Tutorials by Terry Hale Heather Sellers Diane Woodall June 2016

Home , Art glass, Glass beadmaking, Lampworking

Sensational June 2016

Featured artist Summer! Angelika Kaufmann Tutorials by Terry Hale Heather Sellers Diane Woodall Soda Lime Times

Sensational Summer!

or most of us, summer is just around the corner. And that is a great excuse to pull out your brightest glass colors and make some beads worthy of the season. 2 F What does summer mean to you? Blooming flowers and the smell of freshly cut grass (or BBQ)? Picnics under a big tree or relaxing on the beach? Whatever makes 3 summer special to you, try to capture that magic in glass! Our featured artist this month is Angelika Kaufmann, a German beadmaker who puts a little bit of summer into 13 every bead she creates. To describe her work is as easy as saying, “She paints with glass.” Angelika shares her technique for making a watercolor floral on page 41.

19 In this issue, we also have tutorials by Terry Hale (a hollow seashell with a beautiful coral throat), Heather Sellers (adorable beachy tutorial for Beads of Courage), 26 and one of my most popular tutorials for Flower Power Jawbreakers. This first appeared on our March 2012 issue, but was so popular we are sharing it with you 32 again.

We also have three great articles about participating in 37 a Round Robin bead exchange, choosing the right eye protection, and organizing your studio. Lots of great stuff awaits!

For the first time this month we sent out a call for photos 41 to our entire mailing list and WOW did you deliver! I worked for two solid days just answering the emails from everyone who submitted bead photos. We received so 46 many wonderful pictures that I decided to increase the gallery this month so I could share more of them with you. We apologize that we couldn’t publish photos by 54 everyone who sent their work, but it could have filled and entire issue. But we want to thank everyone who took the time to do so.

Our theme next month is fish and we encourage you to 60 submit your photos for consideration. Just see the last page of this issue for details on how to submit photos. Coming next month . . . As always, we hope you enjoy this issue, and please tell your friends about Soda Lime Times!

Fish! Diane Woodall Editor

1 2

1. Alla Funtikova 2. Chellie Purnell 3. Suzy Hannabuss 4. Di Bloomfield 5. Carina Flodin 6. Connie Sørensen 6 7. Harriet Harrison

1 3 4

1. Joan Prichard 6 2. Marianne Melnik 3. Martina Roemer 4. Laila Strazdina 5. Karen van Staden 6. Sara Towler 7. Melanie Graham 8. Molly Cooley 9. Joyce O'Shea 7 8

1 2 3

1. Melissa Johaneson 2. Mona Sullivan 3. Julia Semenko 4. Di Bloomfield 5. Jennie Lamb 6. Leza Harary 7. Peggy Sudnikowicz 8. Michaela Klamert 7 8

2 3

4 5 6

1. Cynthia Tucker 2. Alana Nicholson 3. Pâquerette Charlas 4. Carolyn Collins-Santos 5. Elaine Mead 6. Roswitha Gruber 7. Jane Hamill 8. Jane Hill 9 9. Di Parsons 8

1 2 3

5 6

7 1. Pat O’Brien 2. Martha Desposito 3. Anna Miller 4. Sabrina Koebel 5. Linda Newnham 8 6. Elizabeth Smith 7. Molly Cooley 8. Jeannie Cox 9 9. Suzan Ranew

1. Virginia Wilson Toccalino 2. Alla Funtikova 3. Heather Trimlett 4. Hillary Campfield 5. Harriet Harrison 6. Dayna Muscoby 7. Laura Phelps

6 7

2 3

4 6

1. Michaela Pabeschitz 2. Catharine Weaver 3. Gay Massender 4. Gabi Sarisin 5. Helena Eriksson 6. Barbara Ham 7. Jane Perala 8. Isabella Della-Rowere 9. Lisa Barile

8 9

debby altman 6

1. Maria Kirillova 2. Lynn Hahn 3. Juliette Mullett 4. Andréa Simeral-Boyer 5. Monique Starink 6. Cheryl Brown 7. Debbie Altman 8. Sandra Schenck 7 8

Where glass, play & inspiration meet. 2017 Bead Retreat! Big-Hole Beads • Battuto • Cabochons Featuring Heather Trimlett, Laura Bowker and Pati Walton The Melting Point is proud to announce our very first Bead Retreat! Join us on April 30-May 6, 2017 for an all-inclusive Bead Retreat with three fantastic instruc- tors in beautiful Sedona Arizona. This retreat includes six days of classes, lunches, glass, an optional queen or king room for eight nights at the Baby Quail Inn, and one day off in between for sight-seeing.

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Just two 2016 Fall classes left! November Carolyn Baum “Fabulous Flowers and 15–19 Constructions” First time ever! I finally convinced Carolyn to teach a class! Carolyn is an award winning glass artist who studied with Paul Stankard, has won many national BeadCamp awards, is featured in the permanent collection of www.beadcamp.com the Corning Museum, and has BeadCamp has had been published in numerous a great 2016 season! magazines. Our new BeadCamp studio with In this intermediate class Carolyn will begin with more simple a 360 degree viewing area flower structures and progress to more complex forms. She will for instructor demos is terrific. show us some of her innovative ways to attach metal to glass, blow hollows and construct large pieces using wire and waxed The location near restaurants linen to make finished flower assemblages. is convenient and the lodging arrangements are so cozy and December Corina Tettinger comfortable that you will love it. 6–10 “Passing the Flame in Action”

For information or to sign up, This class will focus on many of the techniques from Corina’s book including lot’s of time with the dreaded email Marley Beers at: stringer control. She will also teach many patterned [email protected] beads, encasing, heat control, use of dicroic glass and or call 919-323-9799 foils, and some of her famous “creature” beads! This Visit our web site at: class is advanced beginner to intermediate level. www.beadcamp.com

AngelikaWATERCOLOR Kaufmann ON GLASS By Leah Nelson

ngelika Kaufmann lives in a small Bavarian city, just outside Munich, Germany with her husband and cat. She stumbled upon lampworking ten years ago when she was looking for unusual beads to make her own jewelry. Once she saw the glass beads, she says she had to tryA it, “I was totally thrilled and a few weeks later I started with a small torch and some mandrels. Most of the things that I know about glass, I read in books and taught myself. Over the course of ten years, I have taken only two classes. In the beginning, lampwork was just a hobby and as a way to alleviate stress from my former profession as a geriatric nurse, but over time it became my profession.”

