|
Picture |
Description |
Info |
Working Tip |
|
104
Red Crayon |
This color was designed to provide the artist with a highly saturated
deep opaque red. |
Pre-heat in outer flame. Avoid rapid heating. |
|
106
Indian Red Crayon |
Designed to provide you with an earth red, similar to the iron oxide
pigments. |
Pre-heat in outer flame. Avoid rapid heating. |
|
132
Red Jasper |
The desire was to bring the red tones found in nature to you. We
started with the stones found on the coast of Oregon. Jasper brings
a variety of red hues with splashes of yellow and purple. |
Work hot for organic effect, kiln strike 1075° F. |
 |
138
Ruby Strike 4 |
Ruby Strike, 138 was designed to provide you with a transparent
striking ruby that you have complete control over, from partial
strike to deep red. |
Kiln strike at 1075° F for one hour, +/-20min. An even strike requires
even heat. |
 |
1382
Coral Blush |
Coral Blush, 1382 was designed to bring the red tones found in the
corals on the coast of California to you. 1382 brings a variety of
pink hues with splashes of yellow and purple. |
Kiln strike at 1075° F for one hour, +/-20min. An even strike requires
even heat. |
 |
139
Cherrywood |
Designed to provide you with a color that emulates the dark color of
polished cherrywood. It can be worked to be transparent, opaque red
or an opaque salmon pink. |
Kiln strike at 1075° F for one hour, +/-20min. An even strike requires
even heat. |
|
204
Orange Crayon |
This color was designed to provide the artist with a highly saturated
vibrant opaque orange. |
Pre-heat in outer flame. Avoid rapid heating. |
 |
2380
Tequila Sunrise |
Tequila Sunrise, 2380 is a light version of Persimmon Strike, 2383,
providing more nuance and control to the artist. |
Get this color white hot to erase the striking history. A variety of
effects are achievable depending on how long you flame/kiln strike. |
 |
2383
Persimmon Strike |
Persimmon Strike, 2383was developed to yield a playful orange. Your
intention and skill can determine many outcomes with this color. |
Get this color white hot to erase the striking history. A variety of
effects are achievable depending on how long you flame/kiln strike. |
 |
287
Amazon Bronze |
Henry designed Amazon Bronze, 287 to look like a Japanese ceramic
glaze, a special request from Susan. |
Flame or kiln strike at 1075°F. Work neutral; reduce at end for
metallic effects. |
 |
301
Acid Yellow Crayon |
Designed to emulate the color of a lemon. |
Pre-heat in outer flame. Avoid rapid heating. |
 |
302
Rasta Gold Crayon |
Designed to provide you with a golden yellow that falls in-between
yellow and orange. |
Pre-heat in outer flame. Avoid rapid
heating. |
|
304
Yellow Crayon |
Our first crayon color, Yellow Crayon, 304 is the central color between
Acid Yellow Crayon, 301 and Rasta Gold Crayon, 302. |
Pre-heat in outer flame. Avoid rapid heating. |
 |
380
Singular Passion |
Singular Passion is the least saturated sibling in the Glass Alchemy
Passion family. This color is designed to stay in the yellow range
and looks great layered over other colors. Easy to use and control,
this color is a great addition to any palette |
Get this color white hot to erase the striking history. A variety of
effects are achievable depending on how long you flame/kiln strike. |
 |
381
Warm Yellow |
Warm Yellow, 381 was developed with strike inhibitors so the color
stays in the yellow range for an extended period, giving you a slow
strike. This allows a tremendous amount of control especially in
fine detail or extended projects. |
Get this color white hot to erase the striking history. A variety of
effects are achievable depending on how long you flame/kiln strike. |
 |
382
Solara |
Solara, 382 was developed with inhibitors so the color stays in the
orange range for an extended period, giving you a slow strike. |
Get this color white hot to erase the striking history. A variety of
effects are achievable depending on how long you flame/kiln strike. |
 |
383
Silver Strike 3 |
Silver Strike-3, 383 gives the artist control over the outcome. It is
like setting your camera to manual mode. The more you work this
color the more intriguing the final result will be. |
Heat to a dull orange and cool multiple times to strike the color. Use
a reducing flame to create the popular bleached tones. |
