Messy Color™ Lingonberry Ltd Run

511929 -

Lingonberry Ltd Run (511929)<br />A very saturated gold transparent ruby pink.

A very saturated gold transparent ruby pink.

"What a beautiful combination these three colours make, I used #cimburntsugar as the core, #cimhorehound on the surface and #cimlingonberry on the edges. Love everything about these." – Regis Teixera

Click here for other interesting Lingonberry Ltd Run discoveries.

CiM Lingonberry
Pauline Chevalier
CiM Lingonberry
Pauline Chevalier
CiM Lingonberry
Regis Teixera
CiM Lingonberry
Hillary Lawson
CiM Lingonberry, Elegance, & Osage Wood
Regis Teixera
CiM Lingonberry
Pauline Chevalier

CiM Tester Feedback

  • Testers report that Lingonberry has a tendency to yellow when worked. Testers reported working slow and cool in an oxidizing flame sometimes prevented the butterscotching.
“Lingonberry turned a bit orangey when I was striking and I can see that it has a layer of butterscotch over its pink self on the bead where it’s thinned out on top of white. Looking through that bead, it is a beautiful fuschia, but looking at the bead there is a bit of butterscotch. In contrast, looking at the little bead of solid Lingonberry, it does not look butterscotch at all- just a deep pomegranate juice.” – Jenefer Ham
"I used just a touch of Lingonberry on a white based vessel and saw that it reduced very fast. The areas that had the least amount of heat stayed pink whereas the area that had more heat turned muddy even though I was initially using a neutral flame. The addition of more oxygen didn’t make a difference in the darkened area." – Susan Parry
  • Testers report that Lingonberry color shifts in different lighting.
  • Special thanks to Claudia Eidenbenz for providing the photo in this section.

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.

