SLT Jan 2016 - Soda Lime Times

January 2016
Sensational
Surfaces!
Featured artist
Anne-Lise Meier
Tutorials by
Lori Lochner
Heather Sellers
Diane Woodall
Soda Lime Times
Sensational Surfaces!
By Diane Woodall
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49
Coming next month . . .
Fun with Metals!
D
on’t we all love beads with texture or interesting
designs on the surface? While encased beads have
a charm all their own, you simply can’t discount the
appeal of a bead with design elements on the surface where
you can see them and touch them. We can all remember
making our first raised dot beads (which in my case quickly
became melted-in dot beads)! All these years later I still
enjoy the tactile pleasure of holding a bumpy bead in my
hand, not only experiencing the bead for how it looks, but
also how it feels.
This month’s issue of Soda Lime Times is all about texture
and surface decoration, and some ways you can make the
surface of your beads interesting. Of course, this is just a
small sampling of the techniques you can use to add texture
or design to the surface, but I still think you’ll find plenty of
ideas to keep you busy for a while.
Our featured artist is Anne-Lise Meier, the creator of some of
the most intricate dot beads you will ever see. Humans are
capable of extraordinary things, but it still boggles my mind
how Anne-Lise can put so many perfectly spaced dots on one
bead. Thankfully, she shares with us her technique for creating
geometric patterns on a bead in her tutorial on page 32. I may
need a strong sedative before I attempt her tutorial, but seeing
that bead come to life is something to behold!
Other tutorials in this issue include a beautiful off-mandrel
pendant by Lori Lochner and an ocean waves focal by me,
made with layered shards.
We are so pleased to announce that starting with this issue,
Heather Sellers will be contributing a monthly tutorial of a
bead suitable for Beads of Courage. If you are familiar with
Heather’s work then you know how special her beads are and
how fun and easy her tutorials are. This month she shares her
technique for making an adorable baby hedgehog.
I hope you enjoy this issue and will tell your friends about
Soda Lime Times. As we enter a new year wonderful, things
are on the horizon!
Diane Woodall/Editor
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January 2016
And now for some beads for you to enjoy . . .
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2
3
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5
1. Bertie Beattie
2. Loes Brouwers
3. Natalia Korolyuk
4. Beatrice Schomber
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9
7
5. Mona Sullivan
6. Mona Sullivan
7. Loes Brouwers
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Links to the artists appear on page 59.
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January 2016
Soda Lime Times
1
2
3
4
1. Heidi Small
2. Beatrice Schomber
3. Heidi Small
5
Links to the artists appear on page 59.
4. Debra Becker
5. Anna Miller
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January 2016
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2
3
5
4
1. Jacqueline Keller
2. Kathryn Guler
3. Kathy Bankston
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4. Jacqueline Keller
5. Jacqueline Keller
6. Natalia Korolyuk
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Links to the artists appear on page 59.
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January 2016
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chris d
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1
3
5
4
6
1. Natalia Korolyuk
2. Chris Dalrymple
3. Debra Becker
4. Patsy LeBlanc
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5. Patsy LeBlanc
6. Jacqueline Keller
7. Natalia Korolyuk
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Links to the artists appear on page 59.
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January 2016
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All beads on this page were made by
Gabriele Servayge
www.gabrieleservayge.com
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7
January 2016
Anne-Lise Meier
Making Inspirational Beads
By Leah Nelson
A
nne-Lise Meier is no stranger to the art world. Before she began making glass beads, she received her degree in music, teaching accordion to young kids every week. She also plays music
with a small band, called Zunder Opsi. She discovered glass beads in 2004. She admits she is
mostly self-taught and that Corina Tettinger’s book, Passing the Flame, was a great teacher, “Just over
a year later I attended my first bead class. Since that first class, I have taken only a few courses. I visit
online glass forums regularly and I’m always inspired by what I see. I love precision and geometric
patterns most of all.” Anne-Lise says that besides Corina, Larry Scott, Eric Rader, and Kristina Logan’s
beads inspire her, “From the moment I started making beads, dots have intrigued me. I was particularly
excited by the placement of dots and the resulting geometric patterns. I was so fascinated by dots that
I almost excluded all other kinds of beads, except for dotted beads. The bead by Kristin Logan on the
cover of the book 1000 Glass Beads was my role model. The idea for geometric patterns came suddenly and unexpectedly and hit me like a bolt of lightning when I was sitting on the couch with my cat.”
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January 2016
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Needless to say, Anne-Lise is a professional when it comes to the
precision it takes to make her outstanding beads. She says she has
some idea of what the bead will look like, but the outcome depends on
her concentration, “These beads require deliberate attention, but I love
making them so much. Depending on how many dots I can put on the
first round will dictate the different pattern beads. I find this technique
very creative.” Anne-Lise says customers and other beadmakers
admire her complex and detailed work. She says she’s thrilled with the
response she’s gotten, but she’s probably more proud of her technique, “Of course, I am immensely proud of my beads, but I’m also
proud that I have a steady hand to create them. A lot of my customers
and other beadmakers admire my speed and ability in beadmaking.”
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January 2016
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Because of the delicate work she does, Anne-Lise
doesn’t use many tools. She uses a Lynx torch
and oxygen concentrator to create her beauties,
“I prefer working with few tools. Except for my
torch, I only use a pair of tweezers, a paddle, and
several presses. I have no special tools, but I do
have a large stock of glass!” She prefers using
Bullseye glass to create her geometric patterns
because it is stiffer. You would also be surprised
to learn Anne-Lise has Tourette’s syndrome, which
is a neurological disorder characterized by involuntary moments and tics. Anne-Lise says creating
her dot beads is comforting, “I have absolutely
no tics when I create my dot-to-dot beads. It’s
relaxing for me.”
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January 2016
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Besides creating these intricate beauties, AnneLise makes and donates bead to the Switzerland
chapter of Beads of Courage. She loves making
children feel better.
Anne-Lise says she has no specific goals for the
moment. She enjoys what surprises life brings
to her, “Making beads, for me, is relaxing, and
it gives me time for being creative. I like to be
surprised by life.” Her beadmaking philosophy
also follows in the same tier as her advice. She
recommends, “Beadmakers should always have
fun and be happy. It will show in your work. Make
the beads that inspire you and you’ll always have
fun.”
To see more of Anne-Lise’s work,
check out her website:
http://www.flameart.ch/
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11
January 2016
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Where glass, play & inspiration meet.
Lampwork Classes
CLASSES
Astrid Riedel
February 18-21 and 25-28, 2016
3D Spiky Implosions
Hip to Be Square/Op Art
Marble Beads
Pleated Beads
Dichro and Silver Glass
Silver and Gold Fuming
AT MESA ARTS CENTER
3 0 0 C LAS S E S O PE N
APRIL 18
1 E. Main St. | 480.644.6500 | MesaArtsCenter.com
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Holly Cooper
March 17-21, 2016
Simply Stringer
Design and Detail
Fantasy Flora and Fauna
$160
$325
$325
Sara Sally LaGrand
April 20-24, 2016
Silver Class
Adding Imagery to Glass
Glass Corsage
$375
$375
$375
Check online for specific dates for classes listed.
More classes online. Reserve your seat today!
the-melting-point.com
1449 West State Route 89A, Suite 1, Sedona, Arizona 86336
Schedule of Classes
We have a fabulous line-up for 2016 January through May 2016. See
our schedule below. Our web site has all the details you will need. But
email us for availability, lodging details or if you have more questions.
BeadCamp
www.beadcamp.com
BeadCamp has it all!
We’re excited to be in our much
larger studio. It is only a few minutes
away from our cozy lodging. Our
rates include three evening meals
and free local transportation so you
won’t need a rental car! We also
offer pick up at Tampa and Sarasota
International Airports!
Join us in Nokomis, Florida for a
sunny getaway!
