I think I beat my previous record for a torch session: 12 beads in two sittings.
I feel…sorta possessed. Working with the Bullseye glass had given me new energy. It seems to be very forgiving. Having the kiln going for immediate annealing also helps, especially for the thin, scalloped discs. I had not one single casualty!
Seaform III
This is a thin disc of different colored layers, flattened and shaped as it grew. The edges were scalloped with the dragging/poking tool, and dots applied to the disc as the last step.
My last bead of the night:
Crayzee Dayzee
same process as above, but the disc is fatter so the “petals” wouldn’t droop. Then went all fussy on the dotting, which is not as neat as I would like, but hey, I’ll take it!
Something has happened in this past couple of months, but especially in the last few days since pulling out the Bullseye rods from the corner. I feel more in control. Though I’ve been more than willing to take chances this last two months and not mind failing, upping my chances of success with the tools I use has been a phenomenal experience.
So the question is, how — or indeed WHETHER — to transition from COE104 (Moretti/Effrete/Vetrofond) to COE90 (Bullseye, most likely). I will use up my current stock of about 15-20 rods before making a commitment: Bullseye can be a bit pricey, and there’s no need to hurry the process. On top of price, there are space constraints, if a new collection of rods is to be as organized and handy as my current set-up — a necessity, not a choice.
Now I think I know why I was able to purchase collections of cheap glass from eBay when I first started lampworking! I think I will not do a complete turn-around, as I have lots of COE104 that I really, really like, especially my Vetrofond oddlots (of which I will be getting another bundle soon). There’s plenty of room for all of it under my tent!
Glass Act 
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