All silver colors should be worked at hot temperatures to create, form and assemble the elements. Once your piece is formed switch to a lower heat, just above the annealing temperatures 1075°F to 1125°F, to grow the silver crystals. The smallest crystals are invisible. As they grow they will create a yellow color. In order of increasing size, the silver crystals will become orange, ruby red, red-purple, purple, blue then green.

When working with silver colors, you will want to pay attention to the temperature profile that you are creating within the glass piece you are working on.

From the scale above, note that the heat penetration is deep.

From the scale above, note that the heat penetration is only on the surface and inconsistent.

From the scale above, note that the heat penetrates the surface and immediate subsurface, but is not deep. Also note that the heat is consistent.

Once you start recognizing the heat profile, you will have gained another level of color control. For example, if you let the core temperature drop and then reheat only the surface, the silver crystals will grow faster in this top layer than the layers just below. If the heat is uneven, you create a “veil” of color on the surface called haze. On the other hand, one can use the heat profiles to determine that they can intentionally create a “veil” of color by creating skin crystals, or what we call skystals. The process that creates skystals is: work the piece hot so that no color develops, then pull the piece out of the flame to let the core temperature drop or even go cold, and finally apply an even heat to the surface for a short period of time.

You can create fantastic patterns of color, depending on how even your heat is and what you do to mix in uneven heat. Simple techniques, such as twisting the rod as you heat it, contact with a cool paddle, or pinching with a pair of needle nose pliers, can create great patterns, especially in beads. Also consider using glass itself, such as clear frit, as an insulator. Or try using other silver colors or tints as “dots.”

If you want to bring a luster to the surface, bring the glass to 1200 – 1250°F (remember that it is easy to burn a fume off the surface) and treat the surface about 20 seconds. In a neutral flame, the luster will be silver. In the bushy, reducing flame, the luster will be multicolored. This flame will strip oxygen from the silver oxide (Silver is reduced with heat—un-burned carbon will transport liberated oxygen away.) leaving metallic silver on the surface and causing the “sheen.” Consider polishing the surface to enhance the brightness.

A final note about silver colors and striking: They are not all created equal. Some formulas have nuclei in them, while others do not. Just as a raindrop does not form without a speck of dust, or a pearl without a grain of sand, silver crystals do not grow without something to grow on. GA has added nuclei to most of its silver colors to make them easier to use. However, there are times when the artist wants more control, so we also created colors in which one can create the nuclei. For example, in the colors 383 Silver Strike 3 or 385 Silver Strike 5*, you can grow the crystals yourself. When you are ready to create the nuclei, simply cool the color to a slight orange glow, about 950°F, and maintain the temperature for 20 – 30 seconds. Then heat it back up to 1075 – 1125°F and grow the crystals. The longer you hold the piece at the lower temperature, the more nuclei you create and the more intense the final color will be when you grow the crystals.

Crystal growth and color development is a function of time and temperature. Therefore, a reducing flame, per se, does not create the colors. A reducing flame only treats the surface and can create a multi-colored metallic sheen, or if worked intensely, it can create a grayish sky blue surface of reduced silver fume.

Transparent/Translucent Polychromatic Colors
This group consists of all of the colors containing silver and includes the Carnival and Luster Series.

Luster Series: 2383, 381, 382, 386*, 388, 481, 5186, 5188, 597, 683*, 786*
The name Luster indicates that the surface can develop a metallic sheen. The source of this sheen is silver. To bring these colors to the surface, bring the temperature of the flame to about 1250°F (remember that it is easy to burn a fume off the surface). Treat the surface for about 20 seconds in the bushy, slightly reducing flame.

2383 Persimmon Strike Also available in 4mm rods
2383 Persimmon Strike can yield golden amber waves of color along with oranges, greens, reds, fuchsias and purples. Its unique chemistry makes it a silver-ruby—the ruby will continue to strike in the kiln. 2383 is absolutely gorgeous alone but astounding over 9995 Sno White*.

Tips:

• To develop silver colors strike 2383 in back of flame. Kiln strike to bring up the reds.
• Try pre-working by gathering in a hot reducing flame. Pull out into rod and use.
  

381 Warm Yellow
381 has crystal growth inhibitors to impede the change of color. For many applications, the color will remain yellow. However, hard-working or prolonged kiln time will cause crystals to grow. Warm Yellow can be used if you require long garage times and want to achieve purple, but it can also yield a blue color, dependent on the working conditions and time.

