Ask the Divas August Edition

This month's question deals with encasing. "How difficult is it to encase a bead and why?"
First, I want to say that there are many reasons some of us encase a bead, it can add depth and magnify colors and patterns among other things. Some of us like encasing, some of us don't lol, but I think we all believe its a good skill to have. Also, you can encase in transparent colors also, not just clear, for some really interesting effects! Here are some insights from the fire diva's themselves.

Susan Lambert When learning to encase, it seems very difficult and takes a lot of time and practice to master. Heat control is key in this situation. If you keep the bead and it's decoration cool enough to not melt, you risk some cracking. So it's a bit of a dance between not too much heat on the main bead and lots of heat with that rod of clear. The more molten the clear rod, the better. Plus you have to avoid creating bubbles between the base bead and the clear AND an even coat of clear is important so the bead is well balanced. There are many encasing methods and a lampworker usually finds one that works best for them.


Amy Lange Sims I think it depends on what type of bead you are encasing. If you are trying to encase a floral or other type of surface pattern, it's easy to smear, so like Sonja said, you have to choose the right encasing technique. So if you want to be able to encase many different types of beads, you need to learn many different encasement methods. I find some easier than others!

LLuvia Brito With boro it is very tricky, it is also the most time consuming part of a bead. Getting a nice even layer of clear is pretty simple, its just getting minimal bubbles and reducing encasing haze lines that can be troublesome.





Lori Bergmann I agree with everyone that there is a fine dance between having the bead cool enough to avoid smearing, while applying the encasing smoothly and quickly to avoid trapping air bubbles inside. We all have our different ways of applying the glass and my favorite method is one that is more time consuming (of course!), but the end results are worth it. The glass used can also affect how difficult it can be—some colors are stiffer to apply and others, like clear, can be hard to find crystal clear rods with a minimum of scum or tiny bubbles that you don't want to transfer to the encasing layer. Another thing that can be tricky is encasing a color that tends to bleed up onto the encasing layer if you don't cover it up completely before you melt it all back down.

Feng Beads Not difficult at all, as long as you know what encasing technique to use with the bead style and size.




Patrice Shepherd Slow and steady wins the race when it comes to encasing, go too quickly and it's bubbles all over the place! Since bubbles can cause stress, I always try to avoid them showing up "accidentally," and only like them in my work if they are placed there intentionally. A steady hand and good heat control is key to even encasing with boro...

Holly Dare I use four types of casing and each has their issues and benefits. My favorite is strip casing because it goes on the thinnest. I make big beads so that's a huge plus. I heat the rod and place it at an acute angle to the bead, until the whole thing is striped with clear. The round the world method seems to suit my rare small beads well...literally winding glass round and round. I case with sheet glass on some beads..but that requires math to make sure the sheet will fit the bead. This is the cleanest way to case. I also case with clear frit (small pieces of crushed glass). This creates a mesmerizing mottled look on organics.

Michelle Veizaga Encasing a bead deals a lot with heat control so you do not distort the underlying elements (unless this is a look you are going for) so knowing how cool to get your bead and how hot to work your encasing glass is a big piece of the puzzle. It is not that difficult to master once you have mastered heat control. You also need to know what method of encasing will work best for what bead. The amount of encasing is what gives an optical effect so a thicker casing is great for aquarium beads while encasing some silver glass is best with a thin even layer. All in all it is practice that makes the process easier I spent over a month just working on encasing skills!

Lara Lutrick As for the casing.... Casing can be difficult as you need to keep the bead cool enough so the design doesn't smear and warm enough that it does not crack. I too use the thin casing that goes up and down the bead in the direction of the mandrel. It give a nice even very thin layer of glass.






Sonja McClung I happen to love to encase, I find it challenging but really like the different effects that can be achieved and the depth that it gives to beads. It does take some practice, and is
certainly a good exercise in heat control!

Ask the Fire Divas April Edition

This months question is actually very important and anyone that is serious about making beautiful, long lasting beads takes this subject quite seriously.

How can you tell the difference between an annealed bead and one that has not been kiln annealed?

And why does it matter?

