CiM mermaid

These beads were made a week or so ago using CiM mermaid.  I like the beads and I like the color.  What I do not like is the amount of aggravation it took to get them up there, and now the post isn't autosaving.  This does not bode well.  Why does every computer programmer never quit while something is working well?  It has to be tweaked again and again until everything crashes.

Enough of a rant.  I have been suffering from a nasty cold/flu and have not been up to torching, so nothing new to me for the time being, and me with new glass, too, so here are some of the ones I have lying around.

CiM mermaid doesn't do much interacting that I can see, except with copper leaf, ivory, and EDP.  With copper leaf it goes black and crusted on its own and blue under encasement.  I like this effect.  I like the effect I got with the triton unencased.  The oddball silver glass bead is with aurae.  With ivory that grey line comes back.  Not a surprise.  With EDP, the purple pops and the mermaid separates.  Neat.  I like the purple and green combination of the mermaid and copper red green, and wouldn't you know the mermaid and intense black bead chipped just where it was going to be pointing up.

Will I buy this color again?  Probably.  It fills a niche not found in any other coe 104 glass that I know of.

CiM canyon de chelly

It's been a long while since I've posted, primarily because of a bout with the flu and no gas for the torch. It's true: I bought out the home improvement center I work at. I've had a word with the guy who does the ordering and informed him of my expected consumption and he will try to keep me supplied.

I made a lot of beads with this color, primarily because it is billed as highly reactive and that is what I am currently going for. I have to say it changes character dramatically depending on what is done to it. 1 is plain for reference. With 2 through 5, I added a layer of metal to it. 2 is with silver foil, 3 is with silver foil, reduced and encased, 4 is with copper leaf, melted in very thoroughly, and 5 is the same encased. I have recently added copper leaf to my repertoire to see what it does with the colors and haven't formed an opinion yet as to whether I will continue. So far it's a toss-up.

With silver glass, canyon de chelly looks better under encasement. The aurae on the left isn't doing much but I like the triton on the right. The canyon is sort of grey underneath the encasement of both colors.

Ivory didn't do much and the silvered ivory stringer adds a nice textural organic type of thing. Who knew that the EDP would separate the canyon de chelly? Plum silver dark is disappointing.

There is a barely perceptable grey line with the turquoise and copper red green. I'm back to my teardrop shaped stringcutters again, I see.

With CiM tuxedo, the tux spreads and separates the canyon de chelly, like it does with almost everything else. It also bleeds a bit. Intense black isn't doing much of either.

Will I buy this again? Yes, because it is a good background color to have on hand. I have to try a head to head with CiM stoneground, which it reminds me of.

Post amended 5/20/11

I've been playing with CiM Canyon de Chelly a lot, and have come to the conclusion it is a color I can't live without. When I posted this, I was working very small and hadn't had any luck striking it. I've since learned that beads should be about 1cm or larger to strike properly and that it is capable of fascinating colors when it strikes. I got greens, of course, greys, purple even. It reacts with silver and silvered glass, notably Double Helix Psyche. If I want a really astounding neutral, this is my go to.

Vetrofond wasabi

St. Patrick's Day is coming so it's time to drag all the green out of the glass stash.  The color by itself is very similar to CiM olive, but apparently originated from a weird batch of their yellow ochre.  I should have tested it with turquoise but didn't care for the color combination in my head.  I may yet.

Bead 1 is by itself.  It is a real Spanish olive color.  I like it better in 2 with silver foil melted in.  Adds a bit of surface texture and interest.  3 seems to be the best of this group, with silvered ivory stringer.  I don't know which is reacting to the silver more, the ivory or the wasabi.

These are with ivory, CiM tuxedo, and copper red green.  I sorta like the combination of the olive with the purplish, but name a color I don't like better with purple.  Still, none of these really does much for me.

7 is with DH triton, reduced and encased in clear.  I don't care for this combination, but neat things are going on in the triton, with blues, pinks, and greens, including lime.  Not enough contrast.  8 is with triton again, just reduced.  I got a tiny bit of webbing  and I like it better than under clear.  9 is wtih DH psyche now that I learned to strike it, and there is some webbing and the psyche reduction looks nice.

On these I was trying to see if I was going to get any special effects.  10 is with intense black dots and more wasabi on top.  Some webbing is aparent on the top dots.  11 is with dark silver plum, just to see if it would do anything neat.  It didn't, but it's DSP.  I like that pretty much no matter what it is on.

