Getting things started costs $

Why must all new endeavors be so freaking expensive?
Working on compiling a lampwork shopping list. So far: Devardi Glass Advanced Starter Kit ($193 or $199, depending on where you order from. Contains:  @5 lbs/80 rods of Devardi glass, 10 3/32″ mandrels, 1 3/16″ Pandora-style size mandrel – feh, 6 1/16″ mandrels, 8 Pandora inserts – double feh, 3″ x 4″ aluminum marver, handheld marver, lampworking torch – I already have one, purchased for enameling, but hey – the more the merrier – with stainless bracket – not sure what that is; maybe to hold the aluminum marver on the torch?, double-ended rake, bead release, cooling fiber blanket, 5 oz. of frit in random colors, aluminum heatproof desktop protector, 4 sets of tweezers, glass rod warmer to prevent thermal shock – a.k.a. you put your rod near the fire and it goes ‘splody, which, hey, seems like a good plan – stainless rod rest, instructional DVD which wasn’t well reviewed), rod rack for rod warmer, $5, Devardi Glass Mini Annealer (currently out of stock. Which is fine, because I currently don’t have the $ for the $200 starter kit, much less the $76 + ?$ shipping for the annealer, and the next two items on the list! That said… It’s a lot less than a $600 kiln PLUS all this stuff), ACE didymium over-glasses safety glasses ($53. They cut out the glare while lampworking while still allowing you to get a decent read on color. Supposedly. Dunno, we didn’t use them on Saturday), and various marvers to smooth the beads, and make them certain shapes/add grooves/make them groovy – $18 – $30 ea.
If the mini-annealer were in stock, we’d be looking at $352.48 in startup costs.
Again… if I were to remove the mini-annealer and pop in a real kiln (which I STILL hope to do, someday), it’d come to $882.48. That makes $352.48 seem positively affordable, in comparison, but it’s still high.
Decisions, decisions.
This is me, we’re dealing with, here – I’ve learned something new, which I both enjoyed and had pretty much immediate aptitude for (all but my very first bead, which is to be expected, and my very last bead, where I got ambitious) came out really quite shockingly well. Like, I would use these beads in a sellable product, well (if they’d been annealed. Which they weren’t. Which pretty much makes them shiny ticking time bombs, because they WILL shatter. One already has, and one is visibly cracked. ANYWAY…). This, predictably, makes me want to BUY ALL OF THE THINGS.
The voice of reason, quiet though it may be, says, “Do I REALLY want to do this? It’s a lot of money, and a lot of work. Will I USE this stuff/skill? I didn’t move forward with polymer clay.”
BUY ALL OF THE THINGS voice: “I’ll use it! I will! I spent $9 – $12 PER BEAD for lampwork beads at the last Innovative Bead Expo, for use in the kumi stuff I’ve been working on. OK, yeah, there’s an initial outlay to get started, but wouldn’t it be more FUN to be able to say that ALL OF IT was made by me, instead of just, y’know, ASSEMBLED by me? Plus… FIRE! MELTY GLASS! COLORS! SPARKLY THINGS! COME ON!!!!!!!”
Voice of reason: “You started off well, but then… way too many exclamation points. You know that, right?”
“Yes. But you’re also having a conversation with yourself, so it’s not like this is the thought process of an entirely sane person.”
“…Solid point.”

So… yeah. As per usual, a shopping list of shinies. As per usual, no $ to get them. Really – no $. Between the stupid %⅞ç{ing deck and the stupid %⅞ç{ing HOA payments, I’m tapped out, probably till August I can use a little $ here and there in the interim, but not enough to do much.
3 months. 3 months to forget everything I learned, & start over again. That worked out well, with enameling. *headdesk*
At least it gives me time to really work on the craft room (y’know, where all of this is supposed to end up going).
Patience is not a virtue I’ve got a whole lot of. *sigh*


No enameling – denied!

So I was all sorts of enthused about starting up with torch-fired enamel. It’s fantastically fun, and easy, and hey – fire! That’s always fun! Or, y’know, not – mostly, fire scares me. Wisely, I feel. But because it was pretty much stationary, I didn’t find it as daunting as the creme brulee torching of metal clay. Plus, it’s over in moments, instead of it taking (at least in the case of ArtClay Copper) a significant chunk of time.

Then I actually bought Barbara Lewis’s book,, which mentions, among other things, that you want to work in a well-ventilated area. It recommends doing a search on how lampworkers ventilate their work areas.

