Frantz Art Glass Blog

Safety: About Ventilation

Posted on July 22, 2010 by patfrantz

Ventilation is an aspect of lampworking that doesn’t get discussed enough and is a very important component to lampworking safety.

Fumes form when the surface of glass is strongly heated in a flame. Although the amount of material volatilized in flameworking is smaller than when the glass is originally batched and melted, the exposure times can be long, so good exhaust is important in flameworking. All soft glass colors are giving off some amount of hazardous fumes when melted, which mix with the fumes of the burning fuels that are used to power a lampworking torch and this should be addressed by every lampworker who is melting glass.

There are an ever growing number of highly silvered 104 C.O.E. boutique glass colors available on the market these days and I think it is very important to understand the hazards of using these products in an improperly vented environment. Using these silvered glass colors in a flame, you are liberating the metal fumes that give these glass colors their remarkable characteristics which are very similar to doing fuming with gold or silver. Gold and silver fuming in a lampworking flame is a highly toxic working situation and should never be done in an environment that is not properly vented.

Good exhaust is needed for every lampworking station. The draft should be away from you, and cooling air should not disrupt the air flow of the exhaust. A smoke test is a simple way to verify that air flows are correct. To do a smoke test to check the effectiveness of a venting system involves lighting a combustible substance that produces enough smoke to allow you to view the speed and amount of air flow through the venting system being tested. The smoke should be aggressively drawn directly into the venting system without rolling back into the lampworkers face.

If you currently do not have a venting system or you need to improve the system that you have, there is a free venting tutorial available through Andrea Guarino-Slemmons website. Click Here to access this tutorial.

Flameworking venting system designed by Whit Slemmons

Andrea’s husband Whit Slemmons designed this inexpensive and relatively easy to assemble venting system and made it available to the lampworking community because proper venting for lampworking is so important.

When you access this venting information, you will notice that the opening for the vent is in front of the torch instead of overhead like a kitchen vent. The reason for this placement is the fact that an overhead hood venting system doesn’t draw the fumes directly away from the lampworker, but circulates the fumes at the lampworker before drawing the fumes up the vent. These circulating fumes are exposing the lampworker to the accumulative hazards of heat liberated fumes and burn fuels.

If you have ever wondered about your venting system, this the time to deal with it.

Tips and Techniques: More about Using Dichroic Glass

Posted on July 15, 2010 by patfrantz

I am going to discuss more about working with dichroic glass because Frantz Art Glass is having a special sale for 35% off Effetre dichroic strips starting on July 16. Dichroic almost never goes on sale, so this is your chance to obtain some of this gorgeous sparkly glass.


Strips of a dichroic pattern called Corkscrew on clear – #551675.	Magenta dichroic on clear – #553515 showing both reflected color and transmitted color .

I have been lampworking dichroic glass for the past 18 years and I am thoroughly addicted to it and I thought I would pass on some of the techniques I use to get positive results when using this unique glass.

All the strips we sell at Frantz Art Glass have been pre-annealed to make the strips easier to handle when putting them in and out of the flame. I discovered a long time ago that pre-annealing the dichroic strips eliminated most of the heat shock that the strips go through when they are pulled in and out of the flame. If the strips are not pre-annealed, you can lose as much as an inch of the dichroic strip from heat shock every time you put a used strip into the flame and this can add up to a lot of inches of dichroic. I have even tried to reuse the parts of the dichroic strip that popped off from heat shock and I found that when I stick the piece back into the flame, it explodes into tiny fragments.

The pre-annealed strips also make it a whole lot easier to tell which side of the dichroic on clear actually has the dichroic crystals on it. This is important because if you are using a oxygen/propane torch, the flame is too hot to use the dichroic strip with the crystal side up and exposed to the flame.

When I use dichroic in an oxygen/propane flame, I use the dichroic on clear with the crystals placed down on the bead core which automatically makes an encasement over the dichroic crystals. This saves the crystals and time because I don’t have to apply any extra glass over the dichroic to protect it.

Small tabular bead made with Corkscrew on clear and goldstone decorations.

Another good tip for working with dichroic on clear, is to have a graphite pad set by your torch and lay all the dichroic strips or pieces you are going to use with the crystal side placed down on the graphite. The black graphite gives you a good surface to view the reflective color of the dichroic strips and with all the strips placed crystals down; you know for sure which side of the dichroic you are putting into the flame.

If you want to work with the dichroic crystals up to get a super metallic look, check out the blog I did about using dichroic on a Hot Head torch. Click Here.

