Kevin P. O'Hara on wed 9 apr 97
Greetings once again,
May your kilns fire perfectly and appreciative customers buy all your stuff.
I have been on the list for a while now and I may have missed it; but, I
have not seen much of any discussion on ash glazes. I was wondering if
anyone had a reliable base formula for an ash glaze that they would like
share. Years ago we made some ash glazes and fired them to cone 10
reduction. Will ash glazes work at lower temperatures like those between
cone 05 to 5? I hope to do some experimentation with under-glazes in a low
fire oxidation atmosphere. Thanks
Kevin P. O'Hara
Indianapolis, IN
mudslinger @iquest.net
http://www.iquest.net/~mudslinger
PS, I think I have finally come up with a design for a down draft, coal
fired kiln that I like. It will have an inch of fiber attached to four
inches of mineral wool block ("fire safing" is the product name), about 36
cubic foot firing chamber that rests on a fire brick floor. The coal fired
fire box will be below and on one side of the kiln. The flue will be in the
floor and vent to the chimney opposite to the fire box. The total cost for
the materials of the kiln (without shelves) is under $500.00. I am going to
do a few more tests burning coal and coke to see how to best design the
firebox and to see of I will need to add a blower. Any suggestions or
ideas?
Ken Ford on thu 10 apr 97
>----------------------------Original message----------------------------
>have not seen much of any discussion on ash glazes. I was wondering if
>anyone had a reliable base formula for an ash glaze that they would like
>share.------------------
Will ash glazes work at lower temperatures like those between cone 05 to 5?
>Kevin P. O'Hara
>Indianapolis, IN
>mudslinger @iquest.net
>http://www.iquest.net/~mudslinger
>------------------------------------------------------------------------------
Ash Glazes , How much of a purist are you. Some people regard any ash other
than natural fly ash (ie ash that is deposited on the clay body during the
firing process) as not the real thing. Of cause not every one is of this
opinion. The problem with ash glaze as a recipe is that all ash is
different, depending on what timber/ organic material it is formed from. To
get an ash to melt at the lowest possible temperature, use it in the
unwashed state as some of the fluxes are soluable.( Washing ash is often
prefered as it is more stable/less caustic) One needs to do some tests! the
simplest recipe is a mixture of ash and clay, but any of the normaly used
glaze forming materials can be added. It all depends on just what
qualities(colour, run, gloss, beading,etc) one is after. For the
temperature range of 05-5 maybe a good starting point would be to replace
various amounts of feldspar or frit (in a known glaze for that temperature)
with ash.So get a good suply of ash that is consistant so when you arrive
at a desired result you have enough to make up a batch of glaze.OR Some
good results have been achieved by simply sieving ash over the ware before
firing.Its a matter of desire.
Good Luck Ken
Marjory R. Kline on fri 11 apr 97
Kevin,
Last year, with a lot of help from Tom Buck and some of the other Clayart
gurus, I adjusted one of the old Daniel Rhodes ash glazes.
Original recipe (Cone 9-10):
Mixed hard wood ash 35
Oxford spar 35
China clay 15
Talc 15
Adapted recipe (Cone 6-9---Oxidation):
Mixed hard wood ash 28
G-200 feldspar 36
Dolomite 10
OM4 ball clay 21
EPK Kaolin 5
+ CMC
I fire in an electric kiln. I would never describe it as a foolproof glaze,
but if applied with care, it's so beautiful that it just knocks out all the
"reliable" competition. I bisque at ^06 and am now firing at ^6. I have
gone to ^9, but that seems to present more problems with pinholing and
crazing. Also, I wash the ash. I have also used the same recipe with
unwashed ash. The difference is that I would describe the unwashed ash
glaze as stony matt and the washed ash glaze as opaque satin matt.
Haven't tried this recipe at a lower temperature. You might want to give it
a try.
Kevin P. O'Hara on sat 12 apr 97
Thank you, who every you are. I will give it a try, and of course, test -
test - test.
May good things happen to you.
Kevin P. O'Hara
----------
From: CLAYART
To: Multiple recipients of list CLAYART
Subject: Ash Glaze
Date: Friday, April 11, 1997 11:09AM
----------------------------Original message----------------------------
Kevin,
Last year, with a lot of help from Tom Buck and some of the other Clayart
gurus, I adjusted one of the old Daniel Rhodes ash glazes.