Angelika is known for her hair-thin stringer work. She says she always loved that look and wanted to incorporate it on her beads from the start, “Since the beginning, I have created all possible styles and designs and have worked a lot with silver glass. When I finally understood how to work and control fine stringers, I wanted to do more. When I discovered a picture of watercolor paintings with a black border, I loved this and wanted to recreate this on beads. I have continued to refine this since then.”

The idea to add delicate colors and fine border details comes from An- gelika’s love of painting and china patterns, “My favorite type of bead to make is one that looks as fine and fragile as china. I love the white- based beads decorated with animals, butterflies, and small flowers. I try to come as close to watercolor painting as I can.”

Angelika loves using silver glass to showcase her stringer detail. She says she loves how silver glass shimmers and catches the light in various way to reflect different colors. She had a difficult time in the beginning working with silver glass, but now she loves it! Her silver glass beads are so beautiful, they were even named the “Bead of the Month” by a German glass forum.

Since Angelika uses stringer detail on most of her beads, she doesn’t use many tools. Her beads have caught the attention of studio owners and now she teaches her sig- nature bead work, “I have been teaching for three years. In my workshops, I teach students how to work with fine stringer and use my watercolor technique. I love to share my knowledge.”

14 June 2016 Soda Lime Times

Angelika loves to meet people and continues sell- ing her beads and jewelry at craft fairs throughout Bavaria, “I sell my jewelry mainly at craft markets. Every year, I also present at a Christmas fair for four weeks. I sell mainly my jewelry at these shows. From my beads, I make pendants, necklaces, earrings, and more. I’ve also made buttons and knobs for drawers.”

Angelika uses a German torch, called an Arnold torch, with propane and an oxygen concentrator. She loves being a full-time lampworker, “When I started ten years ago, I would never have thought what could come from this hobby. And now, I am the featured artist in Soda Lime Times. This makes me proud.” In the future, Angelika wants to continue her stringer work, taking that in different directions to see where it takes her. She finds the contrasting aspects of glass fascinating, “It is hot and also cold. It is fluid, but firm. I can control it, but it also controls itself. It’s like paper that I can paint on.”

Angelika’s advice to beadmakers, but especially beginner beadmakers, is to never give up, “Give yourself time to learn. Try everything and if it doesn’t work, simply wait and try it later.”

To see more of Angelika’s stunning work, go to: https://www.facebook.com/angelika.kaufmann2 www.angiebeads.de

Handmade Lampwork Nature Beads Specializing in Trees and Oceans By Molly Cooley

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A BEADMAKER’S JOURNEY TO INSPIRATION By Angela Meier

hen I started making beads in November 2004, I found a German forum, “Perlentreff”, and I happily sucked in all of the information I could find there. It was also a platform for groups of W beadmakers who exchanged beads in a funny way – they called that a “Round Robin.” During the last twelve years, I have participated in than I could ever wear, I was looking for other many exchanges. My current group is about five ways to use the finished beads. I imagined my years old now and we have become really good postcard addiction and decided to combine beads friends though we are spread over all Europe. with postcards and present them in little frames, as a wall decoration. I searched my huge postcard Our system, or one could say our intention, is find- collection for what I could imagine as a beadmaking inspirational ways to step outside our comfort ing inspiration. Of course, I also visited plenty of zone and discover new designs without forcing shops, which is a great opportunity to find and buy everyone to do so. We have plenty of freedom and new postcards! acceptance. My group contains nine people, but I sent about 25 In one of our Round Robins, our theme was post- postcards so that the last one in the round still had cards. Since I have more necklaces and jewelry a decent choice of cards.

My postcard is a unique artist’s work. I found it in an artist warehouse. I always loved the sea and islands, but my dear husband does not want to spend holiday on an island, which he can walk around in one day – so the card matches me perfectly!

The yellow sign is a Swiss hiking sign. I even designed footprint tool (with toy figures as foot models). You can purchase the tool from Glas Gestaltung online. Angela Meier

The next person in the round was Stephanie Hartmann from Germany. She chose the snail as a symbol of a relaxed, unhurried lifestyle. The snails are made off-mandrel. Luckily, I received two because she was afraid they would not survive the long travel over several months.

Stephanie Hartmann

Stephanie then sent the parcel to Eva Tiefenbacher from Austria. She choose water – as a refreshment and element of life. The card is an advertisement for a Swiss mineral water.

The next artist in the round was Sandra Weyer from Germany; and because weight is always a subject in our group, she took the joke card about “Bye-bye winter bacon! Welcome spring rolls” and made adorable big girls in her favorite color combination. Eva Tiefenbacher

Sandra Weyer

Sandra sent the round robin next to Claudia Trimbur-Pagel in France, and because at that time Claudia was deep in her fish theme for the national French contest “Meilleur Ouvrier de France,” her choice was made quickly – the goldfish card!

Claudia Trimbur-Pagel

Claudia then sent cards to Vera Röder and she went for the kids’ game card with what we call “heaven and hell” (hopscotch in the US). She has a grandson living partly with her and knows well how important it is for children to have time and space for moving and playing. And who did not have these red rain boots in childhood?

Vera Röder

Vera sent the package on to Karina Stieler. Because she just started master studies at that time and had a real lack of time to relax, this card was perfect for her. It says, “Today I’m doing nothing, nothing at all!” She made a simple hollow bead in matching colors.

She told me that one moment she thought about giving just an empty card, but then she didn’t dare to be so lazy! Karina Stieler

Karina sent everything to Meike Nagel and Meike choose the Matterhorn card because of a joke in a movie made several years ago. Reinhold Messner was on a tour to climb the Matterhorn, and a film crew temporarily installed a little souvenir shop on top of the hill. Mr. Messner was outraged when he arrived there.

Meike Nagel

Christine Fries-Luchsinger in Switzerland was the last artist to make her bead and she completed the round with her favorite drink and choose the tea card. Isn’t the tea cup adorable?