Frantz Art Glass is also putting my DVD on making dichroic beads on sale for 50% off the retail price which is called “Making Dichroic Beads with Pat Frantz” – #231545.

231545_ DVD Making Dichroic Beads with Pat Frantz

Making Dichroic Beads with Pat Frantz shows a wide range of dichroic techniques.

Below is a video segment from “Making Dichroic Beads with Pat Frantz” that shows me making a large two color dichroic tabular bead with a goldstone zig zag design between the two color.

If you have ever been interested in dichroic glass, this is the time to take the leap and get you feet wet. Dichroic glass is beautiful and fun!


Long bicone made with magenta and a dot pattern strip and goldstone ribbon cane details.	Dichroic pieces over black bead core and encased with CiM Halong Bay.	Tabular bead made with strips of red and gold dichroic, decorated with goldstone swirls.

Small oval bead of pink and teal dichroic strips, decorated with swirls of Triton.	Round 12mm bead made with magenta dichroic .	Small tabular bead made of light green glass covered with green dichroic and decorated with Triton.

Posted in 104 COE Glass Review, Lampworking Techniques | Tagged beadmaking video, dichroic glass, lampworking Tips and Tricks | Leave a comment

Glass Colors to Consider

Posted on July 9, 2010 by patfrantz

Frantz Art Glass is currently having a special sale on selected Vetrofond glass rod colors that I thought I should point out because the sale prices are so good. The general selection of glass colors from all the different manufacturers is so huge, I think it is hard to know what to stock up on and I want to show some examples of what I made with the colors currently on sale at $1.99, $2.99, $3.99 and $9.99 a pound.

One color that is on sale is Translucent Yellow – #791910 and in my opinion, it is a fabulous but frequently ignored color. Depending on how one uses it, Translucent Yellow can manifest really differently depending on what is next to or over it. If one uses Double Helix Triton as a decoration over the Translucent Yellow and reduce it to silver, the yellow turns a beautiful banana yellow from the fuming properties of the highly silvered Triton glass. If one encases Translucent Yellow, it turns a bright opaque yellow that is intensely primary.

I made one bead that is a large oval that spent plenty of time in the flame, that has both a goldstone stringer and a little bit of Triton swirled around the bead. This combination manifested delicate sepia fuming over the Translucent Yellow that totally changed how the color looks.


Oval bead made of Translucent Yellow with Triton feathering.	Encased bead with a core of Translucent Yellow.	Large oval bead made with Translucent Yellow, Goldstone and Triton.

Another transparent color I think is really nice and useful is Pink – #791068. This color works well as both as a transparent and etched and is incredibly inexpensive at $1.99 a pound. I think this pink looks especially delicious when it is etched, but I really like it as an encasement over a scrap of dichroic glass.


Tabular bead made with Transparent Pink – #791068 with a silver dichroic wrap in core and dot decorations.	Oval bead made with Transparent Pink – #791068, decorated with ribbon cane and etched.

From this sale, there are three premium colors that I worked with and really like.

The first color is Flower Pink – #791255 which is a lovely pastel pink that doesn’t devitrify when it is melted in the flame. Several of the pinks from Effetre have a tendency to devitrify and I found Flower Pink to be a lot easier to use because it doesn’t devitrify. Another aspect of this Vetrofond pink is the color shift to a lavender/pink it does when placed next to certain colors. When Flower Pink is placed in a mostly pink tonality group, it manifests as a sweet medium pink that looks lovely when covered in roses.


Tabular bead made with Flower Pink and decorated with roses and goldstone ribbon cane.	Tabular bead made with Flower Pink and Green Tea, decorated with swirled goldstone ribbon cane.

Seashell Swirl – #791955 is translucent pinky beiges in rod form, but turns into a nice opaque pink that is different than Flower Pink, but equally delightful to use in the flame.

The third color I want to talk about is Tomato Soup – #791804 that came out when Vetrofond made a huge bunch of “Odd Colors”, many of which were wildly variegated orange based colors.

Tomato Soup turned out to be a hoot to make beads out of and even the simplest bead designs pop when using this color. The short bicone bead I made with the Cornflower strip around the middle showcases the lively variegation that emerges when you melt a rod of Tomato Soup and make a bead.

The second bead made with Tomato Soup has been paired with Double Helix “Triton” and produced interesting, rich oranges in the Tomato Soup because of the fuming properties of Triton.


