BOROMAX® Color
Borosilicate Rod & Frit
6539 NE 59th Place, Portland, Oregon 97218 | 503-460-0545 | 503-460-0546 fax | info@glassalchemyarts.com

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Working with GA Color

Phase Separation,
Crystal Growth and
Nucleation

Torch Setup

Neutral Flame

Numbering System

Color Properties

Color Descriptions

Health and Safety

Glossary

BOROMAX® USER MANUAL

COLOR GROUPINGS

WYSIWYG (What You See Is What You Get)

Transparent/Translucent

Opal

Polychromatic (Silver Containing)

Transparent/Translucent

  • Lusters: 2383, 381, 382, 386, 388, 481, 5186, 5188, 597, 683, 786
  • Carnivals: 485, 585

Opal

Specialty

  • Rubies: 132, 138, 139, 738
  • Sparkles (Aventurine): 4578, 458, 487, 552, 555, 556, 558, 559, 8458, 9958
  • Wonkas: 163, 263

COLOR DESCRIPTIONS AND TIPS

This section contains information about each individual color. Working tips, as well as insight into the chemistry, are provided for each color. Please see the Health and Safety section for detailed information on the colorants used.

Note: An asterisk after the color name or number indicates that the color is available in frit as well as rod/cane.

WYSIWYG

Transparent/Translucent WYSIWYG Colors

Cobalts: 510, 511, 512, 514, 515*, 516, 592
Cobalt blue has always been one of the most appealing colors in glass. The Cobalt blues at Glass Alchemy are made from finely milled cobalt, which is mixed into the batch using three separate processes to ensure an even distribution and consistent color throughout the rods.

Cobalt glass has a higher viscosity than colorless clear in the same flame. This is not because the cobalt thickens the glass but due to the cobalt emitting infra-red, therefore cooling more rapidly. For this reason, cobalt glasses require more energy to melt, they cool much faster and, in levels of high saturation, they work “stiff.” GA adds a flux that softens the glass in the temperature range above 1800°F, to mitigate the stiffness of Cobalt 5* and 6.

As compatibility is not simply a function of COE but is also affected by the cooling rates between two different glasses, those with a high concentration of cobalt can crack at the joint when used with a slow-cooling glass. If you think you may have experienced cracking due to this difference in cooling rates, make sure to A) apply more heat to the cobalt side of the joint, rather than the slow cooling side of the joint (this is similar to welding metals of 3/8 inch to 1/8 inch, where you apply most of the heat to the thick metal, not the thin metal) and B) increase annealing times to release stresses between the two glasses.

510 Cobalt Lite
511 Cobalt 1
512 Cobalt 2
514 Cobalt 4
515 Cobalt 5*
516 Cobalt 6

Tips:

  • When using heavily saturated Cobalt colors focus more of your heat on these colors so that you don’t overheat the other colors while trying to get the Cobalts hot enough to work.
  • Remember to always work Cobalt colors in a neutral flame, especially heavily saturated cobalts, such as 515* and 516. Any reduction can lead to a gray, streaky surface.
  • There is a tradition of using heavily saturated blues such as 516 as black. We suggest using 9479 Raven* because it is a truer black, especially in thin work or stringers.

592 Brilliant Blue
In 592, GA altered the refractive index to make the blue appear brighter and some say that it “dances with the light.”

Tips:

  • Use of a neutral flame is best for 592, however, in a reducing flame 592 tends to resist turning gray.
  • A great color for all applications, it has become particularly popular for coil-pots, beads and sea animals.

Copper Greens: 421, 436, 521, 531, 833
Many green colors are produced with unreduced copper. If these colors are worked in a reducing, carbon rich flame, the copper will react with the flame causing red streaks and splotches. Encasing helps to protect the copper from reduction. On the other hand the ability to create red in green colors can be used to the artist’s advantage to create interesting effects using dots, overlays, raking or other techniques.

While the red streaking is reversible by adjusting the torch, it can be difficult to correct especially if the piece has been completed. Reheating part of the work piece to white hot can be detrimental to the final shape, especially if the piece is “detailed”. Once an area is covered by another glass it cannot be reversed. Make sure to test for a neutral flame prior to using.