Christine Fries-Luchsinger

This is our way to find inspiration and everyone in the group has her own About the Author: theme for one round. It is always a Angela Meier lives in Switzerland challenge to make something matching, and was originally a grade school but also really great fun! We had a circus crafts teacher. She has two adult theme and I made my first lion! For our kids, and is married to “the best pirate theme, I made a little treasure husband in the world.” She has been making lampwork beads for box, full of gold. We had storybooks, twelve years. The first four years audiobooks, movies; we had textile it was just a hobby, then she quit patterns (marimekko style) and song her job working for a craft teachers’ texts, orchid flowers, landscapes as magazine and is now a full time lampworker. She says, jungle or a forest pond, but also more “I teach classes all over Europe, most about silver glass. abstract themes as contrast/opposite/ What I love is contrast between working all for myself, in antithesis and so on. my home studio, and sharing my know-how in my classes. That is my teacher personality and satisfies me too. Of course, we don’t tell the others Even my writing of tutorials is something I have done for about what they will get, so it is always a long time for other crafts teachers, and now for lamp- a surprise when a package from the workers.” Round Robin arrives, and great joy to unwrap and admire the other artists’ Angela collaborated with Bea Stoertz on a tutorial for making “Blingtops”.To see more of Angela’s work: work. Her website: http://www.perlaperla.ch/ Inspiration can be found everywhere, Her Etsy store: https://www.etsy.com/ch-en/shop/perlaperla not only in other beadmakers’ work. It Her Facebook page: https://www.facebook.com/Perla- takes a bit of effort, but it is worth every perla-Glasperlenatelier-281120412035737/ attempt!

By Pâquerette Charlas Soda Lime Times

hen I first started to Wwork glass, my work table took up a tiny space in the ga- rage. That was fine then because all I wanted was me and the torch (my new best friend)! I have happily forgotten about that time because I was freezing cold in the winter and boiling in the summer, stuck between a car and a bicycle!

As I went along with the glass making, I was quickly submerged with many little ends of rods and stringers of different lengths and sizes. I didn’t want to waste glass, so I pulled thin ends on the rods, creating a perfect little handle that I could hold onto as I used every inch of the glass (right). Some of my smaller pieces are stored by size and color in little glasses that I attach to small, round wooden turntables (below). Some are for bits (shorts) and one is only for stringers. Since sorting my odds and ends this way, I waste very little of glass.

I used to have a box with compartments for rods that was laid horizontally, but since we live in the countryside, mice made nests at bottom of my glass compartments. I needed another solution, so now all of my glass containers are vertical and I have many different ones for different purposes (right).

All of my tools are near my right hand. Tweezers are on the edge of a clay pot, carving and shaping tools inside the pot. I like to have a big paint brush handy to sweep any bits of glass or dust that are unwelcome on my graphite marver (below).

Everyone needs a studio cat.

The wall behind me is great for arranging rods and other things I use. I like my open space in front of me as it helps with ventilation and leaves my mind open to any idea that would come along. Also, I like to be able to see the view outside my window or see when people approach the studio.

Because I open shop only in summer, I store beads and all of my jewelry in wooden dressers I made with drawers that can be pulled out like trays (below). For demonstrations “outside” I made up a travelling box for rods (right). When it is open, I can put tools on the flat fold top.

I would conclude with this advice: Being organized is fine, but it is useless if you don’t keep your workplace tidy. That is the main idea, and just keep your mind open to new ideas and ways to improve your space.

About the Author: Pâquerette received her academic training at the school “les Beaux Arts” in south of France and has always been interested art, painting sculpting, decorating, and even playing music. She says, “When I discovered glass work in 2008 I saw it as an achievement to strive for and all the skills I had helped me to progress quickly with lampwork. I am also passionate about history and have researched the history of glass beads from antiquity to trade times. I also studied the legends and meanings associated with the glass of antiquity and have made reconstructions of some of those old beads.”

Pâquerette enjoys teaching and gives classes in her veranda where she has her studio. She still enjoys painting, but is most happy when she is making beads.

You can see more of her work on her website at: http://creartdeco.fr/ Facebook: https://www.facebook.com/profile.php?id=100010450440041&fref=ts

Where’d you get those Peepers? CHOOSING THE PROPER EYE PROTECTION

By Darryle Jadaa

h, summer! What a wonderful time – we The visible light from the torch is only a small grab our shades, hop in the car, and head portion of the total radiation that reaches our eyes. Ato the beach. Maybe you have a pair of The majority of the exposure is in the infrared (IR) those expensive Ray-Bans or maybe brands don’t range of the electromagnetic spectrum, far too thrill you as long as you have proper protection. low a wavelength for us to see. Jim Kervin (1994) These days most people are aware that ultraviolet states that near IR (700 nm to 1400 nm) is gener- radiation (UV) is harmful to our eyes and purchase ally considered more dangerous than ultraviolet sunglasses with the maximum defense. But what because a good portion of this type of radiation about when you are torching? What are the effects penetrates the eye and focuses on the retina. This of long hours in front of the torch and how can you leads to heat buildup which, in turn, leads to dena- provide yourself with the best eye protection? turation of the molecules of the retina. Also, there may be peeling of the tissues on the inside of the There are a number of factors that need to be con- lens. As there are no pain receptors in the eye, sidered when trying to determine the deleterious this heat buildup would not be felt. The degree of effects of lampworking. These include the wave- infrared (IR) radiation exposure is also related to length of the light source, length of time of expo- the size and temperature of the object being creat- sure, intensity of the luminescence, an individual’s ed, how close it is to the eye, and the temperature eye sensitivity, the temperature of heat source, the of the heat source. During lampworking, exposure size of the object being worked, and the distance to IR can exceed the NIOSH (National Institute for from it. Occupational Safety and Health) and OSHA

(Occupational Safety and Health Associa- tion) threshold limits depending on the type of glass being worked, distance from the torch, the type of torch, etc. (Aurelius, 2009). According to various sources (Kervin, 1994; NIOSH, 1998), there is little ultraviolet (UV) exposure from lampworking.