 |
385
Silver Strike 5 |
Silver Strike-5, 385 gives the artist control over the outcome. The
more you work this color the more intriguing the final result will
be; this color is more intense than Silver Strike-3, 383. |
Heat to a dull orange and cool multiple times to strike the color. Use
a reducing flame to create the popular bleached tones. |
 |
386
Purple Luster |
Purple Luster, 386 was designed to provide you with a vibrant purple
upon striking. |
Get this color white hot to erase the striking history. A variety of
effects are achievable depending on how long you flame/kiln strike. |
 |
388
Caramel Luster |
Caramel Luster, 388 was designed to transmit a beautiful orange-red
tone, adding a unique dimension to your work. |
Get this color white hot to erase the striking history. A variety
of effects are achievable depending on how long you flame/kiln
strike. |
 |
403
Chartreuse Crayon |
This color was designed to provide you with a pleasing opaque
yellow-green - a color that had been missing from the palette for
many years. |
Pre-heat in outer flame. Avoid rapid heating. |
|
406
Olive Green Crayon |
Designed to expand the green palette, this color provides the artist
with a darker version of Chartreuse Crayon, 403. |
Pre-heat in outer flame. Avoid rapid heating. |
|
441
Mint |
Alchemy Mint, 441 is an opaque celadon green that works well in fades,
backgrounds to pop other colors or as an off white, especially in
stringer applications. |
Work this color in a neutral flame. Garage at 975°F,
Anneal at 1050°F. |
 |
444
Clover |
Clover, 444, Glass Alchemy's first opaque green is a deeply saturated
color that is one of the most popular greens on the market today. It
is a WYSIWYG that works well for stringers, beads or encased
projects such as implosions. |
Work this color in a neutral flame. Garage at 975°F,
Anneal at 1050°F. |
|
445
Turquoise |
Turquoise, 445 was inspired by Southwest American Indian art. To mimic
natural turquoise we wanted a color that would develop organic red
highlights within the green coloration like the stone. |
Work this color in a neutral flame. Garage at 975°F,
Anneal at 1050°F. Use of reduction at the
end of the project can produce subtle red tones. |
 |
446
Agua Azule |
Agua Azul, 446 is hailed by many as the best boro color ever. It
looks great on its own, compliments or contrasts nearly all colors
in the Glass Alchemy palette, and works great in encasement
applications. These features and many more have allowed Agua Azul,
446 to become one of the finest opaques in the borosilicate world. |
Work this color in a neutral flame. Garage at 975°F, Anneal at
1050°F. |
 |
447
Spanish Moss |
Spanish Moss, 447 lives up to its name. This color fills out the green
palette, providing you with a shady green, much like the moss
hanging from the trees in the Bayou. |
Work this color in a neutral flame. Garage at 975°F, Anneal at
1050°F. |
|
4484
Clover Chameleon |
Clover Chameleon, 4484 was inspired by the colors of Richard Clements,
Chameleon Glass of Tasmania. They were first produced for Wayne
Robbins and his frogs. Designed to produce an organic green with
subtle color variations it has found extensive use in a wide range
of sculptural work. |
Work this color in a neutral flame. Garage at 975° F, Anneal at
1050°F. |
 |
458
Green Sparkle |
Green Sparkle, 458 was a bold experiment when it was first
introduced that has simply exploded into an important part of the
borosilicate palette today. The first aventurine (chrome sparkle)
to be introduced by any boro company, this color servers as the
anchor for an extensive family of Glass Alchemy Sparkles. Over
time, as the market has demanded even more bling in a color, we have
responded by making the color more robust and increased the infusion
of sparkles. |
Work this color in a neutral flame. Garage at 975°F, Anneal at
1050°F. |
 |
461
Kryptonite |
Kryptonite, 461 was designed as a tint color to be layered over other
colors or to be gathered into larger sculptural forms. Due to the
ionic nature of the colorant the intensity of hue increases with the
thickness of the application. |
Layer over Sno White, 9995 for a neon effect. Also try substituting
this color for clear in bead/pendant work for a unique effect. |
|
4642
Paris Green 2 |
Paris Green-2, 4642was originally designed in response to the artist's
