The unworked rods are a pale, pale blushy pink - best viewed at an angle. The pink has a faint golden hue to it. Viewed side on - in strong light - the colour washes out and the rods appear almost clear. It has a quality to it that reminds me of the Veiled Rubino. This is behind a thicker veil, tho'. ;-)
This colour is ridiculously sensitive to flame chemistry - and it pays to work it cool. I actually had to step down to the mega and turn the flame way down. With the mid-range - I was burning the heck out of it.
I did notice a lovely flash of gold forming on the unworked rod where it had receive transmitted heat through the rod - not direct heat - so I was then on a mission to get that gold coating.
If you find yourself a completely neutral flame - you get a streaky pink with a hint of gold. I spent quite some time waiting to see if this would strike darker - and this seemed to be as dark as it was going to get.
The barest hint of reduction - and you get more streakiness and more pronounced gold. But - too much reduction and your gold starts to turn leaden and a dull grey.
Varying degrees of reduction. You can't reduce it and unreduce it like some reduction glasses - and once the reduction starts to go to the leadish/blackish - it's really hard to bring it back.
I thought it might do some interesting things over black - the raised pattern is reduced, and we just got a silvery effect (the black is CiM Hades).
The smooth bead, on the bottom rod - did go get some interesting colours that were not readily apparent going into the kiln.
This is a tricky glass to work - you really have to watch your flame chemistry and heat. I think it has some potential for some interesting effects. You really will have to fiddle with your flame on this one.
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