Tom Buck on mon 23 sep 96
Someone besides June Perry was inquiring about glazes containing woodash.
Here is what I suggested to June. Others may find it of value.
Cheers TomB Hamilton ON Canada URL http://digitalfire.com/magic/tombuck.htm
---------- Forwarded message ----------
Date: Sun, 22 Sep 1996 16:01:24 -0400 (EDT)
From: Tom Buck
To: June Perry
Subject: Re: ashglazes
For June Perry
Hi again June: I hope you have CM Dec 94 issue on hand. If so,
go to Page 43 and see Richard Aenri's single-fire Ash Glazes. He uses
12.5% ballclay (he glazes raw-ware) to have the glaze shrink in line
with the pot as it goes through the glost firing. (Woodash also provides
needed shrink). He uses unwashed ash, so it will have both alkalies and
alkaline earths as fluxes, probably roughly in equal amounts. Aerni's
article gives good advice, hence his glazes probably will work on your
claybodies, etc.
If however you wish to try develop your own line of ash glazes,
here is an approach that likely I read in one of Tichane's articles/books.
(His latest book "Ash Glazes" by Robt Tichane, available from book dept,
NY Glaze Institute, 511 North Hamilton street, Painted Post, NY 14870. Cost:
$22 postpaid. The blurb is most encouraging).
You make a spar mix for the Cone you fire to (see below) and then
line blend with your woodash, and tests should give you a suitable ash
glaze at this cone. For example,
Spar mix for ash glazes C10
66.5 Custer feldspar; 8.5 Whiting; 4.5 Dolomite; 18.5 kaolin; 2 Bento.
Then add woodash to this mix, in line blend fashion, 15%; 20%; 25%; 30%; 35%.
Since woodash is mostly KNaO, CaO/MgO + P2O5, SiO2 (very low alumina), as you
add more woodash expect the result to approach a glossy glaze (& one that may
crackle/crawl depending).
Another source is Joseph Grebanier's "Chinese Stoneware Glazes" pub
1975 by Watson-Guptill. He goes into woodash quite well and cites some recipes.
Cheers TomB Hamilton ON Canada URL http://digitalfire.com/magic/tombuck.htm
Gary Hill on mon 7 oct 96
Hi all,
Let me introduce myself, my name is Gary Hill and I am a student at
La-Trobe University Bendigo Victoria (Australia) in my second year of
a B.A. in Ceramics. The university here has a well set up ceramics
department with a strong tradition of wood firing, practical skills
and artistic development. There has always been a strong link to the
Science Faculty (which is well equipped) and this is an area that has
consumed a considerable amount of my time. I have been looking at the
analysis of local rocks and ashes with a view to using same in glazes
for the anagama kiln which was built by a group of students (including
myself) this year. This background leads me to the reason for this
post. At the moment I am undertaking, as an history assignment, a look
at the historical development of ash glazes. I am covering such areas
as the 'discovery' and development of the use of ash in, and as,
glazes. For example the closeness of the analysis of Sung chun glazes
(per Woods) to apple ash. I would appreciate any help with reference
to books on the subject which are more obscure than publications such
as Cardew, Leach, Davis, Conrad, Rhodes, McMeekin, Hamer, Woods, Sato
and Tichane etc. Maybe someone knows of work done for post graduate
studies on the subject that I could access via the net or where I
could obtain hard copy.
I am currently analysing local rocks, ashes, clays and commercial
materials
(X-ray spectrometer) and would gladly share the results with anyone
interested. I would also like to hear from anyone who has either the
Seger or percentage formula for non Australian materials quoted in
books, eg Redart clay, 'brand' name felspar etc as I am working on a
glaze calculation spreadsheet which I would like to make as complete
as possible.
Thank you all for your patience with this rather long ramble and I
look
forward to hearing from some of you in the future.
Gary Hill
E-mail: J5810061@emu.bendigo.Latrobe.edu.au
June Perry on tue 8 oct 96
Dear Gary
You can check with some of the universities and see if they have list of
thesis from the ceramics deparment.
Alfred used to have that service. When I checked again a few years ago they
changed their policy and were no longer giving out thesis titles. So the only
options was to blindly purchase whatever thesis may be out that year. Prior
to that policy I did obtain some thesis, among which was one on ash glazes by
Sam Azzara (not sure of the spelling here).