Will I buy more again?  I don't know.  It is a valuable color to have in my palette but for me it is not something I would want to make scads of beads out of.

Vetrofond painted desert odd lot

This is another color that may not be fair to post because it isn't easy to get, Vetrofond painted desert odd lot. It is bee-you-tee-full. It is streaky, it is purple and it reacts with stuff. What's not to love? Only that I may not be able to get any more. I'm going to hoard this one. OK, it's a little shocky. I popped the end of the rod off, twice in fact. The first time when I was just heating it and the second when I had started a gather. Rats. This is a characteristic I'm noting with the odd lots. The worst was honey crunch, which I have vowed never to use again. Lichen was pretty bad but once I got the hang of it it was all right. This one falls into the latter category. Besides, I love this color.

1 is plain. The rod is an unassuming grey with a core of reddish and a distinct 4-lobed cloverleaf of lighter grey inside. Did I take a picture of this? You bet. Did it turn out? Not at all.

This color reacts with silver and turns out pretty. Yay!
2 is with silver foil, melted in. Nice texture and a little sparkle thrown in.
3 is with silver foil, melted in and encased. Where did this come from. Super lilac that I can get on film, as it were. The contrast with the brownish fuming is quite nice.

4 is with silvered ivory stringer, and considering the name, a very desert-y looking bead. I think I am going to do something with this, but I don't know what. 5 is with plain ivory, and the contrast isn't very good in this bead. The colored glass just washes right out, but I see a little bleeding I may be able to use. 6 is with copper red green, and to be honest, I thought about the lack of difference between the colors and decided against my fat rod of copper green because I already had one rod threatening to pop. I wish I hadn't been so lazy. I would have liked to see the color combination, since the only way I could tell the 2 apart was the order I put the glass on the mandrel.

These are both with DH triton, and to be honest, I don't care for either of them. Both fume brownish with the silver glass and the triton has reduced on bead 7 to that lime green I don't care for. I see hints of rose and lavender but for the most part it's light brown and lime. The unencased bead, 8, is a little better because the brown in it is quite pronounced and the triton did go all silver. I wonder what happens to painted desert if it is reduced without any decoration?

9 is with dots of intense black covered with dots of painted desert. The painted desert has gone somewhat translucent on top of the black and I may want to use this effect later. 10 is with plum silver and I think it is interesting that the plum silver fumed the painted desert more than the silvered Spanish leather stringer I picked up by accident in bead 11. I kept wondering why the plum silver wouldn't do its metallic thing and it was only after the bead was cool that I remembered the Spanish leather stringer was still on the worktable. It is a nice contrast but I don't see using it at any time soon. I like the real plum silver better.

An update on painted desert: It is possible to get more striation and color by manipulating the glass on the mandrel. The beads with painted desert are on the left. In a bead where intense black is encased with painted desert, the black doesn't show through the painted desert. Shucks. Oh, yes, the reason the painted desert rod on top is so short is below.

As a bonus shot, this is the end of the painted glass rod that shot off once I had started melting a gather. This is not the one that landed in my lap this morning. That got all kinds of water poured on it to put out the fire and fractured into frit. No, I didn't get burned, but the chair cushion will have to be turned over when company comes to visit. I wonder if this is a striking color like moon rock turns out to be. I'll have to let this question sit. It will be a while before I work up the nerve to heat up this color again.

Would I buy this glass again? In a heartbeat. I wish I had pounds of the stuff. Will I be able to? No idea.

Effetre whisper

Effetre whisper, looking very intriguing in the sample bead and pretty neat to add to my repertoire in general. It is nearly clear, with just a hint of gold pink, and a viscous quality that my cheap camera doesn't do justice to.

The first bead is just by itself. The second is reduced. I made it larger so I could tell the 2 apart in case the similarity was too great. No chance. 3 is with intense black dots, because I could see doing this. The black doesn't quite take over the bead. 4 is with copper red green. There is a red shift here, accentuated by the layering of whisper dots over the red. The green dots are more pronounced than this picture lets on. 5 is over ivory. I figured the color was a gold pink and this bead proves it. Still, because of the lack of intensity in the color this is an effect I might just use if it is reproducible. 6 is with EDP stringer. The EDP almost seemed to feed the whisper, even while it was being worked. I wonder what it would do with 456 rubino oro or veiled rubino? The last bead is with DH aurae, melted in and reduced. I was expecting it to go all yellow and wasn't surprised when it did. Would I do this on purpose on a bead? I don't know.

