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Smircich Makes Beads, Volume 1 of the Smircich Method Lampworking DVD, 2003.
This demonstration video on lampwork bead making might be considered perfect for beginner to intermediate level glass bead makers due to its foundation basics for constructing solid base beads, but is truly worth viewing for beaders of every level. In this nearly two-hour video, the artist, Jim Smircich, illustrates how to create nine different patterned beads. He uses timed heat control and gravity to guide you through the proper techniques for construction of a variety of patterned beads. The first bead is made by adding glass to a mandrel, creating a disc, and then melting it into a round bead. He prefers making a disc and gently melting it into a round bead because of the way the glass spreads on and grips the mandrel for a good foundation. Continuing to decorate the simple round bead, he proceeds by adding and defining clean, crisp dots, and advances to using a glass stringer to comb a patterned florette across the surface of the bead. Bead design number two is a long curved combed bead. Smircich’s technique for a long bead is simple and direct, winding hot glass around the mandrel with constant heat and application. His method for achieving perfect puckered ends relies on the nature of glass in its retractive qualities, in addition to the effects of gravity on thmme bead. The next bead demonstration shows subtle stringer use and the interesting effects of Effetre’s anise white glass when applied as a stringer. Anise white glass, when reduced in a propane-rich flame, delineates white and brown lines. Smircich calls this his “anise white effect.” The Wave is a skillful design combining gravity and glass flow, transforming stripes of glass across the bead into an attractive swirl at the ends and middle of the bead. Smircich takes it one step further by combing the bead into a flame pattern in a bead for a two-in-one demo instruction. In the natural progression of the video, Smircich carries you into demonstrating a hollow bead. His basic disc method used in the video has special significance in the next bead he demonstrates. In the creation of the Black Lace Olive Bead, Smircich shares his knowledge of glass. He shapes the bead into a hollow olive shape. The hollow bead is made by forming two discs spaced apart on the mandrel. The thickness is controlled by the applications of glass. Once the trapped air in the center of the bead is enclosed, the air expands and puffs up the bead. Again, Smircich uses this bead to show you an additional step in creating a tablet bead from this round hollow bead. Demonstration number seven explains a technique for gold fuming, which can produce a mirror-like finish or enhance the existing surface colors of a bead. Smircich explains gold and silver fuming and the timing needed to achieve particular effects. In the second to the last demonstration, an encased silver-fumed bead is created. Smircich’s signature bead can be described as a bead with two black ends, and a center of white “apple core” suspended beneath an encasement of transparent glass. In this final demonstration, Smircich uses calipers to assist in keeping a consistent width for the two black beads. He also uses the disc method to achieve the encasement and the apple core effect. In conclusion, whether you have made 10 beads or thousands, chances are Smircich’s bead-making techniques will help you refine your skills. His knowledge of glass techniques gives him a unique approach to patterned surfaces. Dolly Ahles has been lampworking for six years and teaches classes at her studio in Mesa, AZ. She can be contacted via her e-mail at dollyahles@hotmail.com or Web site: http://flamedancerbeads.wetcanvas.com.
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