For information or to sign up,
email Marley Beers at:
beadcamp@gmail.com
or call 919-323-9799
Visit our web site at:
www.beadcamp.com
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Session 2
March
15–19
Jari Sheese “Ornaments,
Buttons, Hollow Beads & More”
March
22–26
Heather Trimlett
“Practical Pearls of Wisdom
for Precise Beadmaking”
April
5–9
Stephanie Sersich “All my
Best Tricks and Techniques!”
advanced beginner)
April
12–16
Joy Munshower
2-D and 3-D Sculpture
Session 1
February
2–6
Astrid Riedel “Out of the Box
Techniques” (intermediate to
advanced)
Session 1
April
26–30
Amanda Muddimer
“Cabochons, Pendants and
Ring Toppers”
Session 2
February
9–13
Astrid Riedel (same)
(intermediate to advanced)
Session 2
May
3–7
Amanda Muddimer
(same as above)
February
23–27
Corina Tettinger
“Fancy Florals and Ocean
Beads Combined!”
May
10–14
Kim Fields
“Sculptural Bead Techniques
in Soft Glass”
Session 1
March
8–12
Jari Sheese “Ornaments,
Dates
of your
choosing!
Marley Beers
Mini BeadCamps in glass,
precious metal clay or metal.
2016 Schedule
Session 1
January
5–9
Haley Tsang ”Explore the
Magic of Silver Glass”
Session 2
January
12–16
Haley Tsang ”Explore the
Magic of Silver Glass”
January
19–23
Janie Jones “The Basics
and Beyond” (beginner to
Buttons, Hollow Beads & More”
12
January 2016
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.LL.
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January 2016
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Journeys
By Darryle Jadaa
I
n the first few pages of Corina Tettinger’s book,
Passing the Flame, she shows an actual size photo
of her first necklace of beads. She had been torching for four months at the time she made this piece.
They are lovely and quite ordinary beads. Yes, ordinary
beads from Corina! Isn’t that wonderful? She once made
ordinary beads just like me. But this photo also raised so
many questions for me. How did she go from ordinary
to the amazingly talented artist she is today? Did all of
today’s amazing lampwork artists start out like this? How
did they find out about glass? How did they find their
signature style? What was their journey like?
I asked four very talented artists to answer these and
other questions for me. You will likely recognize their
names – Stephanie Sersich, Jacqueline Parkes, Amy
Kuczewski, and Astrid Riedel. I also asked for photos of
their earliest beads (if they had them). Unfortunately, the
early beads of two of these artists were lost due to computer issues (Astrid and Jacqueline) but they have both
supplied photos of beads from 2008. And because we all
need a little bead porn, I asked everyone for photos of
their current work.
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January 2016
January 2016
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Stephanie Sersich
Stephanie Sersich is one of my favorite lampwork artists. Her
combination of whimsy, color, and technique always makes me
smile. I had the opportunity to spend a week with Stephanie last
year and she patiently answered my multitude of questions. She
is a wonderful teacher and an even more wonderful person. Her
contribution of the Riotous Rooster to our April 2015 issue of
Soda Lime Times is a great representation of both her and her
work – fun, colorful, skilled, and generous.
Stephanie is from a family of artists
and collectors and has been making
jewelry since she was a child. She
challenges herself by using both the
old and the new together. Her beads
are the focal point of all of her jewelry designs. Stephanie’s jewelry and
beads have been spotlighted in the
pages of many publications including
The History of Beads, The Washington Post, Contemporary Lampworking,
and her own book, Designing Jewelry
with Glass Beads, published in March
of 2008 by Interweave Press.
She has also lectured at many conferences and societies, including several
appearances at the International Society of Glass Beadmakers annual ISGB
Gathering.
Some of Stephanie’s early beads
Stephanie’s recent work
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January 2016
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How long have you been making beads? How did you come to try
lampworking?
I have been making beads since 1996. I have shared a love of beads
and adornment with my mom my whole life. She used to take me to
bead shops and shows. After buying Cindy Jenkins’s book, Making
Glass Beads, and ordering a beginner’s kit, I made colorful but pretty
basic beads for a few years. In 1999, I went to an event called
Demorama in Carol Bugarin’s studio in Boston. Kristina (Logan),
Heather (Trimlett), and Sage and Tom (Holland) demoed and I was
able to really see the possibilities. I took several workshops with
Sage and Tom in the Ozarks of Arkansas. Those retreats shaped my
beadmaking more than anything. At college, I set up a torch and kiln
in the sculpture studio, thanks to a grant from the art department. I
took the equipment home in the summers and worked in my parents’
garage. I was hooked. I’ve now been making beads full time for almost
20 years.
PRACTICE,
PRACTICE,
PRACTICE!
ONLY THEN WILL YOU
BE ABLE TO REALIZE
THE VISIONS IN
YOUR HEAD.
How did your work evolve into what it is today/
how did your signature style emerge?
I always liked bright colors and had visions
of making talismans and symbols. And because I love to make jewelry, I dreamed
of making the beads for my jewelry. In
the beginning, I was addicted to layering the transparents and opaques
and seeing what shades emerged.
I liked making little beads, which
helped me practice the basics over
and over, until I wasn’t thinking about
the mechanics. I gained a repertoire
of decorative techniques (twisties and
ribbon cane, raking and feathering
dots, twisting and pulling lines, and
encasing) and started to apply them to
the larger beads that I was experimenting
with. Driven by my enjoyment of engineering
jewelry, I developed new shapes that served
my jewelry designs - parts that dangle and buttons
for closures.
What advice can you give beginners who want to develop their
Practice, practice, practice! Only then will you be able to realize the visions in your head. I’m not sure
one can try to develop a signature style. We are all shaped from our individual influences and experiences. Make what you like and practice a lot and your beads will start to emerge as something that expresses your lens on the world. You can contact Stephanie through her website at www.sssbeads.com.
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January 2016
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Amy Kuczewski
Amy Kuczewski is a self-taught glass artist from northern Indiana. Her beads are bright and colorful and although she rarely
makes the same bead twice, she still has a signature style
that is identifiably “Amy.” She also makes beautiful woven
scarves and leather bound books – she is so productive that
I can’t imagine when she finds time for sleep! Amy also wrote
a number of Grubby Mitts Reports for Soda Lime Times, as
well as generously providing several tutorials over the years.
The “Raja Heart” tutorial was in February 2012, the “Gypsy
Rose” in February 2013 and a tutorial on hollow vessels in the
August 2013 issue.
How long have you been making beads? How did you come to try lampworking?
I ordered my Hot Head kit in February of 2003. The big purchase of the kiln was a mere two weeks later
(a Valentine’s Day present from my husband!) and all my vermiculite cooled beads were chucked in
to batch anneal! I was previously a jewelry designer with a main focus on chainmaille and gothic design. I was looking through jewelry supplies on eBay one day and came across some really wonderful
beads and immediately wanted to own them all! Since I was not yet (and still am not! Lol) a millionaire,
I decided to buy a kit and give it a shot. I am by nature a very curious person, loving to learn how to do
all kinds of different art forms (and must buy everything possible related to that art form immediately,
not knowing if it will work out or not … I’m sure no one reading knows anything about that). I cleared out
my walk-in closet/pantry behind the garage and after that weekend spent a good portion of my life in
that room! When I set up the Hot Head, it was loud and hot and so much fun that I pretty much gave up
on trying to make jewelry … I didn’t have time for it anymore. I was too busy making beads. I still make
some jewelry from time to time but I find I’m much more interested in making beads for other people to
do the designing.
Amy’s recent work
Amy’s first beads
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January 2016
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How did your work evolve into what it is
today/ how did your signature style emerge?
I am not a very symmetrical person in general.
Making matching sets quickly bores me, so
I tend to focus on larger focals, or my most
popular sets, the Bollywood Chunkies. They
are eclectic sets of rounds in a rainbow of base
colors with elaborate (or sometimes very simple)
designs in bright colors in an Indian theme,
inspired by the fabrics of Bollywood costume
and Indian architecture, mehndi and mandalas.
So basically, I think my signature style emerged
by my impatience and lack of an attention span!
