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Colour testing

My philosophy of colour testing

I realise I'm a vendor for this glass, and am therefore biased... but I wanted to import Lauscha in the first place so that I could use it myself! I think accurate colour testing, warts and all, is the best way to find out the capabilities and peculiarities of a colour, and in the long run, the best way for me to stand behind my product. I want to be able to show people what you can get out of the glass, and also what you shouldn't try to do with it. No one likes nasty surprises and if you know what you're buying, you're more likely to be happy with it, right?

So my colour tests show my results in full. Including weird reactions, messy colour combos and cracks if there are any. Some colours don't get on well with each other, and I want to identify those as much as I want to identify the colours that make each other pop.

I welcome contributions from anyone else! Colour testing never ends.

(But do make sure you've checked the annealing schedule if anything odd happens).

Lauscha soft clear and silver glass, part 2

Part 2 of my tests with Lauscha soft clear SNT 101 and silver glass. Part 1 is here.

These test beads are mostly Double Helix, along with the last two TAG glasses I have. I've split them up into yes, no, and maybe.



These ones have all worked.


TAG Golden Emerald. This is a pretty iridescent glass, with golds and greens.


TAG Taxco. A transparent turquoise reducing glass - it's fairly tricky to keep reduction under encasement with it. Some mother-of-pearl effects.


Double Helix Terra 2. A striking and reducing glass. I didn't deliberately strike this, leaving it as it went on the mandrel. It has earthy tan as well as some iridescent purple.

Lauscha soft clear and silver glass

I occasionally get asked about the compatibility of soft clear with silver glass, so I decided to do some testing of my own.


I'm mostly testing using TAG silver glass here, with a little Double Helix. I plan to do more. So far, only TAG Odd Light Tibet had a problem. (ETA: Deep Purple developed a crack later. All the rest fine).


TAG Tibet. This is an amber-purple type transparent glass - you can get it to stay more amber and purple than this if struck less.


Here are Tibet and Odd Light Tibet side-by-side. The light stays much more amber, and you can see from the cracks that it doesn't get on with the soft clear. The other side has one right along the mandrel, this side has three curved cracks.


Caramello SNO 630

Caramello SNO 630

Before you melt this, it looks a slightly translucent light caramel colour. It opacifies on heating and works up to a warm pinky beige, useful for light skin tones. I've read that working for a long time may add more darker tones and pink-lilacs, but none of these beads required much of that. I have plans to try something sculptural in caramello, so we'll see what happens then.

From left to right:
1. Plain. Pretty and consistent colour.
2. Etched.
3. I tried the 'make the whole bead in a slight reducing flame' trick to see if anything happened - I got a couple of transparent darker streaks that you don't get otherwise, and the colour *might* be a little yellower, but there isn't a great deal of difference here.
4. With silver leaf, reduced and encased. You can see that the leaf has gone a pinky sheen in some places, where in others it's yellow. The base fumes yellow. On the whole it's not really an effect I'd use, but the next bead is!

Citrine SNT 060

Citrine SNT 060.

Lauscha citrine is a transparent amber. Like other amber glass, it is reactive with silver.

Here are plain and etched spacers, plus a white round encased in citrine. (I let the core get too hot when encasing, so it smeared. Bad beadmaker, no bikkit!)

I made citrine and iris gold frit stringer for the two new beads here, used it to make the core and then encased. The bead in the middle was encased with 101 soft clear. The bead on the left was encased with 100 clear and was from a very thin section of the stringer, so the wraps were tiny and much closer together. I've caught a lot of bubbles in that one.

A citrine cone with silver leaf, then citrine with silver leaf, reduced and encased in soft clear 101 and crunched. You can see the reaction and extra sheen as a result of adding the silver.

Cocoa SNO 601

Cocoa (SNO 601).

This is one of the colours I imported this glass for in the first place. A gorgeous deep dark brown that isn't red-brown like the Effetre colours.

Plain (left) and reduced (right) - there isn't any difference in colour.

Silver leaf on the surface - the cocoa underneath has taken on a blue tinge in places.
Silver leaf reduced and encased with Lauscha 100 clear gets a distinct green-gold shimmer, with some blue-silver areas around the edges too.

Milky Way SNO 605

Milky Way (SNO 605). In the rod and unannealed this is a translucent ice blue, while after annealing it is a slightly translucent cool white.

Heat and working time can affect how opaque it becomes, but I haven't managed to keep it particularly translucent in these beads.

Here it is plain and reduced. The reduced bead has gone a pale yellowish ivory colour. Incidentally, this beehive shape seems to be what I get if I use a small mandrel in the ribbed round shape in Pegasus Lampwork Tools' BHB beadshaper! I didn't fill the width and got beehives both times, which is fun.

This bead is the most translucent-looking of the batch. It has CiM tuxedo stringer and Effetre white dots at the top, which are only just visible. The tuxedo is noticeably blue-based on this bead, particularly where it has spread a little. (This shows up a little more in person).

Orchid milky way SNO 637

Orchid (SNO 637) is one of the limited-edition milky way "pinks" that was made in April/May 2008 and sold to FlameDame and Lauscha Lady in the US. They included tan/caramel colours as well as the pinker ones. Orchid's a dusky pink-purple in the rod that goes lighter and opaquer when melted.

As a milky way, I was expecting orchid to react with silver and other reactive glass, and for it to strike to a variety of shades. Which is what it did!

To begin with, I melted and wound the orchid on in a slightly reducing flame. It has a couple of stripes of raku frit supernova stringer at one end which I twisted. The stringer was applied in the same flame - the result isn't quite as grey as the photo shows, it's a bit more of a purple with a slight sheen. I think the flame may have caused the orchid to turn a little darker than it usually would, but it could also have been the cooling and reheating of the pressing.

Vanilla Ice SNO 382

First up, vanilla ice! This is an object lesson in why I should go and look up the original threads on Lampwork Etc before starting the testing... (This is a very useful Lauscha thread, incidentally - vanilla ice is later on in the thread and there are some nice colour combos earlier). So my first lot of testing doesn't have great results, but the second half of this post is much better.

I tried the standard tests to begin with. Reduced, with silver leaf, encased, with some colours and with some silver glass. I didn't get what I was looking for, because I knew it could go a toasty striated colour.

The round is heavily reduced - there's a little yellowing around the holes, but that's all. The crunched bead has silver leaf melted in and mostly burned off. Normal yellowing and beading on the surface.

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