Help! I can't apply a murrini for the life of me!

[LampworkbyLori]

Hello! I've been pulling some of my own murrini and also I purchased some very nice murrini from Jet Age Studio on Etsy. I can get murrinis onto the bead, but after that everything falls apart.

I've tried melting in very slowly, light tapping, applying a dot of clear, etc. but they always flop over or smear.

I can apply the starburst ones no problem because I poke them in the middle to keep them uniform, but when I don't want to poke them - when I want the interior to show - I can't make it happen.

Any tips?

Thanks,

Lori

[Kevan]

What she said.

Somebody answer, please!!

[Lea Zinke]

First, I use very thin slices of my murrini (the thicker the slice, the farther it has to go into the surface). I barely warm it before applying it, instead warm the spot where it will go. Once in place, tap lightly, apply a little heat, tap again, and repeat slowly with only little licks of the flame until you have it seated down into the bead. Slow, patient, little heat is the key...

Good luck,
Lea

[Libby L.]

I agree with Lea. I also use a hot plate with a large piece of graphite on top, and pre-warm my slices so they don't crack or pop apart. Really helps a lot.
Slow is the key!

[Lea Zinke]

Yeah, Libby, I've got the Aura warmer, which is great for larger and/or thicker slices. But I've gotten so that I can slice them sooooo thin with the diamond saw, that they don't need pre-heating and actually behave better. Thin is the way to go, less distortion as you seat the slice into the surface.

[Kevan]

So, thin is in. Maybe that's my problem right there.



In more ways than one.

[Libby L.]

Ohhh Lea tool porn!! I need to see this diamond saw and where can I get one? I have a Harbor Freight right down the street from me? Can I get one there?
Give it up girlfriend!

[Lea Zinke]

OMIGOSH, the saw is the best! It's by DiamondTech, I bought it in Vegas along with a flat lap grinder, after my first Glasscraft Expo show. They were the demo units from the show. After the show, I asked how I would get them shipped. Haha, they laughed and said they'd just take them home with the rest of the booth, and I could come and pick them up. Turns out DiamondTech is in Tampa, right across the bridge from me!!! They even taught me how to set them up & use them!

It's in the studio or I'd shoot a pic for you. But, I just told someone else that I'm sure Delphi carries it. I use both all the time...and literally I cut my murrini wafer-thin. Lovelovelove it.

FYI,
Lea

[pam]

I have a slightly different approach, as I don't have a diamond saw, LEA!!!!, I take a graphite rod the approximate diameter of the murini, or other tool that won't stick to the glass, and make an indention in the glass the approximate depth of the murini. Take the heated murini from the lip of my kiln and place it in the indention (after heating the indention slightly, of course). Apply a little heat and flatten the murini so that it fits the hole and then heat the whole area to fuse the glasses together. That's it.

[swamper]

OMIGOSH, the saw is the best! It's by DiamondTech, I bought it in Vegas along with a flat lap grinder, after my first Glasscraft Expo show. They were the demo units from the show. After the show, I asked how I would get them shipped. Haha, they laughed and said they'd just take them home with the rest of the booth, and I could come and pick them up. Turns out DiamondTech is in Tampa, right across the bridge from me!!! They even taught me how to set them up & use them!

It's in the studio or I'd shoot a pic for you. But, I just told someone else that I'm sure Delphi carries it. I use both all the time...and literally I cut my murrini wafer-thin. Lovelovelove it.

FYI,
Lea

I have the flat lap - so are you cutting the milli with the blade that came on the flat lap to use as a saw or are you using a different tool all together?

[Kevan]

I have a slightly different approach, as I don't have a diamond saw, LEA!!!!, I take a graphite rod the approximate diameter of the murini, or other tool that won't stick to the glass, and make an indention in the glass the approximate depth of the murini. Take the heated murini from the lip of my kiln and place it in the indention (after heating the indention slightly, of course). Apply a little heat and flatten the murini so that it fits the hole and then heat the whole area to fuse the glasses together. That's it.