My work area (which is to say, my apartment) is not particularly well ventilated. This is predominantly because I never open the windows. Ever. So unless a closed HVAC system counts as ventilation, this is not good. When I did the search on lampworking ventilation, and my brain exploded. There is simultaneously a huge quantity of information out there, and a complete lack of what I feel, in my case, is actually useful.

I have simple needs, I think: I need something non-permanent and inexpensive, that will allow me to hook it up, do my thing, unhook it, and put it away, while keeping myself safe and not setting my home on fire.

Some people recommended getting materials from hydroponics companies, but the information on how to actually set it up was a bit sketchy (I saw one with what looked like dryer vent tubing hooked up to a hydroponics fan, set up on cinder blocks, and stuck poking out a barn door. Since I’m lacking in barn doors, and wouldn’t leave one open, anyway, that’s a no-go. Plus, I don’t recall seeing how the part you actually sit near and use the torch by should be set up). Others were downright dangerous (make a fume hood with foamcore board covered with aluminum foil. FOAMCORE?! Can you think of ANYTHING more toxic and flammable?! It’s STYROFOAM and PAPER, for the love of…!?) Some had oven range hoods vented to the outside, which of all the available options, seems the most feasible; most of the comments regarding those systems stated that they didn’t accomplish nearly enough in the way of venting, and that they might cause a backdraft explosion in your freaking furnace because fresh air isn’t replacing what gets vented. Some seemed to have seriously complex ventilation systems, and others, just fan in a window.

I am very confused.

I don’t particularly want to fill my lungs with copper oxides and flaming silica and whatever all else is going to fly through the air, during torching (or firing in a kiln, for that matter). I’m not in a position to cut a hole in the wall and hook a duct up to it. On top of that, even if/when I do move to more permanent housing, I was planning to move to a townhome or condo; these sites implied that the HOAs in such places would be very unhappy to learn of torch or kiln use. Which, when you get right down to it, makes perfect sense. I wouldn’t be happy to know that my neighbors were using open flames in their apartments, either (even if they are really small ones. The flames, not the neighbors). This… is kind of a game-changer, I’ve gotta say.

So I will now be extending my search to stand-alone, single family housing. Preferably with… no yard. At all. Whatsoever.

I don’t particularly want to own an actual home (as opposed to a townhome). It opens a whole ‘nother can of worms, and it scares the bejeesus out of me. But I don’t want to be confined to wirework for the rest of my jewelry-making career, either.

The only other option I can think of is finding a studio space to rent, outside the home, where I can keep my torches and kilns and implements of destruction. Problem being, I can find no such place, and might not be able to afford it, even if I could. It looks like there ARE such places in existence; they’re just in urban areas, e.g. Newark.

So… yeah. Feeling kinda discouraged, just at the moment. All revved up, and, quite literally, no place to go.

More as it develops. IF it develops. *sigh*

Adventures in enameling

This weekend has been an exploration. I’ve tried new things. And, OK, not one of them turned out the way I would’ve liked. But that’s cool. You learn by doing. If nothing else, it’s helped me dispel some of my fear of the kiln. I mean, yeah- it’s still scary. REALLY scary. And I made some unwise choices.

For instance, for future reference, if you’re going to fire on or over fiber paper, that really needs to go in before you turn the kiln on. Even if you’re not adding the piece you’re firing until the kiln hits 1450°, don’t wait until then to add the fiber paper, too. Flames will ensue. It will be scary. Let’s not do that again, OK? Thanks.

But even doing something that scary/stupid, I didn’t burn the apartment down, and I didn’t injure myself. Heck, the smoke alarm didn’t even go off. Not entirely sure that’s a good thing, but… well, there you go.

I did, rather inevitably, drop the piece I was enameling as I pulling the screen from the kiln. Fortunately, it didn’t go far; it fell (freshly-enameled-side down, of course) onto the ceramic tiles the kiln sits on. I had horrific images in my head of it hitting either a part of me, or hitting the linoleum kitchen floor. Either would’ve been pretty catastrophic. But that didn’t happen. Yay!

Let’s start with yesterday.

I fused glass, from start to finish, without assistance or supervision, yesterday.
It didn’t come out right.