request for a transparent green that didn't turn red. We set out to
meet this challenge and developed3 shades of this revolutionary
color, Kryptonite 461 being the lightest and Paris Green-6,
4646being the darkest. |
Layer over Sno White, 9995 for a neon effect. Also try substituting
this color for clear in bead/pendant work for a unique effect. |
|
4646
Paris Green 6 |
Paris Green-6, 4646was originally designed in response to the artists
request for a transparent green that didn't turn red. We set out to
meet this challenge and developed3 shades of this revolutionary
color, Kryptonite 461 being the lightest and Paris Green-6,
4646 being the darkest. |
Layer over Sno White, 9995 for a neon effect. This is a great
color for sculpting as well. |
 |
481
Spring Luster |
Spring Luster, 481 was one of the first 10 colors that we released. We
wanted to produce a color that wouldn't go muddy like many of the
silver colors already on the market were known for. In addition to
the color having a soothing appearance we wanted the ability to
bring a slight luster to the surface if the artist desired that
effect. Easy to control, this color has been nicknamed "money green"
by some due to the fact that their finished pieces fly off the
shelf. |
Get this color white hot to erase the striking history. A variety of
effects are achievable depending on how long you flame/kiln strike. |
|
4838
Dragon's Eye |
Dragon's Eye, 4838 was developed originally for the beaders who are on
constant search for a new color to diversify their creations. To
meet the challenge we created a new green tone. We then added
enough color changing silver to allow organic shifts in the color
without overpowering the green or creating mud, and continue to
transmit light without appearing transparent. This is a fantastic
surface color that has a wide range of possibilities. |
Flame or kiln strike at 1075°F. Work neutral; reduce at
end for metallic effects. |
 |
4846
Agua Chameleon |
Agua Chameleon, 4846 is the most recent of the Chameleon series to be
introduced. Based on the popularity of the other colors in the
series and an overwhelming wave of requests for Agua Azul, 446 to be
Chameleonized we finally made it happen. The results were so
amazing we still wonder why we waited so long! |
Work this color in a neutral flame. Garage at 975° F, Anneal at 1050°
F. |
 |
485
Green Carnival |
Green Carnival, 485 has been a long time favorite. Among our first
releases, Green Carnival, 485is a copper-silver color that gives
you more bang for your buck. In addition to the standard silver
effects, you get a bonus of red hues and lusters from the copper.
It has withstood the test of time and has become very popular in the
bead world. |
Flame or kiln strike at 1075°F. Work neutral; reduce at end for
metallic effects. |
 |
487
Amazon Jewel |
Amazon Jewel, 487 is an aventurine sparkle color that strikes to bright
yellow and chrome lusters. When I saw my first vortex marble I
envisioned this color and set out to design it. Ideal for coil-pot
blown work and use in marbles, you can play with this color for
hours and still not discover all it has to offer. |
Work neutral; reduce at end for metallic effects. Garage at
975°F, Anneal at 1050°F. |
 |
489
Aquatic Carnival |
Aquatic Carnival, 489 was originally developed as middle density in a
triad; Spring Luster, 481 as the tame one and Amazon Night, 987 as
the robust color. The color is a playful striking color, yielding
creams to metallic color. It can provide very distinctive red
colors when reduced. |
Flame or kiln strike at 1075°F. Work neutral; reduce at end for
metallic effects. |
|
510
Cobalt - Lite |
The lightest of the Glass Alchemy cobalt colors Cobalt Lite, 510 was
designed to provide artists with a density that could be gathered
for large sculptural pieces. |
Work in neutral flame to avoid reduction (gray streaks). |
|
511
Cobalt - Shade 1 |
The second lightest of the Glass Alchemy cobalt colors, Cobalt-1,
511is a vibrant blue suitable for small sculpture, hobnails and
beads. |
Work in neutral flame to avoid reduction (gray streaks). |
 |
512
Cobalt - Shade 2 |
Cobalt-2, 512was created with versatility in mind; gather up or draw
down into a stringer. |
Work in neutral flame to avoid reduction (gray streaks).
