CiM: Messy Color™ Sea Mist Ltd Run, A core of clear, encased in transparent blue, encased in clear.

Messy Color™ Sea Mist Ltd Run

511549 - Sold Out

A core of clear, encased in transparent blue, encased in clear.

"It starts as a translucent blue, but comes out of the kiln rather more neutral. In fact, it seems to be doing a bit of a colour shift in the camera - it is more of a foggy grey than what I am seeing on the monitor - which looks a bit yellowed. . . . I do have to say that the limited amount that I have tried had some significant shocking going on." Read more at DragonJools blog. – Dwyn Tomlinson

Click here for other interesting Sea Mist Ltd Run discoveries.

Darlene Collette

Pati Walton

Melanie Graham

Jolene Wolfe

Heather Sellers

Gloria Sevey

CiM Tester Feedback

Sea Mist was pulled in response to requests for streaky colors.

Join Trudi Doherty's FB group Lampwork Colour Resource Sharing Information for a catalogue of color study.
Claudia Eidenbenz’s "Vetrothek" (glass library) is a great resource for color comparisons.
See Kay Powell’s frit testing samples.
Browse Serena Thomas’ color gallery.
Check out Miriam Steger’s CiM color charts.
Consult Jolene Wolfe's glass testing resource page.

"I am hoarding my supply of Sea Mist as it was created as a specialty formula of a core of clear, encased in transparent blue, encased in clear. The result creates unique beads with a cloudy look that is very pretty. In testing the glass with silver, I did discover that 99% fine silver wire created a reaction that was most likely because of the outer layer of clear on the rod. The reaction lends to an antique look that would also work well for natural nautical looks." Read more at Darlene's blog.

– Darlene Collette

"When making spacers, I did get the streaky look with a few bubbles which I thought kept within the sea mist theme. I tested it as a base and encasement of silver glass to see if it would fume or react. I think the result is beautiful!" Read more at Darlene's blog.

– Darlene Collette

"Sea Mist is a rod of clear, encased in transparent blue and then encased in clear. When the glass is worked, you get a floaty, misty, ethereal thing happening. Very pretty. I feel like I should get this printed on a t-shirt or something because I always feel like I’m repeating myself with it, but I work pretty much every glass cool and slow. I swear that the key to everything in lampwork is to slow the heck down. That advice nugget is yours to take heed of or dismiss as you see fit, but when it comes to working delicate glass like this, you’ll avoid micro-trouble-bubbles and burning the colour out of the glass by working higher in the flame or by—*gasp*—turning your flame down." Read more at Laura's tumblr.

– Laura Sparling

"Here you can see the reducing Sea Mist [the bead on the right] doesn't really change its colour. That bead does look a bit darker, but that is because I use a dark background and the bead is smaller than the bead on the left. Sea Mist is not completely transparent." Read more at Melanie's blog.

– Melanie Graham

"Left to right 1st: Base of Sea Mist with my handblended Pendragonfyre frit. The purple rose in the frit really bloomed with no icky reaction to the raku within the frit. 2nd: Base of Sea Mist with some Triton shards and dots. Notice that the silver glass fumed the Sea Mist to a light grey tone. 3rd: Last bead is wrapped in 99% fine silver wire. If you look closely, there is a slight reaction to the silver, but it gives off an antique look with the base glass." Read more at Darlene's blog.

– Darlene Collette

"I am in two minds about Sea Mist. It is full of micro bubbles and the end of the rod boils very easily, leaving bubbles that don't go away. I would normally dismiss this as poor quality glass, but I do really like the way the nuggets look - it is different from an opalino, or an etched bead, or from baking soda bubbles. It is a muted non-uniform colour which is quite different from the rest of the palette. I think it would do well to pair with or mimic semi-precious beads which have cloudiness or inclusions, where most transparent glass beads alongside those look too brash and uniform in colour. So if you have a very specific use-case, it might be useful. I think I'd buy it if it weren't too expensive, because I do have a lot of semi-precious beads I think it would go well with [labradorite, blue lace agate and so on]." Read more at Heather's blog.

– Heather Kelly

– Dwyn Tomlinson

"Interesting in the rod, pale blue striated. It melted without spitting but I found there was a bit of scumming especially in the heart bead."

– Sandy Fulbrook

"Sea Mist melted well, with no big issues. I do find with pale glass in general [not just CiM] that it likes to be worked a little cooler- and be sure not to have too much oxygen in your mix as that can cause a bit of hazy bubbles. [Really fussy ones I pre-heat, but not this one]. About 1/3rd of the way into the rod I did find some soft bubbles forming as it melted, but it caused no problems but melted in all fine. The effect is a very subtle wispyness rather than striations. Note: the first beads I made came out a bit dirty. I cleaned my torch and it came out just fine. So it's possible that you may need to really ensure a clean torch and gas."

– Trudi Doherty

"I found that Sea Mist can bubble easily when the tip of it is placed directly in the flame or when flame cutting the rod away from the bead. I found that moving the rod in a small circle when flame cutting sped up the cutting process and cut down any scumming at the tip. Turning the heat down helped a lot as I tend to work on the hot side. I also increased the oxygen content of the flame and worked a little higher in the flame than my usual spot to slow the melting speed down. Lastly I didn't place the tip of the rod directly in the flame but instead heated the part of the rod just behind the tip in the flame instead. These adjustments practically eliminated any micro bubbles formed by boiled glass. " Read more at Kitzbitz Art Glass' blog.

– Jolene Wolfe