Short bicone bead made with Tomato Soup with a Cornflower strip.	Tabular bead made with Tomato Soup and decorated with Triton swirls and Cornflower.

Have fun and take the opportunity to stock up on these great colors!

Posted in 104 COE Glass Review, Lampworking, Promotion | Leave a comment

Tips and Techniques: Using Dichroic on a Hot Head Torch

Posted on July 2, 2010 by patfrantz

In my beadmaking career, I have always used an oxygen/propane torch. For this reason, I use dichroic colors on clear sheet glass with the crystals down on the bead core because it keeps the crystals from burning and produces an automatic encasement.

I was in a friend’s studio a while back and I noticed the dichroic beads she had on her work table. These beads were made with the dichroic crystals placed on the surface of the beads and had no encasement; I asked her what kind of torch she used to make the beads with the coated surface up. Much to my surprise, it was a Hot Head torch. I said to myself, “Wow, these look really cool!” I decided to do my own experimenting on a Hot Head. I made beads with the dichroic crystal coated side up and I’m here to say to all you who still use or have a Hot Head, give this a try. Dichroic beads made in this way have a wonderful metallic look that is totally different from encased dichroic beads. When I’ve tried this in the past using my oxygen/propane torch, it resulted in a burned dichroic coating. The oxygen/propane torches run a lot hotter than a Hot Head and the Hot Head has a unique flame atmosphere that does not burn the dichroic crystals.

When you make dichroic beads on a Hot Head, you can use the dichroic on black glass strips as a base to achieve metallic jewel tone colors that unlike any other application I’ve seen. Using dichroic on black as the base of a bead allows you to pile more dichroic colors on clear glass and achieve very interesting color reactions. Yet another interesting look is created when you make a dichroic on black base bead and then use a pattern dichroic on clear with the crystals up or down.

Group of dichroic beads made on a Hot Head

I now like the look of the dichroic beads with crystals up so much that I’ve started making some of my own beads this way. I like the way they look when they are made into jewelry.

Click on photos for larger image.


Bead made on Hot Head with dichroic on black glass, crystals up.	Bead made with blue on black dichroic with a band of corkscrew dichroic.	Bead made with topaz and covered in copper and pattern dichroic.


Bead made with pink on clear dichroic over steel gray transparent.	Bead made with gold dichroic on black on Hot Head with crystals up.	Bead made with blue dichroic on black on Hot Head with crystals up.


Bead made of blue on black dichroic with a wrap of silver blue dichroic on clear.	A tabular bead made from Rainbow “A” dichroic on black.	Bead made of blue on black dichroic with a wrap of pattern dichroic on clear.

Posted in Flameworking 104 Glass, Lampworking Techniques | Tagged dichroic glass, Hot Head torch, lampworking dichroic | Leave a comment

Tips & Techniques: Making Bright Transparent Beads with Shards

Posted on June 24, 2010 by patfrantz

I have been experimenting for a while with using some of the denser Messy Color/CiM transparents as shards over clear beads to create brighter, lighter versions of these beautiful colors.

The colors that I think fall into this category are:

Sangre – 511128
Slytherin – 511483
Leaky Pen – 511508
Great Bluedini – 511590 ( also 511590-1 and 511590-2)
Cranberry Pink – 511926-2 (this is a darker shade than regular 511926)

Sangre was the first Messy Color transparent that I really worked a lot with in this manner because it is such a beautiful Christmas Red. If I tried to make a solid Sangre core for a bead base, it would come out looking almost black because there is so much pigment in the glass, which was not the look I was going for.


A solid tabular bead of Sangre, showing how dense this transparent color can be.	A bead made of clear and covered in Sangre shards to keep the red thin and bright , decorated with Ekho stringer.

Blowing shards of Sangre and placing them over a clear core produces eye popping bright red beads that glow when light hits them. They look so good that I want to eat them.

If you are interested in producing a controlled design out of these very dense transparent colors, you can produce a very thin ribbon cane out of one of these colors and lay it down over a white base.

To make a ribbon cane, I make a wide end punty out of clear glass and put three or four 1 ½ inch rod pieces of what ever color I want and heat and mash the rod pieces into a glass wafer/rectangle, making sure to flatten out all the dips between the rods. I then put a punty on the other end of the wafer and heat it to the point that I can pull out a 2 foot ribbon cane.


A white-heart bicone bead made with Sangre ribbon cane over Peace	A bead made with Peace core, covered in Sangre shards and decorated with a Aurae stringer and encased with clear.