382 Solara
382 has crystal growth inhibitors, but is designed to work quickly into the orange-yellow to orange-ruby aspect of silver. It is also designed to remain transparent. This is a very “hot” color—it will remain in this color zone for considerable time but can be pushed into purples, blues and greens.

386 Purple Luster* Also available in 4mm rods
386* has crystal growth enhancers and has been balanced to cause the color to go straight to a purple sheen. This is an unusual color in that it is an A-B-C (clear-yellow-purple) color. We ship it in the B stage (yellow) and when it first enters the flame, it strikes purple (C stage). After it is heated to a molten state, it strikes clear (A stage). If you place it into the kiln in the B state (yellow), it will strike purple. If you place the color into the kiln in the C (purple) state, it will strike to a very dark purple, almost black. If you place it into the kiln in the A (clear) state, it will do nothing—the temperatures are not hot enough to strike to the purple stage. In the flame, if you have struck from B to C, you can move the glass in and out of the flame to keep it at a warm orange glow (1075°F – 1125°F) and darken the purple to very dark shades.

388 Caramel Luster
388 has an additive that causes the glass to always transmit orange and red light. The luster is very modest and can be achieved with a reducing flame. The effects of this color are best demonstrated when a piece is hung in a window where the glass can catch the light and create dazzling patterns when it reflects on the walls. It also works well in any application where there is transmitted light such as goblet stems, bowls or earrings.

481 Spring Luster
481 is a copper green with silver, which has a lower saturation level than the Carnivals and is easier to control. Its transparent properties add to the character of the copper-silver based color.

5186 Blue Passion
5186 is a smooth-working blue rod that develops a wide range of blue hues, neon-blues, greens, neon-greens and purples. Manufactured to be user-friendly, GA has added copious amounts of nuclei for your enjoyment.

5188 Caramel Blues
5188 is the product of adding cobalt to 388 Caramel Luster. When used with a neutral-to-oxidizing flame, the result is a spectacular play of color with rich earthy undertones. The earthy play of silver in the caramel and cobalt base makes it a good choice with silver or gold findings in jewelry.

Tips:

• 5188 Caramel Blues is a great color for reduction techniques. It is easily reduced and yields a solid, creamy reduced surface.
  

597 Blue Luster
597 is a transparent cobalt color with a low silver content.

683 Indigo Luster*
683* is a favorite with the “random trail and rake crowd.” Purple is the underlying base color so expect to get great purples out of 683.

786 Triple Passion* Also available in 4mm and 12mm rods
786* is a fast-striking silver that produces reliable bright purples. A big favorite for beads and sculptural work, this color develops beautiful purples, blues and greens.

Carnival Series: 485, 585
Carnival colors have a medium-high chemical saturation level and have a high copper content. The name “Carnival” characterizes the playful exchange between copper and silver. These colors can develop a metallic sheen called luster with orange and red highlights from the copper. To achieve a luster, raise the temperature of the flame about 125 degrees to approximately 1200 – 1250°F. Remember that it is easy to burn a fume off the surface. Treat the surface for about 20 seconds in a bushy, slightly reducing flame. Note that due to the high copper content, the color can become quite streaky if worked heavily in a reducing flame. If this is not the desired effect, make sure your flame is neutral to oxidizing.

485 Green Carnival
The primary colorant is silver. The secondary colorant is copper.

The green in 485 comes from un-reduced copper. If reduced, however, the copper produces a range of colors from orange to salmon and red, as well as silver-based hues.

Tips:

• Work 485 like any silver-containing color.
  

585 Teal Carnival
The primary colorant is silver. The secondary colorant is copper.

585 is a playful blue-green color.

Tips:

Because the Carnival colors contain copper, if reduced, they can provide an orange and salmon-to-red color in addition to hues provided by the silver.

Opal Polychromatic Colors
This group consists of all of the colors containing silver and includes the Amazon and Chameleon Series as well as Aquatic Carnival and Silver Strike 3 and 5*. Full description of polychromatic colors.

Lusters: 383 and 385*
The name Luster indicates that the surface can develop a metallic sheen. The source of this sheen is silver. To bring these colors to the surface, bring the temperature of the flame to about 1250°F (remember that it is easy to burn a fume off the surface). Treat the surface for about 20 seconds in a bushy, slightly reducing flame.

