Lauscha incompatability...or what CAN you use with this glass???

[Dasi]

Take two thick rod of Lauscha and tweeze off the ends of scum. Then put them together and start melting. Pull the glass down into thick stringer. I did that a few years ago when I could only get real thick rods. It was much easier to control when I was learning to encase with thick stringer.

[SadiesJewels]

I am one of the people whose beads cracked ... oooh 6 years or so ago ... I was at first told it was my newbieness that caused the cracking, but gradually it transpired that that run of Lauscha caused cracking. I think this particular run has done more to damage the reputation of Lauscha clear. I love the Lauscha colors (have quite a few) ... but am wary because of my cracking experiences.

I'm willing to try again ... but I'm interested in how big the beads are that are using Lauscha clear? I make big beads - my newbie beads were big too.

[gubnavnania]

If you see Kerry's bead at Lauscha Lady's website, she uses exclusively Lauscha clear for ages, more than 3-4 years.

http://www.lauschalady.com/LLClear.html

Her beads mostly focal with lots lots of layers, 5-6 cm long and 1" thick and more.

[PaulaD]

That bead is gorgeous!
Paula

[Catts]

Thank you Paula for the compliment.

Those beads were made before the Soft & the Reformulated Lauscha came out… They have silver leaf & Val’s frit as a background, just about all my encased florals do

Now that I have been ‘outed’ by Yunita, I suppose I should say something.

I love the new Reformulated Lauscha. The only time I had any trouble with the original Lauscha clear was when I tried to encase Effetre clear.. Which meant I had cracks when encasing dichroic. Isn’t dichroic on Effetre clear?

Now I use the Reformulated Lauscha clear for encasing everything. Silver glass, Effetre & Vetrofond colours or clear, silver leaf & foil, lots of frit, goldstone etc. So far I have only had one bead crack & it was straight down the mandrel. I let it get too cold before putting in the kiln, trying to see what the colour was.

I put all beads still glowing straight into a hot kiln & I ramp down very slowly

Cheers Kerry

[gubnavnania]

Originally Posted by Catts

Now that I have been ‘outed’ by Yunita,

Sorry, Kerry. But you knew that already how much I adore your beads

[Kevan]

I don't use it anymore. Except for the brown. I'm just not putting that time into working with it to have it crack a week later.

[PaulaD]

Thanks Kerry! I didn't realize you were here!
I have loved that bead for ages. I am happy that people are finally admitting that they are using Lauscha clear. I know that I sell a lot of it but by some of the comments on the board in the last year you would think that no one any where uses it.
Paula

[grace edwards]

Great info in this thread! And Paula, just like you, I love Lauscha clear. It is the reason I started selling this glass in the first place.

I just wanted to add another thought here although in a lot of ways it has already been said. And that is the chemistry or makeup of ‘our’ glass. We all know that glass is made of natural elements that are melted together in a certain process to create the end product – the rods we use. There is a ‘recipe’ and ‘technique’ that creates the glass in the quality and color desired. The recipe has been honed over time. As lampworkers we do pretty much the same thing with our beads. In essence we create a bead using a kind of ‘recipe’ and ‘technique’. Start with glass A, add some of B, cool a bit, flash in reduction flame, … or encase & on and on. Finally into the kiln it goes and at the end of the cycle we expect a result. What we sometimes forget is that how we use the glass and what we add to the glass changes the chemistry of ‘some’ of the glass.

And ‘changes’ that our own techniques create make a difference in the bead. If 2 lampworkers using the same glass create a similar bead, but one lampworker works longer and hotter, taking more time to create the effects they want and really working the glass, the 2 beads will be different in the end due to elements that are burned away, changed or created. Go back to thinking about how the glass was made in the first place – a bunch of stuff melted together more stuff added and melted in to create a certain color, in a certain way, to achieve a certain ‘somewhat consistent’ final result. And here we are, melting glass adding stuff being sometimes wonderfully surprised at the changes we've created, and sometimes – not so much.

A good example of glass and its chemistry is Evil Purple. Some lampworkers bring out its magic, some only matting. Same glass – different technique. It’s all in how it’s worked in the torch. Find out what causes the matting and you’ll only end up with magic after that.

And finally, the bead has to be warmed evenly. Make all those molecules dance at the same tempo. Then into the kiln. /grace

[PaulaD]

Thanks Grace for the very helpful post!
eta~~I'd also like to mention that all of the clear is lead free.....
Paula

[Dasi]

I work very hot and very fast. Maybe that is why I usually don't have problems.....

I have had a few cracked beads but the cause was another color and not the clear.

I have loved all the Lauscha I have ever used.

