Working Northstar Colors Three types of flames Neutral Flame –Oxygen and Propane valves are adjusted so the correct ratio of Oxygen Gas and Propane Gas is burned. Oxidizing Flame - Oxygen and Propane valves are adjusted so there is to much oxygen Reduction Flame -

NS-01 Cobalt Blue Use neutral to oxidizing flame. Of the four shades of cobalt blue , this ranks as the second lightest. This color is well suited for small blown work, as well as sculpture when a medium transparent blue is desired. It can take a lot of heat and can be worked in a wide range of flame settings. Though the color is extremely intense, be sure to stay out of reducing flames to prevent any dulling or graying. For additional information about working NS-01 or other cobalt blues refer to Northstar Newsletter issue 16. NS-03 Multi Ass ugg e s t e dbyt hi sc ol or ’ sna me ,t he r ea r enume r ouse xc i t i nge f f e c t st ha tc a nbe yielded . If you are new to the world of striking colors, Multi is a great forgiving start. When worked in an oxidizing flame this color produces smoky blues and sea greens. When reduced, it yields earthy reds and gold tones. This color works well in moderately thin blown work and sculpture. To yield other interesting effects, try encasing it with clear, or with a transparent color such as NS-42 or NS-25. To intensify its appearance, try backing it with an opaque color such as NS-54. For additional interesting color tips, refer to Northstar Newsletter issue 15 under the heading NS-58 Mint.

NS-04 Dark Multi The more intense version of NS-03 and will yield similar effects, but much more pronounced. When worked in an oxidizing flame this color produces metallic blues and sea greens. When reduced, it yields earthy reds and browns. Because it is more saturated it will react much more quickly to the particular chemistry of the flame. Due to the fact that it reacts more readily, do not over reduce. To yield other interesting effects, try encasing with clear or backing it with an opaque color. This color can be stretched thin, so it is well suited for delicate blown work, stringer application, or cane work.

NS-05 Orange A bright transparent striking orange that is well suited for sculpture, bead work and moderately thin blown work. The striking process is temperature related, but in order to prevent any muddying, work in a neutral to slightly oxidizing flame. It is recommended to kiln strike. This color looks great over NS-54 and be sure to try layering NS-13 over it (as seen in Northstar Newsletter issue 2.) For more information about striking, refer to Northstar Newsletter issue 8.

NS-06 Dark Orange A more saturated version of NS-05. It is well suited for thin blown work, cane work, or when a deep semi-opaque orange is desired. Because it is more saturated, be sure to work in an oxidizing flame to prevent muddying. Due to the fact that it strikes more quickly than NS-06-Orange, NS-06 Dark Orange can be flame struck. For more information about NS-06 Orange refer to Northstar Newsletter issue 8.

NS-07 Ruby A medium intensity striking ruby. It is good for most blown work and can be worked relatively thin without washing out. Because it is more saturated, it must be worked in a moderately oxidizing flame to prevent muddying or color turning to liver. To strike, a kiln is recommended. For a great color combination, try layering NS-09 over it. For extra brilliance, back the ruby with an opaque such as NS-44 or NS-62 . For more information about working, refer to Northstar Newsletter issue 8.

NS-07L Light Ruby A vibrant transparent striking ruby. Of the three shades of ruby, this is the least saturated and is meant to be kiln struck. Though it cannot be stretched as far as NS-08 , the advantage it offers is the ability to be worked long without muddying. It is well suited for sculpture and assembled blown work. This color is not overly sensitive to flame chemistry, but to ensure it strikes to a clean ruby red work in a neutral to slightly oxidizing flame. For an interesting effect try layering it over NS-27 (for a pictorial reference refer to Northstar Newsletter issue 1. For additional information about NS-07L , refer to Northstar Newsletter issue 8.

NS-08 Dark Ruby The most saturated of the transparent striking rubies. It must be worked in a hot oxidizing flame to prevent the color turning to liver. Because it is so intense it can be easily flame struck and is most useful for small sculptural accents, cane work, and stringers. When fully struck, it can yield a rich opaque Chinese red. For additional information about NS-08, refer to Northstar Newsletter issue 8.

NS-09 Yellow An eye catching striking transparent yellow. It can be struck in a kiln or in the flame. This is another good forgiving striking color for those just starting out. If it is worked in an oxidizing environment, it will yield a transparent golden yellow. If worked in a neutral to slightly reducing flame it will start to darken and turn a semi opaque amber color. Because the strike can be easily controlled, this color can be used for sculpture, beads, and blown work without washing out or overpowering the work. Try layering over NS-07 for a vibrant fuchsia color (as demonstrated in Northstar Newsletter issue 8), and be sure to try it over NS-28.

NS-11 Jade A saturated fully opaque plant green. It can be stretched out for stringer applications or thin blown work. With the reformulations that have been made it can be worked in a much hotter flame, but be careful not to overheat. Stay in a neutral to slightly oxidizing environment. As with the workability improvements, NS-11 C.O.E. is far improved. It can be encased and used for inside-out applications. Be sure to run a thorough annealing schedule when encased. For a neat color effect, try layering a transparent striking color such as NS-03 Multi over NS-11 Jade.

NS-13 Amber/Purple Of the striking colors in the borosilicate palette, the Amber/purples are some of the most exciting. NS-13 is the first in a series of five Amber/Purple colors. It is well suited for sculpture and moderately thin blown work. The color can produce pale yellows to ambers to a deep purple. To yield the most vibrant purples, work in a hot neutral to slightly oxidizing flame. Reduction will affect the strike. Try encasing your favorite Amber/Purple with NS-32 or NS-31. To enhance this color try backing it with NS54. For a complete guide to working NS-13, refer to the Northstar bead brochure and Northstar Newsletter issue 2.

NS-14 Irrid The least saturated of the transparent striking colors. When oxidized it produces a silvery transparent metallic blue. When reduced, it turns a light sea green color. Irrid can be worked hot and is another forgiving striking color. Try layering it over an opaque to yield new effects. For additional information refer to Northstar Newsletter issue 4.

NS-15 Turquesa A more saturated version of NS-14 and produces similar effects. When worked in an oxidizing flame this color yields more pronounced metallic blues. When reduced, deep sea greens result. Because it is more saturated than Irrid, it can be used for thinner blown work without thinning out. Try layering it over an opaque to yield new effects. Also try reducing, then encasing this color with clear. For additional information refer to Northstar Newsletter issue 4. NS-16

Black extremely oxidizing for black. Reduce for gray.

NS-18

Cosmic Orange

Neutral to slightly oxidizing flame.

NS-19 Light Cobalt The least saturated of the four shades of cobalt blue. Because it is the least intense it can be worked in any flame without altering the color. It is not for thin blown work, but it is the ideal overlay color. Encasing opaque colors or saturated striking colors with this color can create numerous new effects. Refer to Northstar Newsletter issue 16 for additional information about working cobalt blues.

NS-20 Dark Cobalt The second most saturated of the four shades of cobalt blue. This color is well suited for thin blown work and cane work. Because of its intensity it must be worked in an oxidizing flame to prevent graying. Refer to Northstar Newsletter issue 16 for additional information about working cobalt blues.

NS-23 Pink A light transparent bright pink. It is atmospherically stable meaning it can be worked in any flame without the color being changed. It is also resistant to excessive heat, and can take a lot of abuse. Because it washes out when thinned, most regard this color as one for solely sculpture. Surprisingly another great role for this and other transparent colors is use as overlay colors. This color looks great over NS-26, NS45 and many others. By using even a thin coating of Pink, a striking color can be transformed into an entirely new shade. Refer to Northstar Newsletter issue 5 for additional inspiration.

NS-24 Transparent Green A transparent emerald green. It is intense enough for blown work and looks great in sculpture. This color is sensitive to atmosphere, in order to maintain its original color, and work in an oxidizing flame. If worked in a reducing flame, it will develop brick red streaks. Try layering over NS-53 or NS-27f o re xc i t i nge f f e c t s .Re f e rt oNor t hs t a rNe ws l e t t e ri s s ue6unde rt hehe a di ng‘ TheI mpor t a nc e ofOxi da t i on’f ora d di t i ona li nf or ma t i on.

NS-25 Peach A bright transparent golden color that is another member of the transparent family. This color is an excellent color for sculpture. It is easy to work, and is atmospherically stable (meaning it can be worked in any flame without the color changing.) Another great use is use as an overlay color, as with any other transparent color. Looks great over NS-26 as well as NS-44. For additional information refer to Northstar Newsletter issue 5.