That's a good idea. Much better than buy a diamond saw, LEA!! :lol::lol::lol:

[swamper]

I have a slightly different approach, as I don't have a diamond saw, LEA!!!!, I take a graphite rod the approximate diameter of the murini, or other tool that won't stick to the glass, and make an indention in the glass the approximate depth of the murini. Take the heated murini from the lip of my kiln and place it in the indention (after heating the indention slightly, of course). Apply a little heat and flatten the murini so that it fits the hole and then heat the whole area to fuse the glasses together. That's it.

Oh wow, good idea, I have brass tools in different sizes that are like blunt rods at the tips - gotta try it.

[Lea Zinke]

Hey Pam! Happy holidays, how are things with your dad? Better I hope!

Now don't be making fun of my saw, I use it ALL the time -- I can cut shapes and everything (including hearts out of a teacup but that's another story), but use it mostly for my milli's. I just find the smooth, very symmetrical cut of the sawed (?) murrini, to the lopped off ones with my nippers! Less waste.

Linda: My flat lap doesn't have a blade, just grinder wheel & flat bed.

Best,
Lea

[Libby L.]

Yea LEA! Hahah just thought I would jump on the "LEA" bandwagon..but I would still like that diamond saw...LEA.

Dang Pam that is the best tip evah! I am so going to do that!

[pam]

No, Libby, the best tip was the glass saw, but.....well..... the graphite rod is MUCH cheaper!

[Lea Zinke]

Hey, Pam, but next time you're "in the neighborhood" stop by & you can use mine to saw all yours!!! Honestly, no chipping, all little tiny perfect slices -- and I'm not really a tool junkie but this is one of the best buys I've made.

Offer stands,
Lea

P.S. Libby, you can send yours & I'll slice 'em up for you! Then deliver them to Midwest Glass Experience, haha!

[pam]

You're sweet, Lea. Thanks!

[LampworkbyLori]

Great tips, ladies!! I'm going to try Pam's method tomorrow!

[lilacwind]

Hi,
Great info! How thin are you cutting the murrini on the saw? Is it a glass band saw? I have the Taurus ring saw and a band saw for glass. I have been cutting my murrini with nippers and they chip and split like crazy. Lots of waste. My murrini is about 1/4" in diameter at the largest. My ring saw blade is thicker than the diameter of the murrini.
Thanks, Mimi
www. lilacwindartglass.etsy.com

[LyndaJ]

I usually leave my murrini in their pulled cane form. To apply, I heat and plunge it in a little, then nip off the cane sticking out. Then build base heat in the bead and slowly tap the can into it. I find that a tiny drop of clear on the top helps to seal the murrini from distortion during the tapping in phase.

I prefer this because it's SO much easier to apply.

[Libby L.]

Lynda that IS a great idea! I remember now that Michael Barley taught it that way in class.
I forgot all about that until you brought it up.
Thanks for the reminder.
Got to give these all a try.

[LyndaJ]

Kim Fields did this for some of her stamen cane, but I use it for most murrini.

Michael B is on my short list of "I'd love to take a class from..." but I'm not sure when he'll be out this way again.

[Lea Zinke]

Yeah, Loren Stump teaches that technique as well! But rounds off the break for eyes on the little sculptural mouse! Great minds...

I do that for stamens but for face canes where I really don't want to waste any beneath the surface, or by cracking off crooked, I still prefer the wafer-thin slices tapped down. I'm mightly stingy with the face cane, it's so darn time-consuming!!! JMTC=;

[Kevan]

Ok, I tried making an indention into the bead about the size of the murinni and pushing it into the bead tap,tap,tapping it down - all is good. Then I put clear on top and by the time I finished tapping that down I had a big smeary messed up looking circle on my bead.:-(

[pam]

Then you allowed your murini to get too hot before applying the clear. The murini needs to be cool enough so it doesn't smear. To tap the clear down, heat just the clear and tap a little. Don't try to do it all at once.

[Libby L.]