Pardon the photograph quality; all photos in this post were taken with the phone.
I clearly didn’t get to full fuse; the pieces are quite bumpy. Also, it’s entirely possible, even likely, that I didn’t do things quite right. The black bases & clear tops are the same size; should the tops be a tiny bit larger? Should I have used more stringers, or dichroic chips,  to fill up the empty spaces? Don’t know yet. Still, I’m glad I did it. It was one of those things I’d been beating myself up for weeks for not having tried. Now I have… and I look forward to improving.

…But I’m way more hooked on enameling, right now.

I don’t know why I’m so fascinated by it. I did it at camp when I was a kid, so it’s not like I’m completely new to it. And it also means I have at least some sense of its limitations; I certainly don’t still have any of the pieces I made back then. Neither does my mother. At least the pottery ashtray was useful; the burgundy enamel fish-shaped brooch with the gem lumps that shattered later, not so much. I’ve seen some of the enamel projects people sell on Etsy. Some are quite lovely, but no one’s going to be able to quit the day job with what they make doing that. And yet… fascinated. Can’t wait to try again, & frustrated that there aren’t more opportunities during the week for a project of such magnitude. Strange.

Today’s enameling was no success.


Waiting for the Amacote/Scalex to dry


Sifting counter-enamel


Fired counter-enamel after dropping on tile while cooling, then fired facing down on trivet


Front of pendant: jungle green with three threads


Finished front - Cajun blackened?

For one thing, I completely failed to keep the bail hole clear, so even if I hadn’t bollocksed it up, it would’ve been fairly useless.

For another… ew.

But I think I know what I did.
Well, sort of.
Some of it, anyway.

For those of you tuning in for the first time, let me ‘splain- I have a SpeedFire Electric Mini Kiln. It’s the basest of base models. It’s unwieldy; opening it entails lifting the entire kiln off of its base (a kiln shelf with legs). To do something like fusing or enameling, where you need to, at the very least, PEEK at your piece, you’re supposed to sort of tilt it open on one side. When you do that, two things happen.
1. A bunch of heat escapes the kiln, knocking your interior temperature down significantly.
2. It’s not exactly stable. Rock it up too far, it could easily shift, & bad things could happen to your piece, your arm, your body, your floor, & your security deposit.

When enameling, you have to do more than peek; at a certain point, you’re supposed to slide a metal spatula under the shelf or trivet & slide the whole thing out of the kiln while it and the kiln are still 1450°.

This would, of course, be the point at which the piece dropped onto the ceramic tiles.

Here’s the deal- I’m glad I have a kiln at all. I’m glad I have it to learn with and gain experience with. Because it’ll make adjusting to a REAL kiln, e.g. a Paragon SC2 or E9, with a hinged, front-closing door, an absolute breeze.
The SFEM fits in my apartment. It works. If I was more enamored of metal clay, it’d be ideal, but I’m not very good with metal clay. I think if I had the SFEM 1800 & could work with CopprClay, that might be different. Maybe now that I’m enameling copper, I’ll regain an interest in working with ArtClay Copper, which can be torch-fired; I have the tools to work with that, even though torch-firing limits the size of the projects you can do.  But PMC makes me uncomfortable. I don’t feel I have the artistry or creativity to do it justice, & it’s just too expensive to be messing around with. I find it off-putting.
But yeah. For now, I’m stuck with the SFEM 1600. I’m not entirely certain if this a product line issue or I’m just special, but mine doesn’t seem to get hot as quickly as it’s supposed to, nor does it get as hot as it should. It’s supposed to hit its max temperature of 1560 in about an hour; at an hour, I’m fighting for every degree over 1400. I don’t know that I’ve ever seen it go much over 1500. I did learn that, when hooked up to its little dial temperature controller, if you let it ramp up above 1450, then dial it back to a 9, it’ll stay between 1455 and 1458. So that was good to learn, since 1450 is the magic number for enameling. I also learned that the firing time should, in theory, be about 3 minutes. Didn’t know that. The counter-enameled side took a long time to fire (I kept peeking, which probably didn’t help), so I promised myself I wouldn’t look at the green side for a full 10 minutes; I imagine this was a contributing factor in its blackening. I also let the piece sit in the kiln for a bit after I’d shut it off & it was cooling, as I was wary of another failed attempt to retrieve a burning piece of metal from the kiln. This, too, may have contributed to the blackening.

Anyway. Yes. Learning experience. The whole weekend was a learning experience.

Which is good, because I didn’t accomplish a darned thing other than learning how much I need to learn about glass fusing & enameling. *sigh* Ah, well. There will be other days to dig out from the mound of crap on the dining room table, surely.