested.

Bead Soup Blog Party - Blog Hop Reveal!!

8th Bead Soup Blog Party List of Participants' Blogs

Finally, the day we all have been waiting for - the big reveal!  I'm writing this on Friday, and have it set up to post at midnight eastern time tonight/Saturday morning - hopefully it will work.

First, I would like to say thank you to the party administrator Lori Anderson.  She is so amazing - throughout all of this huge thing, and with everything she has been going through in her life.  I would never have been able to handle something like this, so kudos and hugs to her!

Now, as many people might have already guessed, this is my first time participating in what has become a very popular event.  I'm first and foremost a glass beadmaker - I rarely make jewelry, and I almost always use lampwork in any that I do make.  So this was a huge challenge for me, not knowing what I would get and having a deadline to create something out of unfamiliar components.

I have to say, it was really fun!  I am proud of myself for actually being able to come up with something that I think looks nice and used every single thing I was sent.

My partner in this party is Kat BarronMiller of Midnight Kat Productions.She sent me this gorgeous selection of beads - you can see the blog post about them here. 

The soup was beautiful, and it took me a few weeks of pondering to finally decide how to use it.  I knew from the beginning that I wanted to add pops of color to bring out the lovely autumn tones in these stones and in the brass findings.  I wanted to enhance the red and complement it, so I added some scarlet glass pearls and some amethyst gemstone beads.  I also added tiny metallic purple glass pearls and some deep chocolate brown pearls - some shiny and some with a matte finish for visual interest.

Stringing the necklace was pretty simple, so I started with that - adding two strands so the wearer could twist them if they liked. The brass wire really worked nicely - easy to wrap into connectors. I really love the look of the brass chain with the pearls, too.


The tricky part was coming up with a pendant that would incorporate all of the larger pieces - the dragonfly and flower, and also the agate focal.  I know we were't required to use everything, but I loved all three, so I couldn't leave any of them out.

I've never used anything this large in my jewelry, so it took me awhile to figure out what to do.  At first I thought I might glue the dragonfly to the stone, but I really wasn't sure I wouldn't make a huge mess of that, and I doubted it would come off if I messed it up.  So I decided to just make a sort of wire bail with the chocolate pearls, and then hang the dragonfly in front of the stone with some chain links.  The effect is somewhat cumbersome when handling the necklace, but once it's on, it hangs well.

I connected the flower element above the pendant using the flat connectors and some chain.  It's a little odd-looking, but I like it.


Lastly, I attached the pretty clasp.  The pearl strands are strung on Soft Flex wire and crimped, so the whole thing feels pretty substantial and strong.


I had tiny dragonfly charms left, along with vintaj drops, connectors, and balls, so I made some earrings to go with the necklace. I love these teeny litle dragonflies!  The whole ensemble reminds me of fall, which is just my thing.

Now, strangely, I don't wear a lot of jewelry, and don't have pierced ears anymore, so I will likely give this to someone I love as a present.  :)

My muse had a great time with this challenge - thanks to all for reading!

Now, go forth and visit all the other fantastic artists!
8th Bead Soup Blog Party List of Participants' Blogs

A Beadmaker's Signature Color Scheme...

Sweetest Thing Sets - Feb 2013

We all know about signature designs in beadmaking.  Whether or not we agree that there should be such a thing, it's hard to ignore the fact that some beads just scream the artist's name.

Venus Flowers - Oct 2006

Is there such a thing as a signature color scheme, though?   I think so.  I'm not talking about exclusive rights, mind you - I don't think there can be a right to claim an entire color scheme as one's own.  That would be silly - there are only so many glass colors out there.

What I mean is that some beadmakers really identify with a particular color or group of colors.  They've worked so much with these colors that they really know the glass in and out. When looking at these colors, the artist feels at home, familiar, content and even joyful.  When people see those colors in beads, they might even recognize the beads as belonging to the artist - even if the designs are not as familiar.