NS-26 Double Amber Purple The more intense version of NS-13, it produces the most exciting metallic purples and vermilions. It behaves similarly in the flame as regular Amber/Purple but because of its greater intensity more care has to be taken to prevent reduction. It can be stretched further and can be blown relatively thin without losing the vibrant purple strike. Be sure to try layering over NS-81. For a complete guide to working NS-26 refer to the Northstar bead brochure and Northstar Newsletter issue 3 for more tips.

NS-27 Green Exotic The Exotic family contains the most saturated striking colors. This color can yield a mirror like green metallic finish and if over-reduced, a very organic earthy tone as well. To keep the Exotics most vibrant, work them in a super oxidizing environment until you are finished with the piece. Then, turn the flame down and bathe the piece in a super reducing flame for several seconds to produce the mirror like sheen. Another great effect that is possible with the Exotics is encasement with clear. This group of colors can be stretched out and is great for blown work. If heavily encased, be sure to anneal thoroughly. A backing with NS-54 also enhances exotics. Be sure to try layering NS-07L over NS-27. For additional information about working Exotics refer to Northstar Newsletter issue 1.

NS-28 Blue Exotic The Exotic family contains the most saturated striking colors. NS-28 Blue Exotic can yield a mirror like blue metallic finish and if over-reduced an organic earthy tone as well. To keep the Exotics most vibrant, work them in a super oxidizing environment until you are finished with the piece. Then, turn the flame down and bathe the piece in a super reducing flame for several seconds to produce the mirror like sheen. Another great effect that is possible with the Exotics is encasement with clear. This group of colors can be stretched out and is great for blown work. If heavily encased, be sure to anneal thoroughly. A backing with NS-54 also enhances exotics. Try layering NS-09 over NS-28. For additional information about working Exotics refer to Northstar Newsletter issue 1.

NS-29 Red Exotic The Exotic family contains the most saturated striking colors. NS-29 Red Exotic produces a deep metallic burgundy. As with the other exotics work them in a super oxidizing environment until you are finished with the piece. Then, turn the flame down and bathe the piece in a super reducing flame for several seconds to produce the mirror like sheen. Another great effect that is possible with the Exotics is encasement with clear. This group of colors can be stretched out and is great for blown work. If heavily encased, be sure to anneal thoroughly. A backing with NS-54 also enhances exotics. NS-29 Red Exotic differs from the rest in that kiln striking will amplify the red qualities. Try layering NS-23 Pink over Red Exotic! For additional information about working Exotics refer to Northstar Newsletter issue 1.

NS-31 Lavender A transparent light bluish purple. It is atmospherically stable meaning it can be worked in any flame without the color being changed. It is also resistant to excessive heat, and can take a lot of abuse. Because Lavender washes out when thinned most think of it as a color used for sculpture only. However, like the other transparent colors, Lavender is well suited as an overlay color. Try layering it over your favorite exotic or Amber/Purple. For additional information refer to Northstar Newsletter issue 5.

NS-32 Violet A light transparent reddish purple. It is atmospherically stable meaning it can be worked in any flame without the color being changed. It is also resistant to excessive heat, and can take a lot of abuse. Because Violet washes out when thinned, most regard it as a color for sculpture only. However, like the other transparent colors, Violet is well suited as an overlay color. It looks great over NS-13. For additional information refer to Northstar Newsletter issue 5.

NS-33 Turbo Cobalt The most intense cobalt blue in the palette. It is great for stringer application, and stretching out thin. If kept moderately thick, Turbo Cobalt is an excellent faux black. Because of its intensity, it must be worked in a highly oxidizing flame to prevent graying. However, if you are looking for a battleship gray, it can be achieved by working it in a heavily reducing flame. For a nice color combination try layering NS-26 over NS-33. For additional information refer to Northstar Newsletter issue 16.

NS-34 Extra Light Yellow A diluted version of NS-09 Yellow. It can be worked in virtually any flame without the color being affected. It is great for sculpture and as an overlay. By adding Extra Light Yellow over opaque colors a bluish hazy glow is added to the piece. Try it over NS-33! For additional information about transparent striking colors refer to Northstar Newsletter issue 4.

NS-35

Black Hole

Extreme oxidizing for black, reduce for gray.

NS-37 Rootbeer One of the trickiest colors in the Northstar palette. It produces a broad range of colors from red/purples to deep brown/reds to salmon pink, all depending on the flame use and striking time. Like members of the Ruby family, Rootbeer is pre-struck to the deep brown/red translucent color you see in the rod you buy. It strikes in the flame with ease, but unlike the Ruby family, once this particular color is over struck, over heated, and/or heated too quickly, it turns to a salmon pink color, and is virtually impossible to strike back to clear. The secret to using this color is patience. To obtain the darker red shades use a neutral to oxidizing flame, heating the color slowly in the outer part of the flame to avoid boiling issues. Utilization of a r e duc i ngf l a mewi l lbr i ngoutt het one sofgr e e nsa ndbl ue s .Don’ tove r wor korl e ti ts t r i kef ort ool onga si twi l l develop a cloudy appearance over the color producing salmon pink. For best results, kiln strike your piece, checking periodically to ensure that your piece has the proper color. Rootbeer is very versatile in that it can be used in inside-out applications, for stringers on sculptural work, and for solid sculptural work. Careful use of the color can yield rich red/purple hues. The tendency of the color to develop the whitish look can also be used to your advantage. NS-38 Intense Blue-Green The more saturated version of NS-15. It is a vibrant striking semi opaque blue. When oxidized, Intense Blue Green yields a rich smoky blue strike. When worked in a neutral environment this color produces bright metallic greens. When reduced, this color produces hazy gray tones. It looks great when cased with clear, and try layering NS-05 over the surface. To make the strike even more vibrant, back NS-38 with NS-54. For additional information refer to Northstar Newsletter issue 4.

NS-39

Green Gold

Similar to Rootbeer with more greens.

NS-41 Butterscotch A semi opaque buttery tan color. It can yield rich purplish blue tones and silver hues. When kept in a more oxidizing environment more of the blues and purples will appear. If reduced, a silvery haze will appear on the surface. Butterscotch is easy to work and can take a lot of heat making it a forgiving striking color. It can be stretched out and is good for blown work and sculpture. If you are looking for something even more intense, try NS-44 Caramel.

NS-42 Cinnamon Do not overheat! A reddish brown transparent that is easy to work. Work in a neutral atmosphere and heati ti nt heout e rf l a me ,movi ngi na st hec ol orhe a t st oa voi dboi l i ngi s s u e s .I t ’ s atmospherically stable, making it an ideal color for coil potting. The denser your application of this color, the richer and darker the final appearance. NOT recommended for stringer or wrap applications as it loses its intensity and can fade to almost clear if it becomes too thin. On the other hand, its translucent property makes it excellent for use as a tint, adding warm, earthy brown glow to anything it encases. NS-43 Rust A fully opaque striking ruby. It can yield bright porcelain red, and rich earthy browns. Work Rust in a hot neutral to slightly oxidizing flame. It can be flame struck or kiln struck. It is well suited for sculpture as well as blown work. It is also useful as a backing for transparent striking colors.

NS-44 Caramel A more intense version of NS-41. It is a rich silvery tan color that can be stretched out thin. It is great for stringer application and blown work. Work in a hot neutral to oxidizing flame

for bright tan colors. To bring out the silvery mirror like sheen bathe the piece in a reducing flame. Be sure to try NS-07 or NS-13 over this color.

NS-45 Blue Moon A striking color that yield a wide array of effects. Use the oxidation/reduction state of the flame to generate the range of possible colors. To create deep metallic blues and greens, use a heavily oxidizing flame. For a more subtle bluish gray, use a neutral flame. For grays, use a reducing flame. Easy to work with and even when thinned the color remains vibrant. NS-47 Aurora The most unique member of the exotic family. It is the most versatile of the group and produces a wide array of colors from deep magentas and fuchsias to greens and fiery browns. When worked in a highly oxidizing flame Aurora produces deep purples and blues. When worked in a neutral flame Aurora yields bright greens and ambers. When heavily reduced the reds and browns appear. It is well suited for stringer applications and blown work. It looks great cased with clear. Also be sure to try encasing Aurora with NS-13 (as seen in Northstar Newsletter issue.) For additional information refer to Northstar Newsletter issue 1.

NS-48 Light Blue Amber/Purple The least saturated of the five Amber/Purple colors. It yields a light purplish blue strike. Work in a hot neutral to slightly oxidizing flame. Reduction will affect the strike. Not well suited for thin blown work but best suited for sculptural applications. This color looks great over NS-54 and NS-81. For a complete guide to working NS-48 refer to the Northstar bead brochure and Northstar Newsletter issue 3 for more tips.