The copper greens can be used beautifully with dichroic glass.

421 Phthalo Green
The primary colorants are cobalt and copper.

421 is a beautiful and pleasing, green-blue transparent color leaning toward the green side of 531 Teal.

436 Dark Emerald see the article in Vol. 3, Issue 4 of The Alchemist
The primary colorant is copper.

436 is verdant, and bright. This is a luxurious green and well loved by many lampworkers. Encasing the Dark Emerald can protect the copper from reduction. However, if you struggle with the properties of copper and want a “no fuss” green use 4646 Paris Green.

521 Phthalo Blue
The primary colorants are cobalt and copper.

521 is an agreeable, blue-green transparent color that takes advantage of glass’ ability to both transmit and reflect light.

531 Teal see the article in Vol. 3, Issue 4 of The Alchemist
The primary colorants are cobalt and copper.

531 falls right in between 521 Phthalo Blue and 421 Phthalo Green. It is a blue-green transparent color that takes advantage of glass’ ability to both transmit and reflect light.

833 Beryl
The primary colorant is copper.

833 is a transparent olive-green. Earthy and rich, this color adds an innovative dimension to the GA transparent palette.

Tips:

  • 833 is a retro color that works well in jewelry.
  • This old-world formula does not like a lot of heat. While it does not sublime like a Crayon, Beryl does release oxygen if heated to around 2000°F. It works well in most flames but a neutral flame is recommended. Try to work it in a cooler flame. (About 1” further out in the flame.)

Rare Earth Greens: 461, 4641, 4642, 4646*
These green colors do not have copper, so they will not turn red, even with reduction. Rare earth colors can be used as tints over other colors to create subtle shifts in reflected and transmitted light. For example, over white, they create pastels, over a cobalt color or over 546 Peacock* it will change the look of the blue. Use rare earth colors over 9958 Disco Sparkle but do not mix them—the rare earth formulas melt the metal flake in Disco (not pretty).

461 Kryptonite
The primary colorant is a rare earth, Praseodymium, and is an ionic colorant.

461 is transparent neon green.

Tips:

  • 461 Kryptonite greatly enhances the color of dark striking silvers.
  • The thicker the application of 461, the darker the color. Gathered into a marble, the color can become quite intense.
  • Consider this color for fish bodies and large jellyfish.

4641 Paris Green Lite
4641 is a tint color and can be used in place of clear to create subtle differences.

4642 Paris Green 2
4642 is a bottle green color.

Tips:

  • 4642 works well over 9958 Disco Sparkle or 9995 Sno White.

4646 Paris Green 6*
4646* is a dark bottle green.

Tips:

  • 4646* is outstanding for line-free blowouts.
  • It holds color better than transparent copper greens when drawn into stringers.
  • Be careful not to overheat 4646* due to its heavy color saturation.

Manganese Purples and Browns: 773, 775*, 864
Manganese yields a purple or brown tint. These colors are very creamy and cooperative.

773 Grape
775 Dark Plum*
The primary colorant is manganese.

773 Grape and 775 Dark Plum*, almost equal in color strength, are different blends of the same chemicals. Grape is about half strength of 974 Black (Violet)* whereas Dark Plum* has a black-pink tone, hence the reference to Plum in its name. These two colors each offer a different hue of purple for your color palette.

Tips:

  • Both colors create appealing pastels when laid over 9995 Sno White*
  • Dark Plum* as a frit is a very soft shade but works extremely well in a frit blend to open up the other colors in the blend.

864 Sienna
The primary colorant is manganese.

Sienna is about the color of iced tea. It can be used as a tint or gathered and used in solid sculpture. This color was reformulated in 2006 to be easier working and provide a higher refractive index or brilliance in your piece.

Tips:

  • The larger the gather the denser the color will appear. Encase another color with this tint and change the hue. Sienna will soften the look of the bright Crayons.

Black Colors: 8475, 931, 974*, 993
The black colors are usually heavily saturated colors that have been designed to achieve the deepest, richest hues possible, while still remaining compatible with other glasses. Always work these colors with a neutral flame, as heavily saturated colors can be more prone to “graying” and other reduction-related surface issues. 8475 Black Walnut and 974 Black Violet* have the highest resistance to reduction. (For an opal black use 9749 Raven*.)