Another factor to consider is the effect of the luminescence of the flame. High Intensity Visible light (HIV) is defined as luminescence in excess of Damage is done to our eyes all the time by ambi- 10,000 lumens. For comparison, a 100-watt light ent levels of UV, IR, and visible light. However, the bulb produces 120 lumens, while fresh snow on natural cellular renewal process is usually able to a sunny day can have a luminescence as high as balance the amount of damage caused. When this 30,000 lumens. HIV is present when working soft balance is upset however, it is possible that the and borosilicate glass, particularly when special body’s natural healing cannot prevent long term silver glass or boro colors are used. The minerals damage. Obviously, no one wants to risk his or her within these glasses can emit visible light flares sight – it is far too precious. And it is not my desire that can exceed 20,000 lumens. Gold and silver to cause fear – it is simply my hope that this topic fuming can produce flares as high as 30,000 lu- will have you thinking about your eyes and the mens (Aurelius, 2009). According to Mike Aurelius form of eyewear you choose to protect it. (2007), prolonged unfiltered exposure to HIV may lead to difficulties with Eyewear Options night vision and potentially Most of us have heard or used may be related to age-relat- the term “didys” which is an ed macular degeneration. abbreviation for didymium For a more in-depth (pronounced die-dim-e- explanation of HIV, I um). It certainly is easier encourage you to read to say “didys!” Lamp- his blog post “Visible workers tend to use Light Hazards and the this term to describe all Glassworker” (https:// safety glasses, but if we mikeaurelius.word- want to be strictly ac- press.com/2007/12/25/ curate, didymium refers visible-light-haz- only to glasses with pale ards-and-the-glasswork- rose-colored lenses. They er/). are also known as rose glass,

ACE, ACE 202, AUR-92, and DASH40. This type of filter is useful for eliminating the sodium flare created when torching. (It’s called sodium flare because it is actually caused by sodium in the glass burning off.) While these glasses enable you to see your work more clearly, they do not protect your eyes from infrared radiation (IR) or high intensity luminescence (HIV). Jim Kervin’s (1994) research determined that while didymium lenses may be sufficient for handheld torches, they are most likely not enough protection for soft glass beadmaking with surface mix torches. How- ever, Mike Aurelius (2007) believes that the amount of IR generated by soft glass working is low, with the greatest exposure occurring while looking in the kiln (a surprisingly dangerous thing for your eyes) and that didymium lenses are sufficient protection when work- DASH-40 ing with soft glass.

While there seems to be some debate on this topic, there is a consensus that stronger filters are needed when working with borosilicate glass or the kiln (Aurelius, 2007, 2009; Kervin, 1994; NIOSH, 1998). Furthermore, the closer you are to your work (and its heat), the more protection you require. If you tend to work closer than ten inches, then your rose-colored didymium lenses do not provide enough protection from the infrared radiation. I actually used a ruler to measure ten inches and while that sounds pretty close to be holding a hot bead, I have to say that I believe I easily get that close when doing focused work like dot placement. After all of my research, I am happy that I use a stronger filter than didymium. If you are work- AWG-325 ing with borosilicate glass at a hotter temperature, then you will want to invest in glasses with greater protection. If you are only making small boro beads, a Shade 3 will suffice. If you are making boro beads over an inch large you will need a Shade 4. And finally, if you plan to make larger sculptures, do fuming, or use lots of color, you will need a Shade 5. There are also split lens filters available, combining two shade numbers into one lens. Final Thoughts Please understand that this is an incredibly complex topic - far more complex than could be described here. Furthermore, I am a psychologist, not a medical doctor, and do not have the credentials to prescribe any form of eyewear. And I do not endorse any particular AWG-250

Soda Lime Times Copyright 2016 34 All rights reserved June 2016 Soda Lime Times brand or company that manufactures protective eyewear. I have simply tried to explain the facts of this issue to the best of my ability. The purpose of this article is for you to think about your eyewear and consider whether it is sufficient protection. I recommend that you do your own research in this area and to that end, I have provided links to some excellent sources to start you on your journey. Finally, I would like to thank Mike Aurelius of Aura Visual Concepts for answering all my many questions with speed and grace.

Bibliography Aura Visual Concepts, Inc. (2002). General recommendations for filter eyewear. Retrieved from http:// www.auralens.net/pdf_documents/General%20Recommendations%20for%20Filter%20Eyewear.pdf

Aurelius, M. (2007, December 25). Visible light hazards and the glassworker (Web log post). Retrieved from https://mikeaurelius.wordpress.com/2007/12/25/visible-light-hazards-and-the-glassworker/

Aurelius, M. (2009, February 25). Energy radiance information for glassworkers (Web log post). Retrieved from https://mikeaurelius.wordpress.com/2009/02/25/energy-radiance-information-for-glassworkers/

Kervin, J. (1994). More than you ever wanted to know about glass beadmaking. California: GlassWear Studios.

National Institute for Occupational Safety and Health. (1998). Highlights of the NIOSH Health Hazard Evaluation: Exposures during glass beadmaking. Retrieved from http://www.cdc.gov/niosh/hhe/reports/ pdfs/1998-0139-2769.pdf

Phillips Safety Products Inc. (n.d.). Glass wear protective eyewear specifications. Retrieved from http:// www.phillips-safety.com/media/wysiwyg/web/Product_info_sheets/glassworking_filters/Phillips-202.pdf

Phillips Safety Products Inc. (n.d.). Retrieved from http://www.phillips-safety.com/media/wysiwyg/web/ Boroview3.0.pdf

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 woodcarver. 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, Astrid Riedel, 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

Julie Couch Artful Glass Jewelry

G L A S S B E A D A R T I S T & M E T A L S M I T H www.juliecouch.co.uk

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Contact Paul Woodall at [email protected]

think there is a bit of kid in all of us as we anticipate the start of summer. Even as the obligations of adulthood weigh on our minds, there is part of us that still holds fast to the joys of childhood and I embraces summer with the eagerness of our youth. When I think of summer, I imagine my garden in full bloom; I feel the breeze from the ocean and smell the salt of the sea; I hear the sounds of the birds and insects as they go about their busy days, giving a running commentary to anyone who will listen. I work just as hard in summer as any other time, but there is still something magical about it.

My first recommendation this month is for some exceptional glass from Gail Joseph of GG Glass that makes creating summery beads child’s play. This handmade veiled cane has such an ethereal look that it just begs to be made into hollows, discs, and sculptural florals (or bellflowers if you are lucky enough to own a bellflower press).

I used some of this luscious glass to create hollow seashells and they were the easiest hollows I’ve ever made! The glass is very stiff and “sticky,” meaning it is perfect for hollows and sculptural applications. I also use puffy mandrels to create my shells, If you want to make some quick and easy flower beads in a making it easy to expand the hollow to the rainbow of summery colors, Cattwalk has just the tool for you. perfect shape and size. GG Glass starts The daisy press makes perfectly matched flowers every time, at $11 per quarter pound and comes in like this set below by Jodi Hesting. With this simple design a mouth-watering variety of colors (Gail you can embellish them to your heart’s content. This press is offers some beautiful assortments too). $60 and shipping to the U.S. is always free with Cattwalk.