NS-49 Dark Blue Amber/Purple The more intense version of NS-48. It yields a more intense semi opaque strike and has more of a blue tint. Due to its intensity it is useful for thin blown work and cane applications. Work Dark Blue Amber/Purple in a hot neutral to slightly oxidizing flame. Reduction will affect the strike. This colors strike is amplified by a backing of NS-54. For a complete guide to working NS-49 refer to the Northstar bead brochure and Northstar Newsletter issue 3 for more tips.

NS-52 Teal An intense fully opaque bright seafoam green. It is great for stringer applications and thin blown work. With the recent reformulations the C.O.E. is far improved and is perfectly safe to use in encased work. Be sure to run a thorough annealing cycle when heavily encased. Not sensitive to atmosphere but it is recommended to work in a neutral flame. It has no heat issues and can be worked hot and long. Try encasing Teal with NS-48 for a nice effect.

NS-53 Forest Green Of the two chrome based greens, this is the smoothest and creamiest. It can be worked in any flame without fear of discoloration. It is recommended to stay in a neutral flame. It works well for encased applications. Be sure to run a thorough annealing cycle when it is heavily encased. It is great for stringer applications and thin blown work. For a neat effect, try layering NS-03 over Forest Green. For additional information about working this color refer to Northstar Newsletter issue 17.

NS-54 Star White A creamy fully opaque white. It is an indispensable color in the palette for all applications. It is great for sculpture, stringers, blown work, and backings for all transparent colors. With several reformulations it has been turned into an easy color to work. It is atmospherically stable meaning it can be worked in any flame without the color being affected. To prevent any boiling issues, heat slowly and gently. Once the color is glowing it can take a lot of heat. The trick is patience with a soft flame! For additional information refer to Northstar Newsletter issue 15.

NS-55 Periwinkle A fully opaque baby blue that is great for blown work and stringer application. To prevent any boiling issues, heat slowly and gently. Once the color is glowing it can take a lot of heat. The trick is patience with a soft flame! Not sensitive to atmosphere, and must be worked in a soft neutral to oxidizing flame. Try layering NS-19 over this color for bright neon blue. Also be sure to try layering NS-14 over it. For additional information refer to Northstar Newsletter issue 15. NS- 57 Midnight A deep fully opaque blue. It is great for stringers and thin cane work and can be stretched out far! It is heat and flame sensitive. It must be warmed up slowly and once glowing heat gently. Because the color is so intense it must worked in an oxidizing flame. If the flame is not oxidizing enough, the color will develop grayish brown streaks. For additional tips refer to Northstar Newsletter issue 15.

NS-58 Mint A semi opaque bright green that is great as a background color. It is easy to work and atmospherically stable, meaning it can be worked in any flame without the color being affected. If stretched too thin it will lose intensity so it is not recommended for stringer applications. Mint looks great with a thin coating of NS-03 or NS-24. For additional information refer to Northstar Newsletter issue 15.

NS-59 Cranberry A fully opaque striking porcelain red. It kiln strikes just like NS-07 and is well suited for a background color and stringer application. Because it has an agent which makes it opaque, it must be worked with care to prevent any boiling issues. Work in a soft neutral to slightly oxidizing flame and work slowly till it is glowing red. Try layering NS-09 over Cranberry for a nice effect. For more information about working rubies refer to Northstar Newlstter issue 8. NS-61 Blackberry After several formula revisions Blackberry has been become a great violet based black. It is easy to work and can be stretched out for stringers and delicate blown work. If blown out thin it will yield a pleasing reddish purple. Stay out of reductive flames with this color and be gentle with it in the flame. It looks great over NS-54 and NS-55.

NS-62 Bubblegum A beautiful opaque flamingo pink. It is atmospherically stable so it can be worked in any flame without the color being affected. It is flame sensitive so heat it gently in a soft flame. Once heated it will take a lot of heat without any boiling issues. This color is a great backing color and well suited for sculpture. Try it as a backing for NS-13 or NS-26. It is also a great backing for gold fume. For additional information refer to Northstar Newsletter issue 15.

NS-63 Canary A bright intense opaque lemon yellow. It is eye catching and is well suited for stringer application, and blown work. It is not terribly sensitive to flame chemistry but stay out of overly reducing flames. This color is heat sensitive so it must be worked carefully to prevent boiling. Encasing with clear is another method to shielding the color, but not necessary. It can be easily worked on the surface and will not boil or scar if worked carefully in a soft flame. For a nice color effect layer NS-09 over it. For additional information about the intense opaque colors refer to Northstar Newsletter issue 14.

NS-64 Lava A bright intense opaque orange. It is very bright and well suited for stringer application and blown work. It is not terribly sensitive to flame chemistry but stay out of overly reducing flames. Lava however is heat sensitive so it must be worked carefully to prevent boiling. Encasing with clear is another method to shielding the color, but not necessary. It can be easily worked on the surface and will not boil or scar if worked carefully in a soft flame. A nice color effect to try is a layer of NS-07over it. For additional information about the intense opaque colors refer to Northstar Newsletter issue 14.

NS-65 Cherry The most eye-catching member of the intense opaque family. It is a bright candy apple red that is well suited for stringer application and blown work. Cherry is slightly sensitive to reduction, so work in a soft neutral flame. . Cherry is however heat sensitive so it must be worked carefully to prevent boiling. Encasing with clear is another method to shielding the color, but not necessary. Cherry can be easily worked on the surface and will not boil or scar if worked carefully in a soft flame. A nice color effect to try is a layer of NS-37 over it. For additional information about the intense opaque colors refer to Northstar Newsletter issue 14.

NS-66 Sublime An atmospherically stable color with no boiling issues. Very easy to use, almost as easy as clear, making it a versatile color. Ideal for use in marbles, lenses and encasing. Its fluorescent appearance adds a bright green glow to any surface. Not for stringers, but a must have when it comes to sculptural work! Thet hi c ke ri t ’ sl a y e r e don,t hemor evi br a nti tbe c ome s .Looksg r e a twhe nl a y e r e dove ra n opaque backing, especially NS-54. It also yields an interesting effect when layered over NS-03. For a brilliant sparkly green, mix with NS-21 and or NS-52. With blown vessels it can be used as a filter. When thinned, it adds a glow to any piece. NS-68 Parrot Green An intense opaque with no COE issues. It is atmospherically stable and will not dull or gray. It has been formulated to minimize boiling but still must be used with care. Use a cool flame (reducing or highly oxidizing) to minimize boiling. Encasement is recommended if it is to be used in a larger piece of work where it will be exposed to greater variances of temperatures and diverse flame settings. Great for inside out, stringers and blowing thin. It is intense and can be used in a wide array of applications without fear of cracking. This is a great color for backing transparent colors. Looks great with NS-45 and NS44. This color is manageable enough for surface applications and looks great when trailed over NS-54. NS-69 Green Amber/Purple The fifth in the Amber Purple series, this color produces the range of effects and colors that characterize the Amber Purple family. Brilliant greens, amber yellows, light and dark blues and even deep purples. When encased this color develops an iridescent metallic sheen. The most intense and exciting of the Amber/Purple family. It reacts quickly and produces the lushest purplish blue strike. It can range in color from a pale silvery blue to an opaque to a sea green all the way to cloudy gray. It is well suited for flame striking and produces wonderful results. Because it is so intense be sure to keep a hot oxidizing flame set. Reduction will affect the strike. Try it over NS-54. Another excellent combination is NS-05 hobnailed over the surface of NS-69. There is a lot you can do with this color have fun exploring. For a complete guide to working NS-69 refer to the Northstar bead brochure and Northstar Newsletter issue 3 for more tips.

NS-70 Ice Blue A lush copper blue that has an unrivaled eye catching appeal. It is a light transparent color but it adds great optical depth even in thin layers. It is not suitable for stringers or cane work, but it is great for sculpture and blown work. Its effect as an overlay color is impressive. When added over NS45, it produces a very appealing blue! To keep it from dulling or discoloring, work in an oxidizing flame. If worked in a neutral to reducing flame the color will darken and develop reddish brown striations in the body of the glass. For additional information about NS-70 refer to Northstar Newsletter issue 10.

NS-72 Glacier Blue A darker version of NS-70. It has a green tint to the color and like NS-70; Glacier adds great optical depth even in thin layers. It is not suitable for stringers or cane work, but it is great for sculpture and blown work. Its effect as an overlay color is impressive. Try this color over NS-55 or NS-83 for great color effects. As like NS-70, Glacier is also sensitive to a reductive flame. Because it is more saturated, extra care has to be taken to prevent reduction from developing. By using a strong oxidizing flame no reddish brown streaks will develop. For additional information about NS-72 refer to Northstar Newsletter issue 10.

