GA Sno White Single Rod

White is a necessary and ironically very difficult colour to make in glass. Tin based whites have been made in the past but have not been very successful. We wanted the rich deep white associated with tin so we spent many years drilling down on the final formula. Today’s Sno White, 9995 is the highest saturated white on the borosilicate market.
Working Tip: Heat slowly to raise the core temperature. Once the heat base is established, this colour can be worked very hot and any air bubbles that popped during the preheat will smooth out. Getting this colour white hot will cause excessive gas release that can not be repaired and should therefore be avoided.

GA Sno White 125grm

White is a necessary and ironically very difficult colour to make in glass. Tin based whites have been made in the past but have not been very successful. We wanted the rich deep white associated with tin so we spent many years drilling down on the final formula. Today’s Sno White, 9995 is the highest saturated white on the borosilicate market.
Working Tip: Heat slowly to raise the core temperature. Once the heat base is established, this colour can be worked very hot and any air bubbles that popped during the preheat will smooth out. Getting this colour white hot will cause excessive gas release that can not be repaired and should therefore be avoided.

GA Agua Mist Single Rod

Agua Mist, 443 is a smooth and creamy blue-green that falls between Agua Azul and Alchemy Mint. This colour rounds out the water fade and has similar working properties to Agua Azul. This colour looks great on its own and compliments or contrasts nearly all colours in the Glass Alchemy palette.

Working Tip: Work this colour in a neutral flame. Garage at 975° F, Anneal at 1050° F.

GA Agua Mist 125grm

Agua Mist, 443 is a smooth and creamy blue-green that falls between Agua Azul and Alchemy Mint. This colour rounds out the water fade and has similar working properties to Agua Azul. This colour looks great on its own and compliments or contrasts nearly all colours in the Glass Alchemy palette.

Working Tip: Work this colour in a neutral flame. Garage at 975° F, Anneal at 1050° F.

GA Turquoise Single Rod

Turquoise, 445 was inspired by Southwest American Indian art. To mimic natural turquoise we wanted a colour that would develop organic red highlights within the green colouration like the stone.

Working Tip: Work this colour in a neutral flame. Garage at 975° F, Anneal at 1050° F. Use of reduction at the end of the project can produce subtle red tones.

GA Turquoise 125grm

Turquoise, 445 was inspired by Southwest American Indian art. To mimic natural turquoise we wanted a colour that would develop organic red highlights within the green colouration like the stone.

Working Tip: Work this colour in a neutral flame. Garage at 975° F, Anneal at 1050° F. Use of reduction at the end of the project can produce subtle red tones.

GA Really Teally Single Rod

Really Teally, 544 is an easy to work opaque blue that falls between Agua Azul and Peacock. This colour was designed to fill out the blue-green palette, providing the perfect colour to round out the fade.

Working Tip: Work this colour in a neutral flame.  Garage at 975° F, Anneal at 1050° F.

GA Really Teally 125grm

Really Teally, 544 is an easy to work opaque blue that falls between Agua Azul and Peacock. This colour was designed to fill out the blue-green palette, providing the perfect colour to round out the fade.

Working Tip: Work this colour in a neutral flame.  Garage at 975° F, Anneal at 1050° F.

GA Peacock Single Rod

Peacock, 546 was designed as part of a series of 6 blues and greens to provide a range of hues and intensities that would work well with each other as well as set off the bright crayon colours. An easy to work dark opaque blue that is often copied but never duplicated.

Working Tip: Work this colour in a neutral flame. Garage at 975° F, Anneal at 1050° F.

GA Peacock 125grm

Peacock, 546 was designed as part of a series of 6 blues and greens to provide a range of hues and intensities that would work well with each other as well as set off the bright crayon colours. An easy to work dark opaque blue that is often copied but never duplicated.

Working Tip: Work this colour in a neutral flame. Garage at 975° F, Anneal at 1050° F.

GA Brilliant Blue Single Rod

We altered the refractive index to make this a vibrant blue. It plays well with all colours, especially silver ones. This is a must have for any studio.

Working Tip: Work in neutral flame to avoid reduction (grey streaks)

GA Brilliant Blue 125grm

We altered the refractive index to make this a vibrant blue. It plays well with all colours, especially silver ones. This is a must have for any studio.

Working Tip: Work in neutral flame to avoid reduction (grey streaks)

 

GA Grape Single Rod

Grape, 773 was one of the first purple tones in the borosilicate palette. Grape, 773 is a dark translucent rod and the rich nature of its colour really pops when applied over white. In sculpture it will reflect black and transmit purple light.

Working Tip: Work in neutral flame to avoid reduction (grey streaks)

GA Grape 125grm

Grape, 773 was one of the first purple tones in the borosilicate palette. Grape, 773 is a dark translucent rod and the rich nature of its colour really pops when applied over white. In sculpture it will reflect black and transmit purple light.

Working Tip: Work in neutral flame to avoid reduction (grey streaks)

GA Beryl Single Rod

Beryl, 833 was designed as an organic colour to fill a huge hole in the borosilicate palette. A colour that is seen (but not often noticed) in nature and called retro by those that recall the oil lamps and cruets of the 60's, Beryl, 833 makes a great bead colour, is useful as a tint or sculptural colour.

Working Tip: Work in neutral flame to avoid reduction (red streaks)

GA Beryl 125grm

Beryl, 833 was designed as an organic colour to fill a huge hole in the borosilicate palette. A colour that is seen (but not often noticed) in nature and called retro by those that recall the oil lamps and cruets of the 60's, Beryl, 833 makes a great bead colour, is useful as a tint or sculptural colour.

Working Tip: Work in neutral flame to avoid reduction (red streaks)

GA Walnut Single Rod

Walnut, 8475 was a later release. We were receiving many requests to create a colour that matched the saturation of Cobalt-5, 515 in a brown tone. Recognizing that this was an important colour, we did several months of development work and were very pleased to introduce Black Walnut, 8475. A deep rich opaque brown, this colour works well in many applications and has become an important part of our lineup.

Working Tip: Work in neutral flame to avoid reduction (grey wisps)

GA Walnut 125grm

Walnut, 8475 was a later release. We were receiving many requests to create a colour that matched the saturation of Cobalt-5, 515 in a brown tone. Recognizing that this was an important colour, we did several months of development work and were very pleased to introduce Black Walnut, 8475. A deep rich opaque brown, this colour works well in many applications and has become an important part of our lineup.

Working Tip: Work in neutral flame to avoid reduction (grey wisps)

GA Sienna Brown Single Rod

Sienna Brown, 864 was one of our first six colours. An elegant brown created to fit into the mostly transparent palette at the time, this colour easily falls into several colour schemes. It becomes deeper in tone, approaching black as it is melted into larger gathers.

Working Tip: Work in neutral flame to avoid reduction (black with grey wisps)

GA Sienna Brown 125grm

Sienna Brown, 864 was one of our first six colours. An elegant brown created to fit into the mostly transparent palette at the time, this colour easily falls into several colour schemes. It becomes deeper in tone, approaching black as it is melted into larger gathers.

Working Tip: Work in neutral flame to avoid reduction (black with grey wisps)