Beads by Jodi Hesting

Nothing says summer like butterflies, and if you haven’t seen Jackie Gundlefin- ger’s butterfly murrini you are in for a treat! Jackie sells her murrini through her Facebook group Gundyglass Murrini. It is a closed group, but anyone can join. Want to see what her butterflies look like on (in) some beads? Lydia Muell and Dayna Schutter were kind enough to share photos of their floral beads made with us. This is bead porn of the first order!

Bead by Lydia Muell Bead by Dayna Schutter

If sitting on a beach with a tall drink and a good book is your idea of the perfect summer activity, you will love these little seashell tools from Audrey and Thomas Otterbein’s online shop, GlasGestal- tung Audrey Otterbein (Germany). They are unlike any I’ve seen and are handmade by Thomas using molds made from actual shells and are surgical steel with a brass handle. Use a tiny bit of glass on the surface of your bead and then press it with the forming tool to create delicate seashells on your beads. Check out this beautiful beads below by Dorry Niclou-Spoo showing what you can do with these fun tools! The forming tools are 33 EUR each, plus 8 EUR shipping. I could easily become addicted to this site!

Of course, what summer is really all about is bright, cheerful colors – the brighter the better, I say! One of my all- time favorite glass colors is Bullseye Spring Green (90 COE). Similar to Effetre Pea Green, this color pos- itively screams summer! I love to pair it with bright yellow, turquoise, and orange for beads that can be seen a mile away. You can purchase Bullseye glass from Howaco Glass (as little as one rod at a time to see if you like a color before you invest in a larger amount).

Let’s celebrate the warm, welcoming, wonderful days of summer! Whatever summer means to you, I hope you’ll check out some of my recommendations, and if you make a purchase be sure to tell the vendor you read about it in Soda Lime Times.

16 Fun and Easy Tutorials for $20 www.bocbook.com

few years ago, I saw a watercolor painting with black outlines around the colors. Because I was busy at that time with stringer work, I had the idea to try this technique with glass. Since then, I A have further refined my technique and want to share it with you. Tools and Supplies: n 1-2 rods of Effetre White n 1 rod Reichenbach Deep Back n Several 2-3mm stringers of opaque glass like red, yellow, pale aqua, periwinkle, and sky blue n Thin stringers of yellow and periwinkle n Lentil press 35mm (but a crunch or a big Kalera press will also work) n Graphite paddle n Tweezers n Bead release (use one you trust, as you will press this bead several times) Soda Lime Times

Before you begin: Pulll some fine stringers in black. Heat just the tip of a rod, then pick up the glass with your tweezers and pull. The stringer must be very fine, so that it can bend afterward. The photos will show you how fine it should be.Please make a lot of these as you will need them. Put your stringers in a glass, mug, or other container so they stand upright. If you lay them flat, it may be difficult to pick them up fof the table.

Pull thicker stringers of yellow, periwinkle, and Reichenbach deep black.

Step 1: Make a long barrel with white. Make sure it fits in your press.

Steps 2a and 2b: When it is long enough, build a thick barrel. Heat the barrel and press for the first time. Be careful when you press white glass. It’s a really soft glass and if you press too hard, it will squeeze out at the 1 2a end of the press. The better way is to heat the bead several times and press again. Warm your bead well before the next step. Let’s Paint! Step 3a - 3d: Form the petals of the blossom by using random swipes of the different opaque 3mm stringers you selected. Melt a small blob at the end of the stringers and push the blob from the mandrel toward the middle 2b 3a of the bead. Use a different color for each petal. Melt completely in and press.

Steps 4a and 4b: Make the second row with different colors for every petal. These can be smaller than the first layer of petals. Melt in completely and press again. This is very important because if anything is raised you can´t do the stringer work. Warm your bead well before the next step. 3b 3c

3d 4a 4b

Stringer Work Steps 5a - 5c: Take a fine black stringer and hold it between your fingers so that approximately 5cm extends out. Warm the area on which you want to work, go out of the flame, and apply the stringer. The heat from the bead will soften the stringer. While you bend the stringer you can cause it to go in the direction you wish. Outline the 5a 5b petals and apply a vein. Warm the bead well after you apply some stringers.

Steps 6a - 6d: Heat the area on which you want to do the spirals and apply the stringer with a little pressure. Your hand should do a circling movement. Apply as many spirals as you want.

Steps 7a - 7c: Use deep black for dots at the edge of the spirals. Apply tiny dots all over the petals 5c 6a with yellow and periwinkle.

6b 6c 6d

7a 7b 7c

Step 8: Add more dots until you are happy with the design.

Steps 9a - 9c: Melt in, press, and give your bead a nice warm up before placing it in the kiln to anneal.

8 9a

9b 9c DONE!

Large Hole Fresh Water Pearls

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think sculptural beads are my favorite types to make. And who couldn’t I use a little saltwater therapy? I love making these seashells. Each one takes on its own personality, especially when there is a tiny crab hidden inside. It’s always interesting to see how a particular rod of carnelian blos- soms in the flame, too. Some batches are pink, some rosy, and some have a salmon color. Just like a day of collecting seashells on the seashore, these beads are fun treasures!

Tools and Supplies: 1/16-inch or 3/32-inch mandrel (regular mandrel, not a hollow mandrel) Marver Metal pick or poker Knife or razor tool Carnelian Ivory (dark or light) commercial stringer or make your own about 2-3mm Silvered ivory stringer Optional: red or orange stringer, white stringer, intense black stringer

Please keep in mind that it’s important to keep the entire bead warm. This is especially true with sculpturals since they have odd bits and it’s easy to get lost in detail work. Remember to “do the dance” by wafting your work through the flame quite often!

Before we begin: At the end of this tutorial I have provided diagrams showing every step required to make this bead. After reading the tutorial and seeing the photos you might find it helpful to refer to the diagrams for additional information. Inner Layer: Step 1: Using carnelian, make a hollow bead approximately one inch across. There are many ways to make a hollow and everyone seems to have their favorite techniques. I usually build up two thin 1 disks about an inch apart on the mandrel. When each disk is about ¾-inch to one-inch diameter, start wrapping more glass on each disk, working each wrap closer toward the other. Remember to keep both disks warm! If you have trouble doing so, try angling your mandrel so that the heat from adding glass to one disk helps keep the other disk warm.