NS-73 Millenium Moss This colors sets itself apart from NS-21 because of its intensity of the glittery effect. Its aventurine is far more pronounced that even when thinned will demonstrate its glitter. As with all other non-striking aventurine colors, it is atmospherically stable and will not dull or change in any flame. It will have a smooth creamy feel, allowing for easy applications without boiling. The COE is acceptable for inside-out as well as sculptural applications, making the aventurines a very vesatile color family. This color will add great vibrancy to your art! Be sure to try this color with overlays of transparent colors and an opaque backing. Colors such as NS-19, NS-24, NS-14 and NS-34, create exciting new effects when used in combination with our aventurine colors. NS-74 Transparent Millenium Moss The transparency of this color reflects the light to emphasize the sparkle even more. Reduction may cause red streaks. NS-75 Indigo Aventurine A fully opaque deep night blue aventurine color. It is well suited for stringer application and blown work. It is easily worked and can take a lot of heat. To keep the color most vibrant, work in a neutral to slightly oxidizing flame. It looks great over NS-54 and be sure to try encasing it with NS-70! For additional information and inspirational tips be sure to refer to Northstar Newsletter issue 12.

NS-76 Onyx The smoothest most saturated black in the palette. It is well suited for stringer applications and blown work. It is a green based black and in certain lights it has a slight green tint. Onyx can be worked hot and long without boiling issues and it is not sensitive to reduction. For best results keep it in a neutral flame. It looks great as a backing for NS-13 and by itself. It is great for backing dichroic, gold, and silver fume. For additional information about NS-76 refer to Northstar Newsletter issue 13.

NS-77 Deep Sea Blue A fully opaque saturated blue. It is well suited for stringer application and blown work. For those of you searching for a substitute for NS-22, this is the closest color to it. It is not susceptible to reduction and is not flame sensitive. For best results keep it in a neutral flame. It is a great backing for such colors as NS-14 and NS-15, and goes well with NS-63. For additional information about NS77 refer to Northstar Newsletter issue 13.

NS-78 Mystery Aventurine A brilliant aventurine color that strikes to deep purples and reds. When thinned it turns a pale yellowish amber. Mystery Aventurine is well suited for blown work and stringer application. It is not overly sensitive to reduction and is best worked in a hot neutral flame. For the best strike, kiln striking is the way to go. When using this color heavily encased keep work time to a minimum and kiln anneal thoroughly. Mystery Aventurine looks great over NS-76 and NS-54. For additional information refer to the Northstar promotional flyer. NS-79 Blue Spruce Just as trees have growth rings; Blue Spruce will develop regular steely blue striations on the surface of the glass. Reduction develops these striations or rings. If kept oxidized, Blue Spruce will remain pure and offers a fully saturated blue-green opaque for stringers and blown work. Try reducing, then casing with clear glass for a neat effect! Amber/Purples look great with NS-79 Blue Spruce as well. This color is a must have in any palette.

NS-80 Hyacinth A smooth rich bluish purple that bridges the gap between NS-55 and NS-57. With its stability, ease of workability, and heavy saturation –This color can be utilized without fear of COE problems or loss of intensity. It can work hot without boiling and is relatively difficult to reduce. If worked heavily in a reducing flame it will develop gray streaks on the surface. It is well suited for stringers and is a wonderful

background color! It is the truest opaque faux purple in the borosilicate color palette and opens many new horizons. To amplify this purple effect, try layering NS-32 over it as well as a coat of NS-13. NS-81 Blue Caramel A diverse color in which you get blues, greens, creams, yellows, whites and even metallic shades. A smooth and creamy color that can be worked without fear of COE problems. The multitude of colors evident in the final piece will depend on use. Reducing he rod then encasing it will produce golds and yellows, while oxidizing and encasing produces more of the blue and green tones. Longer duration of use of the color and coil potting will produce more of the cream color in the rod. Metallic tones become evident in both reducing and oxidizing environments, diminishing and burning out if heavily reduced. This is a great versatile color that offers the user a variety of options with a single rod of glass. NS-82 Ruby K has been developed to mitigate the difficulties of striking rubies and allow maximum work time without the liver effect. It is much easier to un-strike back to the clear state. This allows the color to be used for lip wraps, and sculptural applications without fear of over-striking. As far as intensity, Ruby K can range in color from as light as NS-07L to as dark as NS-08. Work in a hot neutral to slightly oxidizing flame. For best results, kiln strike. The piece must be as clear as possible to utilize the striking properties of this color. Above all, the most significant attribute of NS-82 is its optical purity. It is more refined, allowing the artist to create thin work without fear of the color washing out or a rough bubbly surface. NS-83 Skyline A fully opaque bright baby blue. It is well suited for stringer applications and blown work. It is not sensitive to reduction but must be heated up slowly to prevent boiling. Once the color is glowing it will take a lot of heat. Skyline is also a great background color for many transparent colors. Refer to Northstar Newsletter issue 22 for more tips and information.

NS-84 Goldenrod A bright, saturated intense opaque dark yellow. It is well suited for stringer application and thin blown work. It is not terribly sensitive to flame chemistry but stay out of overly reducing flames. Goldenrod however is heat sensitive so it must be worked carefully to prevent boiling. Encasing with clear is another method to shielding the color, but not necessary. Canary can be easily worked on the surface and will not boil or scar if worked carefully in a soft flame. For a nice color effect layer NS-13 over NS-84. For additional information about the intense opaque colors refer to Northstar Newsletter issue 14 and issue 26.

NS-85 Poppy The most eye catching, saturated, and easy working member of the intense opaque family. It is a deep Halloween orange great for stringer applications and thin blown work. It is hardly sensitive to flame chemistry, but it must be worked carefully to prevent boiling. Encasing with clear is another method to shielding the color, but not necessary. Poppy can be easily worked on the surface and will not boil or scar if worked carefully in a soft flame. For a nice color effect layer your favorite light Ruby over the surface of NS85. For additional information refer to Newsletter issues 14 and 26. NS-86 Garnet A member the self-striking ruby family. Garnet is the medium intensity shade of the three shades of self-striking rubies available. It is best suited for medium thickness blown work and highlights. The self-striking rubies are the next generation of colors offering the user cleaner purer colors with less air and difficulty in working. When using it, do so in a neutral to oxidizing flame. Once hot it will turn transparent just as the standard rubies, but as it cools it turns a uniform ruby red. The strike is easily repeatable and the final color is not affected by kilning. Even after numerous reheating no livering will occur. Note the final shade of red is slightly darker than the initial color of the rod. Once heated and allowed to strike, the final color can be viewed. After prolonged use in sculptural and inside out applications this color can develop a deep brown hue. Heating the color until molten can usually reverse this. For a great color effect try layering it over NS-85. For additional information refer to Newsletter issue 26.

NS-87 Garnet Dark The most saturated self striking Ruby. It is best suited for thin stringer, thin blown work, and lip wraps. The self-striking rubies are the next generation of colors offering the user cleaner purer colors with less air and difficulty in working. When working it use a hot oxidizing flame. Once hot it will turn transparent just as the standard rubies, but as it cools it turns a uniform ruby red. The strike is easily repeatable and the final color is not affected by kilning. Even after numerous reheats no livering will occur. Note the final shade of red is slightly darker than the initial color of the rod. Once heated and allowed to strike, the final color can be viewed. After prolonged use in sculptural and inside out this color can develop a deep brown hue. Heating the color until molten can usually reverse this. For additional information about selfstriking rubies refer to Newsletter issue 26.

NS-88 Pomegranate The lightest shade of the self striking ruby family. It is designed specifically for sculptural work and thick blown work, allowing for a clear unlivered ruby to be achieved. The self-striking rubies are the next generation of colors offering the user cleaner purer colors with less air and difficulty in working. When working it, use a neutral to slightly oxidizing flame. Once hot it will turn transparent just as the standard rubies, but as it cools (depending on the thickness will strike back to red.) Because this color is so unsaturated, the final strike must take place to in a kiln. The strike is easily repeatable and the final color is not affected by soaking in the kiln for long periods of time. Even after numerous reheats no livering will occur. In addition, this color will not develop any brown hues as with the case of the other two members of the self striking ruby family. Note the final shade of red is slightly darker than the initial color of the rod. Once heated and allowed to strike, the final color can be viewed. For additional information about selfstriking rubies refer to Newsletter issue 26. NS-89 Nile A unique organic version of NS-13. It yields rich earthy tones and burnt amber hues. It is well suited for blown and sculptural applications, but it is not saturated enough for thin stringer applications. It is also useful as an overlay color. When working it, use a hot oxidizing flame. It can be flame or kiln struck to yield a rich“ g l a z e dpot t e r y -l i ke ”f i ni s h.I ti sa l s oi nt e r e s t i ngt onot et ha twhe nt hi sc ol ori sc oi l e d,t hec oi ll i ne s are virtually unnoticeable and it yields a truly uniform surface. Be sure to try it over you favorite opaque. For additional information refer to Newsletter issue 26.