Sweetest Thing Trio - Feb 2013

As an artist, I think I have one of those signature thingies. For years, I have loved making beads using a sweet combination of pink and yellow. I've called these beads a number of different names over time, depending on how they turn out, and on my whim.



It all started with the discovery of the nature of some of the handmade glass out there.  Particularly, an Effetre handmade color called Opal Yellow, an Effetre staple called Rubino Oro (a.k.a. Gold Pink) and an Effetre mistake called Streaky Pink.  I realized that these three colors together did something really special, and I immediately fell in love.

Pure Joy - Mar 2006

Throughout the years, the glass changed slightly.  Streaky Pink was no longer made, so I replaced it with various batches of Effetre 256 Dark Pink - sometimes a frustrating venture. 256 has changed so much over time, that it's hard to predict how that glass will turn out.  Sometimes it came in rich batches of pink (like the old Crazy Cane or Raspberry that I have run out of but still lust after).

Sometimes the batches were a lighter pink, but still struck slightly darker. Often, and more common lately, 256 is a lighter pink that shifts a greyer tone when worked. This means I have to work really hard to get what I want out of it.  It's a challenge I still gladly take on in order to get the lovely combination I still find intoxicating.

Opal Yellow has also shifted through the years - sometimes striking deep peaches, sometimes striking an almost mustard-y yellow.   Often staying lighter and even washing out. The same story goes for Rubino - a glass that's famous for being really unpredictable in its color and nature.

The one thing these glass colors all have in common is that they are striking colors that combine together to create an almost endless array of shades of pink, orange and yellow. They all layer so well and spread out to make glorious designs with an almost painted look. 

Sunset - Feb 2004

The love affair started with a set I called Sunset. It's hard to believe I started making beads in these colors over 9 years ago! These first attemps were when I had only been making beads for a year or two, so please be gentle. :) My flowers were atrocious, so I concentrated more on layering and twisting dots. I also vetured into the world of cubes, which I found to be a lot of fun. These beads were made when I was still using a larger mandrel for the hole, which is why the beads are less round and more donut-y.

Sugar & Spice - Mar 2004

Pink Fire Focal - Feb 2004

Burst - Oct 2006

Over the years, I got better with my design work, but never lost my love for these colors. As you can see, my photography skills changed over the years, too - as well as my actual camera. Some of these pics show a real change in these colors, but that sometimes had more to do with lighting and such than the actual glass I used.

Dawn Flower - Jun 2007

By 2006, I was working on the smaller mandrels, and rounding out my beads a little more.I tried surface florals in these colors, but found that the spreading of the Rubino made the flowers distort more than I liked. Leaving the flowers slightly raised looks much better.

Pink Carnival - Mar 2006

I tried different shapes at that time, and found that pressing these colors sometimes yielded really pretty results. Etching them, however, wasn't as attractive. Rubino can sometimes etch unevenly, leaving a rough texture.

Sunshine - Jul 2006

Flame Tabs - Jun 2008

 As time went by, I got the hang of these glass colors and their little idiosyncracies, refining the designs to bring out the shades' natural beauties.

These days, this color scheme is what I do when I am in need of comfort. When my mojo is off, and my muse is on vacation, I can always count on this scheme to come out at least somewhat nicely.

Flame Cubes - Jun 2008

Well, they look nice coming out of the kiln, anyway.  Taking pics of these colors has been a serious challenge.  Opal Yellow can look green-ish or more mustard-y in a picture than it does in real life.  And the pinks can be washed out or even purple-y.  Fine tuning the color in the photo-editing program (in my case, Paint Shop Pro X) requires a delicate hand and a sharp eye, or the pic can come out looking over-processed, as some of these do.

