Frequently Asked Questions about Lampworked Beads:

The allure of the mystical combination of glass and fire has quickly become one of the most fascinating contemporary art forms.

The modern-day glass bead obsession is a comparatively recent phenomenon, actually begun as recently as the early 1970s. 

The process of glass beadmaking involves much more than just the raw materials from which they are made. 

Below, some of the most frequently asked questions about these exciting miniature pieces of art are answered.

1. What should I consider when shopping for Lampwork Beads?

The glass bead artists of today use a variety of many different techniques to create their one-of-a-kind artwork.  On a very basic level, a good bead must possess at least three technical qualities.  First, it must be properly annealed to prevent later breakage.  Second, it should have no sharp edges in the hole areas that can damage and wear down the stringing materials, ultimately resulting in breakage of the finished jewelry piece.  Third, the bead release in the hole must be removed. 

Next, buy American! Mass-produced foreign lampwork beads are very prone to fracture or are otherwise of low quality overall.  Look closely for lopsidedness, discoloration, tiny cracks, or unintended surface inconsistencies.

For earrings, look for beads with a smaller hole, so they hang nicely on the pin.  In round beads, the hole should be slightly "puckered," not jagged or conical.  If purchasing a sculptured bead, be wary of unreasonably thin extrusions that may break easily if bumped.

2.  What does the term "annealing" mean?

Annealing is a term frequently associated with glass beadmaking, and is a very important step in making a bead that will stand up to the wear and tear of daily use in jewelry.   In plain words, it means, "to toughen something formerly brittle by heating and then very slow cooling; or; to render enduring." 

Glass shrinks and becomes rigid as it cools.  When cooled rapidly, the outside layer of the glass, or the "skin," shrinks and hardens first.  Meanwhile, the center of the glass, which remains red-hot, continues to shrink and "pull against" the hardened exterior of the bead or object.  This creates "tension," or "stress" between the two layers, and if the stress is severe, it will pull the glass apart.  The result is a cracked or broken bead.

This cooling process can be slowed down by placing the newly formed glass beads into a "kiln."  A kiln is a brick-lined or fiber insultated type of oven, that is specifically designed to produce and retain high temperatures. 

Generally,  a range of 950 to 1000 degrees F is acceptable for annealing most soft glass beads to ensure durabilty, strength, and lasting beauty.  As mentioned above, the process of kiln-annealing relieves stress in the glass caused by the uneven cooling during the production of the bead.  Stress is one of the main reasons for cracks in a bead.  Professional annealing is always done with a kiln.

An interesting side- note to this procces is worthy of mentioning here.  Because the final color of the finished bead will not be revealed until it is removed from the annealing kiln, sometimes the bead's final appearance will appear exactly as the artist envisioned. At other times, something completely unforseen-and sometimes, strikingly different and beautiful-will have resulted!

3.  How do I know if I am getting a good price?

A high price is not always an indication of the "best" bead.  Don't pass up a bead just because it was made by a beginner! 

4. How are these beads made?

Lampworking, also known as "flameworking," is a method by which clear or colored glass rods are slowly melted in the heat and flame of a torch, and then painstakingly wound around a steel "mandrel," or thin steel rod.  The combination of oxygen and propane gas greatly affects the final appearance of each bead. 

5.  What should I know about the glass bead artist?

Behind every torch's flame, there is a story; a human element of drama.  With each bead, a small piece of that story unfolds.  Through each "story," you will take a glimpse into the creative bliss of the beadmaker, and the joy they experience when their "flame is lit." Just like the beads they create, each artist is an individual; each unique.

Many bead and glass artists are self-taught, and each has ultimately and skillfully mastered this ancient craft in his or her own way.

6.  What bead shapes are commonly available?

Rounds, cylinders, bicones, discs, nuggets, lentils, hearts, stars, tabs, flowers, buttons, marbles, vessels, and sculptured shapes are most common today.

7.  What does the term, "cleaning" beads mean?

A mandrel or rod to be used for glass beadmaking will be coated with a clay-like liquid substance known as "release" or "slip."  This substance helps keep the newly formed glass bead from sticking permanently to the mandrel. 

After the bead has been annealed, the release is then cleaned from the holes, and any sharp areas are removed from the holes.  Beadmakers who truly care about their product will be certain to clean the bead hole completely and thoroughly. 

The dried bead release in the hole MUST be removed; otherwise, it can act like sandpaper upon the stringing material, and may also leave a ring around the neck, wrist, etc. of the bead or bead wearer.  In addition, some dried bead release is considered to be toxic when in the powdery, or dry, form after annealing is complete.

