Messy Color™ Cirrus

511806 -

Cirrus (511806)<br />A milky clear moonstone with a slight blue hue.

A milky clear moonstone with a slight blue hue.


Click here to view Cirrus Uniques



Cirrus & Atlantis. "Cirrus creates even greater translucency and beauty in opal glass like Atlantis. I loved the variation in this set, and I felt that it looked exactly like Apatite." – Dana Graham

Click here for other interesting Cirrus discoveries.

 
Messy Cirrus
Lucinda Storms
Messy Cirrus
Claire Morris
Cirrus
Yulia Trubitsyna
Messy Cirrus
Dwyn Tomlinson
Rainbow dichro & Messy Cirrus
Genea Crivello-Knable
Cirrus with dichro
Kevan Aponte

Messy Tester's Feedback

  • Cirrus is a striking color.
     Cirrus strikes by cooling and reheating in the flame. If you leave Cirrus in the flame continuously, it is likely to just stay transparent. By cooling and reheating you can strike Cirrus to the level of translucency that you desire.
     As you strike Cirrus, it becomes more translucent but is unlikely to return to its transparent state.
“Striking glass, as you see on the bottle, handles are much lighter and more clear.” – Elasia
     Cirrus is less likely to strike on smaller beads especially anything under 15 mm, or on flat thin pieces, though if you spend enough time you can achieve a bit of translucency.
     Cirrus’ translucency level looks the same when you take it out of the annealer as when you put it in. This is difficult to compare, of course, if you follow our recommendation to put the bead in the annealer hot.
     Cirrus was engineered so that you could get it as milky as you want it to be through repeated striking for use in a number of different applications. If you work fast, Cirrus is less likely to strike. Take your time and be patient.
  • Cirrus does not etch in the same way as other 104 colors.
“I use a product called Armour Etch and I use the cream form. I have to admit, they probably sat with the cream on them longer than instructed, but it has not seemed to cause a problem with the beads." – Jan Whitesel-Keeton
“Cirrus etched with Etch-all liquid but you have to leave it in longer. I left mine in for 30 minutes.” – Tina Lamasney
  • Cirrus, when reduced, turns yellow or brown.
“Reducing it produced a scummy yellow bead that was not attractive." – Janice Laster
“Reducing it will turn brown.” – Teri Yount
  • Cirrus is a temperamental glass.
     Cirrus, Peacock Green, and Halong Bay were specifically formulated because we had many requests for glasses similar to the rare and difficult-to-obtain moonstones. We were successful in engineering a glass that could be worked in the torch for long periods of time and annealed properly that would still maintain translucency as opposed to just turning opaque.  
      These three have proven to be the most temperamental of all Messy Colors. We noticed that a number of Messy Color testers described Cirrus with phrases like: tricky to strike, shocky, boils easily, sensitive to reheating, difficult to make focals, frustrating, etc.    
      However many other Messy Color testers especially those working on Hot Heads found Cirrus easy to work with.
      We collected the following tips from our testers. Please email us if you’ve found any other tips that you think may be helpful in working with Cirrus, Peacock Green, and Halong Bay.
  • Work hotter.
“One thing I have noticed with Halong Bay, and this might be true with Peacock Green and Cirrus, but it likes to be kept warm, more than the other CiM colors.” – Melissa Villadiego
“The handling characteristics of the opal glasses is "stickier" and heats more slowly and cools more quickly.” – Tim Gottleber
  • Put your beads in the annealer hot.
“They become REAL sensitive to cooling before annealing. I do several beads on one mandrel, usually. I lose about 1% of them to cracks when I anneal them. With Peacock Green, Halong Bay, and Cirrus, I lose between 8 and 10%.” – Tim Gottleber
  • Adjust your annealer. (The recommended annealing range for Cirrus is 970-1040° F / 520-560° C.)
“Can be shocky, likes to be worked hot, and I do anneal hotter than usual, normally with this glass around 1000 to 1300.” – Elasia
  • Stick to smaller mandrels.
“It is much easier to get the effect you want with the Cirrus using a smaller mandrel. Working on a big hole mandrel you will need to use your brain power and start back to basics with heat control. Like any new glass color rod, shard, frit, you have to be willing to experiment, to push your limits to broaden your spectrum.” – Vonna Maslanka
  • Cirrus is unique to the 104 glass color palette.
“It has an opal like cloudiness that presents a unique color. Used in larger pieces it has an amazing depth.” – Tim Gottleber
Beautiful color....wow. Hard to capture the iridescence in photos, flashes of color just like an opal.” – Elasia
  • Special thanks to Elasia, Patricia Frantz (x 2), Stephanie Risberg, Genea Crivello-Knable, Vonna Maslanka, and Teri Wathan for providing the photos in this section.

Amy Houston made a Cirrus goddess.
Genea Crivello-Knable used Cirrus for dandelion puff flowers.
DragonJools notes that Effetre 226 Alexandrite resembles Cirrus in rod form.
Visit the CiM Resource Page on the Kitbitz Art Glass site.
See Kay Powell’s frit testing samples.
Browse Serena Thomas’ color gallery.
Check out Miriam Steger’s CiM color charts.


