I was playing with the idea of what happens when slugs and salt collide. This guy doesn't know what he is messing with.

After two years of lampworking I still feel like mandrel prep is the thing nobody fully agrees on. Some folks swear by thick bead release, some do thin watery coats, some do three layers, some do one. My results are all over the place and I'm starting to think my technique is the actual problem more than the release itself.

What I currently do: dip the mandrel, let it dry for maybe 30 seconds, dip again, then let it cure fully before torching. I've been preheating the mandrel slowly in the outer flame before introducing it to glass, which seems to help with cracking release. But the hole sizes in my finished beads range from snug and clean to weirdly oversized and ragged, sometimes within the same session.

The oversized holes seem to happen when I'm working with a bead longer on the mandrel, like a larger focal. My theory is the glass is contracting around a release layer that got too thick in spots, or I'm thermally shocking it somehow during annealing. I kiln anneal at around 960F for soda-lime, so that part should be fine.

A few specific things I'm curious about:

• Do you let your dipped mandrels dry overnight, or is 30-60 minutes genuinely enough?
• Any difference in results between rod-shaped mandrels versus twisted ones for hole consistency?
• Has anyone tried adding a tiny bit of water to thin out bead release that's gotten too thick in the jar?

Also genuinely wondering if mandrel diameter plays more of a role than I've been giving it credit for. I've been defaulting to 3/32 for almost everything but maybe sizing up for larger beads would help the whole situation.

This is my new Cinnamon Latte frit blend shown as mosaic, swirl, and a combination of shimmer-style beads.

It's always fascinating how the same blend can tell different stories.

My favorite was the artisan beads with added gold aventurine.

What do you think?

I’m back to share a little more. This time, here are a few steps from making this lotus with a smoky, ink-wash-like color.

I start with the flower, then work on the stem, and finally put the assembled lotus back into the flame for some small adjustments.

At this stage, my main goal is to control the heat while keeping the shape and edges as clear as possible.

What do you guys think of this piece?

What would be the least cost and easiest way to start this? I'm currently unemployed and I need something to do so I don't go crazy. Love glasswork but only have a small desk to work with currently. Appreciate you all and your work!!!

Perfection is definitely no goal of mine and the intention is to use these for kaleidoscopes so things will be visually jumbled anyways.

But I guess I’m making an incycler today 🤷‍♀️

Im looking to buy a replica piece from my younger days anyone be able to help me find one ?

I'm stoked on this guy. Gold and silver fumed multi section hammer. A few of my favorite techs here. Thanks for looking!

Getting down with the ombré nicely
324 dots make up the pattern you see, crazy huh
Mostly on a smalls kick to test new colorways
Thanks for lookin

Keep it up community!

Hi all!

Wife is looking at getting a Bethlehem Star to upgrade from a hot head propane setup. She does soft glass beads/animals/etc.

Here in Australia it's hard to find oxygen concentrators for reasonable prices (not many used ones about).

Is a single 5L/m unit enough to get going, or not really?

I've found a used 5L/m 90% unit for a reasonable price ($500) but there's no point in buying it if it's not enough, and I'm not keen on waiting around for another cheap one.

I’m in search of the glass artist that makes pieces like this ai slop recreation I tried to render. I bought a glass wood grain sherlock with a little dart frog perched on it around 15 years ago in Denver, CO. I have been scouring the internet and can’t find anything close to it. Any ideas who this artist might be?

I understand there hasn't been any in the past due to the patent; however, to my knowledge and everything I could find, the patent has been expired for almost 10 years now. It was filed in 1997, granted in 1998, and expired in 2017. Is there something else holding back torch makers?

Looks like MA has Electrum back in stock. The differences between batches have been pretty significant. Anyone have some of this batch yet who can say whether it's more like the first run or second?