While I understand that some people recognize
my work in the Bollywood styles or my bigger
versions - the Jaipur Jewels, I try to avoid a
commitment to one style. I prefer to constantly
explore different styles and keep trying to bring
the ideas in my head into reality. Some are
successes, some I will revisit at another time
when my skills are more refined, and some
are outright fails. But those fails show me what
I need to work on to do it better! More than
anything, I try to make my beads tell a story,
even if I’m the only one who recognizes the plot.
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Do you make beads full time and if so how long
have you been working full time?
I am a full time artist working from my studio in
Wabash, Indiana for the last year. My studio is set
up for lampwork, bookbinding, and silversmithing.
Before learning to make beads, I was a stay-at-home
mom of two already, so I’ve been lampworking full
time since the day I started! And yes, I do realize how
very lucky I am to be able to say that!
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January 2016
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What advice can you give beginners who want to develop
their own signature style?
Try everything. Make whatever
tickles your fancy. Explore every
shape and style and technique.
Ask questions. One day, you will
find that *CLICK* and it will be a
combination of so many different
things; you won’t even realize how
it came about, most likely. A year
later, you’ll still be happy making
them but you’ll find, oh, boy! Look
at that! And you will move on to a
new style. You’ll revisit that other signature once in a while, but
you’ll move in stages. The things
that made you happy when you
were 14 are not the same as
when you were 18. The things
that made you happy at 18 are not
the things that make you happy
at 25. Art is the same way, I think.
You mature, you grow, you learn.
Looking for your signature style is
something like looking for love. It
comes when you least expect it!
You can contact Amy through her
Facebook page at www.facebook.
com/flamekeeper.beads
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19
January 2016
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Jacqueline Parkes
I love Jacqueline’s beads. She is probably best known
for her florals, but her abstracts (using her Magic Mosaic
shards) are amazing as well. The florals are so vibrant
that I want to reach out and pluck one – they just seem to
glow from within. I recommend taking a peek at the November 2013 and April 2014 issues of Soda Lime Times
Some of Jacqueline’s beads from 2008
to see some wonderful bead recipes by Jacqueline. I am
definitely going to try these out as soon as possible.
How long have you been making beads? How did
you come to try lampworking?
I began my career with wire wrapping jewelry for about
ten years full time. I came into lampworking like most,
purchasing beads from others to incorporate into my own
wire wrapped jewelry. Only a few months went by before
I could no longer resist and invested in the basics, which
included a Hot Head torch. I worked on a Hot Head for
ten years! I have been lampworking on and off for about
17 years and have been doing it full time for eight years.
How did your work evolve into what it is today/ how
did your signature style emerge?
Jacqueline’s recent work
I got into lampworking to learn encased florals which
seems to be a common path. I worked only with encased
florals for about five years before branching out into
organic styles. I eventually found my way back to florals
in a variety of styles: encased, raised, or sculpted. I
believe most buyers know me for my floral beads so I
suppose that is my signature style.
What advice can you give beginners who want to
develop their own signature style?
I strongly advise you to pursue your passions. I love, love
flowers and always have so it was a natural path for me. I
find if you have the passion, you have no problem finding
the time and energy to pursue growth in the area you
choose.
You can contact Jacqueline through her Facebook pages
at https://www.facebook.com/groups/1645971185664942/
and www.facebook.com/jacqueline.parkes.16?fref=ts.
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20
January 2016
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Astrid Riedel
Astrid Reidel lives in Pretoria, South Africa, but is originally from the
Netherlands. She has devoted the last 12 years solely to glass art.
Her background lies in jewelry manufacturing as a goldsmith and as
a hobby, she loved to paint, though these days she is focused on
melting glass.
Astrid has an insatiable need to push the boundaries in glass bead
art, to try new ways to add techniques into the beads, some from the
glassblowing world, some from other art influences. The beads she
loves very much right now are her “Face It” series beads (photo below), which are “painted” in the flame of the torch and the off mandrel
hollow beads, in all shapes and sizes. She loves to decorate them
with shards, twisties, dichroic glass, and enamels. Astrid says it has
taken a lot of practice and she is still perfecting the techniques daily.
I often look at Astrid’s beads and wonder how she
can be so consistently amazingly creative. She
must have amassed an incredible knowledge of
glass in order to make such creations. I recently
learned some interesting trivia about Astrid….
she is the person who first created the idea to
layer white, striking orange, clear, Double Helix
Clio, and clear to achieve the best colors with this
glass. She generously shared this with the world
on the forum Lampwork Etc. about five to six years
ago. Thank you, Astrid!
Soda Lime Times has a contribution from Astrid
(and Glassline Magazine) for a Complex Winged
Latticino Twistie in our December 2013 issue.
Recent “Face It” bead
How long have you been making beads? How
did you come to try lampworking?
I started in 2003 and it was purely by chance. I
had never seen or heard of lampworking or seen
handmade beads. I browsed in the art section at
my favorite book store and stumbled upon a book
with some glass beads and a brief description on
materials and tools. Well, that was enough to send
me into a frenzy to try to find all that I needed to
start making beads! The internet was not what it is
today and it took some searching to try and find a
glass supplier and a torch, both of which I found in
Germany.
Earlier bead from 2008
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January 2016
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Do you make beads full time and if so how long have you been
working full time?
I would say I worked at making beads full time from the very start,
I was addicted to it straightaway and could not get enough of it …
hmmm not much has changed in that case!
What advice can you give beginners who want to develop their
own signature style?
As a beginner it is, for most, impossible to even think of a signature
style. Your aim should be to learn as many techniques as possible
and practice and try everything. At some point you will have enough
practice and understand the medium of glass well enough that you
can start developing your own techniques and designs.
I think for each person this will come sooner or later. On the other
side, for many this is a hobby and the amount of time spent is a lot
less than if you sit for 8 hours every day practicing. So set realistic
expectations of what you can achieve in that time frame. As far as
a certain style, my recommendation is to look outside of the bead
world and look at art, patterns, colors, shapes, and designs that
please you and bring them into your bead art. This will bring new
and fresh ideas to lampworking and only then will you start to create
your own signature style.
You can contact Astrid through her Facebook page at
www.facebook.com/astrid.riedel.
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January 2016
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I hope you enjoyed reading about the journeys of these amazing artists as much as I did writing it.
One thing that I learned is to hang on to my beginner beads – they are a great baseline for your own
journey. Do you still have your first beads? If so, I’d love to see them. You can share them with me on
Facebook – www.facebook.com/darrylejadaa. Also, if you would like to read about the journeys of more
artists, please let us know and we will try to make that happen.
About the Author
Darryle Jadaa is a Canadian Lampworker who has been exploring glass
since 2010. She has always been interested in art and sculpture and is
an accomplished wood carver. Once she discovered glass, she focused
all her attentions on learning this medium. She has been very fortunate
to study with some well-known lampworkers such as Corina Tettinger,
Amy Johnson, Joy Munshower, and Stephanie Sersich.
Darryle is also a Doctor of Clinical Psychology who has retired to pursue
her love of glass. She is a strong supporter of Beads of Courage and
loves to make beads for the kids!
www.darrylejadaa.com, www.facebook.com/darrylejadaa
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23
January 2016
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Different Techniques for
Dipping Mandrels
By Diane Woodall
S
ince we have two tutorials in this issue in which the artist uses mandrels dipped in the middle, I
thought it would be the perfect time to review alternate ways to dip mandrels. The first method is
the fastest and easiest way I know to dip mandrels in the middle. It is never quite as quick and
easy to dip in the middle, but if you like to make your beads in the middle, as I do, this method is still
hard to beat.
“skinny dipping.” Whether
you dip your mandrels in the
middle or on the end, eventually you’ll be faced with the
question of how to dip them
when your bead release is
running low. My friend, Ann
DeHoff, discovered this easy
technique and I think it’s one
of the best tips anyone has shared with me in a
long time.
