ABOUT ME
Q. Do you teach or demo?
A. This is the question I am asked more than any other - and no, I don't teach. I like to make the beads, and that's it. I don't like an audience, so demos aren't my thing either. If I ever grow a wild hair and decide to teach, I will announce it.
As I was talking with a friend one day, I was finally able to firmly grasp one of the most significant reasons why I don't teach. She was telling me how she had to teach herself hands-on in her own field (much like I did, but for different reasons), and ended up becoming very good at what she did. But she wasn't sure exactly HOW she did what she did, as elegantly as she did it. People would come to her fresh out of school, hoping she would share her methods, but she never knew exactly what to tell them. It's hard to know if her methods would have worked as well for them as they did for her. I feel very much the same way. I don't know how or why I do many of the things I do. I just do them. Intuition plays a big part in it. So does common sense, serendipity and hoping for something good. I can't, in good conscience, ask someone to pay me the going rate for a lampwork class and be told "I don't know how or why, that's just the way I do it." Or better yet, "Just eyeball it." Does that seem fair to you? I didn't think so, particularly since I've just told you everything I rely on in my own methods, and for free.
And you know what? I really don't want to teach. Every year that passes, the less appealing it becomes. I've never taken a class myself, and I would have no idea what to do anyway. I don't want to pick up and leave my comfortable home and family, (not to mention my own tools and glass - there's no way I'm taking those with me) to essentially "go on tour". Packing, airports, hotels, bed bugs, things left behind never to be seen again... no thanks. I've had several offers, even from studios in other countries, and while it's very flattering to get such offers, the thought of being in strange places with strange tools and people is a big deterrent for me. I must be completely comfortable to do what I do. So why not do it in my own "studio"? Well, my "studio" only fits me and maybe a cat who wants to quietly curl up in the corner.
I've also been asked if I would consider selling videos or tutorials. The answer to that is pretty much the same as why I don't teach. While videos or tutorials might appear to be good options for someone like me, the magnitude of details behind producing and marketing them would take my attention away from what I really want and need to be doing - making beads. There is a larger demand for my beads than for my expertise, and I wouldn't have it any other way. There are already plenty of lampworkers who DO want to teach, make videos and write tutorials. However, a book is a little bit more up my alley, but before I can even think about publishing a book, I need to feel like I would be making a unique contribution to the ever-growing library of instructional material on this fine medium.
Q. Do you sell at shows?
A. No, I prefer online sales. It's a much better fit for me. And the reason it is a better fit for me is that I like to be at home. I keep weird hours, which isn't conducive to traveling and getting up at the crack of dawn and messing with show stuff. Just like many of you who do shows regularly have your groove down like magic, I have my templates, photos, presentation, site maintenance and all the other blah-biddy-blah down to a science. It's efficient, it's comfortable and it runs smoothly. Mainly because I am ultimately responsible for everything that happens, or doesn't happen. I don't have to worry about show promoters advertising the show effectively, I don't have to worry if there will be a table or enough electricity or a bathroom close by... (and this is also the reason I have never really enjoyed camping, either.) I don't have to worry much about theft, and theft is something that truly outrages me... like, I'm still chapped at whoever stole (3) 12 packs of soft drinks - at our FAMILY REUNION, of all places. (Whoever you are, if you're reading this, I would have GIVEN them to you if you had asked - there is no way I would be able to drink that many soft drinks in my lifetime.) Imagine how upset I would be if someone stole my art. But any time I hear that my beads get stolen from the people I gifted or sold them to, I immediately put a hex on them, and I have no reservations about putting hexes on soft drinks, either. So there. Another good reason is that my reading and writing skills are better than my face-to-face interpersonal skills. I like to talk about those particular beads once, and then I'm ready to talk about some other beads. I'm quiet and shy around people I don't know, and big crowds of people make me nervous. When I'm feeling crabby, I don't hide it very well, and I have a somewhat stern and crusty exterior even when I'm in the best of moods. The nice thing about web sales is that I can wait to respond to inquiries and other things until I'm in a better mood.