If you have never tried to use these transparent colors as shards or ribbon cane, you should give it a shot and see what you come up with.


A solid tabular bead made with Leaky Pen, shows how dense this beautiful transparent blue can be.	Leaky Pen applied over a bead of Peace, showing what a lovely shade of blue you can achieve with a thinner application of Leaky Pen.


Large bicone of clear glass covered in Sangre shards and decorated with Aurae bumps and dots.	Round clear bead covered in Shards of Unique Great Bluedini 51159-2 to create a brilliant teal green.	Round clear bead covered in shards of Unique Great Bluedini 511590-1, which shows what a beautiful blue this color is.

Posted in Flameworking 104 Glass, Lampworking Techniques | Tagged CiM, Messy Color, ribbon cane, Shards | Leave a comment

Tips and Techniques: How to Deal with Devitrifying Opaque Glass Colors

Posted on June 18, 2010 by patfrantz

There are a number of gorgeous glass colors made by Effetre that have an annoying tendency to devitrify while you are working them in a torch flame. I had been plagued with this problem for years and was so frustrated by it that I avoided using any of the devitrifying colors.

The colors that I had the most problems with were:

591254 – Effetre Purple Premium Opaque Pastel ( nicknamed EDP – evil devitrifying purple)
591256 – Effetre Dark Pink Premium Opaque Pastel
591257 – Effetre Sedona Premium Opaque Pastel
591267 – Effetre Calico Premium Opaque Pastel

Devitrification is when a glass color undergoes a change in texture from glassy to crystalline on the surface of a bead or other glass object while being heated in a torch flame.

Devitrification can be a challenging occurrence and of course it happens with some of the most popular opaque colors, but not to worry because there is a simple solution to the problem. I have asked lots of beadmakers if they knew an easy fix to this problem and one friend of mine Sue Stewart, told me the best solution I have learned and tested to date.

To make the devitrification go away on your bead surface, all you have to do is take some of the oxygen out of your torch flame, making the center candle of your torch flame a little longer than the outer ring of the torch flame.

This simple adjustment keeps the surface of the bead looking glassy instead of chalky whitish-gray. Every torch is slightly different, so it is wise to play around with the length of the center candle of your torch flame until you achieve the desired results.

Click on photos to see larger image.


Bead of EDP with Ivory designs showing devitrifiation.	Bead of EDP made in propane rich reduction flame.


Bead made of Calico showing devitrification.	Bead made of Calico with no devitrification.


Sedona with some devitrification.	Sedona bead made in a propane rich reduction flame.

Posted in Flameworking 104 Glass, Lampworking Techniques | Tagged devitrification, EDP, Effetre, flameworking | Leave a comment

Did you know that CiM/Messy Color has Fabulous Stringers?

Posted on June 10, 2010 by patfrantz

Do you make stringers of Messy Colors?

In spring 2010, CiM began producing stringers of some of their more popular colors that would translate well to smaller diameters.

Stringers have been traditionally sold in 2-3 mm diameters and CiM originally produced in this size. However, in a recent poll, their testing team expressed an overwhelming preference for the 1-2 mm size, which I totally agree with and urged that that size stringer be the standard. So CiM is phasing out the 2-3 mm diameter in preference for the 1-2 mm.

Messy Clear will continue to be available in both the 1-2 mm and 2-3 mm sizes.

CiM has the stringers packaged as carefully as possible to prevent breakage. Each quarter pound bundle is wrapped carefully in tissue paper and tagged. They do not tag the stringers themselves as they found this caused breakage.

They are committed, as part of their mission, to maintaining adequate inventory of all Messy Colors so that artists have access to consistent colors whenever they need them. As part of this mission, in the long term future, they plan to offer adequate inventory of stringers in Hades (intense black), Tuxedo (regular black), Peace (opaque white), and Clear. [Please note that they have only produced Clear & Peace as of June 2010.]

CiM introduced stringers in a variety of other Messy Colors to test the marketplace beyond the aforementioned colors. The 1-2 mm size is more difficult to pull and the prices are higher than 4-7 mm rod accordingly. They plan to gauge the response from the marketplace in order to determine if any stringers (other than Hades, Tuxedo, Peace, and Clear) will become a permanent part of the Messy Color line.

As this is an experiment, they are not sure which colors or how much quantity will be available at any given time. Frantz Art Glass has the most complete selection available. I encourage you to browse the stringer section of the Frantz’s site to see what colors are currently available.