[ewdb]

Originally Posted by Dasi

I use a high O2 flame and put the bead very close to the face of the torch. About and inch away.
First, I let the bead cool way down. Then do the color striking. This will leave a little haze on the clear. Now let the bead cool down. I wave the bead in the upper flame to keep it from cracking but allowing a good cool down.
Then I bring the bead right up to the face of the torch, about an inch away. I aim a thin, high O2 flame right at the discolored clear. A haze appears and you watch it burn away. Try not to hit the rest of the bead with the flame or you can ruin the rest of the silver glass.
The reason for going right up close is to burn hot and fast on your clear so that you do not distort the rest of your bead. PM me if you need a picture or have any questions.

Hope this helps. I use mostly lauscha clear. If I am going over silver, I use effetre clear as a thin coat. Then I Coat over the effetre with lauscha clear. I like how effetre does not discolor silver but it is not a clear, clear. By putting a thin layer effetre and then a thick layer of lauscha you keep the silver color and still add depth with a beautiful clear.

thanks for the explanation. i'm going to try it this weekend...

[ewdb]

My Lauscha Myth debunking officially begins...

These beads were all made a couple weeks ago range in size from 1.75-2", annealed at 980F and none are cracked. i probably worked between 30-60 mins on each bead.

First let's deal with the myth of not encasing white:
1. approx. 2inch bead, Moretti white core, several 96 frits, moretti murrini (u can tell by the devit and scorching around them...lol), silver mesh, all encased in Lauscha clear and pressed in cattwalk crunch.


2. approx 1.75" bead, cobalt on the bottom half, moretti white core, several 96 frits, double layered moretti white, lauscha clear and periwinkle flower petals, encased in Lauscha clear and pressed


now i'm not an experienced floral bead maker (i've probably made about 10 encased florals ever including these) and my beads are fine. I just follow the working tips i mentioned earlier.

i also have a smeared () floral with once again a moretti white core, 96 & 104 red, yellow and orange frit and flowers and encased in them all in Lauscha clear. Plus i encased a few silver glass frits (Kronos and electra frit i think). None of these beads are cracked either - just haven't had the chance to photog them yet.

Does this help...?

[SadiesJewels]

Sorry ... for me 2 weeks ... is not enough.

My broken Lauscha newbie exchange beads sat here for at least a month I would say ... I did have silver leaf in the mix and I've experienced issues with Moretti and silver leaf to be fair.

My beads were 2 1/2 - 3 inches long and probably 3/4" wide.

Layers of cobalt, white enamel, silver foil and Lauscha clear encasing.

Send them through the mail to be sure - lol!

[ewdb]

Originally Posted by SadiesJewels

Sorry ... for me 2 weeks ... is not enough.

My broken Lauscha newbie exchange beads sat here for at least a month I would say ... I did have silver leaf in the mix and I've experienced issues with Moretti and silver leaf to be fair.

My beads were 2 1/2 - 3 inches long and probably 3/4" wide.

Layers of cobalt, white enamel, silver foil and Lauscha clear encasing.

Send them through the mail to be sure - lol!

interesting... i've never had a bead crack/break a few weeks later. the cracks i've encountered happened within a few days from cooling/annealing. These two beads have been claimed by family so if they do crack i'll definitely know.

regarding yr 2nd suggestion: i made something similar as a total newb back in 2006 when i was on the HH. It's a transparent cobalt core, a full sheet of silver foil, swirled silvered ivory, rubino & teal dots all encased in Lauscha (i think i was trying that galaxy bead from PTF). It's a pressed bead, about 1.5" and was cooled in vermiculite since i didn't have a kiln at the time. i finally annealed it about a year later and it's still fine. no cracks.

i'm planning to play with a mixed batch of lauscha clear and enamels this weekend so i'll post my results... did you have the enamel over or under the foil/lauscha?

[PaulaD]

Originally Posted by Dasi

I work very hot and very fast. Maybe that is why I usually don't have problems.....

I have had a few cracked beads but the cause was another color and not the clear.

I have loved all the Lauscha I have ever used.

Heather have you had any trouble with the Silver Colors changing under the Lauscha clear?

Paula

[PaulaD]

Originally Posted by SadiesJewels

Sorry ... for me 2 weeks ... is not enough.

My broken Lauscha newbie exchange beads sat here for at least a month I would say ... I did have silver leaf in the mix and I've experienced issues with Moretti and silver leaf to be fair.

My beads were 2 1/2 - 3 inches long and probably 3/4" wide.

Layers of cobalt, white enamel, silver foil and Lauscha clear encasing.

Send them through the mail to be sure - lol!