Q. Is your studio open to the public? Can I come by and see what you have in stock?
A. Sorry, no, my work space is not open to the public. I don't keep things in stock, most of what I make is made to order or reserved specifically for website or ebay sales.
Q. What is your secret to running a successful web-based bead business?
A. There isn't really any secret to it. I had no business training or education, only a foggy idea... I just did (and still do) what feels right. I simply use the "do unto others" code when it comes to running a business. I make myself as available as possible to answer emails from customers, I pay attention to quality, and I ship quickly. I make sure I stay in touch and have something for sale at all times, whether it's on ebay or here on my website. It's runs pretty smoothly, because I've had several years of practice and have nailed down something of a routine. However, if I were just starting out today, I would be thrilled and relieved to find the Beadnerd Blog. Lori Greenberg (aka beadnerd) has written several helpful articles on running a bead business. The articles are well-written and to the point and she covers just about everything from good photos to good customer relations. Go check it out! UPDATE: Lori Greenberg also interviewed ME! Please read it if you're interested: Interview with Sarah Moran of Z-Beads
And here's another great interview with Melissa Lee!
Q. Why aren't you a member of any glass, bead or art societies?
A. I have huge respect for the glass art societies, including and particularly the ISGB. Thing is, I have an aversion to belonging to any type of society, coalition or club and paying dues and having to get off my ass and go outside and do my memberly duties when I would rather be doing something else. All of my parents feel this way as artists and as people who have had association with art or other societies and clubs in some way or another since they were young adults, and they passed it on to me. Some people may think this is selfish of us, and we can live with that, but it doesn't mean we aren't productive. It simply means that we choose to spend our money on basic needs and tangible supplies rather than on a membership... and that we are just free-spirited recluses who prefer to spend our time in the comfort of our homes, doing what we enjoy most - creating. This expression of my own unsociable mindset is not meant to imply that you shouldn't be a member of any of the glass or bead societies, and definitely not to imply that I think anyone who is must be some poor slob. It works well for and benefits many people, and if you enjoy it, that's great and you have my respect.
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ABOUT LAMPWORK
Q. What torch do you recommend?
A. The only torches I have ever used are the Hot Head, the Nortel Minor and the GTT Lynx. The Hot Head is great for getting started and for those who cannot afford an oxygen/gas apparatus, or those whose space will not allow it. I love the Minor burner for soft glass, and the Lynx for borosilicate glass.
Q. Where do you buy your glass?
A. I like Frantz Art Glass for larger glass orders and other tools, they have excellent volume discounts. For smaller orders I like Deonne Lindley/Galaxy Glass and Moretti and More. Plus, they ship Priority, and that's always nice. For borosilicate glass, I really like Mountain Glass Arts... And if you like Trautman Art Glass
(best known as the maker of the Elvis self-striking reds) I highly recommend ordering direct. When you fill out the order form, they will return your email with details on what's available. If they have variations within a batch, they will offer you a choice. They might even send a bonus rod or two with your order (but know that they do have a $100 minimum).
Q. What kiln do you recommend?
A. I have the Paragon EZ Beader. It is a small kiln, so it's not suitable for production work. I recommend any kiln that is completely or partially insulated with firebrick, and comes with a digital controller. I also use a large firebrick fusing kiln for batch annealing my borosilicate beads. I prefer batch annealing for borosilicate so I have more control over the strike.
Q. What bead release do you use?
A. I like Alices Bead Release for both borosilicate and soda lime glass. It must be air dried, not flame dried. Never heat it in the flame, let it cool and reheat again, or your release will start cracking and flaking off when you wind your glass on. Use distilled water for mixing your release, this will significantly cut down on the nasties that happen with regular tap water that sits for months. When you are removing your beads from the mandrels or cleaning out the holes, always use water. This will eliminate the dust.
