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Dichroic Art Glass
What is Dichroic Glass?
"Dichroic Glass" is somewhat of a misnomer since the dielectric coating that produces all the interesting colors on a piece of glass is not glass at all but a group of 15 to 45 very thin layers of metal oxides. This "stack" of thin layers has a total thickness of approximately 48 millionths of an inch to 96 millionths of an inch. The stack of materials produces an "Interference Filter" that creates the varied and unique color characteristics that we see. Since the total thickness is so minute, the filter has very little mechanical integrity of its own and must be supported on a mechanically stable substrate. Glass is the ideal candidate for this substrate. It is transparent, has adequate rigidity, is stable, withstands relatively high temperatures and is not affected by moisture, solvents or most acids. The materials producing the filter are actually more chemically stable than most glasses used for the substrate. The filter is generally as durable as the substrate it is on. Thus, what we commonly call Dichroic Glass is actually a dielectric Interference Filter attached to the surface of a piece of glass.
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Characteristics of Dichroic Glass
To start to unravel the many application possibilities of Dichroic Art Glass the artist needs a fundamental knowledge of its characteristics. The first element that needs to be understood is that the filter materials are all clear and have no color inherent in the materials. Secondly, there is effectively no absorption of visual light by the materials. There are no dyes, paints or gels.  Thirdly, there is a fundamental relationship that all of the light energy is either transmitted or reflected.

The interference filter produces the colors that we see by acting as a selective color mirror.  The color that is reflected in the mirror is produced by the optical design of the filter.  The balance of the light that is not reflected by the selective color mirror is transmitted.  All of the light energy that hits the surface of the filter must be accounted for in the reflected and transmitted light, since none of the energy is absorbed.  This is in contrast to a typical piece of colored glass where the light energy hitting the surface enters the glass and part of the color spectrum is absorbed.  The only light energy emitting from the colored glass is the part of the spectrum that is not absorbed.

The colors available from the typical Dichroic designs are actually a pair of colors from a rainbow, one in transmission and a different one in reflection.  The only difference in the filter when producing the various colors is the thickness and number of layers making up the filter.

The Interference filter has the unique characteristic of shifting its color as you change the angle of view.  As you rotate the filter from viewing directly through the filter the apparent color changes as if the layer thickness of the stack is getting thinner.  The intermediate colors will shift down the rainbow.  The colors  of a true, natural rainbow produced in our atmosphere are usually considered to be in the sequence of violet-blue-green-yellow-orange-red.  In the typical simple single stack Dichroic Glass design, the reflective rainbow is similar to the natural rainbow.  The transmitted rainbow is, however, in the sequence of yellow-magenta-blue-cyan.  Since green or red cannot be isolated in the transmitted rainbow of a single stack design, a second more complex two stack design is used that provides a transmitted rainbow similar to a neutral rainbow.  This allows the production of a sheet of Dichroic glass that transmits red or green.

The equipment used in the coating process has the capability of centering the color at any pinot in the available rainbow.   However, there are technical problems associated with attaining a single specific color, but we use our best effort to provide the desired color.

In the art industry there are differences in the manner of describing the color of a given piece of Dichroic Glass.  One person may describe the color of the glass by the reflected color and another may describe the color by the transmitted color.  Some have even gone to the extent of trying to introduce a third color produced when the glass is viewed at any angle.   Unfortunately, there is not a standardization and all are technically correct, but often times confusing.  This coupled with the problem of all the possible variations of the artists' perception of a given color produces a climate for confusion and misunderstanding.  The artist must be familiar with the color relationships so that the obvious possibilities of confusion are minimized.  You should use the "Coating Color Vs GM Identification number Vs Fusing Color" chart for communication.

For artists actively using Dichroic Glass, a second possibility to eliminate confusion is to submit samples of the colors that are desired in a given application.  The artist must realize this will only produce approximate results.

This process should put the artist in a position of ordering and then receiving color that will enhance the creative process.

Dichroic Glass gives the artist another medium for self expression.  The applications are expanding daily and are limited only by the imagination and ingenuity of the artist.