Original recipe (Cone 9-10):
Mixed hard wood ash 35
Oxford spar 35
China clay 15
Talc 15
Adapted recipe (Cone 6-9---Oxidation):
Mixed hard wood ash 28
G-200 feldspar 36
Dolomite 10
OM4 ball clay 21
EPK Kaolin 5
+ CMC
I fire in an electric kiln. I would never describe it as a foolproof glaze,
but if applied with care, it's so beautiful that it just knocks out all the
"reliable" competition. I bisque at ^06 and am now firing at ^6. I have
gone to ^9, but that seems to present more problems with pinholing and
crazing. Also, I wash the ash. I have also used the same recipe with
unwashed ash. The difference is that I would describe the unwashed ash
glaze as stony matt and the washed ash glaze as opaque satin matt.
Haven't tried this recipe at a lower temperature. You might want to give it
a try.
Tony Hansen on sat 12 apr 97
Since there are so many ash analyses I've had best success with adding
just
enough kaolin to suspend an ash sample and glazing some tiles. If it
runs,
add more kaolin, if it doesn't melt add spar. When its right put in some
colorants and titanium or rutile to variegate things. I'd be cautious
about
food surfaces. If there is any material
in the world that demonstrates that recipes don't travel well it's ash.
--
Tony Hansen, IMC thansen@mlc.awinc.com
INSIGHT5/Magic of Fire II demos at www.ceramicsoftware.com
"Rafael Molina-Rodriguez (Rafael Molina-Rodriguez)" on fri 18 apr 97
Kevin :
The following is the best ash glaze I've gleaned from CeramicsWeb and
Clayart :
Ash Glaze ^ 6 Ox (^ 7 in sitter. From Lowell Baker)
Gerstley Borate 13.60
Lithium Carb 4.50
Wood Ash 18.20
Whiting 18.20
Albany Slip 36.40
Kaolin 9.10
In my experience, the closest approximation to high fire reduction ash
glaze.
Good luck!
Rafael
>>> "Kevin P. O'Hara" 04/09/97 07:46am
>>>
----------------------------Original message----------------------------
Greetings once again,
May your kilns fire perfectly and appreciative customers buy all your
stuff.
I have been on the list for a while now and I may have missed it; but, I
have not seen much of any discussion on ash glazes. I was wondering
if
anyone had a reliable base formula for an ash glaze that they would like
share. Years ago we made some ash glazes and fired them to cone 10
reduction. Will ash glazes work at lower temperatures like those
between
cone 05 to 5? I hope to do some experimentation with under-glazes in a
low
fire oxidation atmosphere. Thanks
Kevin P. O'Hara
Indianapolis, IN
mudslinger @iquest.net
http://www.iquest.net/~mudslinger
PS, I think I have finally come up with a design for a down draft, coal
fired kiln that I like. It will have an inch of fiber attached to four
inches of mineral wool block ("fire safing" is the product name), about 36
cubic foot firing chamber that rests on a fire brick floor. The coal fired
fire box will be below and on one side of the kiln. The flue will be in the
floor and vent to the chimney opposite to the fire box. The total cost for
the materials of the kiln (without shelves) is under $500.00. I am going to
do a few more tests burning coal and coke to see how to best design
the
firebox and to see of I will need to add a blower. Any suggestions or
ideas?
millie carpenter on sun 20 apr 97
Hi--I have seen this notation of ^6 (^7 in the sitter)a few times and I
am a little confused. If you are firing to ^6, why ^7 in the sitter?
millie in maryland
mcarpent@mail.bcpl.lib.md.us
> The following is the best ash glaze I've gleaned from CeramicsWeb and
> Clayart :
>
> Ash Glaze ^ 6 Ox (^ 7 in sitter. From Lowell Baker)
>
stevemills on tue 22 apr 97
In message <33581EE7.7A44@mail.bcpl.lib.md.us>, millie carpenter
writes
>----------------------------Original message----------------------------
>Hi--I have seen this notation of ^6 (^7 in the sitter)a few times and I
>am a little confused. If you are firing to ^6, why ^7 in the sitter?
>
>millie in maryland
>mcarpent@mail.bcpl.lib.md.us
The weight of the sitter rod can assist a mini cone to bend early, not
so much of a problem with mini bars (same thickness all along) mini
cones give at the pointy end!
steve
>
>>
--
Steve Mills
@Bath Potters Supplies
Dorset Close
Bath
BA2 3RF
UK
Tel:(44) (0)1225 337046
Fax:(44) (0)1225 462712
CP Dunbar on tue 2 sep 97
I am looking for an ash glaze, perhaps black, that i can use to drip
down the sides of a pot. If anyone has any ideas on ash glazes in
general i would appreciate it
thanx, cp
--
"And she shall have music wherever my Lady goes."
cpdunbar@concentric.net
Alex Pomianek on thu 25 mar 99
hi all;
i was planing on making an ash glaze out of cigar ashes. i don't have muce
experience with ash glazes . is there anything i need to know,just the basics
or what evere you think of.
thanks alex
Christine Avery on fri 26 mar 99
> i was planing on making an ash glaze out of cigar ashes.