|
|
514
Cobalt - Shade 4 |
The fourth darkest of the six Glass Alchemy Cobalt colors,
Cobalt-4,514was designed to provide artists with the ideal cobalt
blue for small blown work and old skool surface work. |
Work in neutral flame to avoid reduction (gray streaks). |
|
515
Cobalt - Shade 5 |
One of our most popular cobalt colors, Cobalt-5, 515provides the
artist with a highly saturated, easy to work blue. |
Work in neutral flame to avoid reduction (gray streaks). |
|
516
Cobalt - Shade 6 |
Cobalt-6, 516 was one of our early releases. The darkest of the Glass
Alchemy cobalt colors we were faced with, "how dark is too dark"? We
had the millifiori maker and the stringer puller in mind when we
developed this color. Now one of our most popular colors, it is used
by many anytime they need a denser dark color. |
Work in neutral flame to avoid reduction (gray streaks). |
 |
5186
Blue Passion |
Blue Passion, 5186, is a variant of Triple Passion!!! This color was
designed to provide the artist with a light blue base that has all
the thrills of one of your favorites! |
Get this color very hot (bright orange)to erase the striking
history. A variety of effects are achievable depending on how
long you flame/kiln strike. |
 |
5188
Caramel Blues |
Caramel Blues, 5188 was one of our first earthy, creamy colors. This
blue rod creates beautiful organic colors with hints of blues in
your finished product. |
Heat to a dull orange and cool multiple times to strike the color. Use
a reducing flame to create the popular bleached tones. |
 |
5192
Bibidibobidiblue |
Bibidibobidiblue, 5192 is a pastel blue that was created to fill a hole
in our palette. This opaque blue works well as a background color or
as stringers, especially in blue fades. |
Heat slowly to raise the core temperature. Once the heat base is
established, this color can be worked very hot and any air bubbles
that popped during the preheat will smooth out. Getting this color
white hot will cause excessive gas release that can not be repaired
and should therefore be avoided. |
 |
5195
Lapis |
Lapis Blue, 5195, one our most sought after colors, was inspired by a
piece of lapis lazuli rock. One of the oldest colors used by the
great paint masters, we worked hard to bring this color to the
palette. A dark, soulful, opaque blue, Lapis Blue, 5195is a
necessary addition to every studio. |
Heat slowly to raise the core temperature. Once the heat base is
established, this color can be worked very hot and any air bubbles
that popped during the preheat will smooth out. Getting this color
white hot will cause excessive gas release that can not be repaired
and should therefore be avoided. |
|
531
Teal |
A balance of blue and green. Inspired by the color of the Pacific
Ocean, Teal, 531was designed to provide you with a necessary
transition color that also looks spectacular on its own. |
Work in neutral flame to avoid reduction (gray/red streaks). |
 |
544
Really Teally |
Really Teally, 544 is an easy to work opaque blue that falls between
Agua Azul and Peacock. This color was designed to fill out the
blue-green palette, providing the perfect color to round out the
fade. |
Work this color in a neutral flame. Garage at 975°F, Anneal at
1050°F. |
|
546
Peacock |
Peacock, 546 was designed as part of a series of 6 blues and greens to
provide a range of hues and intensities that would work well with
each other as well as set off the bright crayon colors. An easy to
work dark opaque blue that is often copied but never duplicated. |
Work this color in a neutral flame. Garage at 975°F,
Anneal at 1050°F. |
|
548
Twilight |
Twilight, 548 was designed as part of a series of 6 blues and greens to
provide a range of hues and intensities that would work well with
each other as well as set off the bright crayon colors. An easy to
work deep opaque blue that is often copied but never duplicated. |
Work this color in a neutral flame. Garage at 975°F,
Anneal at 1050°F. |
 |
5486
Peacock Chameleon |
