UNDER CONSTRUCTION
Last Updated: 8/04/06
This page is currently under construction. Please bear with me as I update the page and work out the kinks. I hope to have this page completed by the end of the week or so.
I am oftentimes asked about the tools and supplies I use in beadmaking. Sometimes bead buyers are just curious about the process, other times the bead buyers know they have reached a point where they need to take the plunge and begin beadmaking. Interestingly, many of the most popular beadmakers currently on eBay were customers long ago.
When I started making beads, there wasn't a lot of information readily available like it is today. I don't plan to get into any how-to's -- there is enough of that all over the internet, simply do a Google Search. This page will showcase the variety of items each beadmaker has in his/her studio. I am just going to focus primarily on the items I use in my studio. Sometimes you see beads that I've made using frits, enamels or metals. I'd like to show those in case you've ever wondered about those items.
Thank you for your patience as I create this new page.
Bead Release
I use a premade slurry mixture of bead release. Bead release is an absolute necessity to ensure you will be able to remove the beads from the mandrels. The mandrels are the metal rods shown in the bottom left. They are stainless steel TIG welding rod. The TIG welding rods come in 3' pieces that need to be cut down to size then the ends need to be filed before you can use them in beadmaking. Glass will stick to stainless steel, so the bead release coating is used in order to allow the beads to be removed from the stainless steel rod after annealing. I generally use 3/32" diameter mandrels, although many other sizes are available. I generally dip mandrels in the bead release every other day. I allow them to air dry and use them the following day during my beadmaking session.
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 Torch and Hoses
I use a Lynx torch from Glass Torch Technologies. Hoses connect my torch to the fuel tanks outdoors. Hoses need to be maintained and checked for leaks. There are many different kinds of torches and everyone has their preference as to which one is the best. It's very personal. When I purchased my torch I bought the best one I could afford, which ultimately is just a middle of the road torch, yet certainly more than sufficient for beadmaking. The things that make my torch particularly special is I can work hot enough to melt quartz and can work small enough to do minute tiny detail on a piece using a pinpoint flame. For the record, I do neither of those things...but I can if I want...lol! Bill got a smaller torch than me because he prefers to make smaller beads than me. He also likes to make small marbles. A torch larger than mine would be overkill for the type of work he does at the torch. He uses a Bobcat. Both of the torches we use are available at Glass Torch Technologies.
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Tanks
The torch is fueled with propane and oxygen. I use tanked oxygen but hope to switch to an oxygen generator soon.
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Ventilation
For your health, this is the single most important item in the studio. I am the first to admit my current ventilation is inadequate so I do my best to rarely work with metals and other chemicals that create airborn toxins. If I do venture into any of those things, which I occassionally do, I wear a respirator. Again, this is not the best option and I am happy to report that I will be upgrading to the appropriate ventilation this month. I'll hold off on posting a new image here until my new system is installed. I can hardly wait.
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Masks and Respirators
If you're working in an area with less than adequate ventilation, sometimes you will need to wear a respirator or at the very least, a face mask to reduce the airborn particles getting into your lungs. This is not an ideal way to avoid breathing in airborn particles and toxins. Proper ventilation is recommended of course!
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Safety First
There are a number of items one must keep in their studio for safety. I'd say number one on the list is an up to date fire extinguisher located within reach. A fire escape plan is important as well. I also keep a jar of water on my work bench for burns, some people keep aloe on hand at their work bench. Burns are the most common issue since some of the more popular brands of glass tend to shock and sputter in the flame, creating flying shards of glass that will burn...I assure you, they will burn. It's important to wear close fitting clothing in natural fibers and if possible a protective apron. Never keep a lighter or matches at your work bench...those flying shards of hot glass will inevitably land on lighters and matches. Always use a flint striker to light your torch. There are chemicals in the studio that are flammable...many people use alcohol to clean each rod of glass prior to use. Rubbing alcohol is flammable. I use Windex to clean my rods of glass and keep it out of reach of my torch station. I also keep baking soda on hand to neutralize chemicals in case of a spill. Chemicals in the studio are generally limited to just acid etch, but now that I am electroforming there are additional chemicals as well.
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Glass...Rods...Cane...Raw Glass
I am currently using Kugler Glass from Germany, Gaffer Glass from New Zealand, which is hand-pulled in the USA by glassblowers, and Uroboros System 96, which I believe might be American made glass. I also use borosilicate glass on occasion: Pyrex, Northstar Borocolor, Glass Alchemy, and I have a tiny stash remaining of Chameleon glass, which is no longer available. I used to use Effetre, more commonly known as Moretti and have also dabbled with Satake, a Japanese glass and Bullseye, an American made glass.
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Assorted Tools
For now I'm not even going to begin to try to photograph all of my tools because I just have too many. This is just a sampling of a few of my tools. Shown here: a graphite Stump shaper, graphite mini flaring tool, leaf mashers.
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More Assorted Tools
Shown from top to bottom: graphite paddle, mini graphite Stump shaper, tungsten pick, tweezers.
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Bead Presses
I enjoy working with bead presses and have a fair assortment of them. The presses are made of brass. The two companies I like to buy from are Zooziis and Cattwalk. I do prefer the Zooziis presses for a number of reasons, however, both companies make a high quality product in unique shapes and both have superb customer service. Neither brand is better than the other, it's just a matter of preference. At some point I will add my list of why I prefer one style of press over the other.
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Frit
To put it simply, frit is just crushed glass. It can be used in a number of ways, the easiest being to just roll a hot bead into it. This particular frit shown is Iris Orange, more commonly known as "Raku Jitterbug" in size 0.
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More Frit
The frit shown in this image is Silver Brown size 2.
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Thompson Enamels
If you know my work, you know I love enamels. I generally use them a lot but you may have noticed I haven't been using them at all lately. The enamels I was using when working with Effetre glass are incompatible with the new Kugler and other 96 coe glass brands I've been using. I have some new Thompson Enamels on order -- they will be compatible with the glass I am currently using.
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Metals...Foils...Leaf
I rarely use metals, but using them can add a wonderful new dimension to your work. I sometimes use gold leaf, silver leaf, copper leaf, palladium leaf, copper mesh and copper sheet.
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Kiln
Until recently I used a digitally controlled Jen Ken kiln. When it started acting up I set Bill's torch up and have been using that ever since. It's is digitally controlled "mailbox" kiln from The Glass Hive.
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Beads Kiln Annealed and Ready to be Cleaned
This image shows the beads when they emerge from the kiln.
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Wire and Pliers
I find it easiest to photograph my beads when they are strung on wire. This is my final step before photographing the beads.
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Finished Beads
And here are the finished beads ready to be sent to their new home!
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Membership ID #M9
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