This is a neat color that I like the apparent viscosity of in the finished bead. How much I will use and whether I'll buy more if I run out I don't know. I'm glad I have some in my repertoire.

Will the real Lover Boy please stand up?

Torch chemistry is an astounding thing, since that is the only explanation I can come up with for this.  Effetre lover boy is a pastel that is billed as a lavender blue with pink streaks, and that is what it is in the test bead shown on Frantz Art Glass' site.  That was what I was expecting, not taking into account that she is using a oxypropane torch and has torch chemistry down to a science and I am using a HotHead and even if I knew how to control torch chemistry I would not be able to effect it much.  I know to work certain colors near the end of a cylinder and to turn the flame up or down on others but other than that it's up to the fire gods.What about this color?  Lavender blue? Not so much.  A very pretty color?  Definitely. 

First off, the initial melt.  It turned grey like a coral.  Not at all what I was expecting and it gave me a hint about how this color was going to react.  I don't know what Effetre had in mind, but I bet this was not it.  But I love it.  Embrace serendipity.
1 is plain.  Some lavender streaking near the ends.  Not very noticeable with my dinky bead.
2 is encased with clear.  The clear acts like a magnifying glass on this and it is a very pretty bead.
3 is with silver foil melted in.  Ahhh.  You're starting to get there.
4 is with silver foil, melted in and encased in clear.  I'm not sure if the picture really does justice to the bead.  It is really pretty, with pink and grey and black and silver and green.
5 is with copper red green.  I had to check a couple times to make sure I knew which end was which, but the left side is the lover boy.  Shoulda used plain copper green, but the cylinder was new and I didn't want to blow chunks of the very thick copper green rod all over the worktable.
6 is with ivory.  No reaction.  What ever this is, it isn't a gold or silver based color.  What is coral based on?
7 is with CiM tuxedo.    Nice separation on the pink.  I wonder what it does with intense black?
8 is with DH aurae, reduced and encased.  The aurae is very pretty.  The pink not so much, since there is a green  reaction just visible on the top left corner of this bead.  What is this color?
9 is with aurae, reduced and left unencased.  The pink is looking orange.  It's gotta be a coral.
10 is with plum silver scrolls, reheated gently.  Again orange.  It's gotta be something in the silver color.  But silver itself didn't do this.  Hmmmm.
11 is with EDP.  No reaction, and the combination is not specifically ugly, although I can't see using it. 

This color is indeed a mystery.  I like it a lot.  I will probably buy more if it is available when I run out.  I'll test it again before I try anything fancy on it, since experience is a great teacher, and by then I might know how to properly work this amazing pink.

CiM olive

I wanted another green in my palette for St. Patrick's day, and one that I have little of is olive.  For it I chose CiM olive, which Cim commando is no longer as close to in hue.  That being said, it is kinda close to Vetrofond's new wasabi, but different enough in at least the appearance of the rods that I won't have trouble telling them apart in my stash.  The rods are all shimmery and melt darker, which wasn't a surprise.  What was a surprise was hitting an air bubble and having the end pop off the rod.  It fell onto the worktable, didn't burn anything, including me and I banged the rod back in the flame without missing a beat.  The rest worked fine.

1 is plain.  Some streakiness here. 
2 is encased with vetro clear.  Did I smoke it?  I didn't think so....
3 is with silver foil.  I was disappointed that it didn't do more.
4 is with silver foil, melted in, reduced and encased.  I thought reducing it might do something but no dice.
5 is with poorly silvered ivory stringer.
6 is with Double Helix triton, melted in and reduced.
7 is with triton, melted in, reduced and encased.
8 is with ivory.  No reactions.  Rats.
9 is with copper green red.  I wanted some contrast, but the similarity in color value makes it hard to see detail.
10 is with CiM tuxedo.  Nothing happened with the black dots on the olive, but the olive separated on the black.
11 is as a rotten floral on black, encased in clear.  I need to work on this style of bead.  I should start larger to make it easier to get definition, with colors that I know will work well.
12 is with plum silver scrolls.
13 is with EDP.  I wanted to see what it would do to a gold pink, and the answer is nothing.