383 Silver Strike 3 and 385 Silver Strike 5* have no nuclei. A cool flame will bring metals to the surface.

385*, however, has a higher silver content, making it easier to bring luster to the surface. These colors can be worked very hard but require cooling until the orange glow disappears prior to striking. If you want to create a rainbow of colors, after the glow disappears, hold way back in the flame for 10 to 20 seconds without causing the glass to glow (similar to holding in a kiln at 975°F) to create nuclei on which to grow crystals.

Carnival: 489
Carnival colors have a medium-high chemical saturation level and have a high copper content. These colors can develop a metallic sheen called luster with orange and red highlights from the copper. To achieve a luster, raise the temperature of the flame about 125 degrees to approximately 1200 – 1250°F Remember that it is easy to burn a fume off the surface. Treat the surface for about 20 seconds in a bushy, slightly reducing flame. Note that due to the high copper content, the color can become quite streaky if worked heavily in a reducing flame. If this is not the desired effect, make sure your flame is neutral to oxidizing.

489 Aquatic Carnival*
The primary colorant is silver. The secondary colorant is copper.

The green in 489* comes from un-reduced copper. If reduced, however, the copper in the Carnival colors produces a range of colors from orange to salmon and red, as well as silver-based hues.

Amazons: 287*, 487*, 587, 8387, 987*
Amazon colors all have a high chemical saturation level and were created with “serendipity” in mind. When working with the Amazons, try touching the work with your tools, blow air on them, or do a frit pick up with color or clear—anything that will break up the temperature profile to provide multiple colors. Once you find a method to achieve a result you like, these results can be reproduced for production work.

287 Amazon Bronze*
The primary colorant is silver. The other major colorant is reduced copper.

287* has “ruby” as a base color and was designed to add an ancient look to your work. It can yield a “non-glass” look with pure copper and metal rising to the surface of your piece.

Tips:

• This is a fun color to work with. Work very hot in a neutral flame. Beat this color up.
• Try gathering and mixing in a reducing flame and pull out into a rod before using. This will add a unique character and color to the finished piece.
• Flash in a reducing flame prior to placing into the striking kiln. The color will be a bright red with rainbows of metallic sheen. Once it comes out of the kiln the piece will have an “antique” look with many “spots” of pure copper and silver metal present. If you use a buff wheel and silver polish, the piece will become very reflective and the metallic sheen will be enhanced.
• Prolonged kiln striking intensifies the metallic sheen and darkens the red color.
• Mix 287* with 592 Brilliant Blue to produce colors of the Southwest desert—soft purples and pinks.
  

487 Amazon Jewel*
The primary colorant is silver.

487* contains sparkle, in addition to silver, and is very popular with those desiring a rainbow of colors with a sparkle effect. The sparkle is most pronounced when it is thinned, covered in clear or used for inside work.

587 Amazon Lagoon* Also available in 4mm rods
The primary colorant is silver.

587 Amazon Lagoon* was designed with the “serendipity crowd” in mind. As GA provides more information on how to “control” color, there have been many who remind us that they like discovering something new each time they open their kiln. GA introduces thousands of nuclei into each rod and so loads the glass with silver that it is beyond control.

Tips:

• Touch 587 Amazon Lagoon* with your paddle, use tweezers, twist it with your pliers, use a can of cold air and blow on it, or try clear frit pick-ups... Go wild!
  

8387 Amazon Canyon
The primary colorant is silver and the secondary colorant is copper.

8387 is an earth tone Amazon color with loads of special effects.

Tips:

• Because of high silver levels, 8387 must be worked in hot neutral-to-oxidizing flame to avoid muddy silvers.
• Allow cooling until orange glow fades, add heat to bring back dull glow to strike. A second strike of this color sometimes yields interesting results.
  

987 Amazon Night* Also available in 4mm and 12mm rods
The primary the colorant is silver. The other major colorant is cobalt.

987* yields night jungle colors—blue or green with metallic rainbows. It is a fun color to work with.

Tips:

Work 987* like any silver color, very hot and in a neutral-to-oxidizing flame. Try flashing in a reducing flame prior to placing into the striking kiln. Use a buff wheel and silver polish and the piece will become reflective and the metallic sheen will be enhanced. Prolonged kiln striking may intensify the metallic sheen.

We recommend using 987 Amazon Night* to set a neutral flame.