Fields of Joy - Jun 2008

I hope the more current beads look better in pictures, but the fact remains that they look infinitely better in the hand - at least I think so. The very last pic here is one of the batch of trios I just listed on Etsy yesterday. I made them earlier this week, and still found bliss while at the torch. I hope you enjoy looking at all these pics, and that you had fun strolling down memory lane with me.

So, how do you feel about signature color schemes? Do you gravitate toward any one color combo - and can you think of any other artists that have one?   I'd love to hear about it in the comments!  Have a great day, everyone. :)

Bliss - Jun 2012

Joy - Aug 2013

CiM Glass Testing: 408 Leapfrog Ltd. Run, plus Gathering Stuff

Hi everyone - I'm back!
So was the title of this post enigmatic enough for ya? :)

First, I've had a bunch of people ask me to post an update about how the Gathering went a couple of weekends ago.  In a word - great!! There were awkward moments - as there always are when one has social anxiety and other mental issues... but for the most part I had a wonderful time.  Most everyone was so nice - and seeing faces to go with names again was great.  I am so glad I swallowed my fear and went - I knew I would regret it if I didn't.

I've posted pics and comments on my Facebook if anyone wants to check those out. 

While I was at the Gathering, I picked up a couple of bundles of sample glass from Kathy of Creation is Messy - one is the group of colors she has released already and you can see pics of over on the website.  One is a bundle of brand new colors that don't even have names or numbers yet (!!!)

I have to tell you, I am so excited by the colors I got, I can barely type!  :)

There are quite a few colors, but several really stand out, and I will be testing them as quickly as I can.  We have both an opaque peach and a transparent peach!  Peach is one of those colors that really does not exist in any kind of saturated form at all in the 104 COE line.  The transparent version will be one of CiM's basic colors and looks soooo promising, I can't even tell you.

The other color I am dying over is a transparent dark navy blue.  Navy!!  Finally!!  I have been hoping for a navy blue ever since I ran out of that odd lot of Vetrofond that I think was called Denim Blue that I can't even find anymore.

There are also several opals - one of which is a deep and dark and luscious teal green.  There are some weird reds, a couple of yellows, and lots of green.

Speaking of green - that's the first color I am showing today - and it has no name or number, so the rod was just labelled "A".  (note: as of 8/29/12, this color has been named and numbered 408 Leapfrog Ltd. Run) No, I won't be going in alphabetical order... this is just the first color that came about, because I wanted to make pumpkins, and could use this for the stem/vines.

Soylent, Split Pea, "A"

"A", I was told, is an odd lot of Split Pea, a lovely soft opaque green. It's possible that this will be a limited run color, but we'll have to see.  It doesn't even have a page yet, so I will have to wait to link to it.

Soooo, this odd lot is a touch lighter and brighter than Split Pea, and I think a great name for it would be Pistachio.  It kind of sits between Split Pea and Soylent (a brighter Christmas green).

"A" is entirely opaque and pretty dense.  While Soylent striates pretty heavily, this new color only does so a little bit - more toward the hole than in the middle of the bead.  It's a smoother color - much more like Split Pea.  The consistency is nice - not too stiff and not too soupy.  I didn't see any bleeding or spreading, as in many Effetre opaque greens - and this is something CiM continues to impress me with. Their opaque greens tend to be more stable and layer really well.

"A", encased with DH Aether, and as plain spacers

Pumpkin - Effetre Tequilla Sunrise Coral, "A", Effetre Lt Grass Green

Encased, "A" gets a little lighter without losing its opacity. I encased it with DH Aether (clear) on the spacer, and with Effetre Light Grass Green on the vines in the pumpkin beads. The stringer layed very well and melted nicely.

Pumpkin - no bleeding from the green!

This shade makes a nice addition to the green palette for CiM - one I probably will buy.  There are a LOT of greens in CiM's line - especially opaque greens - but so far, none of them seem redundant. 

More colors coming soon!  :)

Why am I dreading The Gathering? And more news...