Boro News Newsletter Issue #8 May 2002 Written by Jesse Kohl Layout by Barbara Fullaway The Ruby Family Hello! Welcome back to the BoroNews Newsletter!! We are back on track with part five of nine in our color exploration series. For those of you just joining us, this nine part series has been crated to help give the lampworker more knowledge regarding the vast potential of Northstar Borocolour and inspire the broadening of artistic horizons. This issue will cover the ruby family which includes: NS-05 Orange, NS-06 Dark Orange, NS-07L Light Ruby, NS-07 Ruby, and NS-08 Dark Ruby. With ruby glasses, there are many beautiful effects that can be produced. We will explore how to use ruby glass and what exciting new variations can be produced in combination with other colors. The Science Behind the Color Whe ns t r i ki ngr ubyg l a s s ,y oua r ea c t ua l l y“ g r owi ng ”c r y s t a l si nt hebodyoft heg l a s s .Bys oa ki n gt heg l a s sa t the strike temperature, electrons are allowed to freely move and form crystals. When striking, the crystals will continue to grow, clouding the glass. The result of overgrowing the color crystals is a livery color. This can occur if the ruby is struck too hot and for too long. To yield a vibrant ruby, crystal growth must be controlled with the temperature and strike time. By heating a ruby until it is completely clear, you have dissipated all the crystals (the striking (crystal growth)) and then the striking process can then be repeated.

Working The Rubies When working with ruby glass, do so in a neutral to slightly oxidizing flame. For rubies, the easiest way to uniformly strike them is in an electric oven. Recommended striking temperature is 1050 F or 560 C. a higher annealing temperature will strike the color more quickly than a slightly lower annealing temperature, and a cooler, slower, longer strike is better for the color. Rubies can be struck in the flame by slowly reheating the piece with an oxidizing flame if needed. Striking Properties Each of the rubies in this family is designed for a different purpose and has a slightly different strike rate. The key to achieving a brilliant ruby is to work it as hot as possible (without boiling) so that the ruby returns to the un-stuck state (clear), and then re-str4ike it in an oven. While striking, keep an eye on the piece so it does not darken more than desired (if you have a digital controller, you can set it to hold for a specific time period). To get an idea of how long a particular ruby takes to strike, take a piece of ruby and heat it in the flame until it is clear. Then, place the glass in your preheated oven, and time how long it takes to strike. With this data you can program your digital controller and not have to worry about overstriking. The general rule is that the darker and more saturated colors will strike more quickly. NS-07L Light Ruby is designed for kiln striking and can be worked for long periods of time and as result may be difficult to flame or kiln stuck, but because of its intensity, over striking can be an issue (to minimize over striking, check the glass periodically during the striking process). Because some colors strike at different rates one must keep a watchful eye while colors are striking simultaneously. If you have many different colors in the same kiln or in the same piece, one color could become darker than you want while waiting for the other to strike. Example: NS-07 Ruby becomes darker than you want while you are waiting for NS-05 Orange to strike. Flame Striking vs. Kiln Striking As noted before, the easiest method to strike ruby glass is in the kiln. This is because with a kiln, the temperature can be regulated, and as a result, an even strike can be achieved. When flame striking a ruby, use an oxidizing flame and heat the piece until it just starts to glow. If the glass is over heated and/or heated to quickly, the color crystals will grow too large and the ruby will become livery. By gently heating the piece repeatedly an even strike can be achieved. The cooler the flame and the slower the strike, the more control you have over the color and you minimize the chances of over striking (flame striking can also be done in an annealing burner). Using Livery Ruby To Your Advantage The“ l i ve r y -ne s s ”c a us e dbyove rstriking is not necessarily an unwanted effect, just different. By working the ruby in a similar method to Amber Purple, the livery-ness is trapped deep in the glass and can be used as an opaque backing. By burning the levery-ness off the surface similar t o“ bur ni ngof ft heha z e , ”y ouc a nc r a t ea clear ruby over a core of livery ruby. This allows for the o0uter layer to strike to a vibrant ruby, and because it is backed with the livery ruby, it yields deep opaque porcelain reds. This disk of NS-05 Orange in Figure 1A demonstrates this opaque effect. Note the difference in opacity compared to the disk in Figure 1B. They are both the same NS-05 Orange, but the one in Figure 1B was put into the oven in a clear un-struck state. Insert Picture 1A and 1B from newsletter

Why We Pre-strike The ruby glass from Northstar arrives pre-struck. We strike the entire batch to ensure that it evenly strikes and the batch is as consistent as possible. When usi8ng un-struck rubies, one can sometimes look through the end of the rod noting the tint (color), and roughly surmise how long it will take to strike. If the color is pale blue or green, it will take more time to strike than on with a color ranging from a pale yellow to a staw color (note, his

method of judging strike time allows for rough estimations only). Figure 2 is an example of different tints rubies can come in. Color Tips With the Northstar rubies, there are many beautiful color combinations to pick from. Some of the classic combinations are NS-07 Ruby over an Exotic and NS-09 Yellow over NS-07 ruby. Other neat combos include using NS-54 Star White as a backing, layering NS-13 Amber/Purple over NS-05 Orange or NS-06 Dark Orange, layering NS-07 Ruby over NS-65 Cherry, and nS-07 Ruby over NS-41 Butterscotch. In Figure 3 (next Page) the three bottles pictured are made from the same base colors. NS-54 Star White, with a layer of NS-07 Ruby all cased in NS-09 Yellow. By controlling strike time and by differing the thickness of the color layers this array of different colors can be produced. Conclusion Rubies are a beautiful family of colors that offer a wide array of possibilities. There are many effects that can be produced, all attainable with experimentation. Go beyond what youknow, it is often rewarding! Working rubies is a fine art, not a science, so have fun!

Northstar Glassworks Inc. Two current employees, Charles Byles and Tom Wilson, have acquired Northstar Glassworks. Transfer of ownership from Paul Trautman was completed by the end of business April 5th, 2002. No interruption or disruption of production, sales and marketing, and customer service activities occurred in any way as a result of the sale. Northstar is the premier manufacturer of Borocolour –high quality colored borosilicate glass rods, frits, and powders in over 50 different colors. The future of Northstar Glassworks Inc. is very bright with goals that include continued growth refinement of the current colors, development of new and exciting colors, and expansion of the current product line with the distribution of Pyrex rod and tube. The employees of Northstar Glassoworks wish to thank Paul for all of his dedication, commitment, and hard work given to the company over the last 18 years and wish him the best in future endeavors.

Boro News Newsletter Written by Jesse Kohl

May 2002 Issue #9 Layout by Barbara Fullaway

Introduction Greetings from the BoroNews Nesletter! We are excited to introduce two brand new colors: NS-66 Sublime and NS-68 Parrot Green. They will increase the versatility of your palette and hopefully spark some new project ideas! In this issue we will explore the many uses for these new colors and give tips for working them. Working Properties NS-66 Sublime is an atmospherically stable color with no boiling issues. It is very easy to use, almost as easy as clear, making it a versatile color. NS-68 Parrot Green is an intense opaque with no C.O.E. issues. It is atmospherically stable and will not dull or gray. It has been formulated to minimize boiling but must be worked with care. Use a cool flame (reducing or highly oxidizing) to minimize boiling. Encasement is recommended if it is to be used in a larger piece of work where it will be exposed to greater variances of temperatures and diverse flame settings. It can be worked on the surface if done carefully. Application NS-66 Sublime is an ideal color for use in marbles, lenses, and encasing. Its fluorescent appearance adds a bright green glow to any surface. Sublime is not for stringers; but it is a must have, when it comes to sculptural wok!Thet hi c ke ri t ’ sl a y e r e don,t hemor evi br a nti tbe c ome s .NS-68 Parrot Green s great for inside out,

stringers, and blowing thin. It is intense and can be used in a wide array of applications without fear of cracking problems. Color Tips With NS-66 Sublime and NS-68 Parrot Green there are many visually stimulating color combinations that can be created. NS-66 Sublime looks great when layered over an opaque backing especially NS-54 Star White. It also yields an interesting effect when layered over NS-03 Multi. For a brilliant sparkly green, mix NS-66 Sublime with a bit of NS-21 Moss and/or NS-52 Sparkly Teal. With blown vessels, NS-66 Sublime produces adds a glow to the piece. NS-68 Parrot Green is great in any situation, inside out, or used as a backing for transparent colors. It looks great with NS-45 Blue Moon and NS-44 Caramel. NS-68 Parrot Green is manageable enough for surface applications and looks great when trailed over NS-54 Star White. The pieces in Figures 1 and 2 (next page) are great examples of color use and demonstrate the vibrant glow of NS-66 Sublime. The vessel in Figure 1 illustrates the effect yielded when NS-66 Sublime is used as a filter. The piece was crated by layering NS-66 Sublime over NS-54 Star White. The piece was striped with NS-21 Moss, NS-52 Teal and NS-22 Polaris. NS-69 Green Amber/Purple was used for the dots on the neck. Figure 3 features NS-68 Parrot Green. The piece was crated by layering NS-03 Multi over NS-68 Parrot Green. The vessel was stripped with NS-68 Parrot Green and was dotted with NS-52 Teal. The stripes, the foot, and the sculpture on the stopper were not encased and the NS-68 Parrot Green remained smooth. Closing Here at Northstar we are committed to providing high quality consistent color. We hope these colors add to your palette, and look forward to seeing how they are utilized! Go experiment and have fun!