Get yourself a small container
(shallow and with an opening
as wide as you want for the
size beads you are making). If
you only want to make small
beads you can use something
as small as a pill bottle top
and dip only an inch of the
mandrel. In the photo, I’m
using a sauce cup that is a few inches wide. Fill
the container with bead release and it will mound
slightly. Mine didn’t mound much because I use
thin bead release, but it’s enough to dip quite a
few mandrels before I have to top it off.
All you need is a ScoopEEZ bead scoop that you
can get online or at many bead and craft stores for
less than $4.00. Designed to make it easier to pour
seed beads back into their little vials, I’ve found
many uses for them in my studio.
Gently lay a mandrel into the bead release and
pull it out, rotating as you go. Then tap the end of
the mandrel on your work surface to smooth out
the bead release and it’s ready to dry. It’s as easy
as that! Pour the unused bead release back into
the container, wipe out the cup with a paper towel
and it’s ready to be used next time.
Pour enough bead release into the scoop to adequately coat the portion of the mandrel you want
coated. I used about a teaspoon of bead release
for this photo. To make it neater, I used a little
spoon to pour the bead release into the ScoopEEZ scoop.
The beauty of working in the middle of the mandrel is that you can flip it as you go so that you are
always working from the “good” side. If you have
avoided trying making your beads this way because you thought it was a mess to dip the mandrels, now you can give this method a try!
My second method for dipping mandrels was featured in our October 2011 issue and we call this
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January 2016
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Holding the mandrel parallel to the scoop, just dip
it into the bead release, rolling it as you take it out,
tap it gently on the table and it’s ready to use. I dip
in the middle, but this method works just as well
for mandrels dipped on the end.
Clean up is a snap. Simply wipe the bead release
back into the container with your finger and then
wipe the scoop with a paper towel. Remember to
wash your hands after touching the bead release.
The next time you are running low on bead release I hope you’ll try Ann’s helpful tip. Thanks,
Ann!
You can purchase ScoopEEZ scoops online from
Rings & Things.
Bubbles!
O
ur theme this month is all about adding
texture and surface designs to your beads,
so I have a tutorial I want to recommend
that is all about texture! Bubbles to be exact.
Amber Ballard’s tutorial Bubble Bead Focal is
truly a unique technique that I’ve never seen
before. With it you can create beads covered in
raised bubbles!
Amber says that this is an intermediate tutorial,
and I would agree. Heat control is essential to
getting good results from the tutorial. With her
excellent photos and easy-to-follow instructions, Amber leads you step-by-step through the
process of creating perfectly round bubbles on
your bead. I know we’ve all been taught not to
have undercut dots, but in this case that is the
goal.
BUBBLE BEAD FOCAL
INTERMEDIATE
LAMPWORK
TUTORIAL
Amber’s 24-page, full-color Bubble Bead tutorial
is available in her Etsy store for $25.00 at
www.thatbeadgirl.etsy.com.
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by Amber Ballard aka That Bead Girl
www.thatbeadgirl.com
25
January 2016
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Click on the ads to go to the website.
All ads are click-able.
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January 2016
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Grubby RMitts
E P O R T
By Diane Woodall
Texture This - Texture That
S
ince we are focused on adding texture and surface designs to beads in this issue of Soda Lime
Times, I thought I’d share some ideas with you for creating textured surfaces on your beads. You
can make some dandy handmade tools for texturing, but there are also some commercially available that I think you’ll love.
If you are lucky enough to live in Germany you’ll
know all about the tools made by Perlenpresse –
presses, mashers, stamps, and a wide variety of
shaping tools. I want to tell you about some of the
texturing tools they offer.
If you want the texture on a larger surface Perlenpresse, you will love this style with a set of 50mm
x 50mm texture plates for 29.99 €. What makes
this model so appealing is that you can purchase
additional texture plates (set of two) to use with the
handles for just 19.99 € each (below).
If you like a masher-style tool, Perlenpresse
makes this style, which has rotatable plates. This
model is 31.99 € and comes with the handle and
one set of texture plates. For just 13.99 € each,
you can purchase additional texture plates that fit
this handle style. Mix and match so you have the
same – or a different – patterns on each side of
your bead (below).
Interchangable texture plate
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For 19.99 € you can get a masher with a fixed
head like this model below with a 20mm x 20mm
square face.
Many of our readers are already familiar with
Zoozii’s bead presses, but did you know Zooziis
also makes texturing tools? Zoozii’s texture plates
are designed to fit into their specially designed
texture tool base, and then you use it just like any
other Zoozii’s press to add texture to your beads.
Each texture plate (set of two) is $25.00 and the
base is $30.00.
If you prefer a press design instead of mashers,
Perlenpresse also sells a variety of presses with
the texture/design in the press, including this
beautiful Celtic Knot press below (30mm and
20mm designs) for 29.99 €.
Zoozii’s texture plates
Glass artist Shawn Tucker has developed a
textured masher that is available in his Etsy store,
along with directions for using the masher to make
a cute sculptural fish. His mashers can be used on
soft glass or boro, so you know they are durable
and made to last. You can get a pair from Shawn
for just $35.00.
To add texture to a small area of a bead, you can’t
beat the Leonardo stamps for just $34.99 each.
Don’t you just love this basketweave design?
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This is just the tip of the iceberg when it comes to tools you can use to add texture to your beads. If you
place an order from any of the companies mentioned here be sure to tell them Soda Lime Times sent you!
Resources:
Texture tools from Perlenpresse: http://www.perlenpresse.de/en_GB
Texture tools from Zoozii’s: www.zooziis.com
Texture tools from Leonardo Lampwork: www.leonardolampwork.com
Shawn Tucker’s texture tool: www.ShawnTuckerGlass.etsy.com
JAX
IS
BACK
More information at
janicepeacock.com
A Bead in the Hand
Book Two in the
Glass Bead Mystery Series
Now available in paperback
and ebook editions at
Amazon and other online retailers.
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www.theGlassShoppeStudio.com
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Dot by Dot
By Anne-Lise Meier
D
ot beads have always fascinated me. I especially love lampwork beads with hundreds of
dots on them. I enjoy pushing my limits to see how fine and precise I can make my dots.
Geometric patterns interest me, so I design my beads to include dots and geometric
patterns. Using my technique, the possibilities are endless.
You need very few tools to make these beads, but I do recommend you make them in the middle of
the mandrel as it is much easier to apply the dots if you are able to flip the mandrel and work from your
dominant side at all times.
Tools and Supplies:
Tweezers for pulling stringer
Dip-n-Go Sludge bead release (or your
favorite bead release)
Bullseye Spring Green opaque (0126)
Bullseye Blue Lustre (1714)
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Before you Begin:
Apply bead release to the middle of the mandrel.
Pull thin stringers from Blue Lustre. Make sure to pull extra stringers
so you don’t run out in the middle of making your bead.
The Bead:
1
Step 1: Create a round bead (approximately 23mm / 0.91 inches)
in the middle of the mandrel from Spring Green. Keep in mind that
Spring Green appears red when hot, but take my word for it, it’s
green!
Step 2 (Round 1): Now it is time to start adding dots. We’ll be creating a heart design around the bead, so the first step is to create
the triangles that form the bottoms of the hearts. Apply as many dots
on the first round as possible. Count the dots. Make sure that the
number can be divided by 4, 5, 6, 7, 8, 9 or 10, and not by prime
numbers. Good numbers are 30, 32, 35, 36, 40, 42, 44, 45, 48, and
50. For my bead I applied 40 dots.
2
Step 3 (Round 2): For the second row of dots we will begin creating
a triangular pattern. To do this, add seven dots between the dots in
the first row, skipping one dot after each group of seven. (40 can be
divided by 8, but also by 2, 4, 5, and 10 for other patterns).
Step 4 (Round 3): Apply six dots in between the seven dots in the
previous row. You can begin to see the pattern forming!
Step 5 (Round 4): Apply five dots between the six dots in the previous row.
Step 6 (Round 5): Apply four dots in between the five dots in the
previous row.
3
4
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Step 7 (Round 6): Continue the
pattern, adding three dots.
Step 8 (Round 7): Continue the
pattern, applying two dots this
time.
Step 9 (Round 8): End the triangle with one dot.