I have made a glaze out of cigarette ashes that turned out well. It was a
recipe from Clay and Glazes for the potter by Chapall (sp). I wonder if
cigar ashes would work similar to cigarette ashes. It took forever to
collect enough ash. I don't know anyone that smokes anymore! and cigarette
ash is very light. However does the person who uses incense ash collect
enough?
Good luck
Christine from nodak
Eric Hansen on sat 27 mar 99
Alex
I have been making ash glaze out of fireplace ashes.
I always use the unwashed ash method.
Which means I leave the soluble salts in the glaze.
My recipe uses feldspar and earth added to the ash.
So you might weigh the options.
Of what to add to your cigar ash, if anything.
Maybe it would be a nice glaze by itself on porcelain.
Around cone 10 - 12.
Best of Luck.
Eric in Kansas
--
On Thu, 25 Mar 1999 07:47:45 Alex Pomianek wrote:
>----------------------------Original message----------------------------
>hi all;
>
>i was planing on making an ash glaze out of cigar ashes. i don't have muce
>experience with ash glazes . is there anything i need to know,just the basics
>or what evere you think of.
>
>thanks alex
>
Get your FREE Email at http://mailcity.lycos.com
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patrick conrey on wed 9 aug 00
Regardign yur ash glaze - could you tell to what cone you fire this glaze?
ASHPOTS@AOL.COM on wed 9 aug 00
I also used new ash from here , pine and hickory and i could not see any
difference in my ash glaze. In Miami i was using Mahogany and other tropical
hardwoods.The ash itself was darker in color but the glaze looks great.
My ash glaze is 50% Ash 50% Red Art clay, pretty simple huh?
Mark
Ivor and Olive Lewis on thu 29 apr 04
Dear Pat Southwood,
Without seeing a sample I would be hard pressed to give an answer.
Have you tried to look at these things with a X10 hand lens.
I have a glaze and high Iron oxide slip combination which gives copper
coloured flecks under a clear gloss surface. Very attractive.
Sorry not to be able to be of more help.
Best regards,
Ivor Lewis. Redhill, South Australia
Pat Southwood on thu 29 apr 04
Ivor,=20
I am learning reading over May's shoulders.
I am used to formal glaze mixes, but have always gone off on one, - =
the little pots with spoonfulls of this and that in.
Cooking.... basically.=20
My daughter did a self portrait last week and I grabbed some ash from =
the woodstove in my workshop to raw fire/glaze it with.
I burn anything that looks vaugely combustible, junkmail, empty pop tins =
that can't be recycled, etc,you name it, I'll chuck it in the fire. My =
bought logs are mixed hardwood.
Anyway, this heap of ash on Alice's fringe came out of a 1260 =
oxidization firing with the usual treacley glaze, but it had the most =
beautiful 2mm sq copper "bits" in it.=20
Are they still called crystals with only 4 sides?=20
They looked just like tiny cut up squares of sheet copper floating in =
treacle.
Any idea what might of caused this?=20
I don't recall burning anything particularly copperish
Just wondering.=20
cheers, pat.
pat@southwood4.fsnet.co.uk
Mark Dal Pra on wed 2 jun 04
Hello,
I am new to the list serve and have a question about an ash glaze
that I tried and it did not turn out so well. I picked the glaze from
the clay art board. Here is the recipe that was used.
Adapted recipe (Cone 6-9---Oxidation):
Mixed hard wood ash 28
G-200 feldspar 36
Dolomite 10
OM4 ball clay 21
EPK Kaolin 5
+ CMC
The pottery was bisqued at ^o6 and then fired at ^6. The
sample that came out was rough and almost sandy. It looks
almost like a rough sand stone. I was did not add the + CMC
but did not think that this would effect the outcome. Is there
anyone that has used this recipe. I used a wood ash that I
believe was washed but not sure because the ash was collected
by another potter in the 70's.
Thanks so much
Mark D
Mdalpra@650dialup.com
John Britt on wed 2 jun 04
Mark,
Sounds like it is underfired. Probably needs to go at least to cone 9 if
not 10.
Hope that helps,
John Britt
www.johnbrittpottery.com
pdp1@EARTHLINK.NET on wed 2 jun 04
Hi Mark,
While I have a whole lot less experience in this than most,
I thought it might be fun to chime in anyway...
Are you satisfied you had your Ash Glaze on there thick
enough?