Q. How do you make your (insert design here)? I want to make some.
A. I am self taught, and as a result, I am a strong believer in figuring things out for yourself. Nobody taught me how to make my designs, and I have spent many years practicing the basics and perfecting what I dreamed up. Transferring imagined things into tangible things made of glass takes hard earned skill and a little innovation. I suggest practice and focus, and eventually, you will be able to create what's in your own imagination.
Q. I'm just starting out. What colors should I buy?
A. Whether it's soda lime or borosilicate, get a sample pack. The colors I like and work well for me may not be the same for you. Don't deny yourself the opportunity to explore all of the colors. UPDATE: I have recently discovered a fantastic color review blog:
Kandice Seeber's Coloraddiction Blog
I would like to add my own disclaimer: glass color can differ from batch to batch, so the colors under review might be a little different than what you end up with. For example, the bundle of Effetre 432 Medium Red you bought two years ago is almost certain to be slightly or drastically different than the bundle you bought yesterday. This is why it's a good idea to try your colors as soon as you get your hands on them - if you get something you really like, you can order more from that same supplier right away and be fairly sure you'll get more of the same.
Q. What bead making books do you recommend?
A. The only books I've read are Making Glass Beads by Cindy Jenkins and Contemporary Lampworking by Dunham. I highly recommend both, Making Glass Beads for basic beadmaking technique and info, and Contemporary Lampworking for more in-depth technical info for beads and other glass. I also have it on good authority that "More Than You Ever Wanted To Know About Glass Beadmaking" by James Kervin is an invaluable resource for anyone interested in beadmaking.
Q. Who are your (my) favorite bead artists?
A:
Lampwork (and in no particular order):
(there's more, and I'll add them eventually)
Other stuff:
Jan Huling (mind-blowing seed bead art)
Barbara Briggs (jewelry made with everything imaginable - and it's all SO GOOD)
Jamie Hogsett (jewelry with an emphasis on seed beads and wire)
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MISCELLANEOUS TIPS + SUGGESTIONS
SPECIAL COLORS:
If you are having problems with opaque reds, oranges and browns (in other words, Special colors) turning ugly and losing their brilliance once they become a bead, this might mean that you are working too close to the tip of your torch or your flame chemistry is not the best fit for special colors. (it can also mean you got a particularly ugly batch - it happens - but lets exclude that variable for now.) I have struggled with this over the years - I often end up lower in the flame because I do a lot of marvering on my torch mounted marver. The flash heat/marver maneuver must be done quickly, and waiting even a second too long before marvering may result in the need for another flash heat, so I tend to stay close. However, once that process is complete, I often forget to return to my position higher in the flame, and when I start on the next bead, my hands want to be where they were before. Even if the next bead isn't made until the next day. (bad habits form quickly but can be slow to break.) Essentially, pay close attention to where you are in the flame. If you have a tendency to work low, you might try changing the angle of your torch, or the height or your chair. I use a table shield for eye protection, and it really helped me to work a little higher when I put a wooden block under the base, because my spot was better centered in the frame of the shield.
Back to the Special colors - in my case, where I am in the flame when forming the base bead is of the most importance. If you make larger beads like I do, the color tends to get lighter or more washed out as you work it and re-heat it. And if you are too close to the tip of your torch, that can change the color even more. With some of the opaque reds, an inch can make a difference. You might even try increasing your oxygen or reducing your gas, either at the torch valve or at the regulator. I have found that a slightly more oxidizing flame (which I tend to use most of the time, anyway) in conjunction with working a little farther out than I normally do, generally produces a more brilliant and "true to rod" color. As for spacers, (or let's say most plain, single colored beads smaller than 15mm) may end up being a little darker than larger beads made from the same color.