8475 Black Walnut Available in 4mm and 12mm
The primary colorants are chrome and manganese.

8475 was released in 2005 and was quickly embraced by users due to its buttery character and sumptuous sable tones.

Tips:

  • 8475 is great for inside or outside work.
  • It pulls down to exceptional stringers.

931 Black (Green)
The primary colorant is copper.

931 can be blown-out to an amazing dense forest green color.

Tips:

  • 931 has a very high chemical saturation level. The higher the copper content is, the denser the color and the greater the tendency to develop red streaks in a carbon-rich flame. It works best in a neutral flame.
  • Avoid extensive surface working. Prolonged working at lower heats tends to lead to surface divitrification in highly saturated copper colors.

974 Black (Violet)*
The primary colorant is manganese.

974 Black (Violet)* is the customary black used in many studios. When blown-out or pulled down in stringers, 974* will yield a dark transparent purple.

Tips:

  • 974* is almost impervious to reduction and works willingly with all flames; however, we recommend that a neutral flame be used.
  • We have encountered situations in which this color has reacted with some dichro. It appears that when dichro is stretched and the quartz layer loses its integrity, the manganese reacts with the metals of the dichro and cracking may occur.
  • When using with another highly saturated color test your application process first. If cracking occurs, separate the 974* and the other color with a thin layer of clear. It is a rare occurrence, but we have had reports of cracking when using Black (Violet)* with highly saturated colors from other color manufacturers.

993 Black (Blue)
The primary colorant is cobalt.

993 is a saturated blue black. It is a bit denser black than 974* and is susceptible to reduction due to the cobalt content.

Tips:

  • Use neutral flame to avoid reduction (turning gray).
  • If a reducing flame is required, keep the work hot and do not allow it to cool below 1400°F while working.
  • 993 is a great color for inside work.

Opal WYSIWYG Colors

Crayon Colors: 104*, 106, 204*, 208, 301, 302, 304*, 403, 406, 804
The primary colorant is cadmium. The Crayon colors are colloidal colors.

All of the Crayon colors contain cadmium, which gives these colors unique working properties. Cadmium sublimes into a gas, well above the softening point but just below the working temperature that most lampworkers work at, causing bubbling and blistering. To prevent this, work the rod farther out in the flame, encase the color, or adjust the flame to a cooler setting. You can adjust to a bushier flame, which is cooler because all of the propane does not burn, or an oxidizing flame, which is also a cooler flame since it is oxygen rich and turbulent. Be careful not to overheat the work area, especially when using a pre-mix center fire type torch. Note: while you can turn the propane down or off on some pre-mix center fires you can not turn off the oxygen or the torch will be damaged.

If you accidentally sublime a small patch, it is possible to fire polish the section, which will smooth out the glass. This “patch” will be colorless, allowing the color from below to become visible, in effect “repairing” the area.

Once a Crayon color is applied to a larger piece of glass, it generally can be worked more aggressively. The larger piece acts as a “heat sink” and pulls heat away from the Crayon color, helping to prevent sublimation. Remember not to focus the heat on any given “spot” for very long. Instead, it is important to keep the heat spread out by moving the piece around in the flame.

We have researched and investigated the cadmium glasses very extensively. From the effect of the weather on the glass to the health risks to the artist to the employee manufacturing the glass for you. Refer to the section on Health and Safety. If you have used the colors over the years you can testify to our improvements. If you are new to the medium, be assured we will continue to improve the cadmium colors.

104 Red Crayon* Also available in 4mm and 12mm rods
104* is a lipstick red, seductive and alluring. It is the Crayon color richest in unbound cadmium, and therefore it requires the greatest skill level to work.

106 Indian Red Crayon
106 is a deep, dark red. 106 is bound with selenium and is easier to work.

204 Orange Crayon* Also available in 4mm and 12mm rods
204* is bright, vibrant and easy to use.

208 Dark Orange Crayon
208 Dark Orange was poorly named and therefore has been mostly unexplored by artists; it is a bright vermillion or tangelo color and a better name would have been Fire Orange.