About Redart and other similar materials, if you have access to a glaze
program like Hyperglaze for Apple computers, or or Tony Hansens IMC program
for dos, you could access that information in the material databases of those
programs.
Also you can use the search engines like Yahoo and Lycos, ect. using the word
clay and can pick up some clay companies which lists their clays and
feldspars giving molecular and percentage formulas and descriptions of the
materials.
You can also call them using an 800 number and have them send you analysis
sheets.
I would love to see your findings. We have a lot of decomposed granite in
our area and I haven't done much testing. I would love to see the information
you come up with with the raw materials, etc.
Good luck!
June
Louis Howard Katz on tue 8 oct 96
The Ceramics Web is a ggreat source of information on materials used in
the U.S. and even has some materials from other countries.
Its URL is http://apple.sdsu.edu/ceramicsweb/ceramicsweb.html
Another good way to proceed would be to buy Hyperglaze by Richard
Burkett or Insight. I am not sure how much of a database Insight comes
with but Hyperglaze has a pretty big listing of materials.
Louis
***************************************************
*Louis Katz lkatz@falcon.tamucc.edu *
*Texas A&M University Corpus Christi *
*6300 Ocean Drive, Art Department *
*Corpus Christi, Tx 78412 *
*Phone (512) 994-5987 *
**************************************************
MisUnruly on mon 12 jun 00
Ok, I am looking for good ^6 ash glazes. Anyone tried using animal ash
in their glazes yet?
I have the ash (in particular) that I would like to make a glaze out of
and I know some of you were doing some testing with animal ash.
If you could reply to my privately as I only get this newsgroup in
digest form, I would appreciate it.
How are you all doing anyway? I have missed reading clayart, but due to
the nature of my job I am gone from my computer 5 days a week. I don't
think my ISP would appreciate holding onto the large number of posts
that come in every day for a whole week! I hope you are all doing
well.
Julia
--
some people say that you are going the wrong way,
when it is simply a way of your own.
Gretchen Woodman on sun 4 feb 01
I have been scanning some ash glaze recipes from the
archives. Some of them sound really interesting. Why
do they wash the ash 5 or more times? What would
happen if you did not wash the ash?
Is there a characteristic difference between "ash"
glazes and non-ash glazes, other than the ingredient
itself, like durability, variation or predictability?
Thank you in advance for your help!!
Gretchen Woodman
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Jeff Campana on mon 5 feb 01
Gretchen,
I know there are some bigger ash-glazers than me on the list, but I've been doing
it exclusively for a couple years, so I'm kind of qualified to talk about this.
Ash is washed to remove the soluble salts from the glaze. Ash is very caustic.
In fact, I spilled some ash glaze on a varnished wooden counter and it stripped
the finish in 30 minutes! Washing the ash makes it easier on the hands, and
eliminates the necessity of wearing gloves. It also prevents the glaze from
gelling up. I personally never wash my ash. It has been said, either by Tichane
or Phil Rogers, I forget, now, that not washing the ash causes much more bleaching
of the body underneath the glaze. For someone wanting a somewhat reliable glaze,
washing the ash is sensible. However, most of us ash glazers are addicted to the
highly runny, rivuletting bleaching effect unwashed ash yields. It is entirely a
preference issue.
Getting into ash glazes can be a lot more consuming than you would think at
first. You need a steady ash source, but all ash is different, so you need to do
a lot of recipe variation to keep consistent results. I have not made two batches
exactly the same. That is what is so fun about it. Instead of merely "using" and
ash glaze, you court it. You get to know it, and develop a relationship with it.
Sometimes it really lets you down, but other times it comes out of the kiln so
beautiful, it brings tears to your eyes.
If you want to get into ash glazing, I recommend reading Phil Rogers' book, ash
glazes. It is much clearer and informative than the one of the same title written
by Robert Tichane. It will really set you on the right course, and explain all
the basics.
Right now I am working with engobes under a very thin spray of ash glaze, making
an orange peel surface. It is very interesting because the color only comes
through in the areas where the glaze is thicker. Where it is thinner, it is
yellow, and thick, the colorant comes through in a softly muted tone.
Here's some examples of what I'm doing.
www.geocities.com/campanaceramics
Good luck,
Jeff Campana
Gretchen Woodman wrote:
> I have been scanning some ash glaze recipes from the
> archives. Some of them sound really interesting. Why
> do they wash the ash 5 or more times? What would
> happen if you did not wash the ash?