Chameleons: 4484, 5486, 5488
Chameleon colors are based on the Turquoise colors, with silver added. Previously, all silver containing colors available on the market were transparent. The Chameleon Series were the first opal (non-transparent) colors containing silver. The silver content in these colors is subtle to enhance the base color, not overpower it. These colors are best worked in a neutral flame. To maximize the silver coloration, twist and fold the glass as it is applied. Remember, high heat melts the color, while heat treatment just above annealing develops the color.

4484 Clover Chameleon
The primary colorant is chrome and the secondary colorant is silver.

4484 is a slightly lighter green than 444 Clover* with silver added and tends to develop yellows, turquoises and blues.

Tips:

• Use a neutral-to-oxidizing flame to create a range of colors.
  

5486 Peacock Chameleon
The primary colorants are chrome and silver.

GA added silver to the Peacock* base formulas resulting in 5486. This opal silver color allows the artist to develop a wide range of blues, purples and unique green colors.

Tips:

• Use a neutral-to-oxidizing flame.
  

5488 Twilight Chameleon
The primary colorants are chrome and silver.

GA added silver to the Twilight* base formula resulting in 5488. 5488 is so dark that the silver creates subtle differences in shade and hue, providing a very organic look.

Tips:

Use a neutral-to-oxidizing flame.

SPECIALTY COLORS
These colors have such unique properties that they are considered novelties.

Rubies: 132, 138, 139*, 738
The ruby colors are made with reduced copper. We have developed a diverse palette of striking ruby colors to provide the artist with a wide range of options when choosing to work with a striking red. To obtain the density and purity of color you want, we recommend striking all rubies in the kiln to avoid “liveryness” and to achieve an even, deep color. All rubies work best if struck at 1075°F for one hour (+/- 20 minutes).

All of these colors are ionic copper reds. In different valance states (there are three for copper), copper takes on different colors because of the distortion in the shape of the molecule. To obtain the red color, a percentage of the copper is reduced. The difference between 138 and 139* is the percent of copper that has been reduced at the factory.

To flame strike a ruby, first remember that high temperatures melt the crystals (refer to the section on crystal growth). We recommend two methods:

• For the experienced lampworker, move the piece to the very back of the flame and heat to an orange glow that would indicate a temperature of 1075°F.
• For the less experienced, turn the oxygen almost off—leaving a very fluffy flame—then heat the piece in the flame. It should turn black with a carbon coating. Add back enough oxygen to cause the carbon to glow orange, but not burn off. Keep the work piece in this flame for about 60 seconds then burn off the carbon and check the color. You can also use this technique for 30 seconds as a “pre-strike” prior to kiln striking to reduce the strike time.
  

132 Jasper Red
132 has a touch of silver that intensifies the thrill of using this ruby.

Tips:

• The copper is more reduced than in 138 Ruby Strike, though not as deeply reduced and 139 Cherrywood*.
• Abandon this color to the flame, it likes to be worked.
• Strike in the kiln.
  

138 Ruby Strike 4
138 was developed to be very difficult to strike in the flame but to easily strike to a deep transparent red in the kiln.

Tips:

• Work hot.
• Keep the glass evenly heated.
• Strike in the kiln.
  

139 Cherrywood*
Cherrywood* is a translucent/opal ruby wherein more copper has been reduced to strike to a deep red opal ruby and yet will transmit deep transparent red when kiln struck.

Tips:

• Follow the same tips as Jasper—the more you mix Cherrywood* in the flame, the more organic looking the color becomes.
  
• Strike in the kiln to expand the vitality of this ruby red.
  
• 139* frit strikes to a magnificent red in the kiln.

738 Ruby Blues
738 is a ruby that contains a touch of cobalt, and it can yield colors ranging from a light cobalt blue to a deep, ruby burgundy.

Tips:

• Ruby Blues is a great ruby to learn and experiment with. It is the same formulation as 138 Ruby Strike but with the cobalt enhancement.
• The comforting blue tones will soften the livery tones making the glass look stunning.
• Kiln striking is recommended to bring out the ruby reds.
• To retain the blue, shorten the strike time or anneal only.
  

Sparkles: 4578, 458, 487* (fits in both Polychromatic & Sparkle), 552, 555, 556, 558, 559*, 8458, 9958
Most of the Sparkle colors are true aventurines, precipitated from chrome. To maximize the crystal size and your enjoyment—and minimize chrome cracking—GA pre-fires all of its Sparkles prior to selling. They MUST be worked in a neutral-to-oxidizing flame. Unburned carbon in the flame reacts with the chrome in this glass and causes it to change the COE of the chrome particles.