OK this...this is what makes LE great. A little thread helping out other beadmakers with those who have been doing it for a long, long, time and those who have been doing it for just a while.
Pam to me is one of our greats and Lea's beads were some of the first I collected for my
"bead museum" in my studio.

I know I am sounding corny, but to me THIS is what it's all about, and the sad thing is that only a couple of people will see it. Oh well.

Kevan tell us how it worked out.

[Lea Zinke]

Thanks, Libby, that's sweet of you to say. It's a constant learning experience, isn't it -- I always say when people ask how long it took to learn beadmaking, "Every new bead teaches me something new..." And it's the truth.

Best,
Lea

[pam]

I love you, Libby, you are one of the great people on this forum. And I still want to get one of your beads!!

[Kevan]

Then you allowed your murini to get too hot before applying the clear. The murini needs to be cool enough so it doesn't smear. To tap the clear down, heat just the clear and tap a little. Don't try to do it all at once.

Maybe I put too much clear on? Should it just cover the top?

And thanks everyone for your suggestions.=D>

[Kalera]

I put my clear on while the murrini is still basically cold and totally solid... preheat the murrini, spot-heat the bead, pick up the murrini with tweezers and stick it on the bead, give it a tiny push with my graphite paddle to set it, and then add a tiny dab of clear... just enough to cover the top... and slowly heat, push, heat, push, until it's flush with the bead.

[ItsMeRoRo]

I put my clear on while the murrini is still basically cold and totally solid... preheat the murrini, spot-heat the bead, pick up the murrini with tweezers and stick it on the bead, give it a tiny push with my graphite paddle to set it, and then add a tiny dab of clear... just enough to cover the top... and slowly heat, push, heat, push, until it's flush with the bead.


What's the reason for the clear over it and do you do this every time? (hope its not to de-de-de of a question).

[Lea Zinke]

Hi Rachelle...

No, it's not required that you put clear over your murrini. In fact, I rarely do as I use mine more as part of my surface embellishment.

If I'm doing encased florals, however, I'll dot the stamen murrini in the center of the flower with clear to keep those little hairy stamens looking separate and blooming!

It all depends on the effect you're looking to achieve...

HTH,
Lea

[Kalera]

Not every time, but most times... it keeps the top of the murrini from imploding in on itself as I push it into the bead, because the pushing makes it want to turn into more of a barrel shape with a narrow top, and squish out on the sides. The clear keeps the top open, so there's less distortion. However, there are some murrini where the distortion is what I want, like if I'm going for a barnacle sort of look.

I feel like that description isn't going to help much, it's hard for me to explain without showing! Does it make any sense at all?

[lilacwind]

All great info... but how thick do you slice the murrini?
Thanks, Mimi

[Lea Zinke]

Rachelle: Just a quick note to add to my post about not using clear on top of my murrini -- the murrine won't implode on itself as long as you don't hit it directly with the flame. I use mine flush to the surface and it stays exactly where I put it with no distortion as long as I don't hit it with direct heat.

Mimi: Depending on the effect you're trying to achieve, the thickness of your slice depends. When I use mine as described above, I use almost wafer-thin slices.

If that still needs explaining, feel free to PM me!
Lea

[pam]

Kevan, it is possible you are putting too much clear at the beginning.

When you make the hole for the murini, you have to heat the murini, after placing it, so you can make certain the murini fills the entire hole before you add the clear. There are actually a couple of ways to do this. One is, as I said before, lightly heating the murini and tapping it a little at a time so it spreads to fill the hole. Never add enough heat to completely melt the murini, just enough to let it move ever so slightly. The other way is to push the edges of the hole toward the murini. You just have to make sure there are no holes left where air can get trapped. Once you have the murini in place with no holes for air, then you allow the murini to cool. Heat a small amount of clear and dab it onto the top of the murini. If your gather was hot enough, you should be able to pull the rod straight up and cut the trail of glass, with the flame, close to the bead. If your glass wasn't quite hot enough, and you can't pull the rod away without messing up your murini, then you will want to once again let everything cool and then place the rod at the point where it attaches to the clear into the flame - not the bead - and melt the rod off. If there is too much clear, then use tweezers to gently remove excess glass. Don't forget to keep the back side of the bead warm while you are working on the murini side!! Cool the bead again before heating up just the clear a little and gently, a little at a time, tap the clear to smooth out the edges. Hope this is a little clearer.