Peacock Chameleon, 5486 was designed as an organic Prussian blue with
subtle color variations, about midway between the Agua Azul and
Twilight tones. It has found extensive use in a wide range of
sculptural work. |
Work this color in a neutral flame. Garage at 975°F,
Anneal at 1050°F. |
|
5488
Twilight Chameleon |
Twilight Chameleon, 5488 was inspired by the colors of Richard
Clements, Chameleon Glass of Tasmania. They were first produced for
Wayne Robbins and his frogs. Designed to produce an organic
blue-green with subtle color variations it has found extensive use
in a wide range of sculptural work. |
Work this color in a neutral flame. Garage at 975°F,
Anneal at 1050°F. |
 |
552
Aquamarine Sparkle |
Aquamarine Sparkle, 552 is an aventurine (chrome sparkle) that
can be used by itself or as a tint to be used over another color
such as white. This color is especially interesting when encasing a
rod that will be used in imploded work. |
Work this color in a neutral flame. Garage at 975°F,
Anneal at 1050°F. |
|
555
Jupiter Sparkle |
Jupiter Sparkle, 555 was inspired by some mixing done by Jupiter whom I
met at AGI one year. A deep dark blue sparkle color, when used in a
dolphin or a vortex marble the results can be quite bewitching. |
Work this color in a neutral flame. Garage at 975°F, Anneal at
1050°F. |
|
556
Atlantis Sparkle |
Atlantis Sparkle, 556 is a deep teal green color packed with sparkle.
Designed to be playful but not kitschy, this color works well in any
project were you need a deep subtle, green with a little extra
character. |
Work this color in a neutral flame. Garage at 975°F, Anneal at
1050°F. |
|
558
Teal Sparkle |
Teal Sparkle, 558 is a transparent teal green aventurine (chrome
sparkle) that can be used by itself or as a tint to be used over
another color such as white. |
Work this color in a neutral flame. Garage at 975°F,
Anneal at 1050°F. |
|
559
Neptune Sparkle |
Neptune Sparkle, 559 is an aventurine (chrome sparkle) that can
be used by itself or as a tint to be used over another color such as
white. This color is especially interesting when encasing a rod
that will be used in imploded work. By itself it is a dark green (tealish)
color. |
Work this color in a neutral flame. Garage at 975°F, Anneal at
1050°F. |
 |
5813
Havana Moon Lite |
When designing this color, our goal was to provide the artist with an
ocean of blues and greens when encased, while also allowing the
artist to bring metals to the surface when un-encased. |
Work in neutral flame and have fun, this one is loaded with silver! |
 |
587
Amazon Lagoon |
After first introducing information on how to strike silver colors and
create metallic finishes, such as using a neutral flame and
monitoring time/temperature relationships, we started to hear that
some people missed the "surprise" of opening their kiln door. For
all of you that fit into this category, we created Amazon Lagoon,
587. Darker than Havana Moon Lite, this color was designed to put
the "surprise" back into working silver borosilicate colors. Every
piece will be beautiful, every piece will be different. |
Work in neutral flame and have fun, this one is loaded with silver! |
|
592
Brilliant Blue |
We altered the refractive index to make this a vibrant blue. It plays
well with all colors, especially silver ones. This is a must have
for any studio. |
Work in neutral flame to avoid reduction (gray streaks). |
|
597
Blue Luster |
Blue Luster, 597 was one of the first 10 colors that we released. We
wanted to produce a color that wouldn't go muddy like many of the
existing silver colors were known for. In addition to the color
having a soothing appearance, we wanted the ability to bring a
slight luster to the surface if the artist desired that effect. Easy
to control, this color is well suited for pendants and small
sculpture. |
Get this color white hot to erase the striking history. A variety of
effects are achievable depending on how long you flame/kiln strike.