We find that “tugging”, i.e. putting the glass in tension not compression, Sparkle colors align the platelets to improve the appearance. We also believe that it is necessary to align the platelets to prevent cracking. We have found that when adding on glass, for example, an arm or fin, certain techniques work while others have a high failure rate at the seam. We recommend using a wipe-on/wipe-off technique rather than straight seals at 45/90 degrees. End-to-end seals should be white hot and pressed together and then pulled/stretched to align the platelets. These methods provide the “tug” that aligns the platelets so that they all run in the same direction, rather than colliding with each other.

Sparkle rods have a rough, bumpy surface. This is a side effect of the process we use to introduce the aventurine into the glass. It will melt away as soon as the glass is used in the torch.

4578 Rainforest Sparkle
4578 is a deep forest green.

458 Green Sparkle
458 is a bright grass green.

Tips:

• 458 Green Sparkle has medium-level saturation and can be pulled out in stringers or worked as is.
• Coating 458 with clear glass accents the sparkle.
• It should be worked in a neutral-to-oxidizing flame.
  

487 Amazon Jewel*
487* contains sparkle, in addition to silver, and is very popular with those desiring a rainbow of colors with a sparkle effect. The sparkle is most pronounced when it is thinned, covered in clear or used for inside work.

552 Aquamarine Sparkle
552 is a vibrant and translucent blue. A favorite as an overlay for other colors, an artist can work this color with ease and little risk.

555 Jupiter Sparkle Also available in 4mm and 12mm rods
555 is a deep-blue Sparkle color, inspired by local Hawaiian waters. Jupiter Sparkle is very popular and easy to use in many applications.

Tips:

• While it works well on the surface, it has some risk of cracking if deeply encased because of the high chrome saturation. A neutral flame and proper annealing is a must.
  

556 Atlantis Sparkle
556 Atlantis Sparkle is a beautiful, aquatic blue-green. Its color is similar to that of the Aegean Sea, one possible location of the lost island, Atlantis. This color shimmers and is loaded with sparkles.

Tips:

• 556 works well on the surface, but has some risk of cracking if deeply encased because of the high chrome saturation. A neutral flame and proper annealing is a must.
  

558 Teal Sparkle
558 Teal Sparkle is a green-blue translucent glass with sparkles and medium-level saturation. This color is easy working and subtle in nature.

559 Neptune Sparkle* Also available in 4mm and 12mm rods
559 Neptune Sparkle* is a deep green-blue opal, which has a very high, apparent sparkle.

Tips:

• 559* works well on the surface, but has some risk of cracking if deeply encased because of the high chrome saturation. A neutral flame and proper annealing is a must.

8458 Bronze Sparkle
8458 is a unique bronze Sparkle color.

9958 Disco Sparkle
9958 Disco Sparkle is a silvery looking Sparkle in a clear base that mixes well with most colors.

Tips:

Preheat rod in kiln. Rod can be “shocky” if placed rapidly into the flame without preheating.

Overheating will release sulfur, visible as a smoke.

If coil potting, gather the rod and fulcrum mix for two minutes (or use drill) and re-pull rod. Consider mixing in three parts clear or other tint color if exposing large surface area.

Wonkas: 163 and 263
The Wonka colors come in a clear rod with a hint of color when viewed down the core of the rod. These colors will fluoresce (glow) when viewed under a BLB (black light blue) black light bulb. Wonka colors are unaffected by flame atmosphere but fluoresce most intensely when kept fairly thick.

163 Electric Flamingo
The colorant is a rare earth.

This clear rod does not strike to any color; however, it converts UV radiation to a bright pink color. The UV bulb must be of the Black Light Blue (BLB) type and should be less than one year old.

Tips:

• 163 can be used with any flame, any heat.
• This novelty color can be used in large murrini, goblets, marbles, and beads.
• The larger the mass of the piece, the brighter the color will be.
  

263 Atomic Kumquat
The colorant is a rare earth.

This clear rod does not strike to any color; however, it converts UV radiation to a bright orange color. The UV bulb must be of the Black Light Blue (BLB) type and should be less than one year old.

Tips:

• 263 can be used with any flame, any heat.
• This novelty color can be used in large murrini, goblets, marbles, and beads.
• The larger the mass of the piece, the brighter the color will be.