Fritipedia - User contributions [en-gb]

Annealing

2010-08-26T08:19:52Z

Shine-on2: added '''ANNEAL AS-YOU-GO – Paragon SC2''' Good for COE 90 and 104 glass

In [[glass bead making]] annealing refers to the process by which the [[glass]] is heated up to within the [[annealing range]] of the particular glass that was used to make the bead. It is then held there for a specified amount of time (depending on the size of the piece) and then cooled down gradually at a constant rate (for example 1°C per minute). This eliminates the stresses within the glass that were introduced in the process of making the bead.

This is because [[Glass]] is a very poor conductor of heat and as it cools it does so unevenly, unless cooled slowly. This means that while the outside of the piece may have cooled below the [[strain point]] the core of the piece may well still be much higher (maybe even still above the [[softening point]]. The upshot of this is that as it cools stresses build up.

If these stresses are not removed from the [[glass]] then it may cause the bead to shatter or crack in the future. This could happen at any time, even years in the future.

(In [[silversmithing]] annealing is the process of changing the structure of silver to make it workable!)

== Why you need to anneal your beads ==
[[Image:Bead_Annealing.jpg|right|thumb|300px|Here you can see the effect of not annealing your beads. By using polarising filters to show the stress. The bead on the right has not been annealed, you can see the stress in the bead as the blue and orange coloured parts, the bead on the left '''has''' been annealed and shows no coloured sections (note that the dark areas are just shadows and reflections)]]
If you are planning to make glass beads to sell then they must be annealed. This means that the bead is more durable and less like to shatter ruining the jewellery item that has been made

== How to tell if your beads are annealed ==
There are a variety of tests that you can use to test if your beads are annealed some more "scientific" than others.
===Bounce test===
This means you can bounce your glass bead on a concrete or tiled floor and it will remain intact. This is not truly recommended although dropping does occur regularly by accident!!! This may lead to slight chipping of an otherwise totally acceptable bead!

===Cold to hot test===
This involves making your bead very cold i.e. putting it in the fridge and then transferring it rapidly to hot water. This is NOT recommended as the glass bead may be perfectly annealed but the thermal shock may cause it to shatter!

===Polarising lenses===
This is probabaly the most reliable method of checking your annealing schedule. This involves holding the glass bead between two polarising lenses up to a light source and looking for stresses in the glass. These show up as coloured areas in the glass. (see [[Media:Bead_Annealing.jpg]] above) Please note: it can only be done on transparent beads.

== What Temperature should you anneal beads ==
This depends on the glass that you are using and it's [[coefficiency]]. The manufacturers of the different glasses will hold information about the [[strain point]] and the [[annealing range]] of glass which should help you to develop [[annealing schedules]] on your [[kiln]]

== For How long should you Anneal Beads ==
It is '''not''' possible to over anneal glass, but you can certainly under-anneal.

The length of time needed to anneal [[glass]] is dependant on the size of the piece at it's thickest part. The bigger it is, the more time is needed, as the bigger the piece the more time it takes for the glass temperature to stabilise in the kiln, until ultimately the entire piece is at the same uniform temperature.

The rampdown rate is also related to the size of the piece, as larger pieces require a slower ramp down towards the [[strain point]]

As a rule of thumb for beads no larger than an inch or so, you should anneal for an hour.

== FAQ ==

=== I'm impatient... When can I remove my beads from the Kiln? ===
When your [[kiln]] temperature has dropped below the [[strain point]] of the [[glass]] you are using it is safe to drop the temperature much more quickly. You still need to be careful as your beads could suffer [[thermal shock]], in the same way that a glass rod can shatter if you just plunge it into the flame without warming it up, this is different from [[stress cracking]].

When the kiln is well below the [[strain point]] (at around 200°C, maybe higher) you can part open the door of your kiln to speed the process of cooling, as the natural thermal capacity of the [[kiln]] will still stop the [[beads]] from cooling too quickly. Remember below the [[strain point]] the only damage you can do to your bead is [[thermal shock]] cooling them quickly now will '''not''' affect the annealing process.

Once the kiln is below 100°C it is possible to to open the [[kiln]] door fully, and allow the kiln to drop much more quickly.

Once the beads are at a safe temperature to handle (less than 50 - 60°C ) You can carefully remove the beads and admire your work. (remember they may be hotter than you think, be prepared to put them back in the kiln).

Please be aware that while the beads are still warm keep them away from any cold drafts as although it is very unlikely there is still a chance they may thermaly shock.

Please remember that it is better to be safe than sorry. If you are at all concerned or have just made the [[world's best bead]], then you need to learn some patience, and be a bit more conservative. Maybe even waiting till the morning before opening your [[kiln]].