I think that what this thread as shown is that many people do not have any trouble with Lauscha clear. I think the variable is how people anneal. Paula

[lunamoonshadow]

Originally Posted by PaulaD

I think that what this thread as shown is that many people do not have any trouble with Lauscha clear. I think the variable is how people anneal. Paula

It really is the annealing & the "final heat treatment" Paula--I know everyone says "NO" to batching Lauscha, so I don't do it often, but I have been sucessful with tossing it into vermiculite & into a fiber blankie as well--as long as I've treated it the same way I treat my other glass--good round of deep heat before it goes in...I get about the same rate of "darn it" beads that don't make the trip to Nikki & back! (And, since mine get dremeled before they get mailed, then annealed, then mailed again, I'm thinking MINE pass the "mail it" test TWICE! )

[Dasi]

Originally Posted by PaulaD

Heather have you had any trouble with the Silver Colors changing under the Lauscha clear?

Paula

I have not really noticed a difference in the encased silver colors. I Use the reformulated to encase any DH or R4 glass.

I have noticed a difference when I encase silver leaf or foil.

[C-Ann]

I am glad I came across this thread since I have a couple of pounds of Lauscha hanging around that I bought in the garage - when my cast comes off this week I will have to give it a try

[glasswhimz]

Ok I am back to Lausha. How could I have ever been mislead... The Milky colors are Yummy and the clear is oh so very delicious. Please keep in mind that the bead I am showing is a throw away and I am only using it as an example of how lovely the base color is.

[angelique_redhead]

Throw away photo or throw away bead? If it's a throw away bead you can send it to me. Angelique

Originally Posted by glasswhimz

Ok I am back to Lausha. How could I have ever been mislead... The Milky colors are Yummy and the clear is oh so very delicious. Please keep in mind that the bead I am showing is a throw away and I am only using it as an example of how lovely the base color is.

[glasswhimz]

Well both actually. The bead release broke or rather exploded and I never got a chance to put the grass or next layer of decortation on. The hole ended up really big and I hope I got a really even final heat.(so no gaurntee it won't crack.) PM me your address and it is all yours. I might even clean it for you.
Jodie

[angelique_redhead]

Awesome! I'd love to have it. Thanks! Angelique

Originally Posted by glasswhimz

Well both actually. The bead release broke or rather exploded and I never got a chance to put the grass or next layer of decortation on. The hole ended up really big and I hope I got a really even final heat.(so no gaurntee it won't crack.) PM me your address and it is all yours. I might even clean it for you.
Jodie

[grace edwards]

This is a pic I posted a while back, but just like you say, the milky way colors are so 'yummy'. Beads are all Lauscha - base is caramello and the back one is olive, transparents are fuchsia and forest green, and decorated with mainly DH:



/grace

[crystalflipz]

Grace, those are gorgeous! I'm a huge fan of the new soft reformulated clear - it's what I mainly use when making dichro stringers and dichro shards and I've found it to be nearly impossible to scorch, and I've yet to be able to make it boil. I'm on a Cricket, but prefer the soft clear because it's easier to melt into a thin encasement, but it does not get too drippy.

[terryl]

I like lauscha clear and use it alot. You can't beat it for its clarity, but has anyone else noticed this problem? I am finding that if I touch it with a brass marver or stump shaper to edge a little clear over so to speak it instantly scums and has a haze come across the glass where before it was perfectly clear. It is driving me crazy. I don't get this with Vetrofond crystal clear.


Terryl

[PaulaD]

The haze should burn off.
Paula

[Holaday]

Hi,
I read every post in this thread with great interest. Thanks.

I am one of the Lauscha Clear lovers. Also black, most of the transparents and some of the opaques. Milky Way? sounds like something I have to have a look at.

I have used the clear for years, long before the new reformulated or the new "soft" clear. I encase all sorts of 104 opaques and transparents, various frits, lots of silver foil, and now the DH silver laden glass, and have had no cracking... unless I admire the bead for too long before placing it in the hot kiln. I've tried the Diamond clear but prefer the Lauscha. Haven't tried the DH clear. Money is not the issue for me, only the results. Wish I could trade all my pounds of promised wonderful clear, that turned out not to be, for Lauscha.

My annealing schedule does not match the one others are talking about here. I think it works because it is hot enough, long enough, and slow cooling enough to do the job. Plus beads go into the kiln glowing. I have a brick kiln with a full metal jacket and a door that closes tight. Not a bead door flap thing. Just some of the variables other than the glass being encased that can make a difference.

I am currently using the reformulated clear. I have one rod of soft clear gifted from Paula that I haven't tried. Thought this was meant for HH users. Anyone on a minor prefer it to the the other Lauscha clear for encasing?

[PaulaD]

Thanks Carol!!
Carol Anne tells me that the Soft was made for "smaller" torches. That would mean crickets, minors, mini cc's etc. It is Reformulated Clear with things added to make it flow faster. Let me know how it works for you after you try it!

I am sooo happy that so many people are using the clear!

Paula