Lara Lutrick
The only way to tell is if it breaks. You can not tell just by looking. However, there maybe some clues on poorly made beads that may lead you to believe that it is not annealed. If the bead has bead release still in the hole (not just a bit left, but all of the release) chances are it was made in India or China and may not have been annealed. Same goes with uneven or poorly decorated designs.

It is important to kiln anneal as making the bead introduces stress into the glass and the kiln helps the glass cool down evenly andreduce the stress. Reduced stress = less chance of cracking.


Patrice Shepherd
The naked eye cannot tell the difference, but you can use a polariscope if you have one laying around :) (kidding!) A dead giveaway for me is acute angles, where decorations are added on quickly and not melted in sufficiently, like dots and lines. If you hit these just a little bit, they will crack off. Another sign is the bail on a pendant, if it is not melted in enough, it's probably not been annealed either, as if someone didn't take the time to seal the bail on well enough, they probably didn't care to slow-cool it either!

Annealing is an important step for glass art meant to last. We cherish our own beads and pendants, and expect this crucial step to be used for art-quality glass items. The slow-cooling of the annealing process is needed to relieve invisible stress that's left over from the melting and manipulating we do in the flame.

Holly Dare
The fact that you cannot tell by the naked eye is the very reason you should KNOW your bead maker when dealing with glass beads! An artist cares about their reputation and values their end product. The factories where they crank them out, don't; Another buyer looking for cheap crap will be along any second.

As a jewelry designer, you have to consider your own reputation. Do you make pieces to last a lifetime? How would you feel if a customer came back with broken beads?

Ask The Divas Question For March

People frequently ask about what type of tools we use, what our favorite tool is and how we use it. Other than the obvious things like our torches and mandrels, many of us use either custom tools made specifically for lampwork or, as you will see, common household items.

Sonja McClung

My most used tool (and also the cheapest I might add lol) is a small paring knife. I use it to move glass, to make creases, to even up a lopsided bead. Its the one tool that I use each and every time I torch.



Susan Lambert
As Sonja stated, my favorite tool also is a paring knife. It's the tool I can't work without. It took time to find just the 'right' knife too. I even marver my beads on knife!
A second favorite is a tail stock holder. It is a tube on a wooden handle with an opening on the side of the tube. I put the end of my mandrel in that opening as I turn it in the flame, and it helps me hold the mandrel steady.


Lori Bergmann
I love my Round Bead Roller graphite tool from CG Beads. I use it all the time! It's great for making sure I create consistent bead sizes—even for non-round shapes like cubes and barrels.




Michelle Veizaga
I love my razor blade set! I can't live without it! I actually have one designed for woodcarving but the shapes and styles are perfect for glass work!
I also love my crunch press! I use it for marvering, pressing, and evening out beads I think I use it more than my graphite marver!

Kathleen Robinson-Young
I couldn't live without my dental pic tool. It's two sided and has a slight curve, perfect for getting into small corners, and pulling leaves, vines, and petal tips.




Rosemarie Hanus
I have a pair of 12 in long tweezers that I think is my most used tool. I use it to pick off glass mistakes and to steady those big disk beads when they get a little too hot. I also use them to tidy up the bead ends on the RARE OCCASION (lol) that they get wonky.

A close runner up (so close that it may actually be first) is my masher pliers. I use that to make my Silvered Ivory Stringer - which is on almost every bead that I make - and to mix glass colors.

Karen Klomparens
Use an old paring knife the most, then my favorite smooth tipped tweezers. As for weird, have nails in a board for a murrini mold. The wood only stinks for a minute, lol.

Going to find the set of wood razor knives I have laying around and try them too after seeing Michelle mention it.


Ema Kilroy
My favorite inexpensive (read free) tool is a small stainless butter knife. My husband did some electrical work at a hotel and brought home a bunch of these knives for me. They were throwing them out! I LOVE my little butter knife. I use it for everything...shaping a bead, cutting into a bead to create patterns within the glass, burnishing silver onto the bead. I could not manage without it.

My absolute favorite expensive (read paid for) tool is my Jim Moore large lentil press. I absolutely love to create the large lentil focal beads and this tool is ideal.

