Need help identifying an older batch of Rubino
 

I have some glass labeled Rubino Oro that I purchased from Flametree Glass back in 2006. It turned up when I was sorting glass to be moved to the new studio digs. Since I've never melted any of it I'm not sure if this is correctly labeled. The glass looks like Rubino, but compared to the recently purchased Rubino rods from Frantz which are lovely varying shades of pink the older Rubino is more strawberry rose pink. Could it be something other than Rubino and is miss labeled or might it be some odd lot? If it is Rubino would this version of it be likely to act differently with colors. Any suggestions about how to identify or use it would be appreciated.

Andrea
NE Missouri

My Rubino rods range from deep watermelon to light pink. I like having options!!!!

Perfectly normal to have that much difference in saturation.

Guess I just need to melt some and find out what it will do. Probably not going to have any out of the ordinary reactions with other colors you think? This should make an interesting stringer layered over white. Wonder what it will come out to as a silvered stringer.
Thanks

Andrea
NE Missouri

I would not be surprised if this is winds up being a more intense color that could be thinned by mixing small amounts with a good quality clear.

Rubino Oro uses real gold and the reduced prices of 10 years ago should mean this a more saturated color than what is available now.

Phil, when you say mixing do you mean mingling the clear together with the rubino or encasing one with the other? I don't know how long the company name has been Effetre, but the rods are labeled Moretti Handmade Special so I guess that might mean it's kind of an older batch maybe. Thanks for the info. A bunch of the glass that I have dates back that far, or farther. so I may end up with more surprises. Would Opal Yellow from that far back be likely to be different from today's version? Do you think Zimmerman silver glass colors would play nice with Yellow Ice odd lot from Vetrofond? Sorry to take so much of your time, but your experience is very helpful.

Andrea
NE Missouri

I am afraid I have reached the limit of my knowledge with the rubino oro.

Perhaps we will get lucky and some of our more knowledgeable friends will join us.

I think Effetre stopped manufacturing before Moretti did but I could be wrong.


ETA: Sorry, I got distracted; I was thinking of mixing when I wrote the above but either way is good for stretching out a supply of something with intense or saturated color.


I read a thread in here somewhere about buying Olympic Colors Reichenbach glass and diluting that because they sell such intensely saturated colors that you can really stretch your valuable dollars and still get wonderful colors of glass to paly with.
I have not done that myself because I purposely limit myself to only known compatible 104 coe glass but I believe that same thread stated that those colors would play nicely with coe104 even though they are listed as coe96 because the viscosity is similar enough. Your mileage may vary.

I remember the batch of rubino from years ago that was absolutely water clear. It turned out to be amazing. A bunch of people struck the rods in the kiln, but there was also a camp (I think) that said it wasn't necessary or not to. I did it mostly to tell them apart from clear on the shelf. lol It all turned out the same really and was a great batch. I bet yours is related to that, and if it is, it's lovely.

Rebecca this batch is a very deep color, but when you hold it up to sunlight it's a strawberry rose color not really pink toned but more golden looking. I'm going to try to get time to do some things with it this week. I guess it doesn't matter so much what it is, but how much I enjoy just playing with it. Thanks for the info about the different batches. I read as much as I can about the colors and I think I'd better start taking notes...if I can remember where I put the book.

Andrea
NE Missouri

rubino can be anything from clear to dark red.

some people like to show off what they do not know.

Most of my rubino stash dating from around that time is a very saturated color. Play w/it in a cooler flame to get best results.

dj

I love the old Rubino. I got mine at Flametreeglass too! It was Mr. Beady back then. It was very dark and saturated. I have only 3 rods left of the old batches. It is my favorite. Perfect for beautiful flower petals. I have those 3 rods stashed away for special orders. Not sure what I will do when I finally run out. I even bought an old studio out hoping there was old Rubino in the stash. There wasn't.

Moretti is Effetre! Moretti was sold to Effetre years ago but the name stuck for years after the sale.

Use a oxidizing flame for Rubino or it will get a gold-brown look to it. Not good! You need to up your O2 when you see the reduction on the glass. Also, moving further up in the flame will also help the color from getting reduction staining in the glass.

Thanks for the tips dj and Dasi. I've got a bunch of rubino that is much newer and more pink. I was simply looking for tips to using the older rubino in case it might do better with a little different handling and I wasn't really sure it was really rubino since it looked so different. It looks nearly identical to one of the Reichenbach colors and I thought I might have mixed them somehow.

Andrea
NE Missouri

Just a tip about Rubino. If your kiln runs hot and you put the beads in the kiln with Rubino on the outside of the bead, be careful. My Rubino is always still sticky. I love some batches of Rubino over white with a design. The problem is it will leave slight kiln floor marks if it is not propped up, or if the beads are touching each other. I have put two different pyrometer probes in kiln to check temps and they were very accurate. I lower my holding temp to 920 and that solved the problem. I love using base of white, then Rubino, then copper green stringer.

That combo sounds lovely. Do you ever encase the Rubino beads? I have Corrina's book and she does a lot of things with the Rubino encasing white and drawn to a stringer. Her stringer is very pink looking and I'm going to try the old Rubino that way and see if it makes any difference in color over white. Do you think the Rubino over other pale opaques like pink, lavender or blue, for instance, pulled to a stringer would do anything interesting? I know not to go near it with Ivory. I'm even thinking of putting it over a light orange.

Andrea
NE Missouri