Okay, maybe "dreading" is to harsh a word....but I can safely say that I am extremely anxious about attending the ISGB Gathering this coming week/weekend.  Fair warning - I'm about to pour my heart out here.

When I first heard that the Gathering was coming to the Seattle area this year (specifically Bellevue, which is just minutes away from my home in Maple Valley, WA) I was really excited about it.  I definitely wanted to attend, and participate in everything I could.  After all, THE beadmakers' convention doesn't come to the west coast all that often.  I've been to only two other Gatherings - the one in Portland in 2004, and the one in Oakland in 2008. Both were a great time!  The idea that the convention would be so close was really an incentive to me - no travel, home nearby, a familiar place, etc.

So I signed up - for the main convention (complete with seminars),and the banquet.  I also signed up for half a table at the Bead Bazaar (sharing with my friend Kim) on Saturday.  I had planned on donating to several of the projects, and taking part in some of the contests. 

A few months ago, life really got in the way of all my plans.  Severe family issues cropped up and brought my creativity, motivation, energy, mental faculties all to a screeching halt. I know it sounds all melodramatic and catastrophic.... but that's how I have been feeling lately.  Both sides of our family - my husband's and my own - had some major things come up at the same time.  It was kind of an onslaught of confusion and heartbreak that took me completely by surprise. 

Since these events, I have had a pretty rough time keeping up with things.  I've been doing custom orders, and really little else.  No glass testing, no new beads for sale, no experimenting, nothing like that.  And certainly, no inventory for the Bead Bazaar.  At all.  I have like a handful of beads to bring to the Gathering - most of which are extras from the custom orders. 

Things just....fell apart for me.  The depression has been crushing, and I don't really know when it will get better. 

So as it sits for the Gathering.... I am supposed to have half a table - but I have nothing to stock it with.  So I am basically giving my half to Kim - even though the tables aren't supposed to be transferrable.  I am hoping the people in charge will understand.  I haven't emailed them because the deadline for a refund on the table has long past, and I am embarrassed about it.  If nothing else, I will help Kim at the table with her stuff, allowing her to take breaks and shop and such as she needs.  I'll have my business cards to hand out for people who want to place orders, or buy tutorials - and I will have a few beads for trading and maybe for sale, but that's pretty much all.

One thing which does sound promising is that Creation is Messy will have some new colors soon that I can test - including transparent and opaque peach shades, which we have been asking for forever. They (as well as the other new colors) look really lovely.  

As for the rest of it.... I missed all deadlines for the contests/projects, but I am hoping to donate some beads to the Beads of Courage, if they have a booth there.  And I am going to try and attend all the seminars and such. 

With this kind of depression and anxiety, I don't know how what kind of company I will be, but I will try and have a smile on my face, and hopefully I can snap out of it long enough to commiserate with my fellow artists and maybe be inspired.

But I am really nervous, and haven't yet been able to build up much enthusiasm for this event, which in the past I have really loved. When I am depressed and under a lot of stress, I tend to have issues with crowds and am prone to panic attacks. I hope that changes soon.

So why am I telling you all this - and laying it on so thick?  Well, part of it is in the hopes that if you are there, and see me, you won't judge me too harshly if I am quiet and have not much to show. Partly, it's also to apologize for my utter lack of preparation for this show.

As at the Oakland Gathering, I will have my tarot cards with me as kind of a social anxiety security blanket. I most likely won't come up and strike up a conversation with people - that's just not in my makeup right now. I hope that won't make me look like a stuck up antisocial brat.  Just a fragile artist trying to get through some tough times, and maybe talk herself into having a good time at the Gathering. Crossing my fingers.

Transparent Glass; Simple Can Be Beautiful

I sometimes get caught up in creating complex color schemes using layers of glass to create new shades. I spend lots of time pairing colors to see how they make me feel, and to get that one perfect purple/green/pink/aqua, etc. I love doing that - it feeds my creative soul. I get lost in the color schemes, spending more time figuring out which glasses to use than actually making the beads.