As you can see, we each use a variety of things that perhaps you wouldn't necessarily think of when you think about making glass beads. Sometimes, its the simple things that work the best.

Ask the Fire Divas Question For February

This months question was "What is the most challenging part of working with glass?"

This is really a good question because this answer is a little bit different for each of us. One person's strength may be another persons weakness! Here are some of the answers from our lampworkers:

Amy Sims of Amy Sims Designs says "Deciding which colors to use, lol! Seriously, though, learning how the different colors react with each other is difficult, and takes a lot of practice. Explaining to a customer that I can't do "that bead" in a different color scheme because of the way the colors react or don't react is sometimes a challenge."

Lara Lutrick of Lutrick (Lampwork Beads and Jewelry by Lara) "For me it is trying to be patient and not force the glass. I'll try to move the glass or create a design when it is too cold and break the release. Also, I'll super heat it and get discoloration and burnt areas if I'm not careful. Glass will do what it is going to do."

Kathleen Robinson-Young of Ugly Duckling Beads says, "For me it's getting colors to have the same impact and intensity they have when working them in the flame. In the flame my colors seem to blend and play together well. Then the magic moment comes to see what they look like after a night in the kiln, and all I see is a design made with lackluster colors on a murky base that doesn't look anything like the rods I used. But some good comes out of it.... usually I can figure out what colors to use the next time to get the effect I want."

Lori Bergmann of AshlynDesign says, "One of my challenges is figuring out the chemistry of how different colors and silver glass work together, and trying to get consistent results. You never quite know what you'll get because each time you sit down to torch there are so many variables like weather, flame fuel mix, color batch, etc. that can affect the design."

As for me, SilverRiverGlassWorks one of my biggest challenges is taking the endless possibilities and narrowing them down enough to have a starting point every time I sit down to torch. There are so many possibilities and directions each torching session could take that sometimes I can't decide where to start and what to focus on!

Ask the Divas about lampwork glass beads for Beads of Courage

Beads of Courage is a wonderful program that works with children who have been hospitalized with severe illnesses.
During the month of February, Marcy Lamberson is working with Beads of Courage to offer something special for glass beadmakers.

Here's Marcy's offer:
"For every $25 or 25 bead donation to Beads of Courage, you receive a chance to win this GTT Cricket torch ... This promotion is ONLY for the month of February starting on the 1st and ending on the 28th at midnight. If you donate 200 beads, then you get 4 chances..."
Read Marcy's blog for all the details.
http://www.givebeadsofcourage.blogspot.com/


At the Beads of Courage site, you can see the meanings that are attached to each different type and color of bead. Every bead you make and send in will be enjoyed by someone. We here at the fire divas want to help you along by linking you to free tutorials for some special beads that you'll enjoy making to send along to the program.

Lara of the fire divas has written instructions on making butterfly beads. http://lutrick.blogspot.com/2010/03/butterflies-for-beads-of-courage.html

Emakaye, another of the divas, tells about her own butterfly explorations: http://emakaye.blogspot.com/2010/03/evolution-of-butterfly.html


There are several other free butterfly tutorials out there as well.
DianeWoodall has two at this site, as well as a heart and kid- friendly fish: http://www.dianewoodall.com/pages/FreeTutorials.htm
And here's another three dimensional butterfly idea:
http://isinglassdesign.blogspot.com/2009/07/lampwork-glass-butterflies-for-beads-of.html
Robert Simmons has directions for adding a butterfly to a bead using copper foil:
http://www.southernflames.org/Tips%20and%20Techniques/Tips%20and%20Techniques%20BOC%20Wearable%20Butterfly%20Bead.htm


Purple Hearts are another bead Beads of Courage always needs. In addition to Diane Woodall's link above, Lori Greenberg has a sweet heart tutorial here:
http://lorigreenberg.com/blog/?p=647


Our own Holly of hollysfolly has written a tutorial for off mandrel hearts here: http://hollysfollybeads.blogspot.com/2011/01/off-mandrel-hearts.html


And if you want to make some sculptural beads, here are some useful links for tips and techniques. Remember, sculptural beads need to be made extra sturdy for the children.