Tricks and Tips from Northstar Glassworks Here at Northstar we are committed to providing quality consistent borosilicate color to the lampworking world. We continually strive to make improvements to our color palette and are committed to e duc a t i on.Aspa r tofoure duc a t i ona ll i t e r a t ur ewewoul dl i ket oi nt r oduc eane w‘ howt o’s e r ies on color application techniques. To start this series off we would like to demonstrate one of the many methods of applying frit. A great way to utilize frit is to apply it to the inside of a tube. With this method an even coat of color can be applied and a wide array of colors can be achieved with great ease. This process of coloring is advantageous for many reasons. This is a quick method for applying color to large surface area with no need for frit pickup trays and minimizes color waste. This application technique is also a way to avoid overheating boily colors and prevents the reduction of flame sensitive colors. When applying frit in this manner there is no need to encase the colors in clear to bring out the range of effects because of the clear tube. Directions: Start out by sealing one end of a tube. Pour some small frit (fill the tube up with one to one and a half inches of frit to create a three to four inch vessel) down the end of the tube using a funnel (Fig 1). Make sure to do this in a well-ventilated area while wearing a respirator. Remember, the larger the vessel, the more frit required. Before working, clean off the end of the tube to prevent coming in contact with glass dust (Fig 2). Heat the tip of the tube, and as the frit adheres to the wall, start to heat a larger section of the tube so that the frit coats a two-inch section of tubing. When melting the frit in it is important to get a good even coating. Even rotation and heating (Fig 3) of the tube is important to maintain a uniform wall thickness (Fig 4). The angle the tube is held at is also important. When starting out, hold the tube slightly downward and as more of the tube is heated, hold the tube slightly upward up so the unmelted frit slides back to the uncoated section of the tube. This prevents the bottom from becoming too thickly coated with frit. To prevent the tube from collapsing it may be necessary to blow into the tube (Fig 5-6). If you are not using a blow tube be careful when

blowing to prevent any pieces of frit that have not adhered to the tube from sliding into your mouth. By holding the tube horizontally no frit can slide back. Once there is no longer any loose frit in the tube it is necessary to get the bubble extremely hot to melt the frit smoothly. By heating, blowing out, and collapsing several times, the frit will melt in evenly. If the frit is not melted in well and the inside of the bubble is bumpy, the bubble can blow out unevenly and cause cracking problem. After the frit is melted in thoroughly there are many techniques to yield different color textures. For example, try puntying up the bubble and twisting it as if you were making a swirl. Encasing frit in a tube is also a way to make multi colored canes. Instead of blowing a bubble, allow the tube to collapse and case the frit. Varying pulling speed or twisting when drawing the cane from the tube can crate different patterns. To make a simple perfume bottle punti the bubble and let it set up (Fig 7). To make the neck of the vessel heat the top third of the bubble, and draw it out to form the neck (Fig 8). After the neck cools, fire cut the vessel from the tube (Fig 10). To finish the lip shear away the remains of the clear tube (Fig 11), use a graphite reamer to flare the lip (Fig 12), and flatten it with a graphite paddle (Fig 13). This is just one technique to make perfume vessels. The frit in the tube technique allows for easy use of all atmosphere sensitive colors and has many benefits when working boily colors. One group in particular that benefits when used in this application is the intense opaque colors (NS-63 Canary, NS-64 Lava, and NS-65 Cherry). This technique allows for these colors to be heated much more rapidly and easily without fear of boiling. This is a great time saving technique because the color is insulated from the flame by the tube, which allows rapid heating with any type of flame. With this method an even coat of color can be applied in a third of the time without fear of affecting the color used. In the photos above there is an assortment of small vessels made with the frit in the tube technique. Starting fromleft the colors used are as followed: NS-45 Blue Moon, NS-47 Aurora, NS-63 Canary, NS-64 Lava, and NS-65 Cherry. Stay tuned for more color application tips and unique way to utilize color. There are many techniques and methods for applying color, and achieving unique patterns. There is no wrong way to do it, so have fun and try something new! Heads up for more exciting colors to add to your palette. We have three brand new colors scheduled for release in June. Of course, we will have many more to come, so keep in touch!

NS-45 Blue Moon NS-45 is a striking color that can yield a wide array of effects. To complement our newsletter on frit and powder, here are a few ideas on using NS-45 Blue Moon powder. Use the oxidation/reduction state of the flame to generate the range of possible colors. To create the deep metallic blues and greens, use a heavily oxidizing flame. For a more subtle bluish gray, use a neutral flame. For a more subtle bluish gray, use a neutral flame. For grays, use a reducing flame. NS-45 Blue Moon powder is easy to work with and even when thinned the color remains vibrant. Experimentation is the key to discovery, and with NS-45 Blue Moon, there are many uncharted possibilities. Enjoy! Jesse Kohl

Boro News Newsletter Written by Jesse Kohl

July 2002 Issue #11 Layout by Barbara Fullaway

Introduction Greetings! Fear no more the absence of a sparkly green! Northstar is proud to introduce NS-73 Millennium Moss, the first new color in our aventurine series. In the months to come we plan on introducing new colors to the aventurine family, offering a whole line of sparkly colors. In this newsletter we will explore the working properties of NS-73 Millennium Moss and those future non-striking aventurine colors. This color family will definitely expand your horizon!

What is Aventurine? When glass is glittery or sparkly in appearance it is referred to as aventurine. Suspended metal flecks in the body of the glass crate the glittery appearance. Metal salts that are added to the batch of glass crate the flecks. By carefully controlling the temperature and oxidation/reduction state of the glass, the metal salts return to oxide form and crystallize. Due to the different indices of refraction the metal crystals have, they refract and reflect the light differently causing the glass to appear to shimmer, yielding the aventurine effect. The size of the platelets suspended in the glass dictate how sparkly the glass will be. Larger platelets yield a more glittery appearance; whereas smaller platelets, such as those formed in the NS-21 Moss, yield a less pronounced sparkle. The quantity of platelets formed in the glass dictates its intensity and opacity of the resultant color. In traditional glass making, the most common elements for making aventurine are copper, iron, chromium, and gold. The aventurine effect is also present in naturally occurring geological formations. Aventurine, or Aventurine mineral, is a type of quartz that contains specks of mica and/or iron oxide. The types of naturally oc c ur r i nga ve nt ur i nemi ne r a l sg ott he i rna me sf r om t hes pa r kl y“ a ve nt ur i no”g l a s sofMur a no,I t a l y .Va r i ous types of aventurine minerals are present only in certain locations around the world and used in jewelry and as religious adornment. The Color What sets this color apart from NS-21 Moss is the intensity of the aventurine effect. Because the platelets that form in NS-73 Millennium Moss are larger than those formed in the NS-21 Moss, the aventurine effect is much more pronounced, yielding a far more glittery glass. The other major advantage with NS-73 Millennium Moss is the consistency of sparkle in all rods. In a d d i t i ont oi t sc ons i s t e nc y ,t hi sc ol or ’ spr oduc t i oni snotl i mi t e dbya perishable supply of raw material, NS-73 Millennium Moss will be readily available as long as it is needed! Application NS-73 Millennium Moss can be used in the same applications as the original NS-21 Moss. In any application this color will add great vibrancy to your art! Due to its enhanced aventurine effect, even a thin coating of this c ol orde mons t r a t e si t ’ sg l i t t e r y -ness. The other aventurine colors that will be released are designed for specific applications and will come in various strengths (intensities). This will allow you to select a specific color and strength suitable to your desired application. Be sure to try this family of colors with overlays of transparent colors and an opaque backing. Colors such as NS-19 Light Cobalt, NS-24 Transparent Green, NS-14 Irrid, and NS-34 Extra Light Yellow, crate exciting new effects when used in combination with our new aventurine colors. Closing We hope you have fun with the NS-73 Millennium Moss and stay tuned for more exciting new aventurine colors to come! There is a lot in store! So until next time, explore the NS-73 Millennium Moss, try it with your old favorites, and see what new effects you can come up with.