If you would like to know if stringers are available in any given color, simply look at the paddle image for size availability. If a size is listed, then the color is available in 4-7 mm and the listed size. For example, Messy Olive, as shown here, is available in 1-2 mm as indicated as well as 4-7 mm.

511476 Olive

If there are no sizes on the paddle, then it is available in 4-7 mm only.

Posted in 104 COE Glass Review | Tagged 104 COE glass, CiM, Messy Color, stringers | Leave a comment

A Bonanza of New Glass Colors by the Big Three!

Posted on June 4, 2010 by patfrantz

Spring has brought an amazing number of new glass colors from the three big glass factories that supply Frantz Art Glass & Supply. I have been working like crazy to make test beads and experiment with mixing the new colors with different silvered reactive glass to see what happens.

There are six new colors from Vetrofond and the good news is I found that most of the new colors have great reactions when you use them with the silver reactive colors. There was a glass color from Vetrofond a while back Called ELO that would fume to a beautiful sepia color when used with reactive glass and this is true of five of the six new colors. I love the sepia tones that I got out of these new colors and am really glad to have all these new choices – yummy, yummy!

The six new Vetrofond colors are:


Biscotti – 791819	Pale Pesto – 791820	Verde Muschio – 791821

Cream – 791822	Mauvelous – 791823	Purple Plum – 791824

Effetre/Moretti also made three new colors that just arrived and a couple of them are knock-outs! The first one that got my attention is call Calico #591267 and it is one of the most interesting glass colors I’ve seen in a while. Calico in rod form looks like it has a big core of a pink, like Dark Pink or Sedona and is covered in a layer that looks like Opal Yellow. When you heat this glass and make a bead out of it, it has swirls of at least five different gorgeous earthy tones that make it look like picture jasper.

The second outstanding color from Effetre/Moretti is called Caribbean Sea #591227. This color has a base of a light opaque blue with swirls of transparent teal weaving in and out of the blue, making this color gorgeous all on its own and the name fits it.

The three new Effetre/Moretti colors are:


Caribbean Sea – 591227	Calico – 591267	Lizard – 591729

I haven’t had a chance to do any experimenting with Lizard, but I will get back to you when I do.

CiM/Messy Colors has come out with one new color called Sherwood #511492 and is a green that is based on a unique Elphaba that was very popular and highly requested. CiM also has added a unique opaque gray to their palette called Hippo #511891.


Sherwood – 511492	Hippo – 511891


Mauvelous with Psyche and Rose Quartz bumps.	Pale Pesto with Aurae bumps.	Biscotti with Sangre and Aurae bumps.

Sherwood with Red Monster and OX decorations.	Calico with Sangre and Aurae bumps.	Cream with Red Monster and Aurae decorations.

Posted in 104 COE Glass Review, Flameworking 104 Glass | Tagged Calico, Caribbean Sea, CiM, Effetre, flameworking, Glass colors, Messy Color, Moretti, Vetrofond | Leave a comment

Taking the Mystery Out of the Effetre Seeded Tube Glass

Posted on May 28, 2010 by patfrantz

If you haven’t noticed it before, Effetre makes a special seeded tube glass rod. They are only around 5-6 mm in width and I recently got an email asking what these special tubes are used for.

This photo shows the available colors that the seeded glass tubes come in.

On one of the trips I took to Effetre that is located on Murano, I saw a bin of the seeded tube glass and asked through the translator what it was typically used for. I was informed that it was used to make long straight glass beads of different lengths, depending on how the beads were going to be applied. The two most typical uses for the beads turn’s out to be for either a beaded fringe on a Victorian style lamp shade or a beaded door curtain. The beaded door curtains have a nice tinkling glass sound when you pass through them and the long tube beads provide translucent color that lets light through without being transparent.

This lamp shade shows how long tube beads are used in a fringe.

When I first got some of the seeded glass tubes from Effetre to work with, I tried to blow little beads out of it. This experiment didn’t work out too well, I could make little decorated blown beads out of it but they were not too interesting and a lot of trouble to make.

Since that time, I have asked many flameworkers what they do with this unusual seeded tube glass. One of the most interesting uses I have seen, was to tack fuse a piece of the seeded tubing to a small fused pendant to create a channel to string the pendant on to a necklace.

One way I have used the seeded tube glass is to make it into the body of a ball point pen, making the barrel of the pen long enough to hold the ink cartridge. I close off one end of the tube and insert the cartridge in the open end.