Step 2: Continue wrapping the sides closer together until the gap is only a wrap wide. Build a bridge between the two sides with a dot of glass on four sides of the bead, holding the glass upright and helping keep it from collapsing. Spot heat each opening and use the rod of glass to “stitch” the two sides together while trying not to add any more glass. This keeps the walls of the hollow thinner and easier to 2 puff out. After doing this to three of the openings, take the bead out of the flame and gently blow into the remaining opening in the hollow bead. Doing so pushes the warm air out, replacing it with cooler air. Quickly return to the flame and heat the sides of the opening and “stitch” it closed.

Step 3: Heat the entire bead a bit, just enough to glow a bit but not move on its own. Watch for any tiny openings, usually dark spots, as these will prevent the hollow from expanding. If any appear, do NOT add more glass! Spot heat the opening and use a tool or rod of barely warmed glass to push hole closed. Remember, we’re trying to keep the walls of the hollow as thin as possible. 3 Step 4: Gently heat the equator of the bead while slowly turning the mandrel. You don’t want the bead to get totally orange. When that section has smoothed out, heat one side and then the other. If the bead starts to get too warm, come out of the flame and keep turning the mandrel while it cools, then go back into the flame. Be patient. It’s easy to want this part to go quickly, but the best hollows take time. You should see the hollow begin to puff up and round out a bit. The good news? You don’t have to make a perfect hollow for this bead! As long as the hollow is roundish, the walls are thin, and it hasn’t collapsed onto the mandrel, you’ll soon have a seashell.

Gently heat the hollow and look carefully for a thin spot in the carne- 4 lian. If there is one, make a tiny dot of ivory near it as a marker.

Outer Layer: Steps 5a and 5b: If you don’t see a thin spot, no worries! Using the ivory stringer, encase the hollow. Try to apply as thin a coating of ivory as possible. If you marked the thin spot, leave a section of the carnelian exposed, about the size of a pencil eraser. Otherwise, just remember to leave a tiny bit of the carnelian exposed.

Steps 6a and 6b: Make a collar of ivory on both ends of the en- cased hollow, with whichever is the bottom end a little longer. Add a little extra ivory to the part of the collar touching the bead so that 5a it fills in the space between the new glass and the shoulder of the hollow.

Heat and marver the top end gently to help create a sloped edge. Move to the bottom of the bead and heat it enough to shape the glass a little more aggressively so that it’s tapered.

Steps 7a and 7b: Make your flame tight and hot, then focus the flame on a spot on the equator of the bead OR the exposed carnelian if you left some exposed. Heat this part well, then come out of the flame, and turn the bead with the heated spot on top. This will allow the glass to pull away and create a thin spot. Continue this step several times and there’s a really good chance that a tiny hole will 5b pop open. Do a mental happy dance if that happens!

If the glass is stubborn, you can help it along. Spot heat the area, come out of the flame, and as soon as the orange fades, use a poker or pick to gently push a bit of the glass up. Return to the flame for a moment, then come out of the heat, and insert the poker in the same spot and pull a tiny amount of glass down. Do the same again to the left then to the right. This will stretch the glass and eventually pop a hole.

Be patient! This can be the most fidgety part of this bead. You might have to use the tool a few extra times to thin the glass out enough to 6a pop it open, especially if your original hollow has thicker walls.

6b 7a 7b

Step 8: Turn your torch back to a normal flame and give the entire bead a flame bath for a few moments.

Go back to a narrow, hot flame. Heat the bead between the new hole and the top of the bead until it glows, but isn’t soupy. The glass should be malleable, not runny. Come completely out of the flame then reach inside the carnelian glass and pull a section from the inside to the outside and drag it toward the top of the bead, stretching the opening as you pull. Heat the entire bead.

Step 9: Repeat this step on the bottom side of the bead. This will create a long slit in the bead. 8 Step 10: Concentrate the heat on one edge of the opening. Us- ing the poker to reach in, hook into the carnelian and pull it to the outside to create a “ruffle.” Don’t drag it too thin. There should be a definite raised area. If you want the look of a wider ruffle, rotate your raking tool downward and press the edge slightly into the newly moved glass. Take a moment to heat the entire bead and allow the ruffle to firm up.

Step 11: Continue ruffling along one side of the slit. Try to take time between ruffles to warm the whole bead and not overheat the previ- ous ruffles. Leave the other side of the slit as smooth as possible.

9 Step 12: Return to a normal flame and make five to seven large ivory dots along the top shoulder of the shell, skipping the opening. Heat the dots so that they attach well, but don’t melt in. If you have trouble with the dots sinking in too much, apply the dot and then turn the bead so the dot is pointing down toward your work table. This will allow you to heat the dot well enough to attach but keep the shape. Once it has attached, come out of the flame, turn the dot to the top of the bead, and wait a moment for it to firm up. Use the silvered ivory stringer to place dots in a series of rows below the ivory dots, leaving them slightly raised. Apply tiny dots of either silvered ivory or plain ivory to the tops of each of the large ivory dots to give them detail. You can be creative here, using other colors for the tiny dots. You can also place dots around the top edge of the shell if you 10 wish. It’s your world!

11 12

Critters! Let’s put a critter in our bead! To see a detailed description of how to do this please refer to the diagrams at the end of the tutorial. In the photos below I have outlined or highlighted the glass so you can see it better, as it is black when hot and hard to see.

Steps 13a and 13b: Use the orange or red stringer to make two dots for the claws on the ruffled edge of the bead. Press to flatten. Use a tool to stretch the dots into points on the top and bottom. Use a razor tool or knife to cut a slit into the claw (optional.)

13a Steps 14a - 14c: For the eyes, aim a gentle flame into the opening of the shell for a moment to warm up the inside. Use the red or orange stringer to make two dots side by side and between the two claws. Heat these with a soft flame then add more to each until they are peeking over the edge. Add a dot of white glass to each then add the intense black for the pupil.

Bathe the entire bead in the flame to make sure the glass is warm and happy. I often turn up the propane a bit so that the silvered ivory stringer fumes the outer shell a bit, adding a little more detail. Your sea treasure is now ready for the kiln! Give the bead a good dose of insurance heat then place it in the kiln. Put a paper umbrella in a tropical drink before you open the kiln and you’ll feel like you are in 13b paradise!

14a 14b 14c The finished bead!

Heat here The following diagrams show the steps necessary to create this bead. You may find it helpful to refer to these diagrams as you practice.