Introduction Northstar Borocolour is a colored borosilicate-type glass. It is compatible with, and may be combined with Pyrex Kimax, Buran, Simax and any other glass with a similar coefficient of thermal expansion (C.O.E.) (32 +2_. Glassblowers and lampworkers will be able to achieve excellent results with Northstar glass upon the first try. However, Northstar glass has some interesting characteristics with which the glass artist may not be familiar. It is our purpose, in this manual, to explain some of these characteristics so that the glass artist may attain the most exciting effects possible. Also, some of the following notes will be of more interest to the advanced artist trying to achieve a particular effect.

Northstar Borocolour may be striped, layered, swirled, combed, hobnailed, encased etc. For interesting effects try covering one color with another (like Yellow over Ruby Red) or encase with clear glass. Northstar clear or colored borosilicate frit or powder can be used over Multi or other colors for exciting variations. Viewing the Colors Direct sunlight is the best light in which to observe Northstar colors, halogen light is second best. Different types of lighting will produce slightly different effects. Also notice the difference between reflected and transmitted light. In general, Northstar colors are better viewed in reflected light. Color Identification If you are uncertain about which color a particular rod is, just strike the end in your torch flame for a few moments. The color should begin to appear right away. With a very light color you may need to strike a piece of the glass in the oven to see the end result.

Striking Northstar Borocolour is currently available in 48 colors in rod, 33 colors of frit in two sizes large and small and 32c o l or si npowde rf or m.Someoft he s ec ol o r sa r ea f f e c t e dbyhe a t .Wec a l lt he s e“ s t r i ki ng”or“ r e -he a t ” colors for their color changes when reheated (i.e. Yellow is in clear glass rods when you receive them from the factory, yet when heated to the annealing temperature [about 1050 degrees F or 560 degrees C], they change or “ s t r i ke ”t ot he i rne wc ol or ) .Ot he rc ol or sma ya ppe a rpi nk,bl ue ,g r e e nora mbe rbe f or es t r i ki ng .( Al lRUBI ES are shipped pre-stuck to ensure color uniformity.) The longer you strike a color, the darker the color becomes until the saturation point is reached. If, after striking, the glass artist heats the glass to the working temperature again, Northstar Borocolour returns to its original un-struck condition. This process of striking and reworking may be repeated many times. The transparent colors are obtained more easily if struck in an electric kiln. Work your piece as hot as possible (but do not boil) and place it in your annealing oven while it is in the un-struck condition. Striking may be performed in your torch flame, preferably in a neutral to slightly oxidizing atmosphere. Avoid striking the glass at too high of a temperature. Using either method, observe the glass while it is being struck. It is possible to control how dark your pieces become by carefully controlling the striking time. The striking process may be performed simultaneously with the annealing process. Please note that some colors will strike at slightly different rates. For example, NS-05 Orange will take longer to strike than NS-07 Ruby. If you have many different colors in the same kiln this could cause Ruby to become darker than you want while you are waiting for the Orange to strike. If this is a problem, you can strike different colored pieces in separate firings of the kiln. Or if you are using many different colors on a single piece, keep watching during the striking process and begin to cool the piece when you are satisfied with the effect. The darker, more intense, striking colors begin to strike more quickly and will be darker when saturated. The darker colors are easier to strike in the torch flame, but may become very dark if struck for a long perios in the annealing oven. Some of the lightest color variations may take longer to strike in the flame yet can bwe held at striking temperature for long periods without becoming too dark. A higher annealing temperature will strike Northstar glass more quickly. A slightly lower annealing temperature will strike the color more slowly. In general, a lower annealing temperature used over a longer duration is better for striking. Please avoid accidental slumping of your pieces! Oxidization –Reduction Another important consideration when using Northstar Borocolour is the oxidization/reduction balance of your flame. This is the ratio of oxygen to gas in your flame. Some colors turn out better in an oxidizing flame, other colors better in a more reducing or neutral flame. Most Northstar colors look great using either flame. Ba s i c a l l y ,a“ hi s s i ng”f l a mewi t ht heoxy ge nt ur ne dwa yup,a l mos tbl owi ngt hef l a meout ,woul dbec ons i de r e d a very oxidizing flame. One the other hand, a soft, bushy flame low in oxygen, high in gas, is a reducing flame.

A neutral flame is somewhere in between. Only practice and experimentation can teach the glass artist the subtlety of this concept. In general, if in doubt, use a neutral flame. Example: Ruby Red; use a neutral to slightly oxidizing flame. Too much reduction can cause the color to become cloudy. Example: NS-16 Black; use a very oxidizing flame for Black, a reducing flame for Grey. Encasing Colors Many of the color rods that Northstar makes change colors when encased. Encasing a rod is simply covering all the exposed surfaces of the rod with a layer of clear glass. This can be done through three different methods. The first method is to draw lines of clear glass down the rod, being carful not to trap air as you travel around the circumference of the rod. The second method is to shrink down a tube of clear glass around the rod; the tube should be just slightly larger than the rod and you should start backwards from the end that is closed so as to not crate high-pressurized hot air pockets. To avoid this all-together start with both ends open. The third method is to draw a line of color halfway down a clear glass rod and then heat the rod right at the end of the color, as the rod begins to bend use pliers and fold the clear over the color so it is sandwiched between, crating a line of color between the top layer of clear glass and the bottom layer of clear glass. In regard to all methods the last step is to condense the encased portion and then pull out stringers or the size of rod that you want. There are numerous Northstar colors that produce different exciting effects when encased. They are: NS-03 Multi, NS-04 Dark Multi, NS-14 Irrid, NS-15 Turquesa, NS-24 Transparent Green, NS-27 Green Exotic, NS-28 Blue Exotic, NS-29 Red Exotic, NS-38 Intense Blue-Green, NS-41 Butterscotch, NS-44 Caramel, NS-45 Blue Moon, NS-47 Aurora, NS-48 Light Blue Amber/Purple, and NS-49 Dark Blue Amber/Purple. Intense Opaques Northstar opaques for example NS-53 Forest Green, NS-54 Star White, NS-53 Periwinkle, NS-63 Canary, NS64 Lava are atmospherically stable colors. When worked properly these colors will not dull, lose intensity, reduce or strike when worked for long durations of time. Opaques must be worked properly in order to prevent overheating and boiling. Working the colors in a soft reducing flame or a cool oxidizing flame is suggested. Encasement of the color is recommended if it is to be used in a larger piece of work, where it will be exposed to greater variances of temperature and diverse flame settings. This is suggested to prevent boiling from occurring and allow the color to be worked longer and faster. Heat Sensitive Colors The opaque colors: NS-11 Jade, NS 27 Green Exotic, NS-28 Blue Exotic, NS-29 Red Exotic, NS-47 Aurora, NS-54 Star White, NS-58 Mint, NS-61 blackberry, NS-63 Canary and NS-64 Lava are heat sensitive. This means the glass must be treated with more care when heating to avoid boiling. Use either a cooler flame or put the rod in a cooler part of the flame (the edges, or as far away from the torch head as possible). The lampworker must watch the rod and if the glass begins to boil remove it from the flame immediately. Ot he r wi s e ,t her odc a nbe“ pa s s e d”i na ndou toft hef l a met opr e ve ntove r he a t i ng .Al s o,s omel a mpwor ke r s report success by inserting the color into a clear tube, then collapsing the tube around the color. The color is t he n“ e nc a s e d”wi t ht hec l e a rg l a s s .Thi si ns ul a t e st heg l a s sf r omboi l i ngs oe a s i l y . The Exotic Colors The exotic colors may be used in the following manner: while working the glass in the flame use a very oxidizing flame. Then, just before annealing, while the work is still hot (about the annealing temperature) reduce heavily for several seconds. A metallic, fumed effect will result. The use of a reducing flame during the working stage will produce other interesting effects. All dirt and grease should be removed from exotic colors before use. Even grease from hands can interfere with the metallic fume effect. Exotic colors have a slightly higher COE. When used in very thick pieces they may cause cracking or checking. Anneal thoroughly. Perhaps the most exciting effects to be achieved with the exotics are when they are covered with a layer of clear glass. The brightest, most electric effects occur if clear is added over the color before any reduction has occurred.

