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Author: Christopher_Rice, Contributing Editor
| This article will give you a breakdown of the Glass Alchemy colors and the way that they work. In order to write this I am using information from Henry Grimmett and the Glass Alchemy website. I have also used information from Drew Fritts and his results from testing each color in different flame settings. These results can be seen if you follow this link.
http://glassalchemyarts.com/glass_colors.html Without their help this article would not be complete. |
| Glass Alchemy uses the ROY G BIV spectrum sequence to number its colors. R = red = 100 series. O = orange = 200 series. Y= yellow= 300 series.…Etc.
If the name of a color ends with a number (1-6), i.e. Cobalt 6, this number indicates the formula is repeated at different levels of "saturation". Saturation affects the color and workability of the glass. In general, level 5 and 6 saturations are not suitable for some work. They are intended for external applications that are blown out. They should always be tested for your particular application, especially if doing inside out work or using with other level 5 or 6 colors. Remember, not all dark colors are level 5 and some light transparents can be level 5 due to the amount of chemical required to create the color. Level 2-4 represents the medium-low to medium-high saturation and can be built up or thinned. Level 1 represents colors that can be laid over another to create tints or mixed in clear for subtle effects. Many of our color names can be found on standard color charts, which will indicate the reflected color when used on the surface of a white marble. |
| BL responsive -- Black light responsive. Colors are not "visible" until activated by an ultraviolet light.
Carnival -- A base color that is designed to develop a full spectrum (ROYGBIV) of color in the torch. The base color affects the overall appearance. Luster -- A base color that is designed to develop a partial spectrum (YGBIV) of color in the torch. The base color affects the overall appearance of the multicolored sheen. Polychromatic -- Of many colors. Used here to indicate multicolor metallic sheen on the surface of the glass. Reduce -- Some artists enjoy this effect, others don't. For example the cobalt can go gray, while true green can develop brick red streaks. To mitigate this, adjust the oxygen in your flame (increase it). Striking -- Indicates that a second "heat" brings out the color. The final color is affected by the duration and environment (oxidizing/reducing) of the second heat. Selective striking is usually a reference to flame striking one color, say ruby red, and then placing in a furnace to complete the strike and strike the other colors in the piece, such as a silver color. WYSIWYG -- What You See Is What You Get. Used to indicate a color that is stable and not influenced by the flame adjustment (oxidizing or reducing). |
| Now for a breakdown of the colors. Each color has been broken into groups and an explanation of how they work and proper flame settings to use in order to get proper results. |
| Crayon Series (Opals)- Red Crayon, Indian Red Crayon, Orange Crayon, Rasta Gold Crayon, Yellow Crayon, Chartreuse Crayon, Olive Green Crayon, Chocolate Crayon. |
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