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Available Colors
The first color named is the straight through transmission color. The color named after the slash is the reflected color. The below color sequence in the ART III Dichroic Colors are arranged in the Rainbow sequence of this design. It should be noted that both transmitted and reflected colors will move toward the Yellow/Purple color as the angle of view is changed from the normal. Note also when coatings are placed on black glass the transmitted color is completely absorbed by the glass and only the reflected color is seen. The named colors are the target color for the sheet and the artist will find some blending from one color into the next. It is our desire to coat the major portion of the sheet with the named color.
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ART III
Dichroic Colors

Yellow/Purple
Yellow/Blue
Pink/Teal
Magenta/Green
Blue/Gold
Cyan/Copper
Cyan/Red
Cyan/Dark Red
ART III
Special Effect
Dichroic Colors

Rainbow 1
Mixture
ART IV
Dichroic Colors

Green/Pink
Green/Magenta
Red/Silver
Rainbow 2
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Fusing Considerations
The fusing artist can use these colors as long as the implications of fusing on the Dichroic coating are taken into account. When bringing the coating to fusing temperatures the coating will craze and the color will move toward the Yellow/Purple end of the Rainbow. This is a permanent color shift and for typical fusing operations the color will shift one color towards Yellow/Purple. The artist needs to be aware that the color shift is dependent on temperature, exposure time and number of firing cycles.
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Glass Type and Size
The above named "Dichroic Coating" can be applied to any flat glass surface of suitable size. The coating can also be applied to textured surfaces with inherent greater variations in colors and effects caused by the surface texturing. The standard size for the glass is l6" x l6" with the corners removed 2-1/4" in from the corner. Other sizes can be coated by special arrangement.
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Coating Color
vs.
Identification Numbers
vs.
Fusing Color
Process #9
Process #12
Y/PR
9-450
12-485
--/--
Y/B
9-490
12-525
Y/PR
PK/T
9-530
12-570
Y/B
M/GR
9-575
12-620
PK/T
B/GD
9-620
12-665
M/GR
CY/CP
9-670
12-720
B/GD
CY/R
9-725
12-780
CY/CP
CY/DR
9-785
12-845
CY/R
CY/DDR
9-840
12-905
CY/DR
Color Key
B
=
BLUE
CP
=
COPPER
CY
=
CYAN
DDR
=
DARK DARK RED
DR
=
DARK RED
GD
=
GOLD
GR
=
GREEN
M
=
MAGENTA
PK
=
PINK
PR
=
PURPLE
R
=
RED
T
=
TEAL
Y
=
YELLOW
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The color listed before the slash ( / ) is the transmission color, as seen when looking straight through the glass. The color listed after the slash is the reflected color. Both the transmitted and reflected colors will change as the angle of view is changed. When coatings are placed on black glass, only the reflected color is seen.

When ordering glass, use both the coating color and the process Identification Number. The coating transmission color is the target for the coating process.

Process #9 provides shading from the center to the edge of the sheet of glass, the major portion of the center area being the target value. The shading is 0.7% per inch. For example, a B/GD will transition towards M/GR at the extreme edges. This gives the artist a range of color from a single sheet of glass.

Process #12 has no shading at all. The color will be the same from center to edge.

To provide you with some idea of the difficulty in attempting to attain the exact color, it may be interesting for you to know some of the details of the coating process. The coating process involves the application of many separate layers of different materials, deposited one at a time. An Art III coating is made up of 15 separate layers of material, the Art IV coating has 31 layers. Each layer has a specific thickness of between 2 and 3 millionths of an inch. The desired maximum variation for each layer is 3%. For example a 2 millionth of an inch layer should not vary more than .06 millionth of an inch.

The listed fusing colors are a guide only. The final and permanent color is dependent on temperature, time, the number of fusing cycles and the type of glass

 


Navitar Coating Labs, Inc.
882 Production Place, Newport Beach, CA 92663-2810
Phone: 949-642-5446   Fax: 949-642-7530
http://navitar.com         email: coatings@navitar.com