[ItsMeRoRo]

Thanks Lea and Kalera -- I think that makes sense to me. I am just getting into more complex canes and twisties and am really tempted to try some stamen murini too. I will give it a try and report back... I must torch tomorrow!!! LOL. Thanks so much for the help.

Lea - I still drool over your big hole floral beads on your card I got -- good bead porn!! xoxo

[Ever After]

I glue the murrini to a mandrel, heat the bead where I want to plunge it, poke it in, the glue burns off, I poke it in till its just barely above the surface of the bead, then I do apply a little bit of clear, heat it, press it flat with my blade, so that the clear covers the whole murrini, evenly, then melt in . I use fairly thin slices too.

[Lara]

I have a slightly different approach, as I don't have a diamond saw, LEA!!!!, I take a graphite rod the approximate diameter of the murini, or other tool that won't stick to the glass, and make an indention in the glass the approximate depth of the murini. Take the heated murini from the lip of my kiln and place it in the indention (after heating the indention slightly, of course). Apply a little heat and flatten the murini so that it fits the hole and then heat the whole area to fuse the glasses together. That's it.

DUH, Why didn't I think of that. I make eyes that way (learned from Sharon P's class). Thanks Pam!

[SunDoorBeads]

Too much great info I have always been afraid of murini and I have a little baggie I have never used. I will definitely try tomorrow and see if I can get this to work!

[Tutti-frutti]

Uh Lea, we will just send you our murrini cane for you to slice it up lol
Katja

[midniteburner]

I used to love to make beads with the presliced ones. I had no problems with the transparents.

Now the opaques were a whole different story. Everyone of them that had white would defricate. And I would get them on the bead fine. As I started to apply the heat, they would start to seperate between the colors.

What was I doing wrong?

thanks,

Sara

[Kevan]

This is the first time I've used murrinis. I made a bunch of them, but I've just been getting distorted big circles.

This is great information, can't wait to try it. Thanks you guys. You are the best!

[Kybeadmaker]

I leave my murrini a little longer. I flash it through the flame or leave it in the front of my kiln. After I heat the bead and flash the murrini, I push it where I want it using tweezers. Then I use my nippers to cut it down almost to the bead. I heat the murrini slowly and use my large,Maria made, brass tools...the one that looks like a srewdriver and gently push the murrini down with the side of the brass tool until the murrini is flush with the bead. Ta Da !

[tammydownunder]

I use a fair amount of murrini -both hand and pre-made. I apply them two ways. For the premade, I spot heat the base of my bead and, using my tungsten tweezers heat the murrini and stick it in place and cap it with clear. For handmade, I like to spot heat and, using the rod murrini, I push it into the base. Using my MOUTH, I hold the murrini cane and let it cool a bit, before I nip it as close as I can. The trick here, is to make sure you don't put the hot end into your mouth. Then, I cap it with the clear if I'm going for the "window" look.

[Humble newbie]

I just purchased some from Jet. As they are starbursts and tiny, what do I poke them with in the middle? My tungston pick seems like it would be too big. Thanks in advance!

[pam]

Laurie, I love that idea of glue!

[Ever After]

thanks Pam, I fumbled too much with the tweezers, by the time I got hold of the murrini the spot I heated to plunge, it had cooled too much. I had been using the glue method with cz's and thought hmmmmmm, lol
elmers or a gluestick work perfect.