Here is an example of a pen barrel made with a seeded glass tube.

Some flameworkers use these seeded tubes in their solid lampworked bead to create patches of tiny air bubbles as part of the design. I like to make zig zag tube beads to use in necklaces.

To make zig zag beads, I take a tungsten pick and stick it in the hole as a holding device. I then heat the tube evenly all the way around and then gently bend the tube, making sure not to bend it so much that I close off the hole running through the tube. The seeded tube glass has a marvelous shampoo sheen to the surface of the glass which can make a lovely addition to a necklace or even a pair of earrings. Zig zag beads can get pretty long in length, but there are beading needles that are 3 ½ inches long and very flexible which makes them perfect for threading through the bent zigzag beads.

Here are three examples of zig zag bead made from seeded glass tubing.

To make clean breaks in the tubing, take a pair of disc glass cutters and grip the tube with the disc and score all the way around the tube and then snap the tube with your finger at the score mark. You will get such a clean break that it will require very little sanding to smooth the ends. If you choose to heat the ends of your tube beads, you will lose a number of them to tiny fractures from the heating process.

One of my favorite colors of seeded tubing.

Topaz colored seeded glass tubing.

Group of lavender seeded glass tube rods.

Posted in 104 COE Glass Review, Lampworking | Tagged beads, fringed lamp shades, glass pens, Lampworking, Murano, Seeded glass tubing | Leave a comment

More tips for using light modifiers.

Posted on May 21, 2010 by Keith

Working at Frantz Art Glass I have had the pleasure of taking many photos of beads. It is honestly my favorite form of photography. It is challenging and rewarding. That’s why I love working at Frantz Art Glass. One of the perks is that I get to shoot Patty’s beads, The teachers beads after a class, some of the students work, and contest entries. During the last contest we had, the “Anything Goes” contest, I realized that my current photography setup wasn’t going to cut it. I was using a large photo tent and 2 500w lights. I then grew to 4 500w lights. My theory was more lights there were meant for better photos. Later I learned that is not the case. It’s all about how you use the light. Some times more light makes it worse. The photos would have too much contrast and hot spots. I needed to develop something that would allow me to easily set up and breakdown for any type of bead, pendant, marble or sculpture and any type of glass as well. I would shoot something like Dark Ivory a lot different than an opal or dichroic.

Here are some examples of what I’m talking about. These images are not enhanced in any way. All I did was crop them. I wanted to show you what the raw images looked like.

Notice how the second diffuser washes out the left side of the bead

Here is an example of how I would not shoot dichroic on clear. I shot this bead with one 500w lamp using 2 diffusers. One to diffuse the light on the right and one to bounce it back on the left. You can see that the left side of the bead is washed.

Notice how the left side is a rich magenta. This is because there is no light being redirected on to that side. It alows the dichroic to show the light passing through it.

Notice how the left side is a rich magenta. This is because there is no light being redirected on to that side. by dropping the left light diffuser it allows the dichroic to show the light passing through it, instead of bouncing off it.

Another example why I love my light modifiers is because it works great with metallic luster glass like Triton and Echo. As you can see, with the images below, it tweaks the position of the light diffusers to make the metallic glass look great.

The light is spread evenly across the bead. But the Echo Stringers fall flat.

Witht he diffusers opened up a little more you can see the Echo stringers start to have more volume because they are reflecting the dark parts of the room.

With the diffusers opened up a little more you can see the Echo stringers start to have more volume because they are reflecting the dark parts of the room.

With diffusers opened up even more the Echo stringers have a lot more going on. There is even a slight lens flare from the light.

These photos were all shot with only one 500w lamp and 2 home made diffusers.

Posted in Bead Photography, Lampworking | Tagged Bead Photography, bead photography lighting, Dichroic Photography | Leave a comment

Safety: About Ventilation

Tips and Techniques: More about Using Dichroic Glass

Glass Colors to Consider

Tips and Techniques: Using Dichroic on a Hot Head Torch

Tips & Techniques: Making Bright Transparent Beads with Shards

Tips and Techniques: How to Deal with Devitrifying Opaque Glass Colors

Did you know that CiM/Messy Color has Fabulous Stringers?

A Bonanza of New Glass Colors by the Big Three!

Taking the Mystery Out of the Effetre Seeded Tube Glass

More tips for using light modifiers.

These photos were all shot with only one 500w lamp and 2 home made diffusers.

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These photos were all shot with only one 500w lamp and 2 home made diffusers.

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