The Amber/Purples NS-13 Amber/Purple, NS-26 Double Amber/Purple, NS-48 Light Blue Amber/Purple and NS-49 Dark Blue Ambe r / Pur pl ec ont i nuet obes omeoft hemo s tpopul a rNor t hs t a rc ol or s .A“ s t r i ki ng”c ol ort ha ta l s or e duc e s , the effects can range from light yellow to a deep red-amber to various shades of crimson, purple and vermilion. To get the most exciting effects some reduction is necessary either during or at the end of making your artwork. The trick is to burn off as much of t he“ ha z e ”a spos s i bl ewhe ny oua r ef i ni s he df or mi ngy ourpi e c ea nddot he s t r i ki nga nda nne a l i ngi nt heki l n.Thec ol ors houl dg oi nt ot heki l nwi t ht heoxi de“ ha z e ”bur ne dof f completely. “ Bur n i ngof ft heha z e ”i sat e r mt ha tme a nsus i ngahot ,“ pus hi ng” ,s ome wha toxi di z i ngf l a met or e movet he faint layer of reduced oxide on the outer surface of the glass. This layer will form when reduction occurs, which usually does to some extent. If the glass has been worked in a reducing environment and the haze is burned off, more vermilion and crimson will be seen. A more oxidizing environment during the working process will result in purples more in the bluish end of the spectrum. Extreme reduction during the working process will result in ambers and yellows if the gaze is not burned off. When burning off the haze, be aware that this should be done as quickly as possible in order to avoid boiling the glass or slumping the artwork. Some practice may be necessary to train the eye to see this haze and to learn the pr ope rt or c hs e t t i ng s .Thi sc a nbes ubt l e .Youc a na c t ua l l ys e et heoxi deva por i z ei nt he“ s we e ts p ot ”oft he flame. You will also need to experiment with flame settings to learn the best gas-oxy ratio and best location of the flame for haze burning. The Rubies NS-07 Regular Ruby, can be flame or kiln struck. NS-07 can become over-s t uc ka ndt ooda r k( “ l i ve r y ” )i f struck too hot or too long as sometimes happens when working a piece in the flame for a long period of time. NS-07L can be worked a long time in the flame, then kiln annealed for a great Ruby Red. NS-08 Dark Ruby will retain its color even if thinned or pulled into a stringer. NS-08 can be flame struck but be careful not to overstrike. Compatibility It is very important to test all glass colors for compatibility in your specific application before making an expensive piece or production run. Northstar Glassworks, Inc. strives to make all of our colors compatible and easy to use. However, it is not possible to make all colors exactly the same C.O.E. Some colors may check if used in combination with other colors under certain applications. Certain colors, the NS-11 Jade, NS-53 Forest Green, NS-61 Blackberry, and the Exotic Colors in particular, may give the glass worker cracking problems if worked incorrectly. Those colors are best used on the outside of your artwork. If encased with a thick layer of clear, as would be the case in the marble for example, some checking or cracking could occur. Again, please test the color for your application. If you do encase these colors, use as little color as necessary and anneal very carefully. Using Boily Colors I t ’ saf a c tt ha ts omeg l a s sc ol or i ngc he mi c a l sha veal owe rboi l i ngpoi ntt ha not he r s .Thi sc a nc a u s eac ol ort o boil and become bubbly if proper care is not taken to control heating. NS-54 Star White, NS-61 Blackberry, NS-63 Canary, NS-64 Lava and the Exotic Colors are some examples. Here are some techniques that will help avoid overheating and boiling of the glass. 1. Use a cooler flame, i.e. less oxygen, but note that this is a reducing flame and if your color is sensitive to atmosphere it may be affected. NS-64 Lava will develop gray streaks if reduced heavily. Also turning the oxygen way up, making a very oxidizing, hissing flame has the effect of making the flame cooler.

2. A flame is usually cooler at the tip and edges of the flame. Work your piece in these areas. 3. Pass the color through the flame, back and forth. This keeps the glass from being overheated by staying in a hot part of the flame for too long. 4. When laying down a bead of color, rotate the rod as you lay it down. This presents a cooler side of the rod to the flame continually. This prevents one section of the rod from becoming overheated. 5. Clad your color with clear glass, which insulates the color from the flame. You can shrink a tube over the color or heat a clear rod and smear an even coat over the color. This can be done on the color rod before application or you can encase your artwork with clear after color has been laid down. 6. I nge ne r a l , i fy oua r eus i nga“ boi l y ”c ol or ,i ti sbe s tt og r a dua l l yhe a tt hec ol orup.Thi swi l lmi ni mi z e boiling. Northstar Dichroic Color Rod Northstar has recently introduced a new line of Dichroic color rod. Our current stock of dichroic is layered on NS-20 Dark Cobalt. It is essential to understand the composition of dichroic glass in order to work with it to its optimal potential. Dichroic glass is any glass that has been coated with microscopically thin layers (about 700 Angstroms thick) of metallic oxides such as silicon, titanium, and magnesium. This process takes place in a high temperature (around 300 degrees Fahrenheit) vacuum-s e a l e dc ha mbe rus i ngat e c hnol ogyc a l l e d“ t hi nf i l mphy s i c s ” .An electronic beam vaporizes the metallic oxides, and the glass target is evenly coated with many thin layers. The dichroic glass that is common today was first created for use in the NASA Space Program as a heat shield. Each piece of dichroic glass has three colors associated with it: a reflected color, a transmitted color, and a third reflected color that can be viewed at a 45-degree angle. The dual nature of transmitting and reflecting certain wave lengths of light is a unique feature of dichroic that creates an interference-effect similar to the iridescences obser4ved in nature: fire opals, dragonfly wings and hummingbird feathers. Northstar Dark Cobalt Dichroic is easy to use because of the versatility of the color that the dichroic is layered on. However, dichroic is highly pronet o“ bur nout ”i nt hepr e s e nc eofa noxi di z i n gf l a me ,s ot hec ommonpr a c t i c ei st hee nc a s e me ntoft hes i de with the dichroic color. One simple line of clear can be run down the dichroic side if intended to use for straight lines or stringers. If intended for marbles, one would perhaps encase the whole segment and then apply the marble with the cobalt down/dichroic up in order that the dichroic has a background to be reflected upon. These notes are intended as a general guide. Individual results will vary depending upon many factors including type of gas used (i.e. propane or natural gas), type of torch used (surface or internal mix), type of annealing oven used (gas or electric), and the sequence of heating and cooling. Individual batches of color may vary slightly. Northstar Borocolour should come to you pre-labeled for easy identification. Please be sure to store your glass colors in a manner that allows you to identify which color you are using and which colors to reorder. As with any glass material, keep them clean and remove any packing tape immediately upon receipt of the glass. Please observe all normal glass shop health and safety practices. If you should experience a problem with any of our colors please e-mail or call technical support. We want to know what your experience is with our colors. Your feedback will help us to continually improve our products. Using Northstar Frits & Powders Thet e r m“ f r i t ”r e f e r st og r a nul a rc r us he dg l a s s .Sof tg l a s sf r i t sha vebe e na va i l a bl et og l a s sa r t ists for a long time in many colors and several different mesh sizes. Furnace working glassblowers and European-style Lampworkers use frit regularly as a means of adding color to their work. Frit can also be used in such techniques as Pate De Verre and fusing. It is possible to crush and screen your own frit from rod. However, this is a difficult, messy and time-consuming task. We offer many of our borosilicate colors in powder and frit form. Size small frit is finer, approximately .024 inches or .6096 mm. These frits and powders have been formulated for use with Pyrex, Duran, Kimax, Northstar or any other glass with a similar coefficient of thermal expansion (32 +-2). Using frits and powders provide the hot glass artist with a means of adding color and/or

texture to a piece quickly and easily. Using frits and powders provide the hot glass artist with a means of adding color and/or texture to a piece quickly and easily. The r ei sno“ r i g htwa y ”or“ wr ongwa y ”t out i l i z ef r i torpowde r .Expe r i me nt a t i on will lead to discovering your own unique effects and subtle refinements of techniques. The basic idea is to get the frit to stick to a target object. In order for this to occur the temperature of the object must be hot enough to be soft (at least on the surface of the glass). The hotter/softer the target object is, the more readily the frit will stick to it. If the object has already been formed and slumping is not desirable it is better to heat the object just enough for the frit/powder to begin sticking (by preheating the frit in your oven, the target object can be slightly cooler and therefore less likely to slump). Successive layers can then be built up if a heavy coating is desired. A light sprinkling of frit may be used as a subtle highlight of brightly colored dots or a substantial layer of color can be built up giving a more uniform or darker look. Frit can be coated on the outside of solid or hollow objects. It can also be coated on the inside of hollow forms. Frit may be fused in completely or left partially raised for a surface texture. A sprinkling of frit may also be mixed into the body of a solid gather of glass, giving the entire gather color. NS-00 Clear frit may be added over a colored object for effect. Different colors may be mixed for a custom look.