1 2

Create bridges

3 4 5

6 7 8

Top Bottom

9 10 11

12 13 14

15 16 17

18 19 20

MAKING THE CRITTER

1 2 Pull Cut

Side view

3 4

About the Artist Terry grew up in a very creative home and tried her hand at many crafts. After many years of making jewelry, she grew tired of the variety and quality of beads available commer- cially and began the search for better quality beads. She stumbled upon glass beadmaking via the internet and knew she had to learn more. Her first class in 2003 with Marjorie Langston sealed her future. She fell in love with the process, both the creative and the technical sides. She took advan- tage of classes with Brad Pearson, Michael Barley, Tink Martin, and more. In 2006, she left the real world behind to make beads and teach full time.

Terry regularly teaches beadmaking at John C. Campbell Folk School, Appalachian Center for Craft, on the west coast of Ireland, as guest artist in private studios, and her home studio. She and Marjorie co-host Hot Time in the Mountains and Fire on the Mountain, annual thirty torch retreats in Asheville, NC. Terry feels that a great deal of her learning has come from the amazing talents and generous spirit of the retreat attendees.

Terry lives in Madison, Alabama, with her husband S.A. and son Scott. Her work can be found on Facebook at https://www.facebook.com/Hale-Fire-Glass and her website at www.halefireglass.com.

By Diane Woodall

hese big, happy flower beads are perfect for summer. I named them jawbreakers because of their size and bright, colors (but don’t try eating one). When making these beads, use the bold- T est, brightest colors you have available to you. For these beads I prefer to use Bullseye glass because of its stiffness. It is 90 COE and holds its shape better than softer glass, leaving crisp details in the leaves and petals. If you don’t have Bullseye, you can make these beads with any glass you have in your studio. The technique is the same and you will get wonderful results regardless of the glass you use. Be aware that you may have to go back and touch up some of the details if you use 104 COE glass. NOTE: a good source for Bullseye is Howaco Glass, where you can buy it by the rod.

To attain the initial spherical shape, I use a ¾-inch graphite marble/bead marver that I bought from about a hundred years ago, but CG Beadrollers also makes a graphite marver that will produce a bead this size (model BR-30, Large Rounds). You don’t need a marver like mine to make the base bead. The base bead does not even have to be round. Just use your imagination! As floral beads go, this is a fairly simple and straightforward design and is one you can make with basic tools and intermediate lampworking skills. Use my basic instructions as a jumping off point for more elaborate and complex designs.

Tool and Supplies: Shaping tool Graphite marble/bead mold (3/4-inch) Tweezers Poker Razor tool Old mandrel Glass rods (all colors listed are Bullseye glass) Turquoise Blue Opal, transparent Gold Purple, Spring Green Opal, transparent Spring Green Thick stringers (3mm – 4mm) Neo-Lavender Shift Opal and Pumpkin Orange Opal Thin stringer (1mm – 2mm) Stiff Black The Vine Cane: Before making the flower bead, you need some leaf and vine cane.

Step 1: To create the leaf and vine cane, wind a gather of Spring Green Opal onto the end of a mandrel, without bead release. Marver it into a cylinder. The gather is about the size of a large olive. The gather extends out from the end of the mandrel about half way.

Step 2: Pressing firmly, make strokes of black or stiff black stringer around the gather, parallel to the mandrel. I made about six thin stripes. Melt in the stripes. 1 Step 3: Heat the base of the gather near the mandrel, pushing it down so that it is anchored to the mandrel. This will make encasing the gather easier and will assure that the cane pulls evenly.

Step 4: Encase the gather with transparent Spring Green and melt until smooth. I often encase vine cane with clear, but in this case I like the way these two greens work together to produce a bright, lively cane.

Step 5: Melt the encasing layer and let the gather cool a bit before you begin pulling the cane. 2

3 4 5

Step 6: For the leaf cane, heat the end of the gather and pull straight and slow. Do not twist. The cane should be about 3mm in diameter (about the size of commercial stringer). Make one pull and then burn it off in the flame. Nip the end of the gather, if necessary, to prepare it for heating and pulling the next length of leaf cane.

Pull several feet of thin vine cane from the remaining gather, twist- ing it or pulling straight to suit your personal taste. This will be much thinner than the leaf cane. When you have finished pulling all of the cane, plunge the mandrel into water and the remaining glass will break off so you can use the same mandrel to pull more cane whenever you run out. 6 The Flower Bead: Step 1: With the base bead color (I used Turquoise Blue Opal), wind on a gather slightly nar- rower than the opening of the marble/bead marver and build it up until it is the size of the cavity. This is easiest to do if you add a bit at a time and test it in the cavity until you have the correct mass of glass. 1 Step 2: Marver the gather, turning it in the cavity until it forms a sphere. The ends of these beads may not be puckered, but they should be flat, with no sharp edg- es. NOTE: If you do not have a graphite marver like this, you can shape the base bead into any shape you desire.

Step 3: Once the base bead is shaped, give it a thorough heating while maintaining the shape. With the vine cane, add a meandering pattern around the bead. After adding the flowers and leaves, not much of the vine cane will show, but it does add a nice touch.

Step 4: Melt in the vine cane gently. Do not distort the shape of the base bead. The objective is to add all of the surface elements while keeping the base bead stiff, but at the same time keeping the bead warm enough to ensure that it doesn’t crack.

Step 5: Now it is time to add the flowers. For a bead this size, I typ- 3 ically add four five-petal flowers. Start by placing four very tiny dots evenly around the bead using a thick stringer of Neo-Lavender Shift Opal, placing them so that they aren’t all along the equator of the bead. These will be the center points of the flowers and will help to guide you as you place the petals.

Step 6: To make the petals, place five dots in a ring, evenly spaced around the tiny center dot, not touching each other. If your dots are slightly out of alignment, don’t worry. You can adjust them by nudg- ing them to a new position, and you will also be able to adjust them as you move through the steps to come. Nature isn’t perfect either! Isn’t this fun? 4 Step 7: Gently melt the dots until they are slightly raised. Do not melt them flat. If you are using only one color for the dots and not adding transparent on top, adding another dot on top of each dot will help to fill out the petals and give them more of a 3-D appearance.

Step 8: To make the petals with two colors, add transparent Gold Purple dots on top of the first layer of dots. It isn’t important for the base dot to be completely covered. Sometimes I add the transparent color only to the outer tips of the petals. Other times I place a small dot in the very middle of the petal so that when it melts in there is a border around the petal. This style looks good no matter whether the 5 entire petal is covered or not.

6 7 8

Step 9: Using gentle heat, melt the petals until they are flattened, but still slightly raised. Don’t worry if the petals run together. We will address that later.

