Multiple projects and deadlines…

I finished the first color murrine:

Pulled a new color palette to start another:

But need to finish placing the backgrounds on the tiles in piece and get it sent in for exhibition:

Plus a few other things. See ya ’round. (using Chase Designs US Flag murrine).

 

Soft Glass Eye Murrini – What I have learned so far…

I have finally finished placing all of the components for this, my second cold stringer stacked murrini. It is in the kiln firing as I type. It all looks so cheery and good in this first starting picture, doesn’t it?

eye murrini

Plugging right along, mixing color, pulling stringer and placing it into place. I have learned that diameter of stringer I like to use is under a millimeter! You read that right. It had been suggested to me at one point to use whole rod diameter to fill large spaces. I’ve seen that in other work and sometimes it has left areas looking like circles. I didn’t like the look. It is also a pain to try and fill all of the gaps/undercuts around a larger diameter stringer or rod. It is much easier to use smaller stringer to start with…less gaps created, less to fill, LOTS more stringer to pull though.

There are many reasons that I’m nervous about this firing and one of them is because I started out using some stringer that were a millimeter or maybe a bit larger and therefore, some gaps that didn’t get filled. While I think it will fuse down ok, I think it compromises the image and makes it look more pixelated; something I’d like to minimize.

eye murrini

Doesn’t it just look so pretty? I thought so too! I do love the custom colors I pulled, even though they look a lot darker than they’re supposed to. Finicky color that orange is. Sometimes it strikes darker, sometimes it burns out and goes almost white. I am hoping that magic happens in the kiln and the darkness goes back to a lighter shade. It doesn’t help that my printer cartridges are off so the color of the picture I saw on my computer screen is not what printed. Oh well…I’m not going for TOTAL realism…just so you know what it is. I’m looking forward to the distortions in design and color that happen after 10+ hours in a kiln but also a bit nervous that it be a simple looking disaster. I didn’t pull all those colors and include all of the gradations for it to look like a three color cartoon image!

Oh, and did I mention that halfway in someone mentioned on Facebook that murrine using coral and yellows tend to crack? I rationalized in my head that I’m using ‘orange’ not coral, or yellow but, I have a hunch that it could be a problem. I couldn’t stop there though…maybe I’ll be lucky?

eye murrine

So, while it’s looking all pretty, now that I’ve spent a lot of hours doing this and finally “getting it” by the end, I look at the above picture and think, that is going to be a pain in the neck for the person doing it. Oh wait. That’s me. I guarantee that all of my 2.5″ stringer lengths are perfectly straight. PERFECTLY. But looking here you can see that they’re not all laying straight. That’s gonna cause problems. But, well, too late, so I kept moving forward, chalking it up to a learning experience, half knowing that by the time I get to the end it could be a disaster. Did I mention this is only my second attempt at this technique? The first one in color? I say that mostly for myself so I don’t get discouraged at my lack of perfection and patience to go back and fix it when I could. During this process I fixed plenty of things that I could have just left.

eye murrain

I finally got it all filled in and went back to fill in any gaps, best that I could. I got to one part and I kept being able to put more stringer in. Something was wrong. Where was all this space coming from? Where were they all going? I got a hunch to peel off the back template earlier than I would have and this is what I found:

Eye stringer murrain back side

My heart sunk, but just a little bit because I knew I could work with it. See that dark space at about 2:00? That is empty space. A LOT of empty space that doesn’t show in the front view but here it is in the back. That is what happens when your stack of stringers isn’t laying flat. I knew there was a ‘wobble’ in my placement but thought, oh, it’s just in one little part and I couldn’t get in there to figure out what was going on. Well, you take a lot of little wobbles (stringer stacked ever so slightly at a diagonal) and it turns into a big hole. I packed it full and that was that. We’ll see what happens. Luckily it was around the edges, not the detail of the design.

One thing I realized is that parallax is a b@tch. After about halfway through I started working with one eye closed. It’s hard to be up close and see the design on the surface, the template in the back of the cylinder and also be able to focus on the straightness along the length of the stringer. I hope this isn’t hurting my eyes. Is there such as thing as parallax glasses? 

Anyway. That’s that. If you’d like to see what it looks like after firing and what I do with it now, be sure to friend me on Facebook. This post will also be automatically added there and you can comment.

Soft Glass Color Mixing Chat

I apologize in advance for fuzzy pictures today. I don’t know what happened and I’m in a hurry but wanted to chat a bit first. I’m back to color mixing. This time for a cold stringer stack murrini project; my first using color.

A while back I showed you a color mix I did going from orange to white. This is part of the result:

lori greenberg color mixing
At the time I just thought I was mixing for fun and would be on to the next color. I have no idea why I picked orange and white but lookie there…kind of a flesh tone family emerged. And guess what I need for my current project? Some good flesh tones…or, at least some that will come close.lg140522a2

My last color mixing was not precise…just cutting and eyeballing the amounts and proportions of the parts. This time I weighed the portions, knowing that my scale was only accurate to whole numbers. That causes some variations and I have a new, more precise scale on order. Luckily, murrini isn’t an exact science, colors pull down and blend or get minimized but still, I like to know I can repeat things and I like to be able to keep an accurate record. A batch book.

lg140522a3

So, while I know there are variations from batch of glass to batch of glass I also know that there can be variations depending on how the glass is used. Look at the two above pictures. The mixed rod and stringer (pulled method) yield a very different color than the bead (wound method). In addition, I bet the murrini, as I make it, could yield even different color because I will be looking at the cross section of the rod/stringer that will have been fused, cooled, reheated in the kiln, further reheated to molten in the torch and then pulled and cooled again. Orange can be considered a striking color which adds to the variations, even though this particular orange does not need to be struck.  ::sigh:: Got all that? If not, move on and maybe someday, if you find yourself interested in the nuances of color mixing you will know where to look.
lg140522a4For more frustration, note the above photo which shows two different pulls with the same proportions. I could be off by .5 grams but I wouldn’t think it could make that much difference in an almost half and half mix…maybe in the tonality but to change the actual color? Crazy, right? I can only think that I chose orange rods from two different batches of glass. It makes me want to do yet another pull, wondering if I plucked a coral rod by mistake but no, I would have known the difference between orange and coral. Still, crazy crazy and a little bit frustrating.

But, I will keep a record of it all. It is fun to look back and, in my project I will use both the orange color and the coral one and mix them. It will give nice depth and I even think that in the future I might try to do two pulls instead of one big one for this exact reason. I hate the term happy accident but I do like to find something positive in the things that would normally tick me off.

Now I just have to hope that the yellows, if any, in the original rod color don’t cause the murrini to crack, as I have heard can be a problem with yellows.

So there you go…a little color chat.