"My take on Lingonberry is that it is a little darker than Pink Pansy, but side by side, I am not so sure. I did a better job of not getting that orange cast to the glass, but I have to say, I really cranked up the oxygen."
Dwyn Tomlinson
"A little tricky to work but when you get it a nice colour! Smooth going on but likes more oxygen and higher up in the flame. When you get a scum on the surface it is too much. Gently and slow. Test beads left to right - Rubino, striking red, and Sangre 128. A tad on the purple side but just as delicious as the drink."
Jean Daniels
Lingonberry with gold.
Pauline Chevalier
"What a beautiful combination these three colours make, I used #cimburntsugar as the core, #cimhorehound on the surface and #cimlingonberry on the edges. Love everything about these."
Regis Teixera
Blown hollows [clockwise: Dollhouse Misty, Robert E., a test batch with aventurine, Solar Storm, Lingonberry, & Pink Pansy].
Laura Bowker
"Lovely, lovely Lingonberry! Lingonberry is quite similar to Cranberry Pink but has a slightly more orange hue. I love the intensity of this rich colour! No issues with shockiness. Shown here as spacers, over white and encasing silver foil."
Janet Evans
"Great transparent pink- for some reason yellowed a bit. Over white, there was no yellowing."
Suzanne Cancilla-Fox
"I made a simple spacer bead. I also made a second bead with a base of Effetre Super Clear. The left side was then encased in Effetre white to represent the opaque, the middle in CiM Marshmallow to represent the translucent, and finally the right remained clear to represent the transparent. Lingonberry was then wound onto this bead. This gives the opportunity to see encasement in a variety of common beadmaking situations.”
Kim Fields
"Lingonberry is a rich deep fuchsia pink, another glorious pink that looks really pretty all by itself. Here is a patchwork lentil, this time made with Effetre opal yellow, Fremen, Poi and Lingonberry dots over a base of CiM Ginger. The overall effect of Lingonberry over opal yellow was to become shades of burnt butter and butterscotch. Not what I had expected, more of a happy accident, but actually a glass colour combination I would happily use together again." Read more at Kitzbitz Art Glass' blog.
Jolene Wolfe
"Lingonberry is juicy juicy!! In this image the left bead is a solid core of Lingonberry while the right bead is a core of clear and layer of Lingonberry then encased in clear again. I had heard that the 'butterscotch' effect had been happening with other testers and temperature was the most common variable. As before, I work my glass hot... umm probably because I’m impatient! So I didn’t deviate from my normal! I had a very, very slight result of butterscotch due to that. Looking at the finished bead straight on, I couldn’t detect it and I don’t feel like a customer would either in the finished bead. When you turn the bead on its end it is slightly noticeable. This wouldn’t deter me from using this glass and going forward I would just work it cooler than I usually do. As far as the temperament of this glass . . .  it’s very mild mannered! No shocking or boiling and it encases very well."
Angela Dose
"I've used Lingonberry here over white on the flowers and over a core of white on the small beads. It's a lovely bright berry pink which behaved well in the flame. I kept an oxygen rich flame and didn't get any grey flecks as sometimes happens with rubino. There was no shockiness and the colour didn’t disappear leaving the gold look you can get with pinks. The paler beads are Heather with Elphaba dots and the green beads are Limelight with Elphaba."
Josephine Wadman
Left to right: Effetre Rubino Oro, Cranberry Pink, Lingonberry, & Reichenbach Gold Violet. See more of Claudia's color comparisons.
Claudia Eidenbenz
"Pretty much every tester mentions that Lingonberry has a ‘butterscotch cast’ or that it yellows in certain lights. I didn’t find this at all. I notice that Alexis Berger used a Hot Head torch and she didn’t get the butterscotch/yellowing either which makes me think it could be a working temperature thing? I work slow and cool so maybe that’s a reason for no yellowing? Now, on to the unfun part of my findings… I made six beads with CiM Foam encased with a thin layer of Lingonberry. As I was cleaning the beads three of them cracked. The other three are okay at the moment but that doesn’t mean they won’t develop fractures further down the line. We shall see. The cracks are compatibility ones as opposed to thermal ones. The photo shows the fractures. Obviously this only means that I found that Lingonberry has compatibility issues with Foam. It doesn’t even mean that others couldn’t combine those two glasses and create stable beads. As I always say, there are so many factors and variables involved in beadmaking – torch, working style, technique, what phase the moon is in etc – and two beadmakers can use the same two glasses but get entirely different results." Read more at Laura's blog.
Laura Sparling
"Lingonberry is a rich juicy hot pink shade. It worked very nicely in the flame with no issues. Here I have used it to make my own filigrano rod, layering it over a white base, and encasing over it with clear. The colour is quite saturated that you don't need much to achieve a gorgeous pink. I've then used the cane on the bottom part of the heart to create a swirling ribbon effect! Another winner!"
Trudi Doherty
"Lingonberry is beautiful. Truly deep garnet color. It can have a bit of butterscotch shimmer, but not too much."
Anna Miller
"Lingonberry is a very deep pomegranate/rose in my opinion when used as a thick layer. It is a darker rose than Pink Pansy. When layered over white, it is a lovely rose. Not shocky and no issues with bubbling or scumming. Played nicely with dichroic and silver glass on the surface of the bead. I did not incur any livering when I reduced the silver glass. In certain lighting there is a butterscotch or gold tone that appears on the pictured bead which I assume came from the reducing which is reminiscent of gold fumed beads."
Terri Herron
"Beautiful in rod form and quite unexpected in bead form when mixed with silver glass. A gorgeous ruby pink colour. The end result was a slightly less ruby pink; more muted in colour with a subtle yellow tinge but just as beautiful. As I started melting the tip of the rod for the gather it quickly became apparent that this is a sort of striking glass and so I worked it with heat, cool, heat, cool and repeated until the colour darkened. As I was heating and cooling I noticed a very subtle yellow tinge to the glass. I wanted to see how this glass behaved with silver glass and the results were amazing. It created a mustard like threading throughout along with the iridescence, a really unusual combination, love it!"
Juliette Mullett
"I used Lingonberry to make a glass flower [on my Hot Head] and I know that others have experienced a yellowing with this ruby color. I had no problems with that, it just looks like a fantastic Rubino Oro glass to me. In fact, I think it was one of the best in terms of staying clean and not developing black spots."
Alexis Berger
"This photo is lit from behind. There is a butterscotchy sheen on the surface of the beads. I laid a very fat clear stringer on the larger beads and didn’t see any significant difference."
Gloria Sevey
"Pink Pansy is more pink than Cranberry Pink. Lingonberry is just dark. Both Pink Pansy and Lingonberry seem to yellow in certain lightings, with Pink Pansy doing it more readily."
Gloria Sevey