8
7
Step 10: Now apply one dot between each triangle, as shown.
At this point, you want to flip the
mandrel so you will be working
again from the right side. This is
one big advantage to working in
the middle of the mandrel.
9
10
Step 11: After flipping the mandrel you will be creating the
humps of the heart by applying
three dots, skipping a space,
and applying three more dots
between the dots in the previous
row.
Step 12: Continue the pattern,
this time adding two dots between the dots in the previous
row. Your heart design is now
complete!
11
12
Now let’s add a little something
special above the hearts, a
diamond pattern to finish out our
design.
Step 13: Apply five dots above
and between the heart designs
you just created.
Step 14: Apply two dots, above
and on either side of the dot you
applied in the previous step.
13
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January 2016
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Step 15: Continue the pattern,
this time adding three dots.
Step 16: To continue the diamond shape, add two dots between the dots from the previous
row.
16
15
Step 17: Finally, add one dot
between the two in the previous
row.
Your design is done! Now it’s
time to finsh the bead.
Finishing:
17
Our finished bead!
This next step is critical, so take
your time. Apply heat evenly
and gently to all of the dots to
melt them part of the way. They
should still be raised, but should
be melted enough to adhere and
not pop off. Once the dots are
melted in, use a reduction flame
to bring out the metallic lustre of
the dots, as you can see in the
photos of the finished bead.
Once the dots are reduced to a
metallic sheen the bead is ready
to be annealed in a preheated
kiln.
Another view
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Another view
35
January 2016
Soda Lime Times
Rustic Opal
Off-mandrel Pierced Shield Pendant
By Lori Lochner
T
his is an advanced intermediate tutorial for my rustic opal series pendant. You will need to know
how to blow shards using a blow pipe and be comfortable working off mandrel using punties. You
should be familiar with both hot and cold seals using glass rods. There are many tutorials available
online on these basic flame-working techniques. Piercing a hole using a tungsten pick and piercing
pliers is also required. The application of color is handled in a rather random manner to mimic the
natural look of stone and opal. The finished pendant can be left glossy or, as I prefer, a rustic-etched
finish developed in the flame using baking soda, chemical etching solution, or tumble finishing with
silicon carbide medium. When working with dichroic glass and other parts for off-mandrel work, I find a
small rod-warming oven to be very helpful. The ovens can be purchased through beauty supply outlets
and on Amazon. Buy the biggest one you can afford, as they are wonderful for pre-warming rods and
keeping parts warm while working without the hassle of reaching into a dusty kiln.
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Tools
Tools:
Glass for Pendant (104 COE):
Concave masher (Jim Moore Tools)
Two 1/8-inch mandrels
Tweezers
Marble mold
Hole-marking tweezers (Handy Andy)
Tungsten pick
Small blow pipe or hollow ¼-inch mandrel for
making shards
Graphite paddle marver or bench-mounted
marver for shaping
5-6mm Clear
10-12mm Clear
White
Transparent Medium Blue
Transparent Medium Green Blue
Transparent Grass Green
Strip of dichroic glass on a clear base
Effetre Dark Ivory
Effetre Intense Black
Reichenbach Dark Multi
Optional:
Glass for Shards:
Rod warmer
Baking Soda
Etching solution
Tumbler with tumbling medium and silicon
carbide in a water slurry
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Effetre Sky Blue
CiM Mermaid
Effetre Dark Turquoise
Effetre Intense Black
37
January 2016
Soda Lime Times
About working off mandrel using punties:
Familiarize yourself with using hot and cold seals, glass punties, and steel punties. Cold seals are connections in which the two pieces of glass are warm, but not hot, when attached to each other. This will
allow you to easily sever the connection with a gentle tap on your marver. A hot seal is more permanent
and is achieved when both sections of glass are hot when attached to each other.
I like to use steel punties when a lot of heat is needed for shaping a large gather as they don’t go floppy
when heated. They are also invaluable toward the end of your finishing process, as they don’t leave a
blob of glass that needs to be painstakingly smoothed.
Step 1: Place dichroic strips in your kiln or rod warmer to heat up.
Shards:
Step 2: I am assuming you know how to make shards using a blowpipe. There are many tutorials available online if you need a refresher on how to blow shards.
1
Prepare light blue-based shards and Mermaid or medium bluebased shards using a mixture of opaque blue and green glass. Using a threading or trailing technique, drizzle and spin intense black
over the color mixture (don’t overdo it) to replicate diffuse marbling.
Experiment using colors you have on hand as long as you end up
with some light blue-based shards and some medium blue-based
shards.
Pendant:
Step 3: Using 10-12mm clear rod gather a rounded end or ball.
Over the rounded end, layer opaque white glass. Keep the end as
round as possible and melt in the white.
2
Step 4: Layer transparent blues and greens over the white. I use
three different transparent blues/greens. Melt in and round out your
gather.
3
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January 2016
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Step 5: Remove a strip of dichroic from the kiln or rod warmer with
a long pair of tweezers. Remember to always direct the flame on the
uncoated side of dichroic as you work it to avoid burning off the dichroic layer. Make sure your pendant gather is warmed in the flame
before removing the dichroic strip from your kiln or warmer. Apply
the dichroic strip to your gather. Work gently with a graphite marver
and the dichroic coating facing down onto the pendant gather. The
edges of your dichroic strip will want to round up in the flame. Gently
use your paddle marver to press and encourage the dichroic onto
the pendant gather. One wrap of dichroic is sufficient.
5
Step 6: Once the dichroic is applied, go back over the edges of
dichroic with molten clear to encase the edges and avoid frying the
dichroic as you slowly melt everything smooth and into a rounded
ball. This is where your marble mold is handy! Don’t work too hot!
Dichroic glass can lose its sparkle if overheated.
Step 7: Attach a punty (a 5-8mm clear glass rod) to the opposite
side of your pendant gather. Make sure that you have securely
attached the punty using a hot seal. Remove the 10mm rod that you
have been building the pendant gather on. Round and smooth using
a marble mold.
6
Step 8: Apply your pre-made shards to the area where you just
removed the 10mm clear rod. You want to artfully obscure the areas
where there is no dichroic. This area will be the bottom of your pendant. Smooth and shape using your marble mold.
Step 9: Attach a punty to the “bottom” of the pendant using a cold
seal where you just applied the blue shards. Use a color that was
previously used in making the shards so that when you remove it,
the color left behind will blend. Remove the clear punty. This will be
the top of your pendant. Round and smooth using a marble mold.
Step 10: Apply a cap of dark ivory, then round and smooth it.
7
8
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39
10
January 2016
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Step 11: Using a threading or trailing technique or very thin stringer,
apply abstract patterns in intense black over the dark ivory cap.
Round and smooth.
Step 12: Attach the 1/8-inch steel mandrel punty to the cap you just
applied (the top of the pendant).
11

TIP: Heat the mandrel tip in the flame until it glows cherry red.
Press the hot mandrel into the surface of the glass to attach.
Remember to keep the mandrel and tip continually warm by
going back and rewarming in the torch back flame. If the steel
mandrel gets too cold it will fall off your pendant gather.
You now have two punties directly opposite one another on your
round pendant gather. These will serve as handles for you to heat
the gather and pull it into an elongated football shape. Focus the
flame onto the middle portion of the pendant gather and heat the
entire gather to a dull cherry red. When sufficiently heated, slowly
pull the round ball into a football shape. Even heating of the gather
is essential for a smooth and elegant final shape.
12
Step 13: Remove the blue glass punty. Using your marver, shape
the end from which you just pulled the punty into a nice, gently
pointed tip. Remember to keep the entire gather and steel punty
warm.
Step 14: Once you have shaped the bottom tip nicely, reattach the
blue glass punty with a hot seal. Remove the steel mandrel by super
heating the mandrel only. It should glow orange and come right
out of the tip of your pendant. Shape and fire polish the top of the
pendant where you just removed the steel punty.