>
> Is there a characteristic difference between "ash"
> glazes and non-ash glazes, other than the ingredient
> itself, like durability, variation or predictability?
Dennis Mummert on mon 5 feb 01
If you don't wash the ash at least a couple of times, you end up with a
fairly potent solution of sodium hydroxide when you add water...to fresh
ash. In other words, lye. Does a fair job of dissolving your skin and
turning fatty tissue into soap.
I have been scanning some ash glaze recipes from the
archives. Some of them sound really interesting. Why
do they wash the ash 5 or more times? What would
happen if you did not wash the ash?
Hank Murrow on mon 5 feb 01
Gretchen wrote;
>I have been scanning some ash glaze recipes from the
>archives. Some of them sound really interesting. Why
>do they wash the ash 5 or more times? What would
>happen if you did not wash the ash?
>
>Is there a characteristic difference between "ash"
>glazes and non-ash glazes, other than the ingredient
>itself, like durability, variation or predictability?
dear Gretchen;
One of the things which has been little noted in response to your
post is that as you glaze pots from a unwashed ashglaze bucket; more
solubles are removed than solids. Each time you dip, you are dipping into a
different glaze because proportionally more solubles have been removed.
This is one of the reasons folks wash their ash so thoroughly.
Regards, Hank in Eugene
MaryBeth Bishop on mon 5 feb 01
Ash washing pros and cons. Tichane goes on and on on this subject then comes
to the conclusion it doesn't make much difference. I think the only real
reason to wash the ash is to make the mix less caustic. If you are mixing
and using immediately I don't think it matters so much but if you are mixing
and using over a period of time it becomes more of an issue. Also in group
situations the need to label glaze containers to be sure you/students/whoever
use gloves and avoid skin contact becomes more of a health and safety issue
where ash is raw. Correct me group if I have this wrong but this is what I
think I learned.
Mary Beth Bishop
just barely escaped the great PA snow and made it home to sunshine and bulbs
poking through in NC this afternoon. Forgive me you Northern types. I like
it fine until I have to shovel it or drive in it. Wimp...yes
vince pitelka on tue 6 feb 01
> If you don't wash the ash at least a couple of times, you end up with a
> fairly potent solution of sodium hydroxide when you add water...to fresh
> ash. In other words, lye. Does a fair job of dissolving your skin and
> turning fatty tissue into soap.
This is a rather extreme overreaction.
Don't soak your hands in glazes made from unwashed ash. Otherwise there's
no problem at all. If you want the traditional ash-glaze effect as brought
on by the real thing, then do not wash your ash. When you wash it, you
loose a good part of the soluble flux content, and you end up with a
refractory material to which you must add other fluxes.
Best wishes -
- Vince
Vince Pitelka
Appalachian Center for Crafts
Tennessee Technological University
1560 Craft Center Drive, Smithville TN 37166
Home - vpitelka@dtccom.net
615/597-5376
Work - wpitelka@tntech.edu
615/597-6801 ext. 111, fax 615/597-6803
http://www.craftcenter.tntech.edu/
Jeff Campana on tue 6 feb 01
>
>
> One of the things which has been little noted in response to your
> post is that as you glaze pots from a unwashed ashglaze bucket; more
> solubles are removed than solids. Each time you dip, you are dipping into a
> different glaze because proportionally more solubles have been removed.
> This is one of the reasons folks wash their ash so thoroughly.
While this is true, I know of very few people who dip an ash glaze. (by that i
mean the runny type with 40% ash or so) this is because the glaze needs to be
applied very very thinly to avoid a puddle on the kiln shelves. It is usually
sprayed, I think. Thus, every bit you laddle out of the bucket into the spray gun
would be the same.
Also, there needs to be more of a clarifcation of what "Ash Glaze" means. To me,
an ash glaze is characterized as extremely runny, parting glaze. After being
applied evenly and fired, it looks like syrup being poured down the side of the
pot. it is like this from being way overfluxed, in the common glaze terms, mainly
an insane amount of calcium. It gathers and runs like syrup during the firing.
This is one of those glazes that is purposely "flawed" and fluxed way beyond the
standard limits. Others would be shinos, crawl glazes and crackles, which are
purposely made with accentuated "flaws" in order to visually enhance the work.