13 test beads.  It's a good thing I'm not superstitious.  It's a nice olive and will work well for leaves and such.  Will I be upset if I can't get any more?  Not really.

effetre metallic black

This is one that everyone but me knows how it looks and what it does, and has switched to dark silver plum or gunmetal to save on cost, but I had to do it. It is similar to dark silver plum in the lustre that it creates and the method I have to do it on my HotHead, but the tonality involved is very different in a subtle sort of way. Does that sentence make sense?
1 is by itself heated very gently for quite a while to really make it pearlize as much as it was going to.
2 is the same bead with dark silver plum scrolls. The plum predominates on the visual impact and this is the real difference.
3 is encased, and the pearly effect was lost, with no surprises all around.
4 is with copper green red and this is a beautiful bead. The color is like a moon on the water or something equally poetic. Just plain pretty.
5 is on top of Effetre intense blue. I still have some kinks to work out on my lentil press. Pressing the bead does accentuate the pearly process, which is what I was trying to find out.
6 is with triton and 7 is with aurae. They are supposed to be brother and sister and they seem to be on these beads. On 6 you have steel and on 7 you have purpley gold. On both beads, the pearl effect is extinguished where it comes in direct contact with the silver glass.
8 is with opal yellow stringer because the plain ivory was buried under a pile of other stringer. This says a lot about my worktable and something about the colors. The two aren't all that much alike, are they? Interesting zoo effect, though.
9 is with sis and all I can say about this bead is that it is prettier in real life. What was I thinking?
10 is on Effetre sedona as stringer. Getting the metallic black to do its thing while not devitrifying the sedona was no mean feat, and I like this color combination. A sucessful bead, all in all.
11 was with EDP stringer, and all I can say in my defense is that the EDP struck nicely. Getting the metallic black to go all pearly and not devitrifying the EDP is something I dare anyone to try.

Will I buy this glass again? Yes, when my current stock runs out. How much will I use? I don't know.

Effetre anice white again

I had to do this one again, since my results varied from the Mind Melt test batch so greatly.  In this case, I think my torch setup has more to do with my relative success with this color than anything else.  On the invoice it clearly states that it is shocky and the rods must be preheated.  This is a rarity and the only color I've seen this warning on so far.  So I had to go and see what it did.  I am used to working very carefully and introducing glass very, very slowly to the flame, since I am terrified of hot glass burning holes in me, or worse yet, the floor.  I started up very high in the flame and worked my way down.  No problem, not a single pop.  I think because the HotHead is much cooler than an oxypropane torch, I could get away with this.  Besides, I like the semitranslucent white.

1 is plain.  I didn't bother encasing this. 

2 is with silver foil melted in.  Nice yellowing, not what I was expecting at all.

3 is with silver foil melted in and encased in clear.  The yellowing was diluted.

4 is with DH triton, just melted in and reduced.  Not as much yellowing as I expected, based on my experience with CiM peace, which this glass superficially resembles.

5 is with triton, melted in, reduced and encased.  I didn't get as much color as I wanted on this side of the bead.

6 is with copper green red.  Again, more reddish than green, but I didn't really mind whatever I got.

7 is with CiM tuxedo.  There's a whole lot of webbing here, which was a surprise.

8 is with silvered ivory stringer, melted in.  This bead was a pleasant surprise.  It looks like some kind of jasper.  I might do a set of these.

The beads on the right were a set I wanted to do earrings with or something but couldn't get the millefiori to look right.  The grey bead is my favorite, but I haven't been able to do this since.  I might have badly burned or reduced the bead, or it might have been something weirder.  I just don't know.