8.  What different types of glass are used in beadmaking?

Each type of glass has unique characteristics such that all of them are of interest to the bead maker and bead collector

"Soft Glass" or "Soda Glass" and "Borosilicate" or "Boro"

The most common material used in glass beadmaking is "soft glass," also known as "soda-lime glass."  Nearly ninety percent of all glass manufactured is soda-lime. 

This hard, dense glass passes from the fluid to the "hard" phase rather quickly, but only at higher temperatures.  Bead makers love it for its clarity, durability, and unusual effects. 

Borosilicate glass was initially developed for use in laboratory equipment.  Sold under the trade name, "Pyrex," borosicilcate glass is is harder, stronger, and more resistant to cracking and chemical degredation, while at the same time, it is more difficult to manipulate when molten.  It is slightly more expensive than soft glass, and requires a "hotter" torch of a different type than that for use with the softer glass types.

Other types of glass:

Satake:  A soft glass from Japan that is hand-pulled, and is known for its wide array of often unique colors.

Moretti/Effetre:  This medium-soft glass from Italy is popular among many bead makers due to the wide range of colors and relative ease of manipulation in the flame.

Lauscha:  A medium-soft glass from Germany that is made especially for lampworking.  Lauscha clear glass rods are considered to be far superior for use in bead encasing work, due to the noted lack of bubbling and "scumming" (clusters of very tiny bubbles, resembling foam) inherent in this type of glass.  Much more expensive than Moretti/Effetre rods.

Bullseye:  Slightly "harder" than Moretti, this glass is available in an array of opalescent and transparent colors.  It is made in Portland, Oregon. 

9.  What do "dimpled ends" or "puckered ends" mean?

A "puckered" or "dimpled" hole is an indent around the hole; a feature that is considered a sign of a professionally made bead. Some believe that the puckered hole is the ultimate indication of a perfect bead.  However, the rounder the bead is, the less likely you will see a pronounced pucker. 

10.  What should I know about bead sizes?

Metric measurements are the name of the game when it comes to beads.  Beads come from all over the world, and since the metric system is used elsewhere, beads are measured in millimeters as a rule.  There are simple charts available to keep handy when buying beads online.  Photos can often distort the size of a bead.  Be sure to read the fine print when purchasing beads online or from catalogues.

11.  Why is the size of the "mandrel" important?

The size of the mandrel used in beadmaking is what dictates the size of the hole in the center of the finished bead.  The actual size of the bead hole is an important consideration when creating any jewelry project.  Sometimes the bead hole may be too small for the desired stringing material, and, on the other hand, a hole that is too large may allow the bead to wobble too much on the stringing material. 

12.  What about bead collecting?

The boundaries of beadmaking are constantly being explored by innovative artists in all parts of the world. Contemporary glass beads can be considered to be both fine art, and functional pieces as well.  They are both wearable and collectible, and can be both simple and complex. 

13.  What is the brief history of lampworked beads?

Glass beads first began to appear around 4,000 years ago.  Soon, these beads were considerd to be as valuable as precious stones, reserved exclusively for royalty, and were later even used as currency in some parts of the world.

14.  Who are some of -the "famous names" in beadmaking?

Some of the most recognized glass bead artists working today have transformed the simple bead from what was once "currency," to what is now a high art form.  Some of the artists below have had their work recognized and displayed by museums throughout the world.  Their beads are sought after by both glass and bead collectors alike. 

Some of the most well-known contemporary glass bead artists include: Kate Fowle Meleney, Terri Caspary Schmidt, Diana East, Bronwen Heilman, Loren Stump, Leah Fairbanks, Kristen Franzen Orr, Wayne Robbins, Sharon Peters, Amy Caswell, Michael Barley, Jim Smircich, and others.

15.  How can I spot an "Up-and-Coming" new bead artist?

It is the artist's skill that creates a bead from fire and glass. Some of the glass bead artists working today  possess talents that have yet to be discovered.

Some of the beads being made today incorporate such skill and individual style and flair that they will be collected for many years, and ultimately cherished as heirlooms for generations to come. 

Originality and method of excecution are of paramount importance when judging the new beadmaker's skill.  Creative ability, personality,  innovation, imagination, perfection of skill, and a recognizable "style,"are some of the characteristics that emerge when a new beadmaker is on the verge of becoming a well-known and sought-after artist.

16.  For more information, what Lampworking books would you recommend?

"Making Glass Beads" by Cindy Jenkins

"The History of Beads" by Louis Sherr Dublin

"Contemporary Lampworking" by Bandhu Scott Duham

"1000 Glass Beads" by Valerie Van Arsdale Shrader

"Flameworking" by Elizabeth Ryland Mears