Yet another thing to consider - pressing can change the color or the strike on special colors, too. If your press is a little chilly, it can alter the strike and you can end up with a dramatically different color where your glass touched the brass and then returned to the flame, or you can end up with an entirely different color than a bead that wasn't pressed. Coral (Effetre 420) is a good example of this. Some people have used this to their advantage with Raku (aka reichenbach iris orange) and it probably produces some interesting effects with silver glass, also.
MORE ABOUT OPAQUE REDS...
At the moment, Effetre and Vetrofond reds are very different animals. (as are all the special colors between the two, for that matter). I love them both, for different things. Effetre's opaque reds (424-438) are a much truer, brighter red than Vetrofond's corresponding reds. Vetrofond's reds - well, again, at the moment - it seems that the higher the number, the browner the red is. I have Vetrofond light (428) , medium (432) and purple red (438). The 438 is not what I would call red, but a rich cherry wood, and the 432 is what I would consider a gorgeous merlot. I haven't used much of V428, but it is considerably darker than Effetre's 428, in fact, it's closer to E436 or 438, in both darkness and color.
VETROFOND vs EFFETRE
If I have the condensed version of the story right, Vetrofond was Moretti until Effetre bought Moretti, and then whoever owned Moretti went somewhere else and became Vetrofond. Before Frantz started importing Vetrofond, you could find it at Arrow Springs as Murano Glass.
Although the names and the last three digits of the stock numbers are the same, there are some differences between the two brands, beyond the special colors mentioned above. As far as I can tell, Vetrofond's regular transparent colors tend to be a bit darker and richer than Effetre's, while Effetre's transparents have gradually become lighter over the years. And somehow, Vetrofond seems to have an over all nicer, smoother melt with less burning and bubbling when flame cutting, but the viscosity is exactly the same, and to me, that's what matters. (The reason I don't use much Lauscha or CIM is because of their viscosity - they are too stiff and have strange reactions with Effetre white.) Another difference is Vetrofond's pastels. Vetro opaque violet swallows up surface decoration the same way opaque greens do, but not quite as bad, but Effetre's version doesn't. Vetrofond's (current) 460 Ocher (aka Wasabi) behaves similarly. I've also had a batch of the Slate Blue (odd), and it had odd little black specks in it, and from what I hear, so do other Vetrofond pastel blues from time to time. My favorite, though, is the Dark Turquoise. I don't use it for much of anything besides dots - it turns metallic very easily - but it is the nicest dark turquoise I've ever seen.
METALLIC SHEEN ON OPAQUE TURQUOISE GLASS
And speaking of the metallic sheen on pastel turquoise colors - try The Works toilet bowl cleaner. Some may recommend soaking them in Coca Cola for this, and it does work, but it takes hours, sometimes days. The Works soak takes about 5 minutes, and it can be diluted with water. It's strong stuff, so PLEASE READ ALL WARNINGS AND INSTRUCTIONS BEFORE USING! Use something besides your bare hands to remove your beads from The Works and don't let it splash on you. I use plastic tongs or toothpicks. Be careful, if the bead is left in there too long, especially at full strength, it can etch the bead. Some colors are more sensitive to this than others. ASK 104 is a good example. Their Bahia Blue is a wonderful blue, and it grows the worst metallic sheen I've ever seen. The Works does remove it, but it also etches the bead in less than 5 minutes. (Needless to say, I don't use that color.) The other ASK 104 colors seem to be more sensitive that Effetre or Vetrofond colors. That is a bit of a moot point now that ASK 104 doesn't exist any more, but you can get somewhat similar colors that are now being sold as Kugler 104, but I've never tried them or know how they withstand The Works. From what I've read, some of the names are even the same, but the colors are a bit different.
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Please check out Lampwork Etc for more technical information. You don't need to be a registered member to read and search the Technical forum.
You can also check out the Wet Canvas glass art forum and the ISGB (International Society of Glass Beadmakers) forum as well.
I will add more things to this page as I think of them. Thanks for reading!