301 Acid Yellow Crayon Also available in 4mm rods
301 is a bright, lemony yellow with excellent working properties.

Tips:

  • Try mixing 301 with three to five parts clear to make a translucent yellow that exhibits a unique “luminosity.”

302 Rasta Gold Crayon Also available in 4mm and 12mm rods
302 is a golden honey yellow, darker than 304 Yellow Crayon*.

304 Yellow Crayon* Also available in 4mm and 12mm rods
304* is a “school bus” yellow with a slight hint of orange.

403 Chartreuse Crayon Also available in 4mm rods
403 is a very workable green-yellow.

406 Olive Green Crayon
406 is an earthy green.

Tips:

  • Try encasing 403 or 406 with 510 Cobalt Lite, one of the lighter Paris Greens or Kryptonite for tonal variations.

804 Chocolate Crayon
804 is the color of a chocolate chip. 804 is the Crayon color richest in bound cadmium and, therefore, is one of the easiest to use.

Tips:

  • 804 is a good color match with 446 Agua Azul*.

Tips for all Crayons:

  • Excluding the two greens, 403 and 406, the cadmium colors organize from dark to light in this way. 804 Chocolate, 106 Indian Red, 104 Red*, 208 Dark Orange, 204 Orange*, 302 Rasta Gold, 304 Yellow*, 301 Acid Yellow.
  • Mixing with three to five parts clear will make the color translucent, allowing the light to enter the glass rather than reflect off the surface.
  • Work Crayons further out in the flame and review the article in The Alchemist Vol. 2, Issue 4 “Working with Crayons”.
  • Fire-cut the raw end of the rod to further alleviate the initial sublimation that can occur on the sharp edges.

Turquoise Colors: 441*, 444*, 445, 446*, 447, 541, 546*, 548*
The Turquoise colors include a range from light green to deep blue colors. They are creamy and easy working but should not be manipulated in a reducing flame. Chrome is the primary colorant for this series of formulas and all the colors in the Sparkle series, except Disco Sparkle. To avoid problems the torch must be set up properly to achieve a neutral-to-oxidizing flame. Carbon and chrome have a curious relationship in the flame—carbon bonds with the chrome and creates a new glass that has a COE of 56. The new glass is no thicker than a few nanometers but it is enough to cause incompatibility. The excess carbon will also bore microscopic holes into the glass that when encased release air—those mirror reflections that can sometimes be seen around a deeply encased chrome color where cracking has occurred.

Avoid keeping chrome colors in the kiln for extended periods of time. If holding these colors in the kiln for an extended period, it is best to “garage” at 975°F, rather than at the annealing temperature of 1050°F. You should not hold these colors (or strike other colors in the same piece) at temperatures above 1075°F; you run the risk of creating aventurine (crystal growth) at elevated temperatures. We have seen extended times at striking temperatures or higher lead to breaking, checking and shearing. After keeping your piece warm at 975°F during construction, the temperature of the kiln should be elevated to 1050°F to anneal the completed artwork.

Research continues to improve the quality of chrome colors in the GA palette. Our current research in chrome based colors is focused on preventing cracking under all extremes. Today, there are some artists experimenting successfully with fusing and we have been working to extend holding times in the kiln. As of the close of 2006 the majority of our palette can withstand 4 – 5 remelts without diminishing the integrity of the glass. We have increased the chrome colors’ endurance to withstand 3 remelts. What this means to you as a lampworker is more working time and less losses, especially when you work in a neutral flame.

Note: Colors 4484, 5486 and 5488 are Chameleons due to their silver content.

441 Alchemy Mint*
441* is a pale opaque green that can develop slightly darker green veins.

Tips:

  • Enhance the shade of this gentle green by encasing or mixing it with a transparent green such as 461 Kryptonite, 436 Dark Emerald or 4646 Paris Green 6*.
  • Consider using 441 Alchemy Mint* in a frit blend with Agua Azul* and Peacock*.
  • For a variegated look as in foliage use with 444 Clover*.

