I have a working relationship with CiM Celadon, the kind where I’m always working with it. It has a really strong place in my preferred colour scheme. Its a gorgeous opaque sea green that sits very nicely in the Effetre blue green colour palette. To me, it is a shade lighter than Effetre Light Turquoise in the rod, although they look different when melted. It’s not a soft or particularly stiff glass, it does hold heat well, so it makes it a good base for long beads and sculptural work. More than likely everyone has a bit of CiM Celadon in their stash, it has been around since the first release in 2006 and is still available. All of the Messy glass colours have cool associations with their names and Celadon is no different. The name “Celadon” is traditionally associated with a type of soft sea green glaze that originated from China and has become highly prized pottery from the dynasties it was produced in. Which, I think is a very nice nod to the heritage of the colour and the country Messy Glass is manufactured in.
Celadon rods like to be heated up properly at the top of your flame before introducing it lower as it will ping and crack if thrust too quickly into heat. Which is a good clue about the glass, heat transforms Celadon a lot. Celadon striates when used as a base bead. Celadon dot decoration does not striate. With careful, gentle heating; Celadon dark striation lines can be minimised, instead what appears can be best described as a “mottled” effect. To minimise the dark striations and to achieve the mottled effect; Celadon requires a slow, cool and even heating and to apply all your glass at once. So melt a big gather and resist the temptation to make the bead larger by adding more glass. Repeatedly heating and cooling Celadon in the formation of a bead, such as using marvers, brass presses and forming trays and then blasting the bead with heat will develop striations. If Celadon is heated rapidly whilst actually forming the bead, then that too will cause it to develop these striations. If the bead was created in concentric wraps you will develop extremely dark concentric lines around, which can actually be used as part of the design (see picture above). Forming a bead with Celadon wraps mean that as the glass melts and moves together a dark striation line will form where the wraps meet in the centre. These dark lines can then be dragged into patterns like stringer design. So this is something to keep in mind when you want to create a base bead with Celadon, it will create striations if you add more glass on top of it.
Celadon is highly reactive with a lot of other glass. When I say highly, I mean that it produces effects when used in conjunction with just about everything other than transparent glass. Celadon over Effetre Dark Ivory develops a dark reaction line. Cooking Celadon into Dark Ivory will produce a brown webbing where the two colours meet. I don’t particularly like this effect, but I do think Dark Ivory and Celadon look good together so I lay down a dot footprint of clear glass so Celadon does not react. Dark Ivory over Celadon produces the same dark smokey reaction line. Most opaque glass laid over the top of Celadon will develop a reaction line or colour separation lines. What I mean by colour separation is the effect that occurs when opaque glass is wound over the top of a Celadon base. The opaque glass wound over the top will split into a lighter and darker version of itself. If it is a dot melted flat, a dark ring appears in the centre of your dot. If it is stringer decoration melted flat, a dark line down the centre of the stringer or a separation of dark and light colours occur. The key part is melting that dot or line flat over Celadon to get the colour separation.
Looking at the two barrel beads in the image, both of these have been made with a tube base of Celadon and then concentric circular wraps. In addition to building the bead in wraps I also heated and cooled both beads rapidly to pull out the darkest striations possible in Celadon, as I wanted to use this effect as part of the finished design. Then I wrapped a thick ring of Effetre glass around the centre of each barrel bead and melted in. The centre wrap in the bottom barrel bead is Effetre Dark Violet. Where it met the Celadon it separated into three distinct colours. A fumed line at the outer edge, a thin dark reaction line and the actual Dark Violet colour in the centre. Three distinct colour separations was unusual and a really nice surprise. I hadn’t put these two colours together before. I reduced the bead lightly to bring more of the shine out on the Dark Violet. The bead looks more complicated than it is and I like the colour separation effect a lot. It’s handy to know that any glass with a high metal content in it is going to fume where it separates over Celadon. The barrel bead at the top has a wrap of CiM Glacier, not that you would be able to tell because Glacier has separated into a pale lilac middle band and an even paler lilac outer band. It doesn’t particularly look like Glacier, more like a pale baby blue. Again there is that slightly darker reaction line where the two colours separated, but it is not as intense as it appears with Dark Violet.