13
Step 15: Have your concave mashers at hand. Heat your pendant
gather, focusing on the top 3/4 of the gather. You don’t want to
overheat the blue punty on the bottom of the pendant or it will get
to a dull red, press and flatten
with your mashers. Take your
time and reheat and remash, as
necessary. You want to focus
most of the flattening on the top
¾ of the pendant. You will shape
and flatten the bottom tip later.
Work slowly using a marver and
your mashers to achieve an
elegant, symmetrical shape.
14
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15
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January 2016
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Steps 16a and 16b: Pierce a hole into the tip of the pendant using a
tungsten pick and or piercing pliers similar to the Handy Andy Pliers
I am using. When piercing the hole, I like to first press and thin the
spot where the hole will be with the pliers and then fully pierce the
hole open using a tungsten pick. Remember to heat only the tungsten tool when piercing a hole. After you have pierced the hole with
the tungsten, you can then go back to fire polish, open, and shape
the hole using the pointy tip of the piercing pliers or perhaps a
tapered graphite reamer or pick. Make sure your pierced tip is fully
shaped and fire polished without closing the hole back up.
16a Step 17: Attach a steel mandrel punty to the tip you just finished
and remove the blue mandrel from the bottom. Flatten and shape
the bottom portion of the pendant using your concave mashers and
graphite marver. Be sure to keep the punty and top of the pendant
warm!
You should now have an elegantly tapered shield shape with no
ridges or tool marks.
16b
Step 18: Optional. If you would like to develop a rustic finish in the
flame you can roll the heated pendant in baking soda. Go slowly
and do not apply too much baking soda at one time.
You can always go back for more. Develop the rustic finish in the
flame as the baking soda bubbles on the surface of the pendant to
the desired amount. Or simply use a chemical etching
solution or tumble etch using silicon carbide. I personally like to
develop the rustic patina using baking soda and then tumble etch for
added smoothness.
Step 19: Remove the steel mandrel punty and fire polish the divot
left behind by holding the pendant in warmed large tweezers. Place
the finished pendant in an annealing kiln.
17
18
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19
41
Our finished pendant!
January 2016
Soda Lime Times
Lori Lochner is a glass artist and metalsmith in Northern New
York. She has been a maker and fine craft artist for over 20
years.
Her designer glass components are available through her
Etsy store at www.lorilochner.etsy.com and through her
website at www.lorilochner.com/.
She also teaches intermediate students individually at her
New York farm/studio.
ur
Skills
�
Glass Expert Webinars ™
�
Corina Tettinger
Floral Beads with Fun, Fancy Stamens
r, uses
grana
come
l beads
secrets
answers
actual
ERNS
Y
40077
2-5631
m
ns.com
tterns Quarterly.
�
Expand Your
Beadmaking Skills
10/29/15 7:13 AM
Glass Expert Webinars ™
�
Corina Tettinger
Floral Beads with Fun, Fancy Stamens
Corina Tettinger, internationally acclaimed instructor and author, uses
104 COE soft glass to make stringer cane, encased cane, and filigrana
cane, then uses them to shape dots into petals and make flowers come
alive with a twist of the wrist. The result is exquisite, elegant floral beads
with an added sophistication and vitality. Corina also shares her secrets
for working in a relatively cool flame to create lifelike details and answers
specific questions on her expert techniques asked via live chat by actual
student participants.
Produced by Marcie Davis
Firelady Productions LLC
www.firelady.com
GLASS PATTERNS
Corina Tettinger
Corinabeads
www.corinabeads.com
PO Box 69 • Westport, KY 40077
800-719-0769 or 502-222-5631
Fax: 502-222-4527
www.glasspatterns.com
e-mail: info@GlassPatterns.com
Running Time: 2 hours, 19 minutes
Q U A R T E R L Y
©2015 by Glass Patterns Quarterly, Inc. All Rights Reserved. Content from Glass Patterns Quarterly.
WebinarCorinaTettingercasecover-N.indd 1
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Seafoam Shard s
Focal Bead
By Diane Woodall
I’ve been trying for as long as I can remember to
find a way to make an ocean bead with realistic
looking waves. It’s been one of those mysteries
that has eluded me – an idea waiting to spring
forth as soon as I found a way to make the
water look like moving waves. Then while
playing around with layered shards I realized
that when a shard is applied to a bead, it will
often curl up around the edges, and if the
shard has different colored layers, the bottom
layer will curl up over the top layer, creating
an outline that can be very effective. Eureka! I
knew if I used white as my base color and layered
it with other watery colors, the white could form a
thin outline and give me the look of foaming waves I’d
been hoping to achieve.
For this design to be effective you have to make paper-thin shards, just a little thicker than cellophane. So you can imagine if you build a shard that is several layers thick and then blow it out
paper thin, it is going to be one BIG shard bubble! Mine are about the size of my forearm! One
bubble will give you enough shards to make many beads. You’ll want to use multiple layers of very
small pieces in order to make the waves look real, so the actual construction of the bead is actually
quite simple. The only tricky part is controlling the glass so that you can blow the shards thin
enough without blowing out the side of the bubble. But I know you are up to the challenge!
Another technique I’ll be sharing is how to set a CZ into a bead. I’ve shown this before, but every
night sky needs a star, and ours is a 2mm CZ, set in place using a method so easy you’ll be adding
CZs to all of your beads.
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January 2016
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Tools and Supplies:
Wide hollow mandrel (1/2-inch) for a blowpipe
Marble mold (optional)
Metal bowl into which you can put the shards
Zoozii’s Large+ Straight-sided lentil press (1 ¼-inch)
Small nails or 1/16-inch mandrels
CiM Peace or Effetre White
CiM Celadon or Effetre Light Turquoise
CiM Atlantis
Effetre Dark Lapis
CiMTuxedo or Effetre Transparent Black
2mm CZs
Before you Begin:
Mount CZs on the head of small nails. To do this, moisten your
finger and pick up a CZ so that the flat side is facing up. Dip each
nailhead in a tiny bit of glue and pick up the CZ so that the point is
facing up.
Set aside to dry. I place mine in a box lid that has holes in it. The
little nails will act as handles when you are setting the CZs into the
bead.
The Shards:
The shards for this beads are made in layers. You can vary the
colors you use, but white or a light opaque should be the first layer.
Even though some of the glass you will be layering is opaque in rod
form, when blown into a paper-thin shard it becomes translucent
and light will easily pass through it.
Step 1: You will be making the shard on the end of a ½-inch hollow
mandrel/blowpipe (no bead release). Bring the end of your blowpipe
to a red glow.
1

TIP: I like to use a wider blowpipe when making shards because the wider opening provides more support to the gather
than a narrower pipe.
Step 2: Apply one thick wrap of white around the end of the
blowpipe.
2
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Step 3: Continue to add rows,
building a hollow about the size
of a large olive.
Step 4: Melt the hollow until
smooth. I like to puff a little air
into the hollow to round it out
before adding the next layer.
3
4
Step 5: Encase the white layer with
Celadon, overlapping each row
slightly so that there are no gaps.
Step 6: Melt smooth. To keep
the gather balanced you can use
a marble mold to round out the
shape.
Step 7: Add a layer of Atlantis.
Melt smooth.
Step 8: Apply random dots or
swipes of dark lapis.
5
6
7
8
9
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Step 9: By this time, the gather
is about the size of a walnut, so
to melt it smooth, hold the mandrel with both hands (because of
the size and weight).
Step 10: Heat the gather, rotating constantly until the entire
gather is evenly melted and
begins to get floppy. Don’t stop
rotating or you will lose control
of the gather. When the gather is
glowing red and evenly heated,
blow the shard; keep blowing
until the bubble is paper-thin.
10
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January 2016
Soda Lime Times

Note: I could not get photos of me actually blowing
the shard, but I stand up
for this step and hold the
gather straight out in front
of me as I begin to blow
puffs of air into the mandrel. When the bubble begins to expand, I angle the
mandrel down and continue blowing, allowing the
bubble to expand down
toward the table. With a
gather this size, it’s foolish
to try to defy gravity, when
you can let gravity work
for you.
