Preparing the mandrel
In any case, the beadmaker starts by dipping a mandrel, or wire (stainless steel welding wire, cut into 9 or 12inch lengths is typical, at least in the USA) into a clay based substance similar to kiln wash and letting it dry. Some brands allow for drying in the flame.
In any case, the beadmaker starts by dipping a mandrel, or wire (stainless steel welding wire, cut into 9 or 12inch lengths is typical, at least in the USA) into a clay based substance similar to kiln wash and letting it dry. Some brands allow for drying in the flame.
Heating rod and mandrel
The flameworker then selects rods of glass which they heat in the flame of her torch. The mandrel must also be heated, or the glass will not stick. When both glass and mandrel are sufficiently warm, the beadmaker starts rotating the mandrel (usually with the non-dominant hand) while allowing the glass to wind upon it---sort of like pulling out a strand of cotton candy, or wool batt while spinning.
Beginner Bead
The usual beginner bead is a simple donut shape. The beadmaker can use a paddle, a small slab of graphite or brass to shape the glass in different ways---long thin barrels, cones, tabs, bicones and so on. Czech beadmakers, who can produce up to 1200 (identical) lampwound beads in 2--3 days, are particularly known for their use of jigs to help rapidly shape the bead into the desired silhouette.
Shaping the Bead
Getting a good shape is quite often the longest part of the process, though onlookers tend to be most impressed with surface decoration. Some beadmakers rely solely upon heat and gravity to shape their beads; most at least use a graphite paddle to coax the bead into the shape they want. Other common tools for shaping beads are mashers, tweezers, picks, and even the rod of glass itself. The use of presses to create shapes and indent patterns into the glass has been a recent development of modern beadmaking.
Decorating the Bead
There are many ways to decorate a bead. One is to draw with a stringer, or fiber (a small thread, usually 3 mm or less in diameter) of glass on the surface, making dots, lines, or combinations. Dots are particularly versatile and can be piled on top of each other in many intriguing ways. Additionally, a sharp pointed object---for example, a tungsten rake (or pick) or stringer of glass can be dragged through the surface design to make feathers, hearts or other designs. Another very old, traditional design involves sagging one part of a striped bead by heating it more, or rubbing it with the paddle to shift the design into waves.
Glass can also be broken into very small chunks (frit) or even finely ground powders (e.g. Thomspson enamels) in which the bead can be rolled; it can also be decorated with metals---silver, gold, copper, palladium, and platinum. These are typically applied as very fine leaf, slightly thicker foil, as fine wire, as fine mesh, or even as a metallic deposit (fuming.)
Annealing
Good quality glass beads, like any warm or hot-glass item such as Large or complex beads go into an annealing kiln immediately; smaller ones may be allowed to cool slowly, as with a fiber blanket or by being plunged into vermiculite, and then "batch annealed" at a later time.
The flameworker then selects rods of glass which they heat in the flame of her torch. The mandrel must also be heated, or the glass will not stick. When both glass and mandrel are sufficiently warm, the beadmaker starts rotating the mandrel (usually with the non-dominant hand) while allowing the glass to wind upon it---sort of like pulling out a strand of cotton candy, or wool batt while spinning.
Beginner Bead
The usual beginner bead is a simple donut shape. The beadmaker can use a paddle, a small slab of graphite or brass to shape the glass in different ways---long thin barrels, cones, tabs, bicones and so on. Czech beadmakers, who can produce up to 1200 (identical) lampwound beads in 2--3 days, are particularly known for their use of jigs to help rapidly shape the bead into the desired silhouette.
Shaping the Bead
Getting a good shape is quite often the longest part of the process, though onlookers tend to be most impressed with surface decoration. Some beadmakers rely solely upon heat and gravity to shape their beads; most at least use a graphite paddle to coax the bead into the shape they want. Other common tools for shaping beads are mashers, tweezers, picks, and even the rod of glass itself. The use of presses to create shapes and indent patterns into the glass has been a recent development of modern beadmaking.
Decorating the Bead
There are many ways to decorate a bead. One is to draw with a stringer, or fiber (a small thread, usually 3 mm or less in diameter) of glass on the surface, making dots, lines, or combinations. Dots are particularly versatile and can be piled on top of each other in many intriguing ways. Additionally, a sharp pointed object---for example, a tungsten rake (or pick) or stringer of glass can be dragged through the surface design to make feathers, hearts or other designs. Another very old, traditional design involves sagging one part of a striped bead by heating it more, or rubbing it with the paddle to shift the design into waves.
Glass can also be broken into very small chunks (frit) or even finely ground powders (e.g. Thomspson enamels) in which the bead can be rolled; it can also be decorated with metals---silver, gold, copper, palladium, and platinum. These are typically applied as very fine leaf, slightly thicker foil, as fine wire, as fine mesh, or even as a metallic deposit (fuming.)
Annealing
Good quality glass beads, like any warm or hot-glass item such as Large or complex beads go into an annealing kiln immediately; smaller ones may be allowed to cool slowly, as with a fiber blanket or by being plunged into vermiculite, and then "batch annealed" at a later time.
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