Use a sharp oxidizing flame to cut through the metal that forms on
the surface. |
 |
683
Indigo Luster |
After staring at the periodic chart for two weeks like a Zen master
staring at the wall of a cave, Indigo Luster, 683 floated
up. Conceived to provide a purple base (try it over white!) with
unique and beautiful striking effects. Dark colors often conceal the
strike, however, it enhances the outcome in this color. Luster
effects are easy to obtain in Indigo Luster, 683. |
Get this color white hot to erase the striking history. A variety of
effects are achievable depending on how long you flame/kiln strike.
Use a sharp oxidizing flame to burn through the metals that form on
the surface. |
|
773
Grape |
Grape, 773 along with Dark Plum, 775 were the first purple tones in the
borosilicate palette. Grape, 773 is a dark translucent rod and the
rich nature of its color really pops when applied over white. In
sculpture it will reflect black and transmit purple light. |
Work in neutral flame to avoid reduction (gray streaks). |
|
775
Dark Plum |
Dark Plum, 775along with Grape, 773 were the first purple tones in the
borosilicate palette. Dark Plum, 775 is transparent and the rich
nature of its color really pops when applied over white. In
sculpture it will reflect black and transmit purple light. |
Work in neutral flame to avoid reduction (gray streaks). |
 |
783
Double Passion |
Double Passion provides the artist with an easy to control amber to
purple striking color. Since Double Passion is less saturated than
its older sibling Triple Passion, it does not strike as dark as
fast, providing you with the opportunity to develop intense pink and
magenta colors. |
Get this color white hot to erase the striking history. A variety
of effects are achievable depending on how long you flame/kiln
strike. |
 |
786
Triple Passion |
Triple Passion, 786 was introduced as an easy striking amber to purple
color. Due to its formulation this color quickly, easily and
consistently strikes through a wide range of bright and delightful
purples. The use of color-changing borosilicate exploded soon after
Glass Alchemy introduced this color to the market. This is a must
have in every glass studio! |
Get this color white hot to erase the striking history. A variety of
effects are achievable depending on how long you flame/kiln strike. |
|
804
Chocolate Crayon |
This color was designed to be a deep, rich, dark opaque brown to fill a
void in the palette. |
Pre-heat in outer flame. Avoid rapid heating. |
|
833
Beryl |
Beryl, 833 was designed as an organic color to fill a huge hole in the
borosilicate palette. A color that is seen (but not often noticed)
in nature and called retro by those that recall the oil lamps and
cruets of the 60's, Beryl, 833 makes a great bead color, is useful
as a tint or sculptural color. |
Work in neutral flame to avoid reduction (red streaks). |
 |
8387
Amazon Canyon |
Amazon Canyon, 8387 is a unique color in the borosilicate
palette. A highly saturated striking color that produces amazing,
organic, earthy browns mixed with creams as well as astounding
metallic surfaces. This color has a unique look that will set your
work apart from the rest. |
Flame or kiln strike at 1075°F. Work
neutral; reduce at end for metallic effects. Have fun, this is a
playful color that likes to be punished. Re-strike selected areas
multiple times introducing reduction from time-to-time to maximize
the potential. |
|
8458
Bronze Sparkle |
Bronze Sparkle, 8458 was the first sparkle to not be green or
blue. Chocked full of sparkle and easy to work, this brown based
color is very eye catching in a worked piece. |
Work this color in a neutral flame. Garage at 975°F, Anneal at
1050°F. |
|
8475
Black Walnut |
Black Walnut, 8475 was a later release. We were receiving many
requests to create a color that matched the saturation of Cobalt-5,
515 in a brown tone. Recognizing that this was an important color,
we did several months of development work and were very pleased to
introduce Black Walnut, 8475. A deep rich opaque brown, this color
works well in many applications and has become an important part of
our lineup. |
Work in neutral flame to avoid reduction (gray wisps). |
|
864
Sienna Brown |
Sienna Brown, 864 was one of our first six colors. An elegant brown
created to fit into the mostly transparent palette at the time, this
color easily falls into several color schemes. It becomes deeper in
tone, approaching black as it is melted into larger gathers. |
Work in neutral flame to avoid reduction (black with gray wisps). |
 |
8989
Jamboree |
Jamboree, 8989 was inspired by the soft glass chalcedony colors. We
tried to move from the bright silver strike to more of an organic