'''Annealing Schedule for COE 104 Silver Glass in a Paragon SC2 - as you go'''

A lot of silver glass likes lower temperatures - but to compensate, you'll need a longer soak time. This is what I use for my SC2 annealing as you go ....

Ramp 1 - 700

Temp 1 487°C (910°F)

Hold 12 hours - I set this long and skip when I'm done!

Ramp 2 78

Temp 2 493°C (920°F)

Hold 2 hours

Ramp 3 78

Temp 148°C (300°F)

Hold 0

Ramp 0

'''ANNEAL AS-YOU-GO – Paragon SC2'''
Good for COE 90 and 104 glass

Segment 1:
Ramp1 900 deg C
Temp1 500 deg C
Hold1 12 HRS

Segment 2:
Ramp2 FULL
Temp2 520 deg C '''**'''
Hold2 1 HR

Segment 3:
Ramp3 78 deg C
Temp3 370 deg C
Hold3 0000mins

Segment 4:
Ramp4 0000

In segment 1 I set the holding time to 12 hours, but as soon as I have put in the last bead for the day I skip to segment 2. On the sentry 3.0 controller you do that by pressing the up arrow twice, on the sentry 4.0 controller you skip a segment by pressing up arrow once. SStP should appear in the window. Press start.

With annealing as you go it is vital the bead is properly flame-annealed before putting it into the kiln, i.e. first the bead needs to be warmed through, then flame-annealed in the outer part of the flame until it does not glow anymore before going into the kiln. If too hot it will stick to other beads or kiln floor, if not evenly warmed before flame-annealed it might crack down the middle of the mandrel (and yes, I have experienced both , luckily with no great consequences).

'''**'''If I’m using kiln striking colours, or colours that need a higher temp (ie CiM’s Halong Bay & Peacock) – in segment 2, I increase the temp to 545°C

NB – if you have some beads previously made and not annealed, you can pop them in the kiln just before you fire up this schedule.

Annealing

2010-08-26T08:16:05Z

Shine-on2: adding annealing schedule for SC2 as you go!

In [[glass bead making]] annealing refers to the process by which the [[glass]] is heated up to within the [[annealing range]] of the particular glass that was used to make the bead. It is then held there for a specified amount of time (depending on the size of the piece) and then cooled down gradually at a constant rate (for example 1°C per minute). This eliminates the stresses within the glass that were introduced in the process of making the bead.

This is because [[Glass]] is a very poor conductor of heat and as it cools it does so unevenly, unless cooled slowly. This means that while the outside of the piece may have cooled below the [[strain point]] the core of the piece may well still be much higher (maybe even still above the [[softening point]]. The upshot of this is that as it cools stresses build up.

If these stresses are not removed from the [[glass]] then it may cause the bead to shatter or crack in the future. This could happen at any time, even years in the future.

(In [[silversmithing]] annealing is the process of changing the structure of silver to make it workable!)

== Why you need to anneal your beads ==
[[Image:Bead_Annealing.jpg|right|thumb|300px|Here you can see the effect of not annealing your beads. By using polarising filters to show the stress. The bead on the right has not been annealed, you can see the stress in the bead as the blue and orange coloured parts, the bead on the left '''has''' been annealed and shows no coloured sections (note that the dark areas are just shadows and reflections)]]
If you are planning to make glass beads to sell then they must be annealed. This means that the bead is more durable and less like to shatter ruining the jewellery item that has been made

== How to tell if your beads are annealed ==
There are a variety of tests that you can use to test if your beads are annealed some more "scientific" than others.
===Bounce test===
This means you can bounce your glass bead on a concrete or tiled floor and it will remain intact. This is not truly recommended although dropping does occur regularly by accident!!! This may lead to slight chipping of an otherwise totally acceptable bead!

===Cold to hot test===
This involves making your bead very cold i.e. putting it in the fridge and then transferring it rapidly to hot water. This is NOT recommended as the glass bead may be perfectly annealed but the thermal shock may cause it to shatter!

===Polarising lenses===
This is probabaly the most reliable method of checking your annealing schedule. This involves holding the glass bead between two polarising lenses up to a light source and looking for stresses in the glass. These show up as coloured areas in the glass. (see [[Media:Bead_Annealing.jpg]] above) Please note: it can only be done on transparent beads.

== What Temperature should you anneal beads ==
This depends on the glass that you are using and it's [[coefficiency]]. The manufacturers of the different glasses will hold information about the [[strain point]] and the [[annealing range]] of glass which should help you to develop [[annealing schedules]] on your [[kiln]]

== For How long should you Anneal Beads ==
It is '''not''' possible to over anneal glass, but you can certainly under-anneal.

The length of time needed to anneal [[glass]] is dependant on the size of the piece at it's thickest part. The bigger it is, the more time is needed, as the bigger the piece the more time it takes for the glass temperature to stabilise in the kiln, until ultimately the entire piece is at the same uniform temperature.