444 Clover* Also available in 4mm rods
444* is the color of grass.

Tips:

  • If 444* is going to be worked hard at higher temperatures and then be subjected to ongoing high heats as the balance of the piece is shaped and worked for hours, then consider encasing the color prior to use.
  • If 444* is going to be exposed to prolonged periods in a reducing flame, consider encasing first.
  • Use of this color as a “dot” in a deep-encased situation is not recommended, especially on a curve, such as a vase bottom.

445 Turquoise
445 Turquoise is a green turquoise color and has been laced with a touch of copper, which develops wisps of red. This color can be used to add an organic quality to your work.

Tips:

  • Try designing a piece using 445 Turquoise with 132 Jasper Red or 106 Indian Red Crayon for a contrasting organic look.

446 Agua Azul* Also available in 4mm and 12mm rods
446* is a teal blue shade and is a very easy-working color, which can be worked on both the inside and the outside.

447 Spanish Moss
447 Spanish Moss is an enchanting mossy, gray-green earth tone that is great for solid color coil-pots and sculptural work.

541 Persian Blue see the article in Vol. 2, Issue 4 of The Alchemist
541 Persian Blue is a translucent blue that seems to glow as the light enters it and is suited for surface work.

546 Peacock* Also available in 4mm and 12mm rods
546* is a blue-green opal that is creamy and smooth to work—one of the best in the palette.

Tips:

  • Use Peacock* with browns and blacks to add brightness to the contemplative darks.
  • Use with bright oranges, reds and yellows to create a playful look.

548 Twilight* Also available in 4mm and 12mm rods
548* is a dark blue that is creamy and smooth to work. Twilight is named for the blue shadows that surround you as the sun drops past the horizon.

Pastel Colors: 5192, 5195
Bibidibobidiblue and Lapis are based on a new technology. The primary colorant evolves oxygen at 1500°F, just above the softening point. Materials have been added to react with the evolving gasses to keep your piece nice and smooth. Be careful not to heat a large area too fast or you may defeat the system. Do keep your heat well distributed in the piece while trying to avoid a small hot spot.

5192 Bibidibobidiblue Also available in 4mm rods
5192 is a remarkable sky blue color.

Tips:

  • 5192 is great for stringers and murrini work. It also works very well in large coil pot applications.
  • To heighten the intensity of 5192 encase with 510 Cobalt Lite or change the hue by encasing with other tints.

5195 Lapis Also available in 4mm rods
5195 Lapis is the same as 5192 Bibidibobidiblue with the addition of more cobalt to create a dark, midnight blue.

Tips:

  • 5195 is great for stringers.
  • Lay 5195 Lapis down with its compliment 204 Orange Crayon* for dazzling color.

Black: 9749*, 9992
Most blacks are saturated greens, reds or purples, Raven* is a blend of all three—the surface reflection changes dependent on the type of light (natural, halogen or incandescent), the angle of incidence, and the thickness of the Raven* application.

9992 Portland Gray is based on a novel technology and was the first opal gray borosilicate rod. Smooth and creamy to use it fills a major gap in the colored borosilicate palette. 9992 is very reliable and can be drawn down to stingers or gathered for large sculptural work.

9749 Raven* Also available in 4mm rods
The primary colorants are manganese and chrome.

9749 Raven* is an opal borosilicate black color. The color reflection is reminiscent of the colors seen on a black raven’s wing.

Tips:

  • Work hot in a neutral-to-oxidizing flame. Avoid a reducing flame.
  • Raven* will phase separate if held at temperatures above 1100°F for too long.

9992 Portland Gray
The double 9s in the code indicate the development of an unusual colorant. This color was created with a completely new technology.

9992 is an opal gray borosilicate color.

Tips:

  • Use any kind of flame on this color.
  • Reducing can generate darker shades.
  • 9992 can sometimes develop specks on the surface; however, they do not affect compatibility and melt in when worked.

White: 9995*
9995* is a rich white not based on micro bubbles or refractory ingredients such as zirconia allowing it to be drawn down to small stringers that retain their color and physical strength. We anticipate the research for improvements will be ongoing through 2009.

9995 Sno White* Also available in 4mm rods
9995 is a vibrant white. Work in the flame as you would any heat sensitive color, a little further out in the flame.