Good examples of this are Richard Aerni's pots in his CM article a few years back,
or Thomas Clarkson in the Tichan Book.
The other kind, which look like normal glazes, but contain ash as an ingrediant, I
would classify as normal glaze, containing ash, not ash glaze.
Is anyone else with me on this one?
Jeff Campana
SusanRaku@AOL.COM on tue 6 feb 01
In a message dated 02/06/2001 12:07:24 AM Eastern Standard Time,
dmummert@ERINET.COM writes:
<< In other words, lye. Does a fair job of dissolving your skin and
turning fatty tissue into soap.
>>
I have been using unwashed ash for years with uncovered hands and never
noticed a thing. Of course maybe that is why I am having a hard time losing
weight.. must be chunks of soap and not fat that is clinging to my thighs.
Susan
Lili Krakowski on tue 6 feb 01
Once more, with feeling.
Wet wood ash gives off lye. Some of you older
country types may remember lye barrels (called different things in
different parts of the country: barrels with small holes at, not in the
bottom.)
These were filled with woodash from the stove, and water added or just
allowed in when it rained. The run off water was saved and used for soap
making , the fat being supplied by sieved drippings!
The ash was stirred (CAREFULLY! WITH A LONG WOODEN STICK)
to mix it up. After a while the ash was considered clean, i.e. no more
lye, and the ash used in the garden.
However. If you don't believe us careful ones go to a hardware store and
read the warning on lye, which also was used to clean drains!
Wet unwashed ash is caustic. It eats your skin it depilates your
brushes,
and as someone noted it eats the finish off wood. And if it gets in your
eyes its total disaster--possibly blindness.
I wash my ash in a plastic garbage pail (about 20 gallons I guess) in the
garden. As I do not save the lye, the pail is set in a hole so the stuff
goes directly into the ground. As a result when I last had my garden soil
tested it was way over the alkaline limits; so I am the only person (so I
was assured) on the Tug Hill plateau to have over-alkaline soil!!
Unfortunately wet ashes/lye have a most attractive smell. So children
are not driven away by the stench. To the contrary! When you wash ash
becareful; arrange some barrier so children and pets are kept away. Or, as
when I have had kids as guests, put the barrel in a shed (if the floor is
wood or concrete or something, put it in a plastic pan to catch any
water.) You know when the washing is "done" by using litmus paper.
Also: Remember; every batch of wood ash is different; some of the books
offer charts by species, but even trees of same species vary. Don't
bother going through all the trouble for less than a 5 gallon pail full of
dry SIEVED ash. SIEVED means you have put it through a coarse screen
(fine hardware cloth, at the least; I use fiberglass window screen) before
you wash. (SIEVED to remove charcoal, bits of wood, cigarette filters
etc.) NB: Do not use ash that has too much paper, especially glazed paper
in it. The paper ash contains clay, will affect melting point. Pure wood
ash is a srong flux.)
That way you will get enough "finished" ash to make glaze testing
wortwhile.
An alternate you can try for nice effects; paint a decoration on a glazed
pot, with corn syrup thinnned to brushability. Sprinkle with wood ash
(wear mask; ash is not good to breathe in; and wear goggles; dry ash gets
wet and caustic when it hits mucuous linings--nose, mouth, eyeballs.) and
shake offthe excess. It gives pretty firing effects and, as you are
not handling wet ash,should keep you out of trouble.
Lili
Krakowski
Hank Murrow on tue 6 feb 01
>>Ash washing pros and cons.
>> ...but if you are mixing and using over a period of time it >becomes more
>of an issue.
Erik asks;
>Could you expand on this issue?
Hank again replies(tho to whose post?);
As you dip from the bucket, more of the solubles are removed than
the insolubles. This, the actual recipe of the glaze(which contains
solubles) will change over time. if you mix and apply fresh each time, you
are not dealing with or experiencing that variable.
Tom Buck on tue 6 feb 01
to anon:
the question of woodash washing is in part dependent on the glaze
you wish to prepare. If it is a C6-10 reduction (or oxidation for that
matter) then you do not want the Na+ and K+ ions in the glaze slurry, that
is, the alkali salts (mostly carbonate, or soda ash & potash) dissolved in
the water of the mix (unless you are making a shino). In the melting glaze
the Na and K oxides will make the liquid glass quite fluid, ie, runny.
But should you be doing raku, you want the alkali oxides
present in the fired glaze, so do not wash.