The rampdown rate is also related to the size of the piece, as larger pieces require a slower ramp down towards the [[strain point]]

As a rule of thumb for beads no larger than an inch or so, you should anneal for an hour.

== FAQ ==

=== I'm impatient... When can I remove my beads from the Kiln? ===
When your [[kiln]] temperature has dropped below the [[strain point]] of the [[glass]] you are using it is safe to drop the temperature much more quickly. You still need to be careful as your beads could suffer [[thermal shock]], in the same way that a glass rod can shatter if you just plunge it into the flame without warming it up, this is different from [[stress cracking]].

When the kiln is well below the [[strain point]] (at around 200°C, maybe higher) you can part open the door of your kiln to speed the process of cooling, as the natural thermal capacity of the [[kiln]] will still stop the [[beads]] from cooling too quickly. Remember below the [[strain point]] the only damage you can do to your bead is [[thermal shock]] cooling them quickly now will '''not''' affect the annealing process.

Once the kiln is below 100°C it is possible to to open the [[kiln]] door fully, and allow the kiln to drop much more quickly.

Once the beads are at a safe temperature to handle (less than 50 - 60°C ) You can carefully remove the beads and admire your work. (remember they may be hotter than you think, be prepared to put them back in the kiln).

Please be aware that while the beads are still warm keep them away from any cold drafts as although it is very unlikely there is still a chance they may thermaly shock.

Please remember that it is better to be safe than sorry. If you are at all concerned or have just made the [[world's best bead]], then you need to learn some patience, and be a bit more conservative. Maybe even waiting till the morning before opening your [[kiln]].

'''Annealing Schedule for COE 104 Silver Glass in a Paragon SC2 - as you go'''

A lot of silver glass likes lower temperatures - but to compensate, you'll need a longer soak time. This is what I use for my SC2 annealing as you go ....

Ramp 1 - 700

Temp 1 487°C (910°F)

Hold 12 hours - I set this long and skip when I'm done!

Ramp 2 78

Temp 2 493°C (920°F)

Hold 2 hours

Ramp 3 78

Temp 148°C (300°F)

Hold 0

Ramp 0

'''ANNEAL AS-YOU-GO – Paragon SC2'''

Segment 1:
Ramp1 900 deg C
Temp1 500 deg C
Hold1 12 HRS

Segment 2:
Ramp2 FULL
Temp2 520 deg C '''**'''
Hold2 1 HR

Segment 3:
Ramp3 78 deg C
Temp3 370 deg C
Hold3 0000mins

Segment 4:
Ramp4 0000

In segment 1 I set the holding time to 12 hours, but as soon as I have put in the last bead for the day I skip to segment 2. On the sentry 3.0 controller you do that by pressing the up arrow twice, on the sentry 4.0 controller you skip a segment by pressing up arrow once. SStP should appear in the window. Press start.

With annealing as you go it is vital the bead is properly flame-annealed before putting it into the kiln, i.e. first the bead needs to be warmed through, then flame-annealed in the outer part of the flame until it does not glow anymore before going into the kiln. If too hot it will stick to other beads or kiln floor, if not evenly warmed before flame-annealed it might crack down the middle of the mandrel (and yes, I have experienced both , luckily with no great consequences).

'''**'''If I’m using kiln striking colours, or colours that need a higher temp (ie CiM’s Halong Bay & Peacock) – in segment 2, I increase the temp to 545°C

NB – if you have some beads previously made and not annealed, you can pop them in the kiln just before you fire up this schedule.

Annealing

2009-07-10T10:11:59Z

Shine-on2: Added annealing schedule for 104 silver glass

TAG 104

2009-07-06T14:45:26Z

Shine-on2:

SODA-LIME COLOR (SOFT GLASS): COE 104; ANNEAL at 945 FAHRENHEIT (JUNO @ 975)

'''DALAI LAMA: (TAG-104-01)'''
An amber-purple glass, similar to our Caramelo, but in a soft glass. Opaque. Melt in with a neutral flame, and cool slightly. Then strike in a neutral-to-oxidizing flame for beautiful Painted Desert effects. Or reduce this glass for a different look. Colors range from tans and ambers (particularly when reduced) to blues and greens, and gorgeous pinks and purples when struck. This glass encases well, and retains a reactive effect under clear. Some batches respond well to deep heating before striking.

'''ZEUS: (TAG-104-02)'''
This glass appears crystal clear in the rod, but changes dramatically when reduced, then struck. Zeus turns amber by itself and over light colors. Over black, it’s reduction film can be struck to a range from royal blue to turquoise to green. Can also be reduced further to amber brown opaques. Encases well, retains reaction under clear. Try over a transparent orange or Moretti Red Roof Tile for a great electric purple! On striking gold-ruby, Zeus can make a peachy color. It’s turquoise over purples.... etc etc!