I used to have some of mine come out with a 'Sandstone'
look, and it was ( ^10) oweing to how I had erred on the
side of not enough Glaze on the thing.
My Glazes were not as intentionally derived as yours...being
sieved Ash, and 'dirt' form an area I found combined well
for the whole behaving itself. I have no idea what was in
the dirt...but used to get medium greens with little
rivulets, and 'Root-Beer' brownish breakings on hi-spots and
edges. Too, I was sometimes coating the whole with rust
water first, then dry, then glaze...anyway...
Are you spraying it on? Or dipping? Or...?
Phil
el of ve
----- Original Message -----
From: "Mark Dal Pra"
> Hello,
> I am new to the list serve and have a question about an
ash glaze
> that I tried and it did not turn out so well. I picked
the glaze from
> the clay art board. Here is the recipe that was used.
>
> Adapted recipe (Cone 6-9---Oxidation):
> Mixed hard wood ash 28
> G-200 feldspar 36
> Dolomite 10
> OM4 ball clay 21
> EPK Kaolin 5
> + CMC
>
> The pottery was bisqued at ^o6 and then fired at ^6. The
> sample that came out was rough and almost sandy. It looks
> almost like a rough sand stone. I was did not add the +
CMC
> but did not think that this would effect the outcome. Is
there
> anyone that has used this recipe. I used a wood ash that
I
> believe was washed but not sure because the ash was
collected
> by another potter in the 70's.
> Thanks so much
> Mark D
> Mdalpra@650dialup.com
>
>
____________________________________________________________
__________________
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your
subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached
at melpots@pclink.com.
Ivor and Olive Lewis on thu 3 jun 04
Dear Mark Dal Pra,
When a recipe is given such a wide firing range it is possible that
you would need to take the temperature to the high limit rather than
arresting glaze development at the low limit, to get the best effect.
A cursory examination of that glaze suggests to me that there are
insufficient ingredients which will melt at Cone 6, especially if the
Wood ash has been stripped of its Alkali metal carbonates.
You could encourage fusion at Cone 6 by doing a line blend with one of
the commercial frits. That would encourage low temperature melting and
provide a fluid in which the other ingredients could dissolve to
perform their appointed tasks.
Best Regards,
Ivor Lewis. Redhill, South Australia
Potters Council Member.
steve harrison on thu 3 jun 04
Hi Mark D,
Your recipe has been structured in such a way as to need the ash to
contain an appreciable amount of alkali and alkali earth. (potassium
and calcium) to reach a eutetic composition and melt.
Ash is a very variable material, perhaps your ash is proportionally
higher in silica and lower in the alkalis.
Bad luck there.
As it is, try firing it higher.
but if you cant do that, try adding calcium carbonate, sometimes
called 'whiting'.
Best wishes
Steve Harrison
Hot & Sticky Pty Ltd
5 Railway Pde
Balmoral Village
NSW 2571
Australia
http://ian.currie.to/sh/Steve_Harrisons_books.html
On Thursday, June 3, 2004, at 12:20 PM, Mark Dal Pra wrote:
> Hello,
> I am new to the list serve and have a question about an ash glaze
> that I tried and it did not turn out so well. I picked the glaze from
> the clay art board. Here is the recipe that was used.
>
> Adapted recipe (Cone 6-9---Oxidation):
> Mixed hard wood ash 28
> G-200 feldspar 36
> Dolomite 10
> OM4 ball clay 21
> EPK Kaolin 5
> + CMC
>
> The pottery was bisqued at ^o6 and then fired at ^6. The
> sample that came out was rough and almost sandy. It looks
> almost like a rough sand stone. I was did not add the + CMC
> but did not think that this would effect the outcome. Is there
> anyone that has used this recipe. I used a wood ash that I
> believe was washed but not sure because the ash was collected
> by another potter in the 70's.
> Thanks so much
> Mark D
> Mdalpra@650dialup.com
>
> _______________________________________________________________________
> _______
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at
> melpots@pclink.com.
>
>
ASHPOTS@AOL.COM on thu 3 jun 04
working with ash glazes and any other glaze you have to try and try and try..
I can show you pages of tests and all the little bowls tests from the kiln..
Im still testing,, It took many tests to come up with 50 ash 50 red art clay..
It also makes a big difference with which type of clay you use.. When i use
porcelin my ash glaze really runs so i have to be be more carefull when i
spray, My ash glaze looks totally different on the Wonder White from Highwater clay
than it does on a dark iron rich clay.. i like both but i use wonder white..
What im trying to say is , test, test ,test...