[JetAge Studio]

Hi folks, since my murrini got mentioned in this thread, I thought I would put in my friendly two cents about how I work them. I think the problem with the smearing could be a couple of reasons. It's always a hazard to work them too hot, so that's my first thought. If they get too hot, everything is really liquid, so when you try to press them, they spread out too fast and the colors get muddled and distorted. My murrini are made with several layers of different colors of glass, when they're pressed, the layers get thin, really thin, and that is why sometimes you get some really great effects like seeing striations, or bleed through from the color underneath the top layer. Keeping them relatively cool with heat control and pressing is the key. My murrini are usually around 1/8" thick, by 2mm-5mm. Sometimes they're a little thicker, sometimes thinner, but they all work about the same way, using my methods. So, a 'thinner' chip is relative; some people prefer thinner chips to thicker ones... Another reason the colors may be smearing and not spreading properly is the base glass may be too hot, and the chip is getting plunged in to far. When that happens, the chip has a little 'wall' around it that prevents it from flaring and spreading. If this is the case, then it would probably smear when you try to press it down because the glass has no where to go but 'in' and not 'out'. When you place the chip on the bead base, it should be resting on the very surface (or just barely in). Then let that area cool a little (this is where I heat the rest of the bead) to let it 'set'. You want the base to be cool so the chip can be spot heated and not sink into the base as you gently press it next. Also, don't press to hard each time. It's a gradual thing to get it to be flush to the base. Remember, each pressing thins the layers of the murrini, so if you press to hard, the layers can get 'smeary' as well, so go lightly with them. I hope this helps anyone who works with my murrini. Also, just another note, for my pieces, I don't usually place a dot of clear on them. This also acts as a 'wall' for the murrini by keeping the top of the chip in place while the heat you apply melts everything all around it. It will spread, but it also gives a different effect. Try both ways to see what works or looks best to you.
I hope this makes sense! :)
Renee Wiggins

[Humble newbie]

Thanks Renee!

[LyndaJ]

Now the opaques were a whole different story. Everyone of them that had white would defricate. And I would get them on the bead fine. As I started to apply the heat, they would start to seperate between the colors.

What was I doing wrong?

thanks,

Sara

I've read (but I don't remember where...) that the white that's used in commercial murrini is different from regular flameworking white, and does tend to devitrify. The one's that did that would probably be better off with a cap of clear on them before they get heated.

[Kevan]

Success! Success!

Thank you everyone and thanks Renee for the tutorial.

I went with no clear glass and it worked great. I'll post a pic later to prove it!!

[JetAge Studio]

Yay Kevan!!! I cant wait to see your creation! And, you're welcome for the tut....and thank YOU!! :)

[Kevan]

Darn, there's a crack right up the middle. Must be from encasing the translucent ivory. I'll take a picture anyway, it was a pretty bead.

[Kevan]

http://farm4.static.flickr.com/3113/3158292184_17e0669c57_o.jpg

http://farm4.static.flickr.com/3250/3157466167_f24770c740_o.jpg

[Lara]

Pretty Kevan.

[JetAge Studio]

Yeah Kevan, that's a nice one, and such a bummer it cracked!! I'm so sorry!
Truth be told, I once placed 12, yes TWELVE super tiny murrini on a focal bead that ended up cracking straight down the middle...I kind of suspect a new color I used as a bead base as being the culprit, but darn it anyway! That sux.
Thanks so much for sharing your experience!

[JetAge Studio]

Ok, I would just like to share a new bead I just recently posted in the gallery, and it also illustrates the 'thinning' of the murrini glass as it gets pressed.
150424 150425 150494

This is a multi-stage murrini I have been developing, which consists of an original cane, then used in a second set-up along with a new core cane to make an ornate murrini. I now know why you don't usually see this kind of cane/murrini as it took FOREVER to make! :)

Anyway, if you look at the murrini, you can see there is some white over the red in the petals but is very thin and milky...well, consider this was a solid white layer in the original cane that was pulled and then stretched twice and is now a really wispy white over the red. The red, which is a layer down in the murrini (under the white) is now the dominate color because it is slightly more condensed because of where it sits in the layers...however, you then see the black core peaking through the red and white... and that's under the red layer! So, the red is now semi-opaque because it too is pulled thin so the black underneath shows just a little...so when the murrini is placed on the bead and then pressed, this further thins the colors and creates a fascinating effect that shows most of the layers through to the top...ok, maybe this is too much information. :) I'm just trying to illustrate that construction (of the murrini), viscosity and heat control has a lot to do with how these elements work.
Sometimes when I make this kind of murrini, I kind of think of it as a really nice baklava with super thin layers of Filo dough...at first when you make it, the dough isn't translucent, but when it's cooked, you can usually see the inner goodness peeking through the wafer thin layers of buttered dough! Oh, the layers! Ok, maybe I'm hungry! I know, I'm rambling! :)

[Libby L.]

