NT Glass Colors
by Saulius (SJ) Jankauskas
The NT color line is our most popular line of kiln fired glass color for many reasons. They come in powder form, are all non-toxic and food-safe, even the metallic colors and this is important to us and to our environment. The NTs fire to rich, glossy, vibrant color, semi-opaque to opaque.
The NT line is mixed with UGC Medium to the consistency of melted ice cream and fire semi-opaque to opaque when mixed on a 1:1 ration with UGC Medium. They can also be used in their dry form for stenciling or sifting techniques. For more detailed information on all our products and what they can do, please click on Basic Glass Information
NT’s can be used on a wide variety of glass from COE 83-96 and our firing range is 1425F-1550F. These colors were developed to be used on the top layer of glass but work very well when capped.
From Left to Right: NT Colors; Glass Medium; Metallics; and Outline Black and Outline White with a Decorator Bottle
We highly recommend testing to be assured of compatibility. Note: UGC colors can be used on the tinned and or non-tinned sides of float glass. If the color pulls away from an area just use a wooden toothpick and rub over the area and the color will flow into the area.
We recommend mixing 1/2 of a 1 oz. jar with UGC Medium (1 oz empty jars and lids are available under Supplies), so you have powdered color left in case you mix too thin or if you would like to use the powders for stenciling or other applications. The colors will settle in the jar so mix often during use. After being stored you will need to stir the color FIRST before adding any liquid as our colors are all "thixotropic" meaning that the act of stirring will liquify the color. If, after stirring, you still need them to be thinner you can add a bit more UGC Medium or water to bring them to the proper consistency.
Colors can be brushed, sponged, airbrushed or applied with the outline bottle. When spraying, proper equipment, including a mask is necessary. When using the "Puddle, push pull" technique, select a soft brush such as a 10/0 and fill to capacity, then allow color to flow from the brush into the area to be colored. If applied too thinly or pulled out too far it will appear streaky or washed out when fired. Wet color, when viewed from underneath the glass should appear opaque. For a watercolor effect using the NTs you can wet the surface of the glass (with either UGC Medium or water) before applying the color and then, applying them in an uneven manner, letting the colors run and blend into each other. You can spritz the color with water to get it to run more or you can add more color.
NTs can be mixed with each other but do test the color you have mixed to be sure it is the result you want. Mixing any of the NT colors (not the Metallics) with 1951 Brite White or 11016 Vanilla will give you an almost unlimited range of gradated color.
The four Metallic Colors are 11011 White Diamond, 11012 Gold Dust, 11013 Copper Glow and 11017 Silver Sheen. The cooler these colors fire, the rougher the surface becomes. They also need to be used only on the top layer as fusing between layers takes away their metallic qualities.
Outline Black and Outline White come in liquid form and dry hard to allow colors to be brought right up to the line. Place product in one of our Decorator Bottles with a metal tip for outlining and general line work where you want consistency, or use a brush. Outline Black and Outline White fire to a matte finish.
Average firing range is 1425F to 1550F but colors can be fired much hotter. We at UGC have taken the colors up to 1800F and the colors remain stable. Firing on the cooler side will result in colors not being as shiny as when fired to the hotter temperatures.
The NT colors are perfect for artistic creations, commercial applications, in conjunction with stained glass techniques, used in schools and all types of studios.
NT colors can be used on the same piece along with our Original and Artisan Color lines, but the color lines cannot be mixed with each other to create new colors.
by Margot Clark
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