Mark "Axe" Issenberg
www.lookoutmountainpottery.com
Ivor and Olive Lewis on fri 4 jun 04
Dear Steve Harrison,
You say <ash to contain an appreciable amount of alkali and alkali earth.
(potassium and calcium) to reach a eutetic composition and melt.>>
Is it possible for you to elaborate or clarify your use of the term
"Eutectic" in this context?
I ask because this is the first time I have read of Ash being involved
in the creation of a eutectic composition or of such a mixture having
a eutectic temperature.
Best regards,
Ivor Lewis. Redhill, South Australia
Potters Council Member
----- Original Message -----
From: "steve harrison"
To:
Sent: Thursday, 3 June 2004 7:57
Subject: Re: Ash Glaze
> Hi Mark D,
> Your recipe has been structured in such a way as to need the ash to
> contain an appreciable amount of alkali and alkali earth. (potassium
> and calcium) to reach a eutetic composition and melt.
> Ash is a very variable material, perhaps your ash is proportionally
> higher in silica and lower in the alkalis.
> Bad luck there.
> As it is, try firing it higher.
> but if you cant do that, try adding calcium carbonate, sometimes
> called 'whiting'.
> Best wishes
> Steve Harrison
>
> Hot & Sticky Pty Ltd
> 5 Railway Pde
> Balmoral Village
> NSW 2571
> Australia
>
> http://ian.currie.to/sh/Steve_Harrisons_books.html
>
>
> On Thursday, June 3, 2004, at 12:20 PM, Mark Dal Pra wrote:
>
> > Hello,
> > I am new to the list serve and have a question about an ash glaze
> > that I tried and it did not turn out so well. I picked the glaze
from
> > the clay art board. Here is the recipe that was used.
> >
> > Adapted recipe (Cone 6-9---Oxidation):
> > Mixed hard wood ash 28
> > G-200 feldspar 36
> > Dolomite 10
> > OM4 ball clay 21
> > EPK Kaolin 5
> > + CMC
> >
> > The pottery was bisqued at ^o6 and then fired at ^6. The
> > sample that came out was rough and almost sandy. It looks
> > almost like a rough sand stone. I was did not add the + CMC
> > but did not think that this would effect the outcome. Is there
> > anyone that has used this recipe. I used a wood ash that I
> > believe was washed but not sure because the ash was collected
> > by another potter in the 70's.
> > Thanks so much
> > Mark D
> > Mdalpra@650dialup.com
> >
> >
______________________________________________________________________
_
> > _______
> > Send postings to clayart@lsv.ceramics.org
> >
> > You may look at the archives for the list or change your
subscription
> > settings from http://www.ceramics.org/clayart/
> >
> > Moderator of the list is Mel Jacobson who may be reached at
> > melpots@pclink.com.
> >
> >
>
>
______________________________________________________________________
________
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your
subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at
melpots@pclink.com.
steve harrison on fri 4 jun 04
Hi Ivor,
Yes I can elaborate for you, but I suspect that you already know my
answer.
I used the term eutectic loosely to indicate the lowest melting point
of a combination of ingredients.
I know you wont be happy with that but I'm going to use it anyway.
Best wishes
Steve Harrison
Hot & Sticky Pty Ltd
5 Railway Pde
Balmoral Village
NSW 2571
Australia
http://ian.currie.to/sh/Steve_Harrisons_books.html
On Friday, June 4, 2004, at 11:59 AM, Ivor and Olive Lewis wrote:
> Dear Steve Harrison,
> You say <> ash to contain an appreciable amount of alkali and alkali earth.
> (potassium and calcium) to reach a eutetic composition and melt.>>
> Is it possible for you to elaborate or clarify your use of the term
> "Eutectic" in this context?
> I ask because this is the first time I have read of Ash being involved
> in the creation of a eutectic composition or of such a mixture having
> a eutectic temperature.
> Best regards,
> Ivor Lewis. Redhill, South Australia
> Potters Council Member
>
>
> ----- Original Message -----
> From: "steve harrison"
> To:
> Sent: Thursday, 3 June 2004 7:57
> Subject: Re: Ash Glaze
>
>
>> Hi Mark D,
>> Your recipe has been structured in such a way as to need the ash to
>> contain an appreciable amount of alkali and alkali earth. (potassium
>> and calcium) to reach a eutetic composition and melt.
>> Ash is a very variable material, perhaps your ash is proportionally
>> higher in silica and lower in the alkalis.
>> Bad luck there.
>> As it is, try firing it higher.
>> but if you cant do that, try adding calcium carbonate, sometimes
>> called 'whiting'.