Lauren at maybeads recommended this one to get you started on your sculptural journey: http://www.beadenvy.co.uk/tutorials.htm


And Holly came through with some suggestions: http://hollysfollybeads.blogspot.com/2010/03/sculptural.html


We hope you have a great time making all sorts of beads for the kids in the Beads of Courage program.



Photos from- Butterflies- Lutrick ; Butterfly wing- Ema K Designs; Heart- Hollys Folly Glass; Owl- Maybeads

Need a Lampworking gift? Ask the Divas!

So maybe you have a fire diva (or other lampworker) on your Christmas list, and you’re thinking- now what should I get them??? Is it ok to get a lampwork related thing when that’s kind of their job?? The answer is a resounding ‘YES”!!! The beauty of having a lampworker on your list is that their business is also their passion. And there are so many things to learn, tools to be had, magazines and books to enjoy, that their wish list is probably endless.

So where should you start???

Well, you can start right here in the virtual world. Etsy or Artfire can be great places to find tools and tuts. Or just do a search on google.
For tutorial choices on etsy, go to the handmade search window and type in the words lampwork tutorial. You’ll be presented with too many wonderful choices. Don’t know which to get? Find something you think is cool and get the tut sent to your friend with a little note telling them that you are entitled to the third bead they make with it. That’ll give them some time to get it right! If you ask your diva which tuts they already have, I'll bet they'll let you know which ones they still 'need'.

If you’re looking for cool tools, etsy is a great place for that too. Type in 'lampwork tool' and you’ll be presented with some excellent choices. Here are a couple of my favorites. I love this fishbone stamp from shards factory. http://www.etsy.com/shop/ShardsFactory

And who doesn’t want an optic mold from Agate58? http://www.etsy.com/shop/agate58

A little bit of murrini is always a fun gift. Our own Janel Dudley of http://www.etsy.com/shop/JanelDudleyBeads makes some cool murrini for making these eyeball beads.

Or visit http://www.etsy.com/shop/loriandkim for some of the murrini maybeads used in this cutie http://www.etsy.com/shop/maybeads


What diva doesn’t want to add to her bead collection, and where better to look than the shops of the other divas? Lots of divas have sales going on in their shops right now, but hurry, they end soon! Here are a couple of interesting choices. A real electroformed acorn cap accentuates this bead from giapet http://www.etsy.com/shop/giapet

Lara has some lovely choices in her shop http://www.etsy.com/shop/Lutrick

Here’s one of my own http://www.etsy.com/shop/glassbead

Heading out to the bookstores? A gift certificate or magazine is always welcome. Handcrafted Jewelry is a new magazine I’m dying to see, and Bead Unique has two lampworking tutorials in every issue. Ornament magazine is filled with inspirational wearable art.

I just checked The Beader’s Color Pallette by Margie Deeb out of the library- it’s full of great color combos. Or they might want to hold onto that gift certificate until Lark books publishes Creating Glass Beads, Jeri Warhaftig’s newest book in March http://www.larkbooks.com/catalog?isbn=9781600595820

The Flow and Glass Line Magazine are full of lampworking tutorials and ideas, though you’ll probably have to order those online.

Gift certificates to our favorite glass suppliers are always welcome too. Frantz Art Glass, Arrow Springs, Artistry in Glass, Moretti and More, the list is endless. Each supplier offers something different, and a gift certificate will put your diva in the mood for something special.

Oh, I’m getting excited just looking at all of this stuff….So if you have a lampworker on your list this year, just look for anything glass related and they’ll be your BFF!

Ask the Divas - The Creative Process

This month's "Ask the Divas " question was a doozy! One of our facebook fans asked:

" What is the creative process like - some of the beads are so intricate and layered and, well, specific.......how do you go from nothing to a fabulous bead that tells a story? "

Join me in a trip into the workings of the minds of the divas!

Lara says:

I rarely can pinpoint where I get my ideas for beads, but my bunny bead is an exception. I started making these beads last year around Easter time. I think they are super cute.

