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Gino's Shade-Fluted

(shown with "Wrap" color pattern in above photo).

The "Gino's mix" is a combination of transparent teal and yellow.  The solid background layer of opaque Duck Egg White softens the brightness of the bulb to create a nice glow, along with adding some grays to provide a more earth-tone appearance.

Hand-made by glass artist Bob Meyer of Seal Rock, OR

 

Shade Colors: "Gino's mix"

The photos below are examples of pieces that contain this color mix.  We try to provide a good representation of these colors, but you will notice some differences in appearance between photos, as well as between photos and actual items.

Unlit

Shade Color Patterns: "Wrap"

All color patterns are established while the glass is very soft, likely at 1600 to 1800 degrees F. - and before the piece is blown.  Multiple examples are shown to illustrate how varied the effect can be.

The "body wrap" pattern is accomplished by using a separate "bit" of molten glass to accumulate various colors, usually in separate areas of the bit.  The wrap is applied while extremely hot (and therefore soft) to the main piece, which creates an extremely varied movement of the colors over the surface of the piece.

Applying a "body wrap" is significantly more complex than producing other color patterns, usually requiring a second person to be involved in the process.  Subsequently, the "body wrap" patterns are usually more expensive. 

Shade Color Patterns: "Swirled"

All color patterns are established while the glass is very soft, likely at 1600 to 1800 degrees F. - and before the piece is blown.  Multiple examples are shown to illustrate how varied the effect can be.

The "swirled" pattern is acheived by making small swirls or twists in the glass with a tool like a shears.  It creates a nicely random movement of the colors.

Shade Color Patterns: "Optic Mold"

All color patterns are established while the glass is very soft, likely at 1600 to 1800 degrees F. - and before the piece is blown.  Multiple examples are shown to illustrate how varied the effect can be.

The "optic mold" pattern is acheived by placing the glass briefly into a cast-aluminum, finned mold.  The use of the mold typically results in darker lines of color running through the piece, as well as some varied movement of the color between those lines.

Shade Color Patterns: "Feathered"

All color patterns are established while the glass is very soft, likely at 1600 to 1800 degrees F. - and before the piece is blown.  Multiple examples are shown to illustrate how varied the effect can be.

The "feathered" color pattern results from pulling a metal hook through the glass, thereby moving the color as well.  The result is varied - most pronounced where the hook has actually contacted the glass, and with diminishing effect from that line of contact.

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