Persimmon Strike - Glass Alchemy
Working Tip: Get this color white hot to erase the striking history. A variety of effects are achievable depending on how long you flame/kiln strike.
Artist Description by Mike Shelbo:
"This wonderful fusion of color could almost be called a ruby triple passion.
The striking properties range from rubies to purples and blues, yellows and greens. While working the piece you will see continuous color shifts and you should consider how thick your color application is and at what point you would like the color to stop changing. For example, increased kiln time and temp will strike out the rubies and purples leaving you with a different looking piece that went in the kiln.
The mixing of results that you will find as you work this color is just gorgeous. I find myself wanting to keep the array of pinks, oranges, rubies and yellows that earned the persimmon reference, but the light greens and blues that show up during the sculpting process compliment the other colors so well, a delicate balance of intense spot heating and reheating is needed to capture the whole range in one piece.
Ratings & Reviews
Lots of colors from this one.
by Mike H -
This is a fun color. As other reviewers have mentioned, it can be tricky, but well worth the extra effort. I always flame strike to at least yellow. I really enjoy the surprise when I open the kiln. Everything from yellows and oranges to pinks and purples.
one of my favorites made by glass alchemy!!!
by Christopher D -
Just a few tips on working this color. I make sure this color is my whole day if I'm going to put it in the kiln. The base color is a fast striking copper red. The range of colors comes from the inclusion of silver. Because the copper is very fast striking most people will cause it to go a liver brown in the flame. Kiln striking at 1075 will cause deep ruby reds to strike out. Kiln striking at some of the other temps suggested in various posts, including yours, are much to high. The rapid level of crystal growth will cause the copper colors to become even muddier... and without the red you can not obtain pinks and fushia. The rubies will not strike at temps much below 1050. (It is important to test you kiln temps with an independent probe or cones every now and then to verify that your termocouple is correct) the silver color now need to be struck to get the outcome that you want. When the piece is completed let it cool until the orange glow is just or has just faded from view. Now reintroduce the piece into the back of the flame... you only want to heat the top 50 nanometer (not a real number, just an attempt to be clear about the "surface") of the glass... strike until yellow, orange, red-purple.. the color you need to get the effect you want. Now place into the kiln. Once in the kiln... if they are going to sit all day while you are making other workpieces then idle at 975 until you are ready to strike. Then ramp to 1075, strike, ramp 10 1050, anneal to say 900 and you are done. With a few trial runs you will nail the striking time to obtain the correct amount of red and you will know what color the silver should be prior to placing into the kiln.
It's all about the kiln
by Alan R -
This color comes out with all sorts of colors after flame and kiln striking. I personally like to flame strike the color by working it in a oxidizing-neutral flame, heating it to a glowing orange then letting it cool for about 20 seconds to a minute. The color strikes best at 1065 for 20 minutes then bringing the kiln back to 1050 for it to anneal properly.