11
Step 11: Place the shard bubble
(or as much of it as you can) in a
large metal bowl and break it into
small pieces. You will use very
small pieces for this bead.
Step 12: Put the shards into a
shallow container so that you
can pick through them while you
make your bead.
Although I don’t recommend
keeping a paper container
near your torch, this is the only
shallow container I had handy
for my shards. A metal pie plate
would be ideal.
12
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46

Note: If any small shards
fall outside the bowl, clean
them up as soon as possible. They can be really
sharp and can migrate
to where you don’t want
them. Do yourself a favor
and sweep them into the
trash as soon as you are
done making beads for
the day.
January 2016
Soda Lime Times
The Bead:
Step 1: Apply a thin footprint of black slightly narrower than the
press you are using. Lay the mandrel in the press to check the
width.
Step 2: Continue adding glass until you have an olive-shaped gather.
1

TIP: Here is an easy way to know if you have added enough
glass to fill your press. Make a test bead, adding glass until
the press is perfectly filled. Set aside the small piece of glass
that was left at the end of the rod. Starting with a new rod,
if you select a rod the same diameter as your test bead you
can simply add the same amount of glass as you did for the
test bead and be assured it will be a perfect fit.
Step 3: Now comes the fun part – adding the shards. Using tweezers, select a small shard. Meanwhile, heat a spot on your bead
where you want to place the shard and touch the shard to the hot
spot until it sticks.
2
Step 4: Gently add heat until the shard is fully adhered. Don’t worry
if it curls up around the edges. You actually want that to happen on
this bead.
Step 5: Continue to add shards around the bead, trying to establish a horizon line for the ocean. Some waves will naturally stick up
above the horizon line. You want that.
Step 6: Layer on more and more shards, keeping in mind that the
thinnest ones will produce the most interesting waves. You want lots
of layers. If you use a bigger shard, you can let just a little of it stick,
pull, and twist around the bead for interesting effects.
3
5
4
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6
January 2016
Soda Lime Times
Steps 7a and 7b: When you have as many shards applied as you
like, melt everything in. You might have to reestablish the shape of
the bead, which may have become a bit distorted when you were
adding the shards. Press the bead. If it doesn’t fill the press perfectly
you can go back and adjust it. This design is very forgiving. Look at
that! We have waves!
Step 8: Let’s add a moon. Apply a small dot of white above the
waves. Make the dot smaller than you think it should be since you’ll
be flattening it out. Add another dot on the other side.
7a
Step 9: Apply heat to each dot and flatten with a marver or knife.
Step 10: Now let’s add stars to the night sky. Heat a spot on the
bead until glowing red and then gently press a CZ into the glass.
The white glue will burn away instantly leaving a nicely embedded
CZ. I like to cover the CZ with a tiny dot of clear just to keep it from
popping off later. I do this on both sides. wish the camera could
capture how sparkly this really is.
Step 11: Give the entire bead some insurance heat and pop it into a
hot kiln to anneal. This is the bead after annealing.
7b
I hope you’ll give this technique a try. And don’t be discouraged if
your shards don’t work the first time. Start with a single color and
practice until you have control of the gather before moving on to
layered shards.
Try variations of this design with a crescent moon or no moon at all.
Rolling the top half of the bead in silver leaf and burnishing it before
adding the water can give a starry effect to the sky.
Experiment!
Have fun!
8
10
9
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48
11
January 2016
Soda Lime Times
p
u
Bm y
Hedgehog
By Heather Sellers
H
edgehogs are one of the few mammals who
are true hibernators. From December through
March, they remain snuggled up, warm and
cozy. During the active months, hedgehogs are fairly
vocal and communicate through a combination of
grunts, snuffles, and squeals. How adorable is that?
This spiny little bead design has a softer side and
prefers to solicit giggles, chuckles, or belly laughs.
Tools and Supplies:
3/32-inch dipped mandrel
CiM Moccasin
CiM Hades
CiM Butter Pecan
Effetre 260 Pink Bubblegum Pastel
Effetre 444 Brown Light
Effetre 252 Gray Dark
Stainless steel shaping/paddle tool
Tweezers for pulling stringers
Graphite marver
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49
January 2016
Soda Lime Times
Striped Cane:
Step 1: Using a large diameter,
stainless steel mandrel, form a
gather of Moccasin.
Step 2: Shape the gather into
a smooth-side barrel with a
graphite marver.
1
2
Step 3: With a 4mm stringer of
gray, add a line to section the
barrel into halves. Repeat the
process to section the barrel into
quarters.
Step 4: Add a stripe of brown
between the gray sections 180
degrees apart.
3
4
Step 5: Add a stripe of Hades
between the other sections 180
degrees apart.
Step 6: The sections should
be evenly spaced. The stripes
should meet at the center point
of the barrel.
6
7a
7b
8a
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Steps 7a and 7b: Using the
second large diameter, stainless
steel mandrel, punty onto the
center of the barrel. Generously heat and rotate the striped
gather.
Steps 8a and 8b: Once the
gather is heated thoroughly,
begin to pull the striped cane.
The diameter of the striped
cane should measure 3mm in
diameter.
8b
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January 2016
Soda Lime Times
The Hedgehog:
Step 1: Using a 3/32-inch dipped
mandrel, create a cylinder shape
from Moccasin.
Step 2: Flatten one side of the
barrel with a paddle tool. This
area will later become the front
of the hedgehog.
1
2
3
4
Step 3: Add the fur detail by
laying the striped cane on the
barrel. The cane should be
molten upon application to
ensure a flat, secure connection
to the base.
Step 4: Rotate the bead and
continue to layer the striped
cane. Each layer should begin
from the outer edge of the
hedgehog and go toward the
center of the back.
Step 5: Add a second layer
of stripes to ensure complete
coverage of the back.
Step 6: Gently remove any
excess glass with tweezers and
flame cut.
5
6
Step 7: Flatten the small bump
after the excess has been
removed.
Step 8: On the front of the
hedgehog, apply striped cane
to the flat area. Using the same
concept as before, the striped
stringer should begin at the
outer edge and move toward the
middle. Flame cut and repeat the
striped layers.
7
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8
51
January 2016
Soda Lime Times
Step 9: Once the front is
decorated with striped cane, use
tweezers to pull the excess glass
toward the middle and remove.
Step 10: Smooth the little center
point with a flat paddle tool.
9
10
Step 11: To create the hedgehog’s hairdo, add two lines of
striped cane at the top-front of
the bead. Flame cut.
Step 12: Add a third line of
striped cane over the previous
layers to create more volume for
the hair.
Step 13: Using a smooth paddle
tool, shape the hair and flatten
the point to a “V.”
11
12
Step 14: Add a small gather of
Butter Pecan for the tummy.
Step 15: Flatten the gather with
a smooth paddle tool.
Step 16: Add a gather of Butter
Pecan above the tummy. The
gather will overlap the bottom
point of the “V” from the previous
step.
13
14
15
16
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52
Step 17: Flatten and shape the
face with a smooth paddle tool.
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January 2016
Soda Lime Times
Step 18: Using the sharp point of
a shaping tool, pleat the mouth
detail on the face.
Step 19: Add two dots of
bubblegum pink for the cheeks.
Step 20: Flatten the dot detail
with a smooth paddle tool.
18
19
Step 21: Gently heat the dots
until they begin to slowly melt
into the face.
Step 22: Using a stringer of
Butter Pecan, pull a small nose
from the center of the face.
The hedgehog is beginning to
take shape.
Step 23: Add a silly belly button
with a pointed piercing tool.
20
21
Step 24: Using a stringer of
Butter Pecan, add four feet.
Step 25: Gently flatten using a
smooth paddle tool.
Step 26: With a fine stringer of
Butter Pecan, add three toes to
each foot.
22
23
24
25
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53
26
January 2016
Soda Lime Times
Step 27: Gently flatten the toes
onto the body.
Step 28: With a small stringer
of Hades, add a nose and two
eyes.
Step 29: Flatten each dot to
ensure a good connection.
27
28
Step 30: Focus the heat of the
torch at the hedgehog’s hair
above his head.
Step 31: With the same striped
cane as before, gently pull the
hair onto the hedgehog’s face.
The hair should swoop down
with a bit of style.
Step 32: Gently smooth the hair
detail onto the hedgehog’s face.
29
30
Step 33: With a stringer of Butter
Pecan, add two ears to each
side of the hedgehog’s face.
Step 34: Heat and gently pleat
each ear.
Step 35: Flame polish the final
bead, then place the finished
bead into a preheated kiln.
31
32
Our finished hedgehog!
33
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54
35
January 2016
Soda Lime Times
About the Artist
Heather Sellers has been working with glass in various forms for more
than 25 years, including stained glass and flameworking. As a young girl,
she was captivated by the art of glass sculpting. One of her first childhood
memories involves feeling a sense of absolute amazement while watching
artists create glass vases. The skillful dance of fire and molten glass was
an experience which never left her mind. She instantly fell in love with the
texture, shine, and color play of glass.
Heather finds inspiration for her art in everyday life. She enjoys sharing
her love of glass as an instructor at Mesa Arts Center in Arizona. She feels
compelled to continue developing her talent, while helping others through
giving works programs such as Beads of Courage. Because of her commitment to making beads
for children, Heather is a member of the Beads of Courage Hall of Fame and the author of a new
collection of BOC tutorials, Born of Fire, Glass, and Love, which is available at www.bocbook.com.
You can see more of her work on her blog at http://dragonflylampworks.blogspot.com/
And on her Facebook page at https://www.facebook.com/profile.php?id=100008188278358
Memorial Glass by Tammy Rae
www.memorialglassbytammyrae.com
-and-
Glass by Tammy Rae
www.tammyrae.com
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55
January 2016
Soda Lime Times
Cool Stuff for Hot Glass
Lampworking Tools, Supplies and Services
ARC PHOTOGRAPHIC IMAGES
Photography for Artists
BEAD BOX MAN
Cigar box bead storage & display
www.arcphotographicimages.com
www.beadboxman.etsy.com
CORINA LAMPWORK TOOLS
Beads, tools, tutorials & classes
http://www.corinabeads.com
GLASS SORBET
GRACEFUL CUSTOMS
LAMPWORKING TOOLS
Hold-Me-Tight rod holders & Mashers
www.GracefulCustoms.com
WALE APPARATUS CO.
Lampworking Supplies
http://waleapparatus.com
See your ad here.
Contact Paul Woodall at
support@sodalimetimes.com
for information
Lampwork Classes, Glass, Supplies
http://www.glasssorbet.com
HEATHER TRIMLETT
Tutorials and Tools
www.heathertrimlett.com
CG BEADS, INC.
Graphite cavity tools, findings
www.cgbeads.com
GLASS DIVERSIONS
Captivating Frit Blends
www.GlassDiversions.com
LEONARDO LAMPWORK TOOLS
Tools, tutorials and beads
http://www.leonardolampwork.com/
Teaching Studios
DREAM FIRE STUDIO
(San Antonio, TX)
THE GLASS SHOPPE STUDIO
(Ottawa, Canada)
Workshops*Glass*Tools*Beads*Jewelry
Classes*Glass*Supplies* Findings
www.dreamfireglass.com
www.theGlassShoppeStudio.com
BEAD CAMP
(Nokomis, Florida)
THE MELTING POINT
(Sedona, AZ)
Workshops in glass, pmc, metalsmithing
Where glass, play & inspiration meet
www.beadcamp.com
www.the-melting-point.com
Glass for Flameworkers
ARTISTRY IN GLASS
ART GLASS EAST
MELT GLASS ART SUPPLY
Hot, cold & warm. All COEs!
www.meltglass.com
Lampworking supplies in Canada
Lampworking tools, glass & supplies
AUSTIN THIN FILMS, INC.
Full Line of Dichro products
www.dichro.com
GG GLASS
Handmade veiled cane, 96COE
www.ggglass.com
Glass addict? I can help with that
Soda Lime Times Copyright 2016
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www.artistryinglass.on.ca
56
http://www.artglasseast.com/
HOWACO GLASS
www.howacoglass.com
January 2016
Soda Lime Times
Jewelry Making Supplies
12BEAD(Netherlands)
Jewelry making supplies, including Poppers!
www.12Bead.com
METAL ME THIS
Unique Metal Stuff & Patinas
www.metalmethis.etsy.com
Until next time . . .
You make your own beads?
That’s as good as bacon!!!
Soda Lime Times Copyright 2016
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57
January 2016
Soda Lime Times
Coming Next Month. . . Metals!
The February 2016 issue (coming out on January 15th), is all about using metals like gold, silver
and palladium! We would love to publish your photos! We are looking for beads that are decorated
using metals on the surface or encased. Please send your photos to diane@sodalimetimes.com by
December 1st and you might just see your beads in our next issue.
Submission of photos: please send photos that are in focus, no watermarks, no harsh shadows,
and please remove the beads from the mandrels and clean them. Larger photos are better as we can
always size them down, and the higher the resolution, the better. Include a link to your Facebook page,
Etsy store, website, etc. so we can include that in the artist credits.
Soda Lime Times is released every month on the 15th and is available to subscribers for $4.95 per
month. To subscribe to Soda Lime Times, please visit our website at www.sodalimetimes.com. If you
are interested in becoming a contributor to the magazine, either as a one-time contributor or on an
on-going basis, please contact Diane to share your ideas. We are actively seeking interesting content
for our magazine and would love to visit with you.
Please contact Diane Woodall at diane@sodalimetimes.com with any questions or comments.
Diane Woodall / Managing Editor
Leah Nelson / Copy Editor and Contributing Editor (Featured Artist) (leahrnelson@hotmail.com)
Darryle Jadaa/ Feature articles and proofreader
Debby Gwaltney/ Graphic Design
Paul Woodall / Webmaster
All photographs contained herein are published with permission of the artist.
All materials contained in Soda Lime Times are protected by United States copyright law and may not
be reproduced, distributed, transmitted, displayed, published or broadcast without the prior written
permission of Soda Lime Times. You may not alter or remove any trademark, copyright or other notice
from copies of the content. You may download material from Soda Lime Times and print one copy for
your personal, noncommercial use.
Links to Websites other than those owned by Soda Lime Times are offered as a service to readers. The
editorial staff of Soda Lime Times was not involved in their production and is not responsible for their
content.
For further information, see our terms of service at www.sodalimetimes.com
Safety notice: Readers of this magazine acknowledge that there is risk associated with lampworking
and that it is the responsibility of the reader to work in a safe studio. Soda Lime Times assumes no
responsibility for injuries or damage caused as a result of using any of the material in any publication
produced by our company. It is up to each individual reader to determine if they possess the skills
required to safely execute a project.
Soda Lime Times Copyright 2016
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58
January 2016
Soda Lime Times
Artists Appearing in This Issue
Kathy Bankston: www.KathyBankston.com
Bertie Beattie: https://www.facebook.com/SpeciallyMadeCrafts/
Debra Becker: https://www.facebook.com/DebsGlassWorld/
Loes Brouwers: www.serafijn.co
Chris Dalrymple: http://www.cdalrympledesigns.com/
Kathryn Guler: https://www.facebook.com/KathrynGuler/
Jacqueline Keller: www.creartelier.ch
Natalia Korolyuk: www.etsy.com/shop/NataliaKorolyuk
Patsy LeBlanc: www.etsy.com/shop/killerbeedz1
Lori Lochner: www.lorilochner.com/
Anne-Lise Meier: http://www.flameart.ch/
Anna Miller: www.catsmeowart.etsy.com
Beatrice Schomber: www.beusha.etsy.com
Heather Sellers: http://dragonflylampworks.blogspot.com/
Gabriele Servayge: www.gabrieleservayge.com
Heidi Small: www.Tygerlilyglassworks.etsy.com
Mona Sullivan: www.monaslampwork.etsy.com
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59
January 2016