'''BLUE BUDDHA 2:''' (TAG-104-03) This lovely transparent cobalt blue develops purple notes when flame worked. Lightly reduce, then strike to get electric blues on the surface which further enhance the purple cast in transmitted light. Also reduces & strikes to a dark electric blue over black.

'''SUPER CLEAR''': (TAG-104-04) The holy grail of bead makers is the perfect clear. Resists scumming and is optically superior to the Italian clears. Works best with a soft flame; try a little more propane and a pinch less oxygen.

'''OXBLOOD: (TAG-104-05''') A self-striking dark grey rod that can make at least three colors when flameworked. It oxidizes to black, reduces to a grey, and, with super-heating and further reduction can produce subtle terra-cotta and brick reds. Very earthy.

'''BLACK CHERRY''' (Kiln-Strike Red): (TAG-104-06) This red glass kiln-strikes into a range from light red to super-dark antique ruby red. Can be reduced. For best results, bring red back up to a high, even heat (transparent) to “reset” the strike (especially if you have any spots of red from flame striking) before placing in the kiln. Kiln striking is dependent on a relationship between time and temperature: in general, the hotter the faster. But too long and/or too hot can cause livering. Rods look variegated; we have intentionally pre-struck part of each rod for color verification at the factory.
TO DETERMINE STRIKE TIME FOR YOUR BATCH OF BLACK CHERRY: Bring empty kiln up to your usual annealing temperature. Make a small bead, then torch it up to high even heat for “reset”, and cool it enough to place in the kiln. After a half-hour or so, check it every ten minutes. When it reaches the color you want, make a note of the time. That’s how long you will want to anneal your Black Cherry beads to achieve the perfect red! We suggest you make your Black Cherry beads at the end of your working session, and then run the anneal cycle long enough to kiln-strike your red at the same time.

'''TIBET:''' (TAG-104-07)
Just like the classic reactive amber/purple boro, now in 104 soft glass! A transparent version of Dalai Lama, this amber/purple glass strikes easily in a neutral flame, producing electric greens over black, or electric blues and purples alone. Solo, struck Tibet looks reddish when held to the light! Tibet can go pinkish over ivory glass or other light colors. Best results come from striking in a neutral to oxidizing flame. This glass can also be reduced for a different look. Try it on Moretti copper green!

'''CEZANNE:''' (TAG-104-08)
A more reactive relative of purple-blue “Blue Buddha.” Reduces easily, but work it a bit cool. Gains a beautiful mirror-like finish with full reduction in an un-oxygenated flame. Some batches produce streaky reactive effects.

'''TAXCO SILVER TURQUOISE''': (TAG-104-09) TAXCO LIGHT (EXP-102808)
Named for the town in Mexico renowned for combining silver and turquoise. A transparent reactive glass that produces a heavily mirrored surface when reduced without oxygen, or gives a mottled oil-spot look when reduced lightly with some oxy in the mix. Can also reduce more heavily to white clouds with terra cotta patches. Reacts nicely with ivory glass. Work cool. Occasionally a little boily.

'''JUNO:''' (TAG-104-10) {Note: Juno doesn’t work with every clear, and may require a higher anneal (975 to 980) and longer soak time.}
The wife of Zeus, Juno is pretty and pink; a reducing glass that also strikes. When reduced alone, she can go amber, and can develop a metallic sheen. But, like Zeus, Juno’s reduction haze can be intensified and made more opaque by striking it. Her reduction haze ranges from greenish to bluish to pink/purplish, depending on the background color. The reduction haze is enhanced with encasement. Juno also strikes in a neutral to oxidizing flame, with an unusual yellow glow. For an interesting effect, try simply striking Juno on a base of Moretti dark ivory, for a range of colors from pink, purple, periwinkle and even coppery hues! However, overworking Juno can burn out her color. In general, “3 strikes and you’re out.” Also, applying Juno cooler gives more purples over ivory, while heating the rod more in advance tends to produce more copper colors.

'''GOLDEN EMERALD:''' (TAG-104-11)
This is a pale green transparent reducing glass, similar to our Taxco Silver Turquoise. Like Taxco, you can get a number of different effects depending on whether you use this color over a light or dark base glass, or by itself. Effects also vary by how much oxygen you use in your reduction flame. When reduced with little or no oxygen, by itself, the Golden Emerald takes on a golden metallic sheen over its transparent golden green. When reduced with some oxygen, on a dark base glass, Golden Emerald produces strong metallic oil-spot colors of purple, blue, electric green, and more.

