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September 19, 2017

Test Results :: Spooky

CiM Spooky (CiM825) is a translucent white colour. I found my rods of Spooky to be a little bit shocky, and I also found that Spooky was a little sensitive to heat - it's not a chronic bubbler, but it is also not difficult to boil this colour by accident if you're not paying attention and park it in your flame for too long.

Nothing happens to Spooky when you reduce it.

Here you can see that Spooky is far more opaque than CiM Cirrus, but slightly more translucent than CiM Marshmallow.

The addition of silver fumes Spooky a gentle amber colour. When the silver is reduced and encased, most of the amber colour disappears in any non-silvered areas, but you can still see it under the silver. The silver turns a greyish colour after reducing and encasing it on top of Spooky.

Spooky is quite interesting with silver glass. It fumed yellow when I reduced this silver glass frit on top of it, and then in the rightmost bead I got a good starting strike from my TerraNova2 frit.

Copper Green separates on top of Spooky, but gets and stays so dark in colour that the only way to enjoy that reaction would be to etch the bead so that it is more visible.  Opal Yellow, Ivory, and Peace all separate on top of Spooky as well.   Ivory gets a light brown reaction line with Spooky. It's similar in colour to the line that forms around Opal Yellow when you use that colour on top of Ivory.

When Spooky is used on top of all of these colours, the only noteworthy thing that happens is that Ivory gets a darkish tan blush to it at the edges of the Spooky dots and stringer lines.

Here are some beads made with Spooky. The darker blues are Vetrofond Light Cobalt and Effetre Dark Periwinkle, and the white dots and stringer work are Effetre White.

September 14, 2017

Test Results :: Rapunzel

CiM Rapunzel (CiM627) is a light lavender pink colour. It's gorgeous with silver and silver glass, and I had buckets of fun combining it with orange and purple. It's a fairly tight colour, by which I mean that it condenses in on itself when you use it on top of other things, and other colours spread on top of it.

I usually make the plain spacers first when I make a set of test beads, but for some reason I started differently with these ones and then forgot to go back and make the plain spacers. I put maybe too much value on consistency, and so I'm probably way more upset about the fact that they're missing from this set of test beads than you are, but I apologize anyway.

Here is Rapunzel with CiM Gellys Sty, CiM Heffalump, Effetre Lilac Dark Dark, Effetre Lavender, and Reichenbach Soft Violet. Rapunzel sits directly between Gellys Sty and Heffalump, hue-wise, and is a very pretty colour.

Where Rapunzel really shines is when you pair it with silver. Silver leaf on top of it fumes the Rapunzel immediately surrounding the silver to a rich brown colour. When the silver is reduced and encased it gets a dark pink and bluish haze to it.

You can see in the leftmost bead here that reducing silver glass frit on top of Rapunzel fumes it a yellowish colour. I guess this is Rapunzel letting down her golden hair?  The reducing silver glass frit develops colour well on top of Rapunzel.

I also got a beautiful starting strike in my TerraNova2 frit on top of this colour and as an added bonus, Rapunzel separated underneath this silver glass colour and popped up around the fritty bits in little rapunzelly halos.

In general, Rapunzel separates with everything, and everything spreads on top of it.  Copper Green separates on top of Rapunzel.

The most noteworthy things that happened here involve Tuxedo and Opal Yellow:
  • Because the colour of Rapunzel is not very dense, it thins out considerably when you use it in thinner layers. It is almost translucent on top of Tuxedo, and you can see that when it separates on top of that colour it gets considerably lighter at the edges forming stringer lines and dots that are almost ghostly in appearance.
  • Rapunzel, when it separates on top of Opal Yellow also takes on some of the Opal Yellow colour. So, instead of looking like a cool pink, it instead looks like a warm, dusty rose colour in the middle of the dots and stringer lines.

Here are some other beads that include Rapunzel.

September 11, 2017

Test Results :: Buttermilk

CiM Buttermilk (CiM315) is a very pale, opaque yellow. It strikes in the flame, blushing a little more yellow as you work it, but doesn't darken significantly. The consistency of it is beautiful, and my rods of Buttermilk were not shocky. Like Bone, this colour fills a gap in my palette that has been open since Vetrofond stopped making us nice pale neutrals.

Here you can see that where I gave Buttermilk an extra shot of heat in a reduction flame, it got a little more yellow. I don't think this is due to the reducing nature of the flame I reheated it in - it warms in colour in a neutral flame as well.

The addition of silver yellows Buttermilk substantially. When the silver is reduced and encased, it does not develop any unusual colours or effects.

Silver glass is pretty on top of Buttermilk. Because Buttermilk is not particularly reactive with silver, it makes a good base for reducing silver glass frit on. I also got a nice starting strike here on my TerraNova2 frit, which tells me that this colour has some promise as a base for striking silver glass as well.

Copper Green separates on top of Buttermilk, ,becoming darker in the middle of stringer dots and lines. Buttermilk separates on top of both Tuxedo and Copper Green. On the whole, this colour is not very reactive and I found it to be quite stable.

Here are some other beads that include Buttermilk.