Effetre yellow opal

Today is Mardi Gras, which we all know means beads!  So, I am allowing myself 2 posts.  This color has been haunting me since I want to explore its unique place in the color spectrum.  The rods are an unassuming beigey yellow, and the beads work up to, surprisingly enough, about the same color.  But what a color.  I've been working with all kinds of colors, be they beige, pink, yellow, purple, green, or whatever.  This one thrills me.  Not because it does anything spectacular, but because it is.  I got CiM stoneground because it was supposed to be close to it, but it really isn't.  I may wind up using stoneground more, because it does neat things with silver that yellow opal doesn't.  What this color does is fill a unique place in my spectrum.  Frankly, the price will keep me down to using a moderate amount of it, but this is the yellow I've been searching for.  OK,enouth raving, here are the beads.
1 is plain and unencased.
2 is encased with effetre clear.  There is a pink tinge to the encased beads which I think is a characteristic of effetre super clear.  I'll roll with it for now.
3 is with silver foil, melted down and encased in effetre clear.
4 is with silver foil, melted in.  I was surprised that it didn't maintain more of a silver character.
5 is with DH aurae, melted in somewhat and reduced.  This is gold.
6 is with aurae, melted in, reduced, and encased with super clear.  Not quite the purplish reaction I was expecting.
7 is with SIS.
8 is with ivory.
9 is with CiM hades.  The black doesn't spread as much as I thought it would.  Is OY a spreader?
10 is with effetre dark turquoise 236.  Yep, it is.
11 is with copper green red.  I like that the copper green red remained in its red phase for this one.  I don't know how I would have dealt with green, which is why I din't go with the plain version of copper green.  There is a faint grey line on the turquoise, so I think it would have done a pale imitation of this, snce it tried to on the copper green red, but I don't know.   I don't know if I'll find out, since I like this combination.
Finally, 12 is with plum silver dark.  Just because.  The plum silver was tough to set, but this was not unexpected because my torch seems to be running hot and the "easy" colors are getting tougher.

Will I buy this color agan?  Yes, because I like it.

CiM chai unique

Now this color I'm much happier about.  Chai:  a tea based beverage infused with spices and full of sweet milky goodness.  The color isn't like any tea I've ever brewed, and I've brewed a few batches of chai, but the color is nice.  This unique is a pink reminiscent of CiM desert pink, which is bead 11, but I precede myself.
1 is plain, unencased.
2 is encased with effetre super clear.
3 is with silver foil melted in.  I can't quite show the texture in this picture.  The color is very nice indeed, but the texture reminds me of something nasty.
4 is with silver foil, melted in and encased with super clear.  Interestingly enough, the silver reaction was subdued as I encased it.  This was actually visible as I encased the bead.  I've never had this happen before.   It was as if the encasement sank the silver into the depths of the bead.
5 is with triton, melted in and reduced.  Something brown happened to the pink, and while it is more true to the color of chai, the beverage, I'm not sure I like it in this color.
6 is with aurae (OK, I ran out of triton stringer or I would have used that) melted in, reduced and encased in super clear.  There is a distinct muddiness which I can't say I care for.
7 is with ivory.  Seashell beads, anyone?  No reaction and neat color combo.
8 is with copper green red.  One bad thing about photo software is that it can't do everything for you.  This bead has tones of green and blue that are not visible in my picture and any efforts to emphasize these characteristics made the rest of the pictures nasty.  Trust me, it looks better in real life than it does here.
9 is with turquoise.  I never noticed how much the turquoise spreads before.  I wish it didn't, since this color combo looks nice in real life.
10 is with CiM hades.  I know this spreads.  If I were to want to make a bead with this combo, which is very attractive, I would have to pay very careful attention to this characteristic. 
11, again, is CiM desert pink, which is ever so close to this color.  In fact, let me post the whole review.

I won't bore by reposting what I already did, but there is a lot of similarity.  There is a little separation on the hades bead which I didn't catch before, though.

My overall impression is that I would buy this color again, if it were available.  It is a nice shade of tawny pink.  It works for me.

hearts and flowers today

 Valentines Day is coming and in celebration of this tribute to candy companies and jewelry merchants, I am making beads devoted to hearts and flowers.  I am happy to report that I have had some success, at least as far as I am concerned, with this.  The first bead on the mandrel is a case in point.  Effetre copper green red, with leaf and rose designs.  The shape of the bead may be a little off the perfect donut but the roses came out very nice, and the leaves are well shaped, too.  Could I be getting better at stringer control?  Probably the law of averages and dumb luck.  The other 2 beads on this mandrel are of the pinker version of strawberry sweet with the same rose cane and leaf stringer application, not quite as successfully.  I think the strawberry sweet, while pinker than the downright earthy version I got initially, is still too orange to not clash with the pink roses.  Next experiment:  peach colored roses.  This is acually why the lower picture exists, since the flash I used  really brings out the orange in stark detail.

On the right is my very first heart bead, made with Effetre rosewood.  I really like this bead.  The indentation on the top of the heart is not as pronounced as it could be, but the other side is deeper and I really like the color swirls on this side.  I'm more into color than hearts.  I haven't tried to make a horizontal hole heart but I imagine the overall process is about the same.  Kind of like glass sculpture for dummies.  I wonder if this book is out yet.  If not I'll have to copyright the name before anyone else thinks of it.