'''LAKE GENEVA:''' (TAG-104-12)
A pretty transparent medium blue reducer, Lake Geneva can make super-metallic effects when reduced with little or no oxygen, and a thicker, more opaque reduction film when reduced with some oxygen in the mix. In general, the Lake Geneva makes blues, greens and some purples when reduced. The reduction can be made more opaque by ‘striking’ it. The reduction can also be encased.

'''MONTREUX:''' (TAG-104-13)
A lovely transparent medium purple reducer, Montreux can make super-metallic effects when reduced with little or no oxygen, and a thicker, more opaque reduction film when reduced with some oxygen in the mix. The reduction can be made more opaque by ‘striking’ it. The reduction can also be encased. In general, Montreux’s reduction colors range from blues and greens to purples, but the base color can also vary from amethyst to light raisin to medium ink purple.

'''DEEP PURPLE:''' (TAG-104-14)
A luscious deep dark transparent purple, Deep Purple reduces with super-metallic effects with little or no oxygen, and gains a thicker, more opaque reduction film when reduced with some oxygen in the mix. The reduction can be made more opaque by ‘striking’ it, and it can also be encased. Deep Purple generally reduces with blues and greens, but can also create purples, pinks and even bronze-like tones in the metallic sheen. The density of the color also lends itself well to thin applications, including stringers.

Please note: some of our reducing colors may boil in a hissy flame. For best results with potentially boily colors, turn up your gas to a soft, slightly bushy flame and work a little higher in the fire.

SODA-LIME COLOR (SOFT GLASS): COE 104; ANNEAL at 945 FAHRENHEIT

WORKING TIPS FOR SOME OF OUR EXP COLORS:

'''TAG-104-EXP-050808, 051208 & 051408 – GREEN DALAI:'''
Like the regular Dalai Lama, the Green Dalai is an opaque striking glass. It also likes the heat! For best results, try a couple of deep heatings, followed by a series of light strikes to the surface. This treatment generally produces streaky striped effects, with greens, blues, and hints of yellow and purple. Less heat generally produces a more uniform color. Encases well.
'''
TAG-104-EXP-010908 JD MIX:'''
A lovely transparent cobalt-blue blend that came from mixing together two experimental colors that turned out to be misbehaving little brats. Together, though, they play beautifully! This reducing glass creates strong oil slick metallics on the surface when reduced, and can be further reduced to wispy mother-of-pearl effects. It also reacts nicely on a base of ivory glass. This color cannot be reproduced.

'''TAG-104-EXP-080508 CASSIS:'''
A super-dark transparent brownish-purple raisin color, Cassis (or Currant) reduces with super-metallic effects with little or no oxygen, and gains a thicker, more opaque reduction film when reduced with some oxygen in the mix. The reduction can be made more opaque by ‘striking’ it, and it can also be encased. Like many of these silvered glasses, Cassis generally reduces with blues and greens, but can also create purples and even bronze-like tones in the metallic sheen. The density of the color also lends itself well to thin applications, including stringers.

'''TAG-104-EXP-080708 ABSINTHE:'''
A super-saturated dark transparent green, Absinthe reduces with super-metallic effects with little or no oxygen, and gains a thicker, more opaque reduction film when reduced with some oxygen in the mix. The reduction can be made more opaque by ‘striking’ it, and it can also be encased. Absinthe generally reduces with gunmetal blues and greens, but can also create purple and coppery tones in the metallic sheen. The density of the color also lends itself well to thin applications, including stringers.

'''TAG-104-EXP-120508 FIRE OPAL:'''
A milky grey rod, this one really likes the HEAT! Fire Opal is a striking glass that gives wispy opalescent blues and greens when used over black and other dark colors, but can give a range of reddish purples when used over transparent or lighter colors. In many uses TAG Fire Opal looks like regular opal with flashes of blue and green, but it can look very much like Mexican Fire Opal if it is subjected to repeated deep heating, followed by quick cooling cycles (Paul gets this effect by treating it like boro.) Try heating the end of the rod until white hot, wrapping your bead, deep heating on the mandrel, marvering into shape, cooling, and then striking. Some bright effects come from striking right on the candles of your torch!

TAG 104

2009-07-06T14:44:07Z

Shine-on2:

TAG 104

2009-07-06T14:40:21Z

Shine-on2: Working Tips for TAG

SODA-LIME COLOR (SOFT GLASS): COE 104; ANNEAL at 945 FAHRENHEIT (JUNO @ 975)

'''DALAI LAMA: (TAG-104-01)'''
An amber-purple glass, similar to our Caramelo, but in a soft glass. Opaque. Melt in with a neutral flame, and cool slightly. Then strike in a neutral-to-oxidizing flame for beautiful Painted Desert effects. Or reduce this glass for a different look. Colors range from tans and ambers (particularly when reduced) to blues and greens, and gorgeous pinks and purples when struck. This glass encases well, and retains a reactive effect under clear. Some batches respond well to deep heating before striking.

