Messy Color™ Sea Mist Ltd Run

511549 -

Sea Mist Ltd Run (511549)<br />A core of clear, encased in transparent blue, encased in clear.

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




"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

Click here for other interesting Sea Mist Ltd Run discoveries.

 
Messy Sea Mist
Heather Sellers
Messy Sea Mist
Pati Walton
CiM Sea Mist
Gloria Sevey

Messy Tester's Feedback

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

Visit the CiM Resource Page on the Kitbitz Art Glass site.
See Kay Powell’s frit testing samples.
Browse Serena Thomas’ color gallery.
Check out Miriam Steger’s CiM color charts.


"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
"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
"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