A few posts back I threatened to do a comparison between the machine pulled version of silver plum dark and the handpulled version.  Surprisingly enough, they do act the same.  The bead on the left is the machine pulled version, and the one on the right is the one made from the few rods of hand pulled conicle that I have lying around and I got cheap.  The reason it is not pearlized as much as the machine pulled version is that right around when I was making this bead was when I noticed the crockpot starting to smoke, and voila!  This bead was done.  I normally don't use a flash for the pictures that I am posting because it makes the colors all washed out and distorted, but in this case, it really brings out the lustre on the beads.

Frustrations in photography

The difficulty of posting photos of my stuff is beginning to perplex me.  I keep saying (to myself still, thank God) why doesn't this look like the beads?  The answers to this are as complex as why the glass does what it does.  Add to this very little skill in actual photography or composition and I am frustrated as heck.  Colors look different against each other.  Dragonjools posted about this with a link to a site with magenta, orange and turquoise.  Colors look different with different light sources.  Witness the flower necklace pictures.  Colors look different with different cameras and monitors.  Where is the bead in this?

Above is a some fairly pretty beads using a base of 220 periwinkle and my miserable rose cane on the left and 256 dark pink opaque on the right.  We shot these on about 20 different backgrounds and this is the only one that showed what the colors even looked like.  I remember during school pictures the photographers sent home instructions on what colors to avoid when sending the kids to school on picture day.  Now I know why.  Surprisingly, the beads on the right, which I am calling pebble beads, look best on a sand colored background.  My friend Carol, who was taking the pictures, wished we had some sand to take the pictures on because they reminded her of pebbles too.  I suggested the cat box but that was turned down for obvious reasons.  We settled on the underside of a lid from her crock collection.Two of these are ivory with silver melted in and the middle one is CiM stoneground  with silver melted in and ivory dots topped with EDP.  I don't know whether I liked the way the ivory turned all black or not because all the spots did the same thing.  The EDP looks nice, though.

 I have another hundred photos of these beads against various backgrounds.  The top bead is Effetre 213 grasshopper and copper red green stringer, the middle one is copper green with a complex stringer of turquoise, cobalt and grass green opaque, and the bottom one is copper green with a copper green red stringer.  These changed color the least, but were the most difficult to photograph at the time.

Copper green red.  Beautiful if badly named color.  It probably is copper green changed in some way to produce the reddish tones, but the copper green turns turquoise and the red turns magenta.  The necklace beads are self copper green red and black spacers and the earrings are vetro black feathered with copper green red stringer.  The amount of color adjusting this photo took was stupefying.  Usually I just white adjust and save.  On this one I had to white adjust, normalize, hue and saturation adjust, color balance in all three levels, then white adjust and normalize again.  To get it to look like what the bead looked like in the first place.  The beads on the white candle were just white balanced.  Go fig.

Effetre 219 copper green

Another test beads post to show the tricks one of my favorite colors is able to do. This is Effetre copper green and I like it not for it's original color, which is one I almost never wear, but because it makes pretty beads and does neat things with other colors.

1. self bead, marvered a bit on an aluminum marver
2. self spacer, held high in the flame to try to get that brown edge you see on the rods.
3. rolled in silver foil and melted in
4. with DH triton, struck, reduced and encased in vetro crystal pale green
5. with SIS scrolls. The contrast on this one didn't come out too good so the dark streaks and curdling on the SIS aren't very good in the picture but they're there in the bead. Also, the predictable grey line where the ivory meets the green.
6. with ivory scrolls. Note the grey line.
7. with plum silver scrolls, held high in the flame to give the plum silver it's lustre. There is a slight reaction on the plum, it sort of went more reddish on the edges but it's hard to see with the glare from my lousy lighting.
8. on CiM tuxedo. Wow, look at the separation of the copper green. I love this one.
9. with copper green red scrolls, incompletely melted in so it looks blobby. I can't see where one stops and the other starts but the bead is more what i thought the copper green red would look like in the first place, not as a purplish color.

Here's a bracelet I made using only copper green and Effetre 023 mosaic green, another really great color. I love how the mosaic reacts on the copper to produce a light zone on the copper and the copper on the green to produce those little clear spots in the center of the dots on the spotted beads. I got a brown oxidation or devitrification type thing on one of the ones I mashed into a cube, but it doesn't bother me because it's an unusual color and it is going to do neat things.