'''ZEUS: (TAG-104-02)'''
This glass appears crystal clear in the rod, but changes dramatically when reduced, then struck. Zeus turns amber by itself and over light colors. Over black, it’s reduction film can be struck to a range from royal blue to turquoise to green. Can also be reduced further to amber brown opaques. Encases well, retains reaction under clear. Try over a transparent orange or Moretti Red Roof Tile for a great electric purple! On striking gold-ruby, Zeus can make a peachy color. It’s turquoise over purples.... etc etc!

'''BLUE BUDDHA 2:''' (TAG-104-03) This lovely transparent cobalt blue develops purple notes when flame worked. Lightly reduce, then strike to get electric blues on the surface which further enhance the purple cast in transmitted light. Also reduces & strikes to a dark electric blue over black.

'''SUPER CLEAR''': (TAG-104-04) The holy grail of bead makers is the perfect clear. Resists scumming and is optically superior to the Italian clears. Works best with a soft flame; try a little more propane and a pinch less oxygen.

'''OXBLOOD: (TAG-104-05''') A self-striking dark grey rod that can make at least three colors when flameworked. It oxidizes to black, reduces to a grey, and, with super-heating and further reduction can produce subtle terra-cotta and brick reds. Very earthy.

'''BLACK CHERRY''' (Kiln-Strike Red): (TAG-104-06) This red glass kiln-strikes into a range from light red to super-dark antique ruby red. Can be reduced. For best results, bring red back up to a high, even heat (transparent) to “reset” the strike (especially if you have any spots of red from flame striking) before placing in the kiln. Kiln striking is dependent on a relationship between time and temperature: in general, the hotter the faster. But too long and/or too hot can cause livering. Rods look variegated; we have intentionally pre-struck part of each rod for color verification at the factory.
TO DETERMINE STRIKE TIME FOR YOUR BATCH OF BLACK CHERRY: Bring empty kiln up to your usual annealing temperature. Make a small bead, then torch it up to high even heat for “reset”, and cool it enough to place in the kiln. After a half-hour or so, check it every ten minutes. When it reaches the color you want, make a note of the time. That’s how long you will want to anneal your Black Cherry beads to achieve the perfect red! We suggest you make your Black Cherry beads at the end of your working session, and then run the anneal cycle long enough to kiln-strike your red at the same time.

'''TIBET:''' (TAG-104-07)
Just like the classic reactive amber/purple boro, now in 104 soft glass! A transparent version of Dalai Lama, this amber/purple glass strikes easily in a neutral flame, producing electric greens over black, or electric blues and purples alone. Solo, struck Tibet looks reddish when held to the light! Tibet can go pinkish over ivory glass or other light colors. Best results come from striking in a neutral to oxidizing flame. This glass can also be reduced for a different look. Try it on Moretti copper green!

'''CEZANNE:''' (TAG-104-08)
A more reactive relative of purple-blue “Blue Buddha.” Reduces easily, but work it a bit cool. Gains a beautiful mirror-like finish with full reduction in an un-oxygenated flame. Some batches produce streaky reactive effects.

'''TAXCO SILVER TURQUOISE''': (TAG-104-09) TAXCO LIGHT (EXP-102808)
Named for the town in Mexico renowned for combining silver and turquoise. A transparent reactive glass that produces a heavily mirrored surface when reduced without oxygen, or gives a mottled oil-spot look when reduced lightly with some oxy in the mix. Can also reduce more heavily to white clouds with terra cotta patches. Reacts nicely with ivory glass. Work cool. Occasionally a little boily.

'''JUNO:''' (TAG-104-10) {Note: Juno doesn’t work with every clear, and may require a higher anneal (975 to 980) and longer soak time.}
The wife of Zeus, Juno is pretty and pink; a reducing glass that also strikes. When reduced alone, she can go amber, and can develop a metallic sheen. But, like Zeus, Juno’s reduction haze can be intensified and made more opaque by striking it. Her reduction haze ranges from greenish to bluish to pink/purplish, depending on the background color. The reduction haze is enhanced with encasement. Juno also strikes in a neutral to oxidizing flame, with an unusual yellow glow. For an interesting effect, try simply striking Juno on a base of Moretti dark ivory, for a range of colors from pink, purple, periwinkle and even coppery hues! However, overworking Juno can burn out her color. In general, “3 strikes and you’re out.” Also, applying Juno cooler gives more purples over ivory, while heating the rod more in advance tends to produce more copper colors.