Contrast these barrel beads to the round beads. The larger bead has a base of CiM Glacier and the blue is much more true to the rod (it’s peeking out from behind the geometric dots). Layering Celadon on top of Glacier gave a tiny colour separation reaction, but that is hidden thanks to Reichenbach Raspberry layered over the top. There is very little colour separation between Reichenbach glass and Celadon that I can tell. In some of the darker pinks you can see a slight fading at the edge of dots and stringer, but that is only if they’re really melted in flat. I’ve tried with a few different colours, it seems that Reichenbach glass just doesn’t react much with Celadon. The smaller bead is made the same way except the base is Effetre Pale Lavender and the dots are encased in CiM Cirrus, which has transformed and washed out Celadon quite a bit.
Going back to Reichenbach. I particularly like to use “Raku” frit and I was a bit annoyed by an unexpected reaction when I encased Celadon in Effetre Kelp. Looking at the picture shows an example of how quickly Reichenbach “Raku” frit burned out on Celadon when encased with Kelp. I blast heat my Raku, chill it, encase and I can watch Raku bloom, but that method needs to be done with care because Raku can turn muddy quickly on Celadon. I was so annoyed by the effect that I stopped making the bead, which is a shame because Kelp over Celadon is really pretty and helps fade out the striation lines. The end is a wrap of CiM Pumpkin. Oh well, I think if I want to use this colour combination I will have to be more gentle with my heating of Raku onto Celadon.
I have noticed a propensity for Celadon to cause slight devit lines around transparent glass dots and lines that have been worked too long and hot. Because most colour separates on top of Celadon, my guess is transparent glass does too, only it’s not very noticeable. Its only noticeable when the edges of a design start to devitrify with prolonged heating. This happens very noticeably with Cirrus, less noticeably Halong Bay, and even less noticeably with Effetre transparents, so it could be something about these moonstone glasses that does it.
Etch Celadon. (Ha! That sounds like an order, but really… do it sometimes). Etched Celadon becomes a soft dreamy matte green. I did a test after 30 seconds in Etchall Liquid Etch and Celadon had etched just enough to give it a soft colour but not completely lose it’s shine. About the two minute mark Celadon becomes matte. Etched Celadon also strikingly resembles unreduced Effetre Copper Green (or Copper Red Green), so if you like that colour but don’t want to use a more expensive type of glass try etching your bead and masking what you don’t want etched. When etched it looks even closer to the pottery glaze it is named for.
Celadon can be encased, despite popular belief that it cannot. I have encased it successfully with Effetre Super Clear, Effetre Clear, various Effetre transparents, CiM Halong Bay and CiM Cirrus. However, there is a limit to how much Celadon can be encased by Cirrus and Halong Bay, it does not like to be deeply encased in these colours. I have had no problems deeply encasing Celadon in Effetre Super Clear. I have linear encased it with plenty of coloured transparents and have not had an issue with cracking. Celadon holds a lot of heat and it takes a while for the surface to go solid enough for encasing without distortion. Take this into account if you want to encase a large bead, do it in sections and roll heat through periodically.
Lastly, if you reduce Celadon, a metallic red lustre appears on the surface of the bead, it is a very dramatic and a very quick shift in the flame if your chemistry is right. Gentle reduction will give you a shiny ruby red. By gentle I mean turn up the flame to a mostly long blue reducing flame and roll your bead through the top. Then watch the surface of the bead metallise in the flame, take it out as soon as you see the bead do that and you will be rewarded with a very ruby red, shiny bead. If there are some bits not quite reduced, only reduce those sections. A heavy reduction will give you a more dull copper red (see little spacer bead in photo), this occurs if you reduce your bead several times or for a very long period of time (over a few minutes). I have a video showing the difference between Effetre Red Copper Green and Celadon, these beads are all worked for the same time, in the same flame, on the same mandrel. I feel that I’m absolutely terrible at getting Effetre Red Copper Green to get an effect out of, but that doesn’t matter because I don’t actually like the red webbing effect! Lastly, this video shows you the ruby red encased bead in the photo. You can also mask sections of your celadon bead with clear and then reduce for a marvellous southwest style bead.
Celadon is a staple colour for me, I think I rely on it far too much. I use it together with Effetre Dark Turquoise and CiM Ginger in a frit blend because of how the colours look and react together. Its such a good looking combo with anything pink, that I find I pass over Effetre Turquoise a lot in preference of Celadon.