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| Tips, Techniques, and Questions -- Technical questions or tips |
2012-06-18, 8:05am
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Queen Tut ;)
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Join Date: Jun 01, 2010
Location: Bedford, VA
Posts: 773
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COE 96 tips and tricks?
I can't seem to find any good info or tips for COE 96 glass. I just got an assortment, including some very dark, saturated colors that I need to "thin out" with white or clear....but I have no idea how to go about doing that. The Urboros seems straight forward to use, it's the Reichenbach that's rather intimidating.
Anyone know of a tutorial that utilizes COE 96? I'm thinking of how Sarah Hornik's Mandala tutorial goes into great depth on bullseye glass, there might be one similar for 96.
Any advice or pointing me in the right direction would be very much appreciated.
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2012-06-18, 8:14am
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Senior Member
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Join Date: Jun 11, 2005
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You might find something helpful on Uroboros.com.
Paula
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2012-06-18, 8:26am
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randomly active member
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Join Date: Jan 19, 2006
Location: St. Paul, MN
Posts: 791
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I haven't worked with any of the opaque Reichenbachs (96coe) so I can't help there, but for the transparents I just pull them into cored/encased stringers and work with them that way because they are so saturated.
Build up a core of white or clear as a base (I build all my canes on an old mandrel for pulling). Encase with the Reich transparent. Encase again with clear if you want to thin it out more and to protect some of the more sensitive colors (pinks & purples). Melt into blob and pull. I pull mine anywhere from 1.5 to 3mm thickness depending on how I plan to use them.
Hope that helps.
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2012-06-18, 8:27am
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Join Date: Apr 17, 2009
Location: Back in Tucson for good
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I use 96 almost exclusively and chose it because of uroboros' color consistency. And because of the wonderful clear.
For those super saturated colors I hold a clear or white rod in one hand and stripe it with the saturated color. Then I heat it all up, add an aluminum chopstick punty to the non-rod end and mix it all together. Takes awhile - like kneading dough. Then I pull a rod from the mixed blob. You'lll be surprised how little of the saturated color you need.
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2012-06-18, 3:48pm
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Queen Tut ;)
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Join Date: Jun 01, 2010
Location: Bedford, VA
Posts: 773
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Thanks for the tipS Leslie!
Betsy, if you mix with white, do you get a pastel shade...or does it just depend on how much you use?
I know glass doesn't behave like paint when you mix colors, but I don't have any jumping off point for comparison. I've never had to "thin down" any 104. Wouldn't that be nice for some of the more expensive 104 glasses 
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2012-06-19, 7:43am
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When you mix it with white you get a surprisingly saturated version of the true color of the rod. You can definitely end up with a pastel version but that's using just the tiniest bit of the color and a lot of white.
What's nice is they all end up being exactly the same color family even if they get really washed out.
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2012-06-19, 8:52am
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Queen Tut ;)
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Join Date: Jun 01, 2010
Location: Bedford, VA
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Quote:
Originally Posted by 5betsy
When you mix it with white you get a surprisingly saturated version of the true color of the rod. You can definitely end up with a pastel version but that's using just the tiniest bit of the color and a lot of white.
What's nice is they all end up being exactly the same color family even if they get really washed out.
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Oooo, this sounds like it could lend to some really nice designs. Now I need to just have some fun
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2012-06-21, 6:08pm
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Artistically Absorbed
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Join Date: Jul 27, 2007
Location: Emerald City
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When you want a thin transparent, I've found making a clear bead core, and adding large enough dots to spread out fully covering the bead works really well. You would have to hold it up to the light to see the separation lines, it is less saturated. But that's just a trick I use for those transparent rods that are uber dark.
-Echo
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2012-06-22, 10:26am
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giggety-giggety
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Join Date: Feb 08, 2006
Location: Wisconsin
Posts: 555
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I want to say that Val Cox offers tips on working with saturated colors in her book.
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2012-06-25, 6:49am
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Queen Tut ;)
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Join Date: Jun 01, 2010
Location: Bedford, VA
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Quote:
Originally Posted by acmegirl
I want to say that Val Cox offers tips on working with saturated colors in her book.
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The frit secrets book? I have the condensed version, so not sure there's the same info. I will check now though
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2012-06-27, 6:02am
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Glass-aholic
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Join Date: Mar 21, 2007
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Speaking of Frit.... My suggestion on working 96 glass was to start with Frit most Frit is still 96 and covers most all the reactive colors in the line in one blend or another. From reduction colors (kulger and reichabach Zimmerman) iris and opals to striking raku, and other newer striking 96 colors like multicolor. I would think base color wise, that the same basic shades in 104 have similar reactions, as the colors still need certain chemicals to make them, ie gold-pink, cobalt-blue, sulfer-yellow, copper-green, etc. So your yellows still react with blues, and so fourth, it's just a matter of finding out how the reaction differs from 104. Opals yellow, copper green and edp, may give you one form of the reaction in 104, but because the proportions differ in 96 the reaction may be different. Again, I go back to Frit this should show you some great reactions and combos in 96.
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