My mom has a Terra Cotta pot with a large Lop Rabbit on the front. Neither of us can remember the artist, but she got the pot at an art's fair in the Seattle area. One day I was thinking about what to make next and I was looking at the pot and decided to try.

First I drew a pattern on paper to get the shapes down, then did some dots on the bead and pushed and pulled the dots into ears, a face, and legs. Tada..... bunny bead.

http://www.etsy.com/listing/36156861/lampwork-bird-glass-bead-in-aqua-and

From Holly:

For me, it depends on the bead. If the bead is sculptural, I will print out several images featuring different angles of the object I want to re-create. If I am working on a set, I might spend time pulling different color rods. No matter what I'm making, there is some kind of map in my head of where to go... what kind of glass to layer where in order to get the effect I want. Care has to be given to parts that need more heat or can take more heat vs. those that need fine detail and less heat. It's a constant balancing act. Sometimes it works; sometimes not.

http://www.artfire.com/modules.php?name=Shop&op=listing&product_id=960011

Theresa's take:

With soft glass, I let the glass or special elements guide me. I usually think about a particular color of glass or element, like murrini, shards, etc, and end up with a general direction.

Next I sit in front of my glass and select colors that coordinate with my central element. For instance, I've been making a lot of rounds with shards lately, so I select a base color that compliments the color(s) in the shards.

Finally I end up at the torch and go with the flow; I have the idea in mind, and the rest is up to what feels right once the glass is melting in the flame. Even the simplest, most routine bead set changes every time. Boro, however, is different. Sculptures I study and sketch out down to the last detail beforehand. Implosions I map out in my head before attempting. Boro is an entirely different beast! It's a stiffer glass and interestingly enough is much more structured creatively for me as well. http://www.artfire.com/modules.php?name=Shop&op=listing&product_id=1789424

From Rosemarie:

Color and shape are very important elements of my work, so I usually decide right away what those are going to be. Sometimes the glass does not do what I want; then I end up with something new. Sometimes the new is good, sometimes not so good.

For this bead, I wanted to represent a dangerous river. I wanted a large surface to work on, so I decided to use the bicone shape.

How did I choose the colors? I wanted water and sky, so that was a pretty easy choice. My water colors were turquoise and cobalt and my sky was a light powder blue. I wanted some white for clouds. I have developed a way to make the webbing spread in a consistent manner, so I decided to use that to show white frothy water. I decided all of this in advance and then proceeded to make the bead.

When that was done, the bead did not look "angry" enough, so I added swirls - which happily looked like whirlpools in the water. I usually melt everything smooth, but once the swirls were on the bead and still raised, I really liked the effect so I decided that the bead was complete.

This happens often - I have a general plan on what something will be, but then modify it once the bead is in progress. Sometimes this happens once the first attempt at the bead is already cooled. Then I have to start the process from the start, modifying what it is that I don't like. http://www.etsy.com/listing/26160332/gray-ivory-and-black-glass-lampwork

Sonja's answer:

Honestly, for me, I usually start each session at the torch with certain colors in mind and maybe a vague idea of what direction I want to go in (shape, texture, or a certain style). I then decide how I want it to go together, but honestly, many times I will sit down with a certain idea in mind and midway through (or sooner) the bead goes off on a tangent and something else entirely ends up being made.

http://www.etsy.com/listing/59110489/green-and-white-handmade-spiral-lampwork

From Ema:

Each time I sit at the torch is different. Sometimes I have an idea of what I want to make; such as being inspired by a beautiful tree I have seen on a walk that I feel compelled to make into a bead. Other days I am inspired by color combinations. I will pull out all the rods in that color scheme and just let the colors take me where they may.
http://www.etsy.com/listing/57350713/kaliptico-wonders-lampwork-focal-bead

Kathleen says:

I rarely sit at my torch with a pre-conceived idea. Usually it'll be a mood that will hit me, like, I want to make flowers, or I feel like working in certain colors, or I just want to do easy stuff. Occasionally , I feel like challenging myself to step out of my box; using colors I generally don't use and techniques I want to become more familiar with. Ultimately it never plays out the way I think it will. The glass will take over, and like a dance partner, I just follow and let the glass and flame take the lead. Lately, I've been concentrating on flowers. http://www.etsy.com/listing/58878138/copper-canyon-focal-lampwork-bead-sra