'''GOLDEN EMERALD:''' (TAG-104-11)
This is a pale green transparent reducing glass, similar to our Taxco Silver Turquoise. Like Taxco, you can get a number of different effects depending on whether you use this color over a light or dark base glass, or by itself. Effects also vary by how much oxygen you use in your reduction flame. When reduced with little or no oxygen, by itself, the Golden Emerald takes on a golden metallic sheen over its transparent golden green. When reduced with some oxygen, on a dark base glass, Golden Emerald produces strong metallic oil-spot colors of purple, blue, electric green, and more.

'''LAKE GENEVA:''' (TAG-104-12)
A pretty transparent medium blue reducer, Lake Geneva can make super-metallic effects when reduced with little or no oxygen, and a thicker, more opaque reduction film when reduced with some oxygen in the mix. In general, the Lake Geneva makes blues, greens and some purples when reduced. The reduction can be made more opaque by ‘striking’ it. The reduction can also be encased.

MONTREUX: (TAG-104-13)
A lovely transparent medium purple reducer, Montreux can make super-metallic effects when reduced with little or no oxygen, and a thicker, more opaque reduction film when reduced with some oxygen in the mix. The reduction can be made more opaque by ‘striking’ it. The reduction can also be encased. In general, Montreux’s reduction colors range from blues and greens to purples, but the base color can also vary from amethyst to light raisin to medium ink purple.

'''DEEP PURPLE:''' (TAG-104-14)
A luscious deep dark transparent purple, Deep Purple reduces with super-metallic effects with little or no oxygen, and gains a thicker, more opaque reduction film when reduced with some oxygen in the mix. The reduction can be made more opaque by ‘striking’ it, and it can also be encased. Deep Purple generally reduces with blues and greens, but can also create purples, pinks and even bronze-like tones in the metallic sheen. The density of the color also lends itself well to thin applications, including stringers.

Please note: some of our reducing colors may boil in a hissy flame. For best results with potentially boily colors, turn up your gas to a soft, slightly bushy flame and work a little higher in the fire.

Glass

2009-07-06T14:38:05Z

Shine-on2:

==Which glass should I use to make beads from?==

*[[Plowden and Thompson]] (English)
*[[Effetre]] (Italian)
*[[Bullseye]] (American)
*[[Satake]] (Japanese)
*[[Reichenbach]] (German)
*[[ASK]]
*[[Laucha]] (German)
*[[CiM]]
*[[Northstar]] (American)
*[[Double Helix]] (American)
*[[Vetrofond]] (Italian)
*[[Kugler]] (German)
*[[TAG 104]] (American)
===Other glass rod manufacturers===

===Using sheet art glass===

===Scrap glass from bottles etc.===

== Further information ==
See http://www.glass-beads.co.uk/Flame/June06/WhichGlass.html for more information

Northstar

2009-01-09T19:43:26Z

Shine-on2:

Northstar Glassworks INC produce [[boro]] glass rods for lampwork. They currently have 116 [[boro]] colours in their pallette. Northstar also have a small but beautiful range of silver rich glass rods that are [[CoE]] 104. These are sold under the name [[Precision 104]]

Here's the user guide - from Northstar for 104 glass (Jan 09) - www.northstarglass.com
Thanks to Nancy at Northstar for sending the information and allowing me to share it with you!

Northstar Glassworks, Inc Precision 104 Soft Glass

USERS GUIDE

Basic Striking Guide for Precision 104 Soft Glass
1. Use adequate ventilation for silver rich colors.
2. Use a neutral flame (shortest yellow candle) while making your piece.
3. To strike, remove your piece from the flame until it is no longer glowing.
4. Change to slightly reducing flame by turning propane up or oxygen down.
5. Reheat your piece until the glass is glowing again.
6. Remove your piece from the flame and watch the colors develop.
7. To further develop the colors repeat steps 4-6 until satisfied with the end result.
8. To remove part of all of these effects, reheat at the tip of an oxidizing flame.

Annealing Temperature 940-960 F (504-515°C)

'''SPC401 Rocio Silver Mist'''
We recommend you use a neutral oxidizing flame when melting in the glass in the torch when you are ready for final color development. Reduce multiple times and tease the colors out at the back of the flame, several times. The more times you do this, the better the color.

'''SPC402 Picasso Silver Blue'''
This one likes a lot of reduction heat, but don't overdo it. Just roll it around in the flame until you see the haze appear, let it cool a bit, and then go back to a neutral flame. Reduce multiple times and tease the colors out at the back of the flame several times. The more times you do this, the better the color.

'''SPC403 Chagall Dark Silver Blue'''
A light reduction is all that is needed to get these colors to develop. Turn down your oxy a bit until you get a small, bushy flame. Pass your work in and out until you get the colors you want. The colors pop almost immediately. Let it cool a bit, then go back to a neutral flame. SPC403 Chagall has deeper blues, but you can get a bright, metallic blue finish, and also have iridescent rainbow in spots, depending on how long it is worked.