Ramble on Renee!! All information is good information. I love the bead by the way.

[Libby L.]

Ohh I should also post my beautiful murrini that was in my sisters collection.
It's part of a larger piece from Loren Stump.
I also posted this in the Gallery.

[JetAge Studio]

Oh I saw that one Libby! It's gorgeous. Thanks for posting it again, that's just an amazing murrini!!

[Gail Joseph]

Ok, I would just like to share a new bead I just recently posted in the gallery, and it also illustrates the 'thinning' of the murrini glass as it gets pressed.
150424 150425 150494

This is a multi-stage murrini I have been developing, which consists of an original cane, then used in a second set-up along with a new core cane to make an ornate murrini. I now know why you don't usually see this kind of cane/murrini as it took FOREVER to make! :)

Anyway, if you look at the murrini, you can see there is some white over the red in the petals but is very thin and milky...well, consider this was a solid white layer in the original cane that was pulled and then stretched twice and is now a really wispy white over the red. The red, which is a layer down in the murrini (under the white) is now the dominate color because it is slightly more condensed because of where it sits in the layers...however, you then see the black core peaking through the red and white... and that's under the red layer! So, the red is now semi-opaque because it too is pulled thin so the black underneath shows just a little...so when the murrini is placed on the bead and then pressed, this further thins the colors and creates a fascinating effect that shows most of the layers through to the top...ok, maybe this is too much information. :) I'm just trying to illustrate that construction (of the murrini), viscosity and heat control has a lot to do with how these elements work.
Sometimes when I make this kind of murrini, I kind of think of it as a really nice baklava with super thin layers of Filo dough...at first when you make it, the dough isn't translucent, but when it's cooked, you can usually see the inner goodness peeking through the wafer thin layers of buttered dough! Oh, the layers! Ok, maybe I'm hungry! I know, I'm rambling! :)

Your murrini are absolutely GORGEOUS, Renee!!! Will you bring some for me to buy from you when I'm at Best Bead in Tucson??? (or trade for my stuff...I'll also have all the new and best selling Messy Color)--Gail

[SunDoorBeads]

Ohh I should also post my beautiful murrini that was in my sisters collection.
It's part of a larger piece from Loren Stump.
I also posted this in the Gallery.

Holy Moly this is stupendous!!!! I wish I had that kind of talent!

[miahawk]

this is a great thread. I started making and trying to work with murrini last summer, and have been frustrating myself with it ever since. it's nice to see a collection of so many methods in one thread because now when I go back to it, I think I'll be able to get past the major issue I've been having with each type of murrini I've been working with! thanks for posting, everyone.

[JetAge Studio]

Your murrini are absolutely GORGEOUS, Renee!!! Will you bring some for me to buy from you when I'm at Best Bead in Tucson??? (or trade for my stuff...I'll also have all the new and best selling Messy Color)--Gail

Heck yeah!! I can't wait to see you Gail!! :-D

[Hels]

Renee's murrini's are incredible!! Her beads are incredible too!!! We just did a little bead trade, and I got one of her beads and also bought some of her murrini, great stuff! The below photo is a paste of my first try with them (I know, I'm no soft glass pro, but gotta start somewhere:P). The murrini are more detailed than they appear when you see them at first, and they definitely make a blah bead more interesting!!

Libby... did you know that Frantz is also selling that murrini? For a mere $12,000 :P. Here's the link to it: http://www.frantzartglass.com/index.php?main_page=product_info&products_id=2172

What a treasure you have there!