Lea says:

Each session is different for me. Sometimes I start out with certain new color glass rods I want to play with or shards, new technique, etc. & basically just play & see where the session takes me. Lately, or at least the last couple of times I torched, I started out with a list of beads I wanted to make & then left myself some play time at the end. I found it to be a much more productive use of my time. Go figure!http://www.etsy.com/listing/56968225/lampwork-glass-bead-set-fire-diamonds

And here's my answer:

Who knew there were so many different ways to come up with an amazing bead! I use a little of all of these techniques in my beads.

And I find that often one thing leads to another, as was the case with these Christmas Bird earrings. It all started with some basic twirling, a set of paisley earrings for a customer, a red and green fish, and finally these birds arrived on the scene.

http://www.etsy.com/listing/59521087/lampwork-glass-beads-pink-and-green

It's always interesting to see all of the different ways that people can get ideas, and how their tiny brains work to turn them into something you can pick up and wear.

Ask the Divas!

Welcome to 'Ask the Divas' for the month of September.

This Month's questions come to us from one of our facebook fans

'How do you get started? What does your studio look like?'

And here, in the words of several of the divas, are our answers.

From Theresa Ehlers http://www.etsy.com/shop/teasebeads
I learned to lampwork three ways. First, I took a simple intro class that taught me to light a torch and make a spacer bead. Second, I found http://www.lampworketc.com/ - that site is an endless wealth of information which can teach you just about anything you need to know, including the invaluable safety information I did not learn in my class. Third, I experimented. Glass work is a journey, and you learn from every turn.

One of Theresa's creations, and her studio- Wow!

From Sonja McClung http://www.etsy.com/shop/SilverRiverGlassWork
I started making lampwork beads because I wanted my jewelry to be more unique and stand out from the crowd. I took a basic lampworking class from a bead shop near where I live. I was hooked as soon as the torch fired up for the first time lol.

My studio is in my basement and I do try to keep it relatively neat since I don't work well if its too messy.

A set of beads from Sonja, and the flame in her studio

From Lea Avroch http://www.etsy.com/shop/lajewelrydesigns

Though some are completely self taught, I strongly recommend a beginners class if possible since there’s fire & combustibles involved. Though perfunctory, it at least gives you the basics, as well as safety instructions.

I'm in serious envy of those with beautiful free-standing studios! I have a tiny 3’ long space I work out of in my garage. Next to my work space I have glass & frit storage, separated by COE, since I work in boro & soft glass. I have another table that I take out when ready to torch. I move most of the contents that you now see on my workspace onto it. My frit storage is a rotating 4’ high shelving unit I bought when a local store went out of business. It’s my favorite!

A lovely silvery bead from Lea, and her little studio space

From Lara Lutrick http://www.etsy.com/shop/Lutrick

Before I made lampwork beads, I had bought cheap beads from India and China and thought they were neat, but while at a local arts and crafts fair, I saw and bought my first true artisan lampwork bead. I was quite impressed. I had never seen anything so pretty. I still have that bead and it continues to be a favorite. The artist told me that there were classes at my local bead store. I took the class and was immediately hooked. Lampworking is my passion; it feeds my soul and my need to create.
Well, my studio is a mess. Lots of glass everywhere. My dad made my ventilation hood and it is great, but not pretty.

Lara's favorite bead, and the studio it was created in.

And from me, Laurie Ament http://www.glassbead.etsy.com/
I learned with my daughter from a great book by Cindy Jenkins called Making Glass Beads, but I would certainly recommend a class to get yourself jump started. Your local bead shop or glass store should be able to help you find one. The website recommended by Theresa is wonderful, but I can't resist a good book- two others are The Complete Book of Glass Beadmaking by Kimberly Adams, and Passing the Flame by Corinna Tettinger. The website and books will also help you with studio setup. And then there's a lot of practice to be done... Have a great time on your journey through the world of glass!

My studio is an ever-changing area in my home. It's kind of pretty right now!

One of Laurie's fish, and her 'Studio With a View'