'''SPC404 Monet Silver Amethyst'''
Simply reduce to get amazing colors. A light reduction is all that is needed to get these colors to pop. Turn down your oxygen a bit until you get a small, bushy flame. Pass the glass in and out until you get the desired results. The colors pop almost immediately. Let it cool a bit and then go back to a neutral flame.

'''SPC405 DaVinci 1 Transparent'''
We recommend that you use a neutral oxidizing flame when you are ready for final color development. Reduce multiple times at the back of the flame. The more frequently you do this, the better the color. Want to bring the silver to the surface? Use a more reducing ….turn up your gas (or turn down your oxygen!)

'''SPC406 DaVinci 2 Double Amber Purple'''
This color is Van Gogh’s younger twin. Work it VERY hot until it is transparent on the surface. Then cool and watch it begin to turn a dark orange or brown. Depending on if and WHEN you encase it, you will get different colors. If you encase it soon after it begins to darken, you will get blues and greens. If you let the dark brown really develop before you encase, you will get more blues and magentas. Depending on how you treat it after you encase, or not, you may get pinks, rose, lavenders and creams. But you have to get it pretty hot to begin with. Use a very neutral flame.

'''SPC407 Van Gogh Caramel'''
Work it VERY hot until it is transparent on the surface. Then cool and watch it turn a dark orange or brown. Depending on if and WHEN you encase, you will get different colors. If you encase it soon after it begins to turn dark, you will get blues and greens. If you let the dark brown really develop before you encase, you will get more blues and magentas. Depending on how you treat it after you encase, or not, you may get pinks, rose, lavenders and creams. But you have to get it pretty hot to begin with. Use a very neutral flame.

'''SPC408 Diamond Clear'''
This is the mother glass for all Precision 104 colors. Diamond Clear works well with other silver rich colors with no cracking problems. The glass is fairly bubble free. Don’t work it too hot or you will see small bubbles rise to the surface. Experiment with your flame settings to achieve the cleanest clear on the market. Heat this glass slowly in an oxidizing flame. Enjoy!

'''SPC409 Kandinsky Geen Exotic'''
This color is like Matisse Red Exotic. It has the same melting characteristics. REDUCE THE HECK OUT IF IT!! Trick: The copper color burns off easily, so you need to reduce and pull out of the flame. You can wave it around to keep it hot, but don’t burn it all off. Keep it out of the flame. Encase. Reacts well with copper green, intense black and ivory.

'''SPC410 Matisse Red'''
REDUCE THE HECK OUT IF IT!! Trick: the copper color burns off easily, so you need to reduce and pull it out of the flame. You can wave it around to keep it hot, but don’t burn the copper color off. Keep it out of the flame! Encase, and then shape it. Reacts will with copper green, intense black and ivory.

'''SPC411 Rembrandt'''
Wow! This color is a beautiful neon green with tons of silver reactions. Work this color in a neutral to oxidizing flame. After final shaping and details are complete, reduce in a soft, fluffy flame. This will bring out lots of metallic and lustrous colors. Don’t over reduce unless that is the color you are looking for. This is Abe Fleishman’s (the creator of all Precision 104 colors) favorite color because of the wild colors you can achieve.

'''SPC412 Sashas Silver'''
Work this color in a neutral to oxidizing flame. This color is really easy to get results from. Heat hot and after shaping, reduce in and out of the flame to get the desired color effect. This color will produce heavy metallic and lustrous tones.

'''SPC413 Garzoni Giovanna'''
We recommend you use a neutral oxidizing flame when melting the glass at the torch. When you are ready for final color development, reduce multiple times and tease the colors out at the back of the flame. The more frequently you repeat this, the better the color. Use a little heaver reduction flame (extra propane or natural gas) to bring the silver to the surface.

'''SPC414 Black Pearl'''
A light reduction is all that is needed to get the amazing colors to pop! Turn down your oxy slightly until you have a small, bushy flame. Pass in and out of the flame until you achieve the desired results. The colors pop almost immediately. Cool a bit, then continue in a neutral flame.

'''SPC415 Abes Ivy'''
SPC-415 Abes Ivy is a light transparent aquamarine blue color that can yield many hues including metallic blues, copper reds and sea greens. When reduced, this color can yield earthy reds and browns. Because of its high silver content it will react very quickly in the flame so be careful not to over reduce. To yield other interesting effects, try encasing Abes Ivy with SPC-408 Diamond Clear or backing it with an opaque color like Bright White or Ivory. This color can be stretched thin, so it is well suited for delicate blown work, stringer application, beads, sculptures and cane work. We recommend use of a neutral oxidizing flame when melting the color in the flame and to achieve the most vivid colors. Wave the piece in the flame to bring out the silver.

Northstar

2009-01-09T19:40:25Z

Shine-on2: