Trautman Art Glass Working Tips



RED ELVIS (033-001) DARK RED ELVIS (033-002) LIGHT RED ELVIS (033-003)

The world’s first self-striking ruby boro! Red Elvis is an “easy striker” and self strikes as it cools but gets darker with flame striking or kiln striking. All three are best struck in an oxidizing atmosphere, at a slightly lower temperature than most rubies. Dark Red Elvis is very saturated, and is a great red for stringers and thin blown work. Light Red Elvis is a lighter, sometimes streaky red. Work in a neutral to oxidizing flame. Brownish “livered” results come from reduction, or flame striking too hot too long. Cleanest results from kiln strike.

Please click here to see the TAG TECH video on working the Red Elvis family!

YELLOW ELVIS (033-004) APRICOT (033-006) ORANGE ELVIS (033-051)

Lightly reactive amber/purple type colors. Yellow Elvis is an easy striking yellow that will self-strike as it cools but darkens with kiln striking, or flame striking in an oxy environment. Yellow Elvis gains greenish highlights. Apricot is a darker amber/purple that self-strikes, and gains some blue or purple highlights. Oxy flames bring out brighter tones, reduction gives sof­­­ter earthier colors. Orange Elvis is a mix of Yellow and Red Elvis; it will flame strike lighter orange, or bring back to clear then kiln strike for a darker look.

BLACK JACK (033-005) TURBOCO (033-007)

Unique! Black Jack is almost clear when hot, but self-strikes back to black or brown depending on how thick you use it. Likes an oxidizing flame to prevent graying, but does not reduce in the same way as most black boro. TurboCo is a highly saturated cobalt. Use thick as a black, or thinner as a blue. Work TurboCo in an oxidizing atmosphere; reducing may cause gray streaks.

CARAMELO (033-008) QUEEN BEE (033-024)

Caramelo is a very saturated and reactive opaque amber/purple type glass. Queen Bee is less saturated, and gives more purples. Oxidize to strike up brighter colors; reduce for flesh and earth tones. Both are flame strikers.

BLUE BLIZZARD (033-013) RED BLIZZARD (033-015)

Translucent to semi-opaque colors shot through with flecks of white “snow.” Rough rods smooth out in the flame. Should be worked in a neutral or oxidizing atmosphere. Blue is cobalt to lapis-colored; Red is generally a brick red. Both are darkest when somewhat translucent but are lighter and more opaque if the rods show a whiter core; both feature the “snow” of the Blizzard line, and resemble old-fashioned speckled enamel dishes. Red Blizzard will flame strike somewhat but the true color comes from kiln striking at 1050⁰.

KIWI (033-017) PINK CADILLAC (033-018) WISTERIA (033-025)

The opaque Candy colors prefer a soft, enveloping flame. Not boily, but we suggest working slowly and allowing the occasional larger air bubbles to escape as you work. Kiwi is lime green, but is lighter when encased; the Pink is “candy pink”; the Wisteria is blue-purple. While many people have great success with these colors, the opaque Candy color line has a slightly higher COE; please test in your application. These colors do not like to be sculpted and tooled over clear. May perform better sandwiched between layers of clear.

SlyRm (033-009) SLYME (033-010) SATIN SLYME (033-011) DENSE SLYME (033-012) PINK SLYME (033-054)

SEA SLYME (033-061) BLUE SLYME (033-062) DARK BLUE SLYME (033-063) SUNSET SLYME (033-070)

Ectoplasmic! SlyRm is fully transparent, but the rest of the Slymes strike milky to semi-opaque, depending on how you work them. Working cooler in a soft flame keeps them more opaque and prevents reboil and scumming. Goes transparent under higher heat, but can flame strike with a ghostly milky haze. Dense Slyme can be used thinner for the same effect, or where you want it to stay milkier. Satin has a unique shimmer, but looks best when worked cool - it can look ‘dirty’ when transparent. Sunset will change to a rosey shade under fluorescent light. Pink Slyme is a pink-purple with the density and milk-strike of regular Slyme. Sea Slyme is a blue-green seafoam color, Blue Slyme is bluer, Dark Blue Slyme is a semi-opaque light cobalt Slyme. For Green Slyme use a reducing flame, use an oxidizing flame for Pink Slyme, and use a neutral flame for the Blue Slymes. COE is a little high with Slymes; they may not like being thick over clear.

Please click here to see our TAG TECH video on working the green Slyme family!

PENUMBRA (033-021)

A reactive “silvered” cobalt blue, reformulated from one of Paul’s old favorites. Most often produces a wide variety of blues and greens. Prefers an oxidizing flame, but can reduce with a metallic shine. Haze doesn’t burn off as easily as amber/purple types.

PURPLE SABLE (033-027) SASHA’S OIL SLICK (033-042)

Purple Sable is amber/purple with a coffee-colored base and a light aventurine sparkle! Reacts best in a mid-range of temperatures with blues, purples, greens, and ambers. Reduces like an a/p, strikes bright in oxy, and you can trap reduction effects under encasement. Sasha’s is a dark amber/purple type, named for Sasha Hess, who loved it when it was still Experimental. This dense transparent a/p strikes into amber and olive, even orange, but can also be worked in a very hot, high oxy flame for purples and blues. Sasha also sometimes kiln-strikes this color for more variations in shade, or quick-cools it between strikes. Versatile!

Paul’s newer, stable aventurine technology. Very densely saturated with large, dichro-like sparkles. Heavy Blue Leprechaun and Mighty Moss may be safely imploded into marbles, within reason. Not sensitive to flame atmosphere, but avoid reduction on aventurines before implosion, as this can lead to “checking.” Fully fuse in flame and limit long, hot garaging. Heavy Leprechaun, TAG-033-29, discontinued.


Transparent aventurines with big, glittery dichro-like sparkles. Great for layering. Blue and Light Blue are different shades of light sapphire, Green is a light leaf shade. Atomic is the same as Blue, and will glow blue when hit with a UV light. The usual cautions against long, hot garaging technically apply since this is an aventurine color, however they are highly stable in implosions. Heavy version is darker blue in color, and has a higher density of sparkle.

STAG WHITE (033-026) JAWBONE (033-034)

Stag is a very dense, bright opaque white that retains its opacity even when fairly thin. Jawbone is an off-white opaque glass. Both become smooth in the flame despite graininess in the rod, and both resist boiling once brought to temp slowly. Jawbone is also grainy in the rod but its color is more organic than our bright white Stag. They work in all flame atmospheres; however, a cooler flame is suggested for Jawbone, especially, as brighter white specks in this color are an indication of over-heating.

WHITEOUT (033-033) DWARF WHITE (033-035)

Very smooth and creamy. Not as bright as Stag, but Whiteout is the most smooth and dense white boro Paul has ever made. Dwarf is more translucent, when you don’t want that density – if you are making teeth, for example. Both resist boil once brought up to working temperature. Both have a fine, smooth texture, especially compared to our Stag and Jawbone. Not sensitive to atmosphere.

KNIGHT RIDER (033-037)

Smoother and much darker than our Black Jack, Knight Rider is a dense black that likes an oxy environment. Can gray out with reduction. However, you can pull it quite thin and still have a good, solid black stringer.

MAI TAI PINK (033-038) DOUBLE MAI TAI (033-039) MEGA MAI TAI (033-040)

Mai Tai Pink is a colorless rod, but changes dramatically in the kiln after being flame worked! Flame strikes to barely amber but colors change during 3 – 4 hour annealing cycles. May be kilned repeatedly, or ramped up to 1150 to speed the strike. Can also be un-struck in the flame after the kiln cycle for interesting effects. It is virtually impossible to over-strike this color. Burn off haze for more pinks and ambers, or leave the haze for blue/purple effects. Double Mai Tai can gain more color in the kiln, but strikes well in the flame, with lots of pink especially over white. Mega Mai Tai gives massive color in the flame, not the kiln, and tends more toward purple than pink. The Mai Tais are from the amber/purple family, but with less amber and more pinks and purples.

GREEN X (033-044) GREEN XLt (033-045)

Blue in the rod, these kiln strike to a dark, dense green. Green X is reactive and can strike with a milky bluish ‘bloom.’ This bloom can be trapped under encasement. Green XLt is lighter, and does not bloom – it’s a reliable dollar-bill green once kiln struck. Not atmosphere dependent.

HEAVY XXENON (033-047) HEAVY TEAL (033-048)

Satiny shimmering sparklers that shift greener in the kiln. Heavy XXenon is semi opaque and kiln-strikes to dark pine green. Heavy Teal has a lighter dose of shimmer, is a little more teal on the surface and goes greener under encasement. Both strike with a milky ‘bloom’ like Green X (above) especially where encased. The usual cautions for an aventurine color apply: limit long hot garaging and encase with care. Best suited for surface work.

SPARKY (033-049) CHAMPAGNE SPARKY (033-050)

These gray shimmer sparklers may be worked from the rod without re-mixing. Stable and implodable. Sparky smooths out in the flame and is more opaque. Work cool to avoid boiling. Champagne Sparky is a smooth pale amber rod with silvery sparkles. Great for layering.

HONEY BADGER (033-052) DARTH BADGER (033-053)

Non-reactive transparent ambers. Honey Badger is the lighter one; Darth is the “dark side” of this color. Highly saturated. Likes a bushy and gassy flame. Start them out in the upper flame before raging to minimize boil.

SHOOTING STAR (033-055) IO STAR (033-056) EUROPA STAR (033-057)

Amber purples, with flash! A mix of the stable Stardust aventurine with reactive silvered A/P; the Shooting Star is the lightest with a blue base, the Io is medium saturation with a greener base and Europa is the most dense with a dark purple base. The usual cautions about over garaging or over annealing apply because these colors are aventurines, but they have proven to be very stable in our testing.


These are transparent versions of the hugely popular Wisteria and Pink Cadillac. They have a better COE and are transparent to translucent, though they are “seeded” with tiny air bubbles, and are still a tad bit soft.

BLU-V (033-064) PINK PROTON (033-065)

Virtually colorless in the rod, this glass glows with a very bright blue (033-064) or pink (033-065) glow when hit with UV (Ultraviolet or black) light. Equally reactive to tube and LED UV. Oxidizing flame.

FADE TO BLACK (033-058)

Fade to Black is a striking black that can go clear, white, blue, green, and back to black as it is worked. It is soft working black that sculpts nicely and can strike into bolts of blue/white lightning in re-heated areas. When using FtB maintain an even heat base and avoiding moving it in and out of the kiln. Apply clear carefully and conservatively, and use a small hot flame to bring out the shades of white, blue and green in the glass. The colors appear at a higher than annealing temperature, and FtB must be selectively struck in the flame to preserve them. We recommend that you read our detailed FtB working tips on the “Working Tips” section of

SYZYGY (033-066) PARALLAX (033-069) PHAZE (033-076)

Not reactive to flame atmosphere, smooth working, and no scuzzing issues. Syzygy will change from a light yellow under non-fluorescent light to a vibrant pink when put under fluorescent light, Parallax will go from gray to fuchsia, and Phaze changes from a light champagne to magenta


A transparent green that can develop a blue tint in thicker applications, near reheated areas, and when the color is used under clear. In thinner and hotter applications this color will stay transparent and green. Stable in all flame environments, and will retain its clarity.

LEMON SLYME (033-071) SOLAR FLARE (033-072)

Cadmium based yellows- Solar is transparent and Lemon is translucent with a milky strike. Use these colors in the outer reaches of a soft, oxidizing flame.

Questions? Comments? Additions? Ask Brian: or 503-483-5475, M-F 9­-5 Pacific Time.