Cirrus used as an acid etch resist.
Claire Morris
Cirrus, Hades, and silver foil.
Claire Morris
"Cirrus has a fabulous reaction line with fine deep Reichenbach black stringer."
Jolene Wolfe
"These dots are Double Helix Triton on Cirrus. I just love the way Cirrus 'receives' certain reactive glasses!"
Martina Marugg
"Cirrus is really difficult to strike back to milky opal with something this small [10-15 mm]."
Robert Jennik
"A recent post about hand-mixed colours got me inspired to try a combination of Cirrus and Effetre Cobalt. I was really pleased with the result. The Cirrus lightened up the cobalt enough that it really is a wonderful blue in real life." Read more about mixing colors at DragonJools blog.
Dwyn Tomlinson
"Cirrus with Lauscha pink...a gorgeous, GORGEOUS pale pink variation that reminds me exactly of real rose quartz."
Dana Graham
Cirrus & Phoenix. "I really love how versatile Cirrus is when handmixing and I get such unexpected results...sometimes it's a combination of translucency and opalescence, other times it looks almost like agate or quartz. Other times it's just plain gemmy. I love it!"
Dana Graham
Cirrus & Effetre light violet premium. "Here's a great example of how very gorgeous Cirrus is when hand mixed with transparents! You can keep lots of depth by controlling how much of your catalyst [in this case, Cirrus] you use versus how much of the stain [Effetre Light Violet Premium] you use. It creates incredible variation that is just beautiful! And I can't sing the praises of Cirrus enough...because as you can see, it adds a wonderful translucency to the previously transparent Effetre glass!"
Dana Graham
Cirrus & Effetre copper green. "Now this one was a real shock! Cirrus does an amazing thing when hand mixed with Copper Green...it reacts strongly and pulls out the copper in the glass! You'll also notice that Cirrus mixed with any opaque can create both agate like passages in the beads or translucency...depending again on the ratio of catalyst to stain."
Dana Graham
Cirrus, Celadon, and Halong Bay. "To get even more variety in this handmixed set, I used both Cirrus and Halong Bay as my catalyst, and Celadon as my stain. A lot of the resulting coloration depends on how much of a ratio of catalyst to stain you use, and also how frequently you heat, cool and reheat. It definitely allows for a lot of creativity [and requires patience!], but I think it's worth it!"
Dana Graham
Cirrus & Atlantis. "Cirrus creates even greater translucency and beauty in opal glass like Atlantis. I loved the variation in this set, and I felt that it looked exactly like Apatite."
Dana Graham
Cirrus & Reichenbach multicolor 104. "When I first mixed these two colors, I was unimpressed with the result. It was a sort of muddy, translucent ochre. But then a lightbulb went off and I decided to see what they would look like encased...wow...what a difference! Soft wispy clouds of tans, ochres, ambers, slate blues and grayed greens all made an appearance! Once again, I really love the way the Cirrus created that 'cloud-like' effect - even inside the encasing. Wonderful!"
Dana Graham
Cirrus & Effetre transparent red. "I was curious about what would happen if I combined Cirrus as a catalyst with a transparent stain that you had to strike. Here are the results. I really think you could get an almost unending and varied palette just by hand mixing Cirrus with nearly any other color - transparent, opalescent, or opaque."
Dana Graham
Cirrus & Effetre light teal. "I've found as I've been experimenting with all of these Cirrus hand mixes that it plays well with nearly any 104 COE glass. This mix made for beautiful opal and translucent pale aquas...and the more I struck the glass, the more opalescent it would become."
Dana Graham
"To get the beautiful milky, moonstone color, I form the rounds [10-12 mm in back, 7-8 mm up front] in a neutral flame and let them cool a bit before striking. Because this glass melts fast and clear [like white], it’s really difficult to figure out how long to strike them. By the time, they’ve taken on a yellow glow, they’re most likely a puddle underneath my torch. Instead I strike the bead and pay attention to my turning mandrel more than the bead. As soon as the mandrel on both sides of the bead begins to glow, I move the bead  out of the flame, let it cool slightly, and check results which take a few seconds to show up. If I want a milkier bead, I repeat the process until I’m a satisfied customer."
Gloria Sevey
"It was the Cirrus that looked misty, and that makes sense - that's what it does. So where did my mistiness go [when making spacers]? Either the Cirrus needs critical mass - i.e. a thin encasement just doesn't show any colour, like a very pale transparent, or a lot of working, heating and cooling, emphasizes it's mistiness. Or maybe the scraps and trails of string play a bigger part - in that it reflects the colours internally and takes on the colours of the stuff around it. Whatever it was, matching spacers did not happen." Read more at DragonJools blog.
Dwyn Tomlinson
"Didn't these turn out yummy? Base is CiM Cirrus, and trails of Double Helix Clio, struck and lightly reduced. Like caramel on a cloud." Read more at DragonJools blog.
Dwyn Tomlinson
Rocio Ivy & TAG Silver Fir over Cirrus with sis.
Carol Oliver
"This is now my favorite bead. It is Cirrus with my magic stringer, encased in Count von Count and Larkspur together. Do you see that little 'pearl' in the center of the swirl? That's Aurae and when reduced it gets this platinum look to it."
Sue Stewart
"I'm always on the lookout for new glasses that don't react to a wrap of silver wire - sadly, I won't be adding any of the CiM whites to my palette." Read more about Cirrus testing at Lush blogs, including tests with Hades dots on Cirrus, Triton hearts on Cirrus, and etched Cirrus.
Julie Fountain
"The beads are much nicer looking in person too, the opalescence is subtle and the camera didn’t pick it up too well." Read more at Two Glassy Ladies' blog.
Amy Houston
"Cirriusly Gold frit blend is made from Messy Cirrus, an ethereal milky, cool-toned translucent white color similar to moonstone, and if that wasn't cool enough, we've coated it in a glittery gold powder for an awesome new effect."  Read more at JetAge Studio's site.
Renee Wiggins
"When worked, Cirrus looks a lot like high quality Moonstones which are a semi-precious natural stone that you can find made into beads of every imaginable shape and size. . . I really like to use these colors as encasements over intense dichroic scrap beads." Read more at the Frantz Art Glass blog.
Patricia Frantz