>> Best wishes
>> Steve Harrison
>>
>> Hot & Sticky Pty Ltd
>> 5 Railway Pde
>> Balmoral Village
>> NSW 2571
>> Australia
>>
>> http://ian.currie.to/sh/Steve_Harrisons_books.html
>>
>>
>> On Thursday, June 3, 2004, at 12:20 PM, Mark Dal Pra wrote:
>>
>>> Hello,
>>> I am new to the list serve and have a question about an ash glaze
>>> that I tried and it did not turn out so well. I picked the glaze
> from
>>> the clay art board. Here is the recipe that was used.
>>>
>>> Adapted recipe (Cone 6-9---Oxidation):
>>> Mixed hard wood ash 28
>>> G-200 feldspar 36
>>> Dolomite 10
>>> OM4 ball clay 21
>>> EPK Kaolin 5
>>> + CMC
>>>
>>> The pottery was bisqued at ^o6 and then fired at ^6. The
>>> sample that came out was rough and almost sandy. It looks
>>> almost like a rough sand stone. I was did not add the + CMC
>>> but did not think that this would effect the outcome. Is there
>>> anyone that has used this recipe. I used a wood ash that I
>>> believe was washed but not sure because the ash was collected
>>> by another potter in the 70's.
>>> Thanks so much
>>> Mark D
>>> Mdalpra@650dialup.com
>>>
>>>
> ______________________________________________________________________
> _
>>> _______
>>> Send postings to clayart@lsv.ceramics.org
>>>
>>> You may look at the archives for the list or change your
> subscription
>>> settings from http://www.ceramics.org/clayart/
>>>
>>> Moderator of the list is Mel Jacobson who may be reached at
>>> melpots@pclink.com.
>>>
>>>
>>
>>
> ______________________________________________________________________
> ________
>> Send postings to clayart@lsv.ceramics.org
>>
>> You may look at the archives for the list or change your
> subscription
>> settings from http://www.ceramics.org/clayart/
>>
>> Moderator of the list is Mel Jacobson who may be reached at
> melpots@pclink.com.
>
> _______________________________________________________________________
> _______
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at
> melpots@pclink.com.
>
Ivor and Olive Lewis on sat 5 jun 04
Dear Steve,
Thanks for that Notation.
What you write is absolutely acceptable to me.
If Janet Mansfield chooses to publish an essay I have sent to her on
the topic of Eutectics you will read why I am able to say that.
Yours is what I would term "A Common Place" definition, equivalent to
the lowest temperature at which a liquid will form with any specific
mixture of ingredients
I think the introduction of Frits into the equation removes the need
to use the word. They melt and generally provide a solvent for all of
the other ingredients.
Have a good weekend.
Best regards,
Ivor Lewis. Redhill, South Australia
Potters Council Member
Ron Roy on sat 5 jun 04
Hi Mark,
When I calculate this glaze (with washed ash) it has a very high amount of
alumina - it will not melt at cone 6.
If I start adding soda ash to try to sub in alkalies to mimic unwashed ash
I am well over 10% soda ash before it begins to look like a cone 6 glaze.
Your are going to have to add some Boron and to get it to melt at cone 6.
Lowering the clay content will help reduce the amount of boron needed.
RR
>I am new to the list serve and have a question about an ash glaze
>that I tried and it did not turn out so well. I picked the glaze from
>the clay art board. Here is the recipe that was used.
>
>Adapted recipe (Cone 6-9---Oxidation):
>Mixed hard wood ash 28
>G-200 feldspar 36
>Dolomite 10
>OM4 ball clay 21
>EPK Kaolin 5
>+ CMC
>
>The pottery was bisqued at ^o6 and then fired at ^6. The
>sample that came out was rough and almost sandy. It looks
>almost like a rough sand stone. I was did not add the + CMC
>but did not think that this would effect the outcome. Is there
>anyone that has used this recipe. I used a wood ash that I
>believe was washed but not sure because the ash was collected
>by another potter in the 70's.
Ron Roy
RR#4
15084 Little Lake Road
Brighton, Ontario
Canada
K0K 1H0
Phone: 613-475-9544
Fax: 613-475-3513
Lee Love on sun 6 jun 04
Ron Roy wrote:
>>Adapted recipe (Cone 6-9---Oxidation):
>>
>>
>>Mixed hard wood ash 28
>>G-200 feldspar 36
>>Dolomite 10
>>OM4 ball clay 21
>>EPK Kaolin 5
>>+ CMC
>>
Greetings Mark! Welcome aboard!
What does "adapted" mean? What did you change? Does the
original use washed or unwashed wood ash? Unwashed would lowered the
temp for you. Adding soda ash can replace the solubles in washed woodash.