Recently, though, I've felt the need for something simpler. Something purely basic and easy on the eyes. Maybe it's that my creative muse is a bit weary these days, I don't know.

I've been inspired lately by the weak sunshine we've had - those somewhat sunny but still cool days that peek out during the springtime here in the Northwest. That subtle sunshine can be made even more beautiful when seen through transparent glass colors - rich purples, soft pinks, vivid greens, honeyed ambers and sparkling aquas. Without any opaque backgrounds to block the light, these transparent shades twinkle in the sun, bringing about feelings of summer warmth and cheeriness.

Made in 2006 with Czech Tobacco (I think) and Effetre Ink Blue Violet

It's been a long time since I made transparent flower buttons. I did a few several years ago as an experiment, and they were really pretty. Back then I was kind of all over the place creatively, so I moved on to other designs without really exploring the transparent nature of these beauties.

This last couple of weeks I have had occasion to make more, and they really can be addictive. I've been basing my bead designs to match the flowers I've been making - sort of letting the colors choose themselves by pairing transparents in pleasing combos that would look good in the sun.

Effetre Lt & Med Topaz and Vet. Light Violet

Shank on back

I've refined the design a little bit - but they are essentially the same kind of five-petaled flower that lives in my mind as a sublime shape.  It doesn't have much basis in nature - I don't model my florals after any specific type I see outside - but more after an artistic version I see in my head. 

Greens Eff. Olive and CiM Mojito

Here are a few examples of flowers I made last week, in colors that just sing to me. Below, a wonderful berry pink emerges with some layering or light and dark transparents. These are little - under 1" in diameter, with 1/16" holes through the back.

Pink is Vet. Rubino layered with Eff. Rosatto

At first I stuck with the same shape, but then decided to change it up a bit with some indented petals.  I also flattened the shank in later versions to allow for easier placement in  jewelry designs. The shapes don't look as pretty in two dimensional images as they do in the hand, but you can get the idea. :)

Eff. Olive, Dk Lavender, Vet. Rubino

CiM Mojito, Vet Lt. Violet and DH Lt Aurae

Flattened shank

Eff. Ink Blue, Dk.Lavender, Olive & Mojito

All of these have sold from my Etsy shop, but I have even more flowers made and ready to be cleaned.  This time I worked in bright aquas and lime greens.  They'll be up sometime this week. :)

Should I or Shouldn't I? A Beadmaking Tutorial Conundrum

So for the last few weeks, I have been tossing around the idea of doing another glass beadmaking tutorial.  I want to possible continue the Glass Color Families series and do maybe greens or purples.  Please bear with me while I do some "out loud" thinking on this idea.

Now, another color tutorial may sound like a fabulous idea at first, but I think a few things need to be considered before I decide to do it.

First, have you all been kind of inundated with too many tutorials these past couple of years?  Would one more just be too much?  After all - each tutorial costs somewhere between $10 and $25, and who can afford the zillion that are out there?

On the other hand, several people have suggested that they would like more color-specific tutorials, so maybe I am off base there.

Secondly, I already have a color blog - would a tutorial that costs money be a little overkill?  When I did the other Color Families tutorials (Browns and Pinks) I hadn't done a whole lot of blogging on specific color groups yet.  But now there are a whole lot of posts here on different glass colors.

On the other hand, I haven't covered every purple or every green out there (nor would I be able to, even in a tutorial - I can only cover what I have experienced), so there might be ample information to cover in a tutorial.  And my tutorials are a lot more detailed, with a lot more pics, than my blog posts are.

Finally, are people less interested in tutorials due to market saturation than they are in my actual beads, or is it the other way around?  To be honest, it's not easy to answer this question.  I sell some of both.  The economy may play more of a part in the demand for my work than actual interest does. 

So......the only solution is to ask you, dear visitors, what you think.  Would you be interested in a color-based tutorial?  Or is there some technique of mine you would be more interested in learning about? 

Would you rather see me focus on more beadmaking?  Although I have to admit that my beadmaking mojo has been severely lacking as of late, so there have been fewer beads available.

Do you already have some of my tutorials, and can you comment on their value?  I would love to know what you all think.  All suggestions, comments and questions are welcome.  Except for spam, of course. That will be summarily zapped.  :)

AGLF Has a New Website, and I am Still in Love With Gray

I can't believe it's been a month and a half since I last posted here!  Time sure flies when you're busy.  :)

First off, I would like to announce the new website for the AGLF - aglf.info.  On the website are links to donate, buy the calendar, purchase beads, jewelry and other art, and more.  We would really appreciate your visit! For those who want to read more about AGLF and what it's about, please see my earlier post here.

As for beadmaking, I have been doing lots.  I am currently selling my beads in small sets in my newly re-opened Etsy store.  There's nothing there at the moment but tutorials, because the beads are selling as quickly as I can get them listed - which is wonderful!  So if you're looking for my beads, keep an eye on the store there.  I do email my mailing list when I put up a batch of beads, so if you want you can sign up for that at the bottom of my website.

And now for some beads!

CiM Adamantium remains one of my favorite colors of the season so far.   I am loving gray even more than brown this year - and this dark charcoal is just lovely for fall and winter.  I paired it with pink last week, and it turned out so pretty. 

Pink and gray remind me of my teenage years back in the 80's (OMG I'm so old...).  That color combo was everywhere, and I remember making friendship bracelets with embroidery floss in pinks and grays all the time.  Friendship bracelets.....ahhhh flashbacks.  :)

I'm looking forward to pairing this soft, dark grey with other colors such as pale blue, deep teal, light purple, and maybe some more black and white. 

I am also excited to be trying my hand at striking and reducing Double Helix Clio, a sweet pink/amber glass that reduces a soft metallic that I find heavenly.  I've already made some beads from it and will be making more.  I don't have pics yet, but look for these in my Etsy shop within a week or so! 

Have fun playing this week, and stay warm!

Lovely Color Inspiration

I just wanted to post a quick blurb this morning - my cousin Andrea has a new blog about weddings....and she is inspired by color! A woman after my own heart. She has some lovely color articles up that just may inspire some creativity. I know I love the Slate, Hot Pink and Creamsicle post. Her photos are delicious and her writing is effervescent and fun. Can't wait to see what else she comes up with. :)

Comfort Beads and New Discoveries

Sometimes, when I am down in the dumps (which is so often the case around the holidays), I feel the need to just make beads that are comforting and which make me happy. These past couple of weeks I have really fallen back on those most-practiced color schemes and designs.

Pink and brown is one of those color schemes that I have done so many times I can almost do them in my sleep. The colors bring up rose petals and cappuccino in my mind. I hope they never go out of style, because making them always puts a much-needed smile on my face.
I put black in there for some variety, and because lately I have been putting black in almost every set I have done.

Black is the color I use when I am looking to really highlight the other colors. It really makes everything pop right out. Also, when I use a lot of black, it's usually reflective of my mood - dark and introspective.

Last week I stumbled on a really pretty glass pairing that brought out the most gorgeous shade of liquid gold - metallic and delicate.
Opal Yellow encased with a bit of Double Helix Light Aurae, reduced just a little to bring out the metals. You can bet I stuck these colors right on black for a set of classic beads that I think would go with anything. I've never been able to get such a pretty shade of gold before - and I am not much of a gold lover when it comes to metals.

That kind of discovery on my own makes me happy, especially since I am not usually a silver glass user - I tend to shy away from those glasses. The Double Helix Aurae shades are a definite exception, though. Someday let's hope they do a pink one, so I can have both comfort and newness in one set of beads!

Oh, yeah - these are all for sale on my website - click the pics to see them.