Here's my jet age murrini bead, front and back... if a soft glass noobie like me can use it, you gals will be able to do amazing things!!!

[Libby L.]

Holy smokes Helen I didn't know that. Here is a better picture of it. See the my angel in the lower right corner?
http://www.stumpchuck.com/madonna.html

Not sure how much my sister paid for it, but I know she was sooo excited to buy it.

[Hels]

Libby... can I ask, why is it only part of the murrini?? Does he cut up one murrini and sell them in parts? (yours is the best part btw).

[Carolyn M]

Libby, that murrini is absolutely amazing.

I love Renee's murrini. I am really a horribly lazy beadmaker, and if I can rely on someone else to do some of the more tedious stuff I will (thanks Renee!)

Here are a couple of sets made with her lovely products. I just let the murrini colours guide me, and I have followed her mini-tut with great success

Thanks again Renee!

151074

151075

[Libby L.]

Carolyn those are beautiful!

Helen the full murrinni is pictured in link to Lorens website.
Click on the link that says more pictures and you will see the individual canes used to make the "whole" murinni.
So the whole murinni is made of smaller parts that are pre-heated and then joined to together to form the larger full piece.
I think Loren said he only got about 10-12 slices of the larger whole piece.

It can take months to finish a piece like this.

[Hels]

Thanks Libby... that is the most incredible murrini ever... but of course everyone knew that! Beautiful:).

Carolyn, those are wonderful too, it's amazing how much detail are in those teeny murrini too!

[nana]

OK this...this is what makes LE great. A little thread helping out other beadmakers with those who have been doing it for a long, long, time and those who have been doing it for just a while.
Pam to me is one of our greats and Lea's beads were some of the first I collected for my
"bead museum" in my studio.

I know I am sounding corny, but to me THIS is what it's all about, and the sad thing is that only a couple of people will see it. Oh well.

Kevan tell us how it worked out.

I am a passive member of this forum.
But I am amazed at the time and effort taken by Beadmakers ( famous ones... and regular folks) to help others
If we could only apply this good faith and spirit of sharing to other aspects of life our world would be a better place,
Thank you all for your wisdom, knowledge and Generosity.=D>=D>=D>=D>=D>

[papimom]

I was fortunate enough to see Loren's Madonna Murrini in various stages of completion. It took him over two years to complete the entire piece. 10 or 12 pieces is on target for the completed piece. It is a huge Da Vinci painting reduced to the size of the palm of your hand. I've seen the painting and the glass piece and the detail Loren re-created is amazing.
Joan

[FairyVerre]

Wow ! Renee Your murrini is 2DIE4 !!! thanks everyone ... I have been having probs with murrini too...Finally - This will work for me ! thank yu sooo much

[Kevan]

With Renee's doodlies and all the help from this thread.

http://farm4.static.flickr.com/3398/3190100354_c599dd697e_b.jpg

[Leslie Dana]

Thats beautiful Kevan !!!!

[Hels]

Wow Kevan!! That's beautiful!!!

[Kevan]

Thank you! I'm all into it now. I'm putting doodlies on everything. I'll have to try some one a goddess. lol

[Troll Lover]

Here's another fan of Renee's murrini! I love to use them in all my work lately!
http://farm4.static.flickr.com/3403/3184084399_a61efe8680.jpg?v=1231596958
http://farm4.static.flickr.com/3326/3184926698_ba38880bcc.jpg?v=1231597027

And I love them on my Crunchies as well!
http://farm4.static.flickr.com/3101/3167442496_141045fea7.jpg?v=1231090301

[Pat]

Thanks everyone for all of your tricks and tips. I think I have been heating the murrini too much and pressing too fast. I will try again and the pics here are loverly/

[Leslie Dana]

That bead is Soo dreamy Kevan , I named it sherbert parfait for you :) Yes I have back to visit it a few times !

[dla]

Since I've been having a little trouble applying murrini lately, I decided it was time for a refresher lesson. What a GREAT thread this is ! :)