A "cone 6 to cone 9 glaze is not the same as a cone 6
glaze. Typically, a kiln firing from 6 to 9 is hotter than a cone
6 "even" firing in electric and is often fired longer, for example, in a
large wood kiln. Also, if the owner is kind, they usually provide a
description, something like "looks like sandstone at cone 6 and glossy
at cone 9"
You might try a line blend, subbing neph sye for G-200 and/or a
triaxial using neph sye and G. Borate. Boro-lithium frits are also a
possibility for substitution.
-
Lee Love in Mashiko, Japan http://mashiko.org
http://journals.fotki.com/togeika/Mashiko/ Commentary On Pottery
Dinah Snipes Steveni on tue 12 oct 10
Lee has mentioned his process for readying ash for glazes. Neat tips includ=
ed beyond the usual prep. I've read somewhere to avoid metal buckets becaus=
e of the caustic nature of the ash. Has anyone had luck with taking prepar=
ed and seived then dried ash and sprinkling it directly on the shoulder of =
-- a freshly glazed and still wet so it will stick -- pot? Sort of a faux =
wood firing ash flying through the chamber effect! I guess I'll have to try=
it!
steve graber on tue 12 oct 10
i've done that.=3DA0 not a lot, but enough to know to watch out just in cas=
e =3D
it =3D0Adecides to run down the pot like crazy!=3DA0 =3D0A=3D0A=3D0Away bac=
k when som=3D
eone told me an ash glaze was a glaze made out of ash i took =3D0Aexactly t=
ha=3D
t - ash - and added water to it and called it a glaze.=3DA0 i used it =3D0A=
main=3D
ly on the lip of vases and inside bowls or on the lip of bowls.=3DA0 it als=
o =3D
=3D0Amade my skin real smooth!=3DA0 =3D0A=3D0A=3D0Alater, when another pers=
on told me=3D
"no stupid - you ALSO add a clay to it like =3D0Aporcelain so it doesn't r=
un=3D
so much" i added a porcelain slip and some mason =3D0Astain.=3DA0 i never =
meas=3D
ured anything.=3DA0 got a great=3DA0glaze i can't ever seem to get =3D0Aaga=
in (gr=3D
een with rock-like litchen).....=3DA0 i also had old nails and screws in =
=3D0At=3D
he bucket because i never thought about actually cleaning=3DA0or sifting th=
e =3D
=3D0Aash....=3DA0 so who knows if the key was all that extra iron rust in t=
here=3D
....=3DA0 =3D0A=3D0A=3D0A=3D0A=3DA0Steve Graber, Graber's Pottery, Inc=3D0A=
Claremont, Cal=3D
ifornia USA=3D0AThe Steve Tool - for awesome texture on pots! =3D0Awww.grab=
ersp=3D
ottery.com steve@graberspottery.com =3D0A=3D0A=3D0AOn Laguna Clay's website=
=3D0Ahtt=3D
p://www.lagunaclay.com/blogs/ =3D0A=3D0A=3D0A=3D0A----- Original Message --=
--=3D0A> F=3D
rom: Dinah Snipes Steveni =3D0A> To: Clayart@LSV.CE=
RA=3D
MICS.ORG=3D0A> Sent: Tue, October 12, 2010 9:23:47 AM=3D0A> Subject: Ash Gl=
aze=3D
=3D0A> =3D0A> Lee has mentioned his process for readying ash for glazes. Ne=
at t=3D
ips included =3D0A>beyond the usual prep. I've read somewhere to avoid meta=
l =3D
buckets because of the =3D0A>caustic nature of the ash.=3DA0 Has anyone had=
luc=3D
k with taking prepared and seived =3D0A>then dried ash and sprinkling it di=
re=3D
ctly on the shoulder of -- a freshly glazed =3D0A>and still wet so it will =
st=3D
ick=3DA0 -- pot? Sort of a faux wood firing ash flying =3D0A>through the ch=
ambe=3D
r effect! I guess I'll have to try it!=3D0A> =3D0A=3D0A=3D0A
William & Susan Schran User on tue 12 oct 10
On 10/12/10 12:23 PM, "Dinah Snipes Steveni" wrote=
:
> Has anyone had luck with taking prepared and seived then dried ash and
> sprinkling it directly on the shoulder of -- a freshly glazed and still w=
et so
> it will stick -- pot? Sort of a faux wood firing ash flying through the
> chamber effect! I guess I'll have to try it!
Yes, have done this often, especially effective with shino glazes.
Get yourself a cheap little sieve (plastic kitchen one) and put some ash in
it. Have it at hand when glazing your pots. Place a sheet of newspaper down
where you will sprinkle. As you remove your pot from the glaze (using
glazing tongs are helpful), hold over newspaper and sprinkle a bit of ash
over wet glazed pot.
FYI - Ash may add additional flux to glaze so be careful about adding too
much.
Bill
--
William "Bill" Schran
wschran@cox.net
wschran@nvcc.edu
http://www.creativecreekartisans.com
Lee Love on tue 12 oct 10
On Tue, Oct 12, 2010 at 11:23 AM, Dinah Snipes Steveni
wrote:
> Lee has mentioned his process for readying ash for glazes. Neat tips incl=
=3D
uded beyond the >usual prep. I've read somewhere to avoid metal buckets bec=
=3D
ause of the caustic nature
I am using plastic trash cans.
>of the ash. =3DA0Has anyone had luck with taking prepared and seived then =
dr=3D
ied ash and >sprinkling it directly on the shoulder of -- a freshly glazed =
=3D
and still wet so it will stick =3DA0-- >pot? Sort of a faux wood firing ash=
f=3D
lying through the chamber effect! I guess I'll have to try
> it!
A handled tea strainer works great.
--=3D20
--
=3DA0Lee, a Mashiko potter in Minneapolis
http://mingeisota.blogspot.com/
=3D93Observe the wonders as they occur around you. Don't claim them. Feel
the artistry moving through and be silent.=3D94 --Rumi
Steve and Joan Irvine on wed 13 oct 10
I mix my ash 50/50 with Alberta clay slip, and sieve it on to freshly =3D
glaze pieces.
Steve Irvine
www.steveirvine.com
> Has anyone had luck with taking prepared and seived then dried ash and =
=3D
sprinkling it directly on the shoulder of -- a freshly glazed and still =3D
wet so it will stick -- pot? Sort of a faux wood firing ash flying =3D
through the chamber effect! I guess I'll have to try it!
James Freeman on fri 15 oct 10
Dinah...
The glaze needn't even be wet, though it helps a bit. Works even
better if you flux the ash a tad, at least with the ash I used, which
needed at least a really hard cone 10 to melt. You can even sprinkle
on a bit of colorant too. I posted photos of a couple of such pieces
to my flickr page (http://www.flickr.com/photos/jamesfreemanstudio/)
if you want to see them. I'll be happy to provide more details if you
need them. Have fun!
...James
James Freeman
"All I say is by way of discourse, and nothing by way of advice.=3DA0 I
should not speak so boldly if it were my due to be believed."
-Michel de Montaigne
http://www.jamesfreemanstudio.com
http://www.flickr.com/photos/jamesfreemanstudio/
http://www.jamesfreemanstudio.com/resources
On Tue, Oct 12, 2010 at 12:23 PM, Dinah Snipes Steveni
wrote:
> Lee has mentioned his process for readying ash for glazes. Neat tips incl=
=3D
uded beyond the usual prep. I've read somewhere to avoid metal buckets beca=
=3D
use of the caustic nature of the ash. =3DA0Has anyone had luck with taking =
pr=3D
epared and seived then dried ash and sprinkling it directly on the shoulder=
=3D
of -- a freshly glazed and still wet so it will stick =3DA0-- pot? Sort of=
a=3D
faux wood firing ash flying through the chamber effect! I guess I'll have =
=3D
to try it!
>
Eric Hansen on sat 16 oct 10
my brother does that and sprays on - looks good -
- h -
On Tue, Oct 12, 2010 at 12:23 PM, Dinah Snipes Steveni
wrote:
> Lee has mentioned his process for readying ash for glazes. Neat tips incl=
=3D
uded beyond the usual prep. I've read somewhere to avoid metal buckets beca=
=3D
use of the caustic nature of the ash. =3DA0Has anyone had luck with taking =
pr=3D
epared and seived then dried ash and sprinkling it directly on the shoulder=
=3D
of -- a freshly glazed and still wet so it will stick =3DA0-- pot? Sort of=
a=3D
faux wood firing ash flying through the chamber effect! I guess I'll have =
=3D
to try it!
>
--=3D20
Eric Alan Hansen
Stonehouse Studio Pottery
Alexandria, Virginia
americanpotter.blogspot.com
thesuddenschool.blogspot.com
hansencookbook.blogspot.com
"To me, human life in all its forms, individual and aggregate, is a
perpetual wonder: the flora of the earth and sea is full of beauty and
of mystery which seeks science to understand; the fauna of land and
ocean is not less wonderful; the world which holds them both, and the
great universe that folds it in on everyside, are still more
wonderful, complex, and attractive to the contemplating mind." -
Theodore Parker, minister, transcendentalist, abolitionist (1810-1860)
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