Step 10: Using the tip of a razor tool or poker, pull each petal toward the center. I do this step as a way to ensure that the center of my flower is where I want it to be and to give the flowers a more beautiful shape. To do this, just direct heat at the inner edge of each petal, grab it with the very tip of the poker or razor tool and nudge it toward the center. This is an important step. If you don’t do this and simply move to the next step your petals may not move down 9 into the center of the flower like you want them to, and the shape of the flower will not be as pleasing.

Steps 11a and 11b: Aim heat at the center of each flower, one at a time, and plunge the centers with a poker, pushing straight down toward the mandrel. Step 11a shows what the flower should look like after it is plunged. Don’t heat it to remove the indentation. Leave it there. Remember to give your bead some heat after each step.

Step 12: Now it is time to define the petals. Heat the area between each petal (a one second blast of heat is all it takes), and press a crease using a razor tool. This step helps to separate the petals and 10 creates the 3-D appearance of the flower. Step 13: After all of the flower petals have been separated, use the same technique to press a crease down the center of each flower, this time aiming a one-second blast of heat at the center of each petal.

Step 14: Add a small dot of Pumpkin Orange Opal to the center of each flower and melt 11a 11b slightly.

12 13 14

Step 15: Now it is time to add the leaves. Leaves like this are easy and fun to make. Using the leaf cane, heat a small ball on the end, touch the ball to the bead, press down and swipe on the leaf, pulling up and flame cutting the glass once the leaf is complete. Apply firm pressure as you swipe on the leaf. This will help the leaf to adhere and will also make it easier to achieve a pointed end to the leaf. This may take a bit of practice, but once you get the hang of it, you will want to put leaves on everything!

Step 16: This step is optional, but if you want to make the leaves more detailed, give each one a little heat and press a crease into 15 the center.

Step 17: When you heat and crease the leaves, you will lose the pointed ends. To redefine them, just apply a tiny bit of heat to the tip of each leaf, and pull with the pointed end of a leaf cane. Pull quickly. For some reason, the crease in the leaves makes it easy to pull them into points later. Go figure!

Step 18: Now give your flower power jawbreaker some heat and pop it in the kiln - then make some more. You know you want to!

By Heather Sellers

hy do summer romances fade? Maybe CiM Butternut because the conversation was one sided W... or maybe one partner prefers pine- Effetre 432 Red Medium apple shaved ice over coconut flavor. One thing Effetre 232 Turquoise Light Pastel is for sure, the relationship was never the same after a sporty, beach volleyball entered the picture. Effetre 204 Pastel White C’est la vie! Effetre 404 Lemon Yellow Tools and Supplies: 25mm Straight sided lentil press Stainless steel shaping/Paddle tool 3/32-inch dipped mandrel Fine-point piercing tool CiM Hades Tweezers for pulling stringers Soda Lime Times

Step 1: Using a 3/32-inch dipped mandrel, create a cylinder shape with white.

Step 2: Make sure the glass fits nicely into the mold.

Step 3: Press the glass into a lentil shape, then flame polish.

Steps 4a - 4e: Using a 2mm 1 2 stringer of yellow, draw a line from the edge of the lentil to the center. Continue creating the color sections of the beach ball by adding another yellow stringer line. Connect the trian- gular section with the final line of yellow stringer. Completely fill in the shape with yellow. Heat, then gently smooth with a paddle tool.

Steps 5a and 5b: Repeat step 4 3 4a with a 2mm stringer of red.

4b 4c 4d

4e 5a 5b

Steps 6a - 6c: Repeat step 4 with a 2mm stringer of turquoise.

Step 7: Generously heat the lentil until the raised sections of the beach ball begin to melt into the bead’s surface. (For a finished look on the reverse of the bead, repeat Steps 4 through 7.)

Steps 8a and 8b: Add a small 6a 6b gather of white to the center of the beach ball design and flatten the dot with a smooth paddle tool.

Step 9: Using a stringer of But- ternut, add five evenly spaced dots, which will become the legs of the starfish.

Step 10: Using a fine-point piercing tool, rake the dots toward the 6c 7 center of the starfish.

Step 11: Repeat the raking process with the tips of the legs extending away from the center of the body.

8a 8b

9 10 11

Step 12: Add a small gather of Butternut to the center of the starfish.

Step 13: Focus the heat on the center of the starfish to melt the raised dot.

Steps 14a and 14b: Add two dots of white for the eye detail 12 13 and finish off the eyes with two fine dots of black.

Step 15: Using a piercing tool, add the mouth detail.

Step 16: Flame polish the final bead, then place the finished bead into a preheated kiln.

14a 14b

15 16 All done!

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 cap- tivated by the art of glass sculpting. 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 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.

Cool Stuff for Hot Glass

Lampworking Tools, Supplies and Services

THAT FRIT GIRL BEAD BOX MAN CG BEADS, INC. You can never have too much frit! Cigar box bead storage & display Graphite cavity tools, findings www.thatfritgirl.com www.beadboxman.etsy.com www.cgbeads.com

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VAL COX FRIT KAREN THOMAS DESIGNS Frit blend sfor the lampwork artist Beadables See your ad here. www.valcoxfrit.com www.karenthomas.us Contact Paul Woodall at [email protected] for information

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Teaching Studios

GSS FLAMEWORKING BEADCAMP MESA ARTS CENTER (Ottawa, Canada) (Nokomis, Florida) (Mesa AZ) Classes*Glass*Supplies* Findings Workshops in glass, pmc, metalsmithing www.mesaartscenter.com www.GSSFlameworking.ca www.beadcamp.com

DREAM FIRE STUDIO THE MELTING POINT GLASS SORBET (San Antonio, TX) (Sedona, AZ) Lampwork Classes, Glass, Supplies Workshops*Glass*Tools*Beads*Jewelry Where glass, play & inspiration meet http://www.glasssorbet.com www.dreamfireglass.com www.the-melting-point.com

Until next time . . .

. . . summer is more fun when you get a little messy!

Coming Next Month. . . Fish!

The July 2016 issue (coming out on June 15th) is all about fish! We would love to publish your photos! Please send your photos to [email protected] by June 7th and you might just see your beads in our next issue. What are we looking for? Fish beads of any kind - sculptural or not, any kind of glass. If they are fish, we’d like to see them.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 [email protected] with any questions or comments.

Diane Woodall / Managing Editor Leah Nelson / Copy Editor and Contributing Editor (Featured Artist) 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.