earth tone strike with all the familiar colors, only in pastel
versions. You will have a great time playing with this color and
will never be disappointed in the results. You clients will love
this one. |
Heat to a dull orange and cool multiple times to strike the color. Use
a reducing flame from time-to-time to create additional effects. |
|
974
Black (Violet) |
Black Violet, 974 was part of Glass Alchemy's initial introduction of
colors. At the time the market needed a black that did not boil and
we introduced 3 new blacks to choose from. Black Violet is a deep
translucent that is extremely workable, great for beads and other
sculptural projects. It is popular because it flows together
without transition lines, is very shiny and the surface does not
easily reduce. |
Work this color hot using a neutral flame. |
|
9749
Raven |
Raven, 9749 was released in early 2004 as a deeper opaque black then
our earlier releases. As artists continue to push the envelope, we
respond by filling the void. This is a saturated green, violet and
blue. (We will have to saturate the red as well on the next black
we release!). For a saturated black, this is a surprisingly easy
color to melt and shape. |
Work in neutral flame. If you flash heat in a reducing flame as you
finish the project you can produce a look similar to the sheen of a
raven's wing. |
 |
9789
Black Pearl |
After conducting a workshop on metal lusters and surface work, a
student asked why there were no black luster colors. What a
brilliant idea. Inspired by this conversation, we started playing
with various formulas that would have the following characteristics:
be black, opaque, difficult to muddy, easy to luster, demonstrate
non-metallic striking effects! After extensive testing of several
formulas, Black Pearl, 9789 was introduced as a Revolution 33 color
and was an immediate hit. |
Flame or kiln strike at 1075°F. Work neutral; reduce at end for
metallic effects. |
 |
987
Amazon Night |
The year was 2001 and it was my birthday. I had never given myself a
birthday present so I figured it was time to change that. Four days
later on October the 9th Amazon Night, 987 was born. My baby is a
beautiful green with silver that produces amazing strikes and silver
lusters. This color is also our preferred method for testing for a
neutral flame. Also available in frit, this color is a must have
for every studio! |
Flame or kiln strike at 1075°F. Work neutral; reduce at end for
metallic effects. |
|
993
Black (Blue) |
An early release, (with 2 other blacks) this was an important "cold"
black. The cold tone of the blue allows it to work well with blues
and greens while the warm tones of the Black Violet, 974 works well
with reds, oranges and other "hot" tones. Well, that was the
thinking when the colors were first introduced; the reality is that
people use the one they like and this one is well liked. An easy
working, opaque black! |
Work in neutral flame to avoid reduction (gray streaks). |
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9958
Disco Sparkle |
Disco Sparkle, 9958 is an exciting sparkle color. It is a concentrated
silver metallic color in a clear base. This allows Disco Sparkle,
9958 to be mixed into almost any color. While many people use the
color full strength, others mix it down as much as 10 parts of clear
(or color) to 1 part of Disco Sparkle, 9958. Even if using the rod
full strength it is best to remix the color prior to using for a
smooth, highly reflective surface. |
Disco likes to be worked cool as to avoid yellowing... Treat it like a
Crayon color. |
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9992
Portland Grey |
Portland Gray, 9992 was developed to fill a hole in the borosilicate
palette. There were no gray rods available and the pre-forms went
almost white... how could you make a believable shark? So we made
the first opaque gray; we chose neutral # 5 on the gray scale as a
starting point. |
Per-heat in outer flame. Avoid rapid heating. |
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9995
Sno White |
White is a necessary and ironically very difficult color to make in
glass. Tin based whites have been made in the past but have not been
very successful. We wanted the rich deep white associated with tin
so we spent many years drilling down on the final formula. Today’s
Sno White, 9995 is the highest saturated white on the borosilicate
market. |
Heat slowly to raise the core temperature. Once the heat base is
established, this color can be worked very hot and any air bubbles
that popped during the preheat will smooth out. Getting this color
white hot will cause excessive gas release that can not be repaired
and should therefore be avoided. |
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