Oxidation glazes for C06 to C3 can take washed or unwashed
woodash, again depending on what you like. I prefer unwashed for my
lowfire work, since I can then use these glazes on raku pots or flower
pots.
Good tests. Bye. Peace. Tom B.
Tom Buck )
tel: 905-389-2339 (westend Lake Ontario, province of Ontario, Canada).
mailing address: 373 East 43rd Street,
Hamilton ON L8T 3E1 Canada
Erik Buitenhuis on tue 6 feb 01
>Ash washing pros and cons.
> ...but if you are mixing and using over a period of time it >becomes more
of an issue.
Could you expand on this issue?
Thanks,
Erik Buitenhuis.
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Dennis Mummert on wed 7 feb 01
Vince, didn't mean to sound like a Luddite, but the caution is there. Wood
ash consists mainly of the minerals the tree soaks up during its lifetime.
About 80% or better of the wood are various organic carbon compounds, but
the rest of it is mainly sodium, potassium, phosphorus, calcium, iron, and
magnesium in widely varying ratios, with trace amounts of cobalt and boron.
Depends on the species and the soil. The first two, depending on the way
the fire burns, convert mainly to their oxides first, and then deliquesce
into the hydroxide form (-OH). The hydroxides will also deliquesce,
absorbing more H2O and carbon dioxide from the air to yield stable
carbonates and hydrates. All 3 groups of alkali and alkaline molecules are
caustic to varying degrees. Calcium and magnesium do pretty much the same
thing, except slower. They also are caustic, yet they prefer to hydrolize
into the stable and familiar product known as concrete.
Now, I don't wear gloves when I do concrete work, and the skin on my hands,
while not qualifying for burn status, is seriously deteriorated at the end
of the day. Concrete dust, mostly alkaline oxides, *wants* to complete its
reaction chain into the lowest energy state, and will quite happily accept
the water and oils from your skin to do so. Ditto sodium and potassium.
They also disassemble long chain organics. I use oven cleaner (sodium
hydroxide solution) to strip paint.
I do agree, though. Just use good judgement in handling. It isn't a
mixture of the concentrated stuff and won't kill you, or even seriously
damage. You aren't exposed to it long enough to matter. Wood ash was the
original source of lye, which was used to convert animal fat into soap.
> If you don't wash the ash at least a couple of times, you end up with a
> fairly potent solution of sodium hydroxide when you add water...to fresh
> ash. In other words, lye. Does a fair job of dissolving your skin and
> turning fatty tissue into soap.
This is a rather extreme overreaction.
Don't soak your hands in glazes made from unwashed ash. Otherwise there's
no problem at all. If you want the traditional ash-glaze effect as brought
on by the real thing, then do not wash your ash. When you wash it, you
loose a good part of the soluble flux content, and you end up with a
refractory material to which you must add other fluxes.
Best wishes -
- Vince
Vince Pitelka
Appalachian Center for Crafts
Tennessee Technological University
1560 Craft Center Drive, Smithville TN 37166
Home - vpitelka@dtccom.net
615/597-5376
Work - wpitelka@tntech.edu
615/597-6801 ext. 111, fax 615/597-6803
http://www.craftcenter.tntech.edu/
____________________________________________________________________________
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MaryBeth Bishop on wed 7 feb 01
Erik,
I think others more able than I have talked about the caustic nature of raw
ash solutions. Washing reduces this. So if you are mixing up a little batch
and spraying or dipping or pouring it for one time use you can probably get
by without washing. But if you are mixing a glaze that will be accessible in
the studio over a period of time, days to years, the washing becomes a
necessity. Of course I could be wrong about this. I have only read about it
and have washed ash before experimenting with it for glazes. Some people say
you lose all the "good" stuff this way and they have a point. Also lose some
bad stuff and since I tend to let glazes sit around and then go back to them
it seems a better plan for me. Whatever you do, it is a good plan to wear
gloves. Then have fun.
Mary Beth Bishop
Lee Love on thu 8 feb 01
I always dipped my Ash glaze. It was about half ash and half Alberta slip.
At Shimaoka's pottery, they use a similar glaze, the tradition half natural
ball clay and half oak ash. The ash is thoroughly rinsed (I never rinsed
my ash glaze, it was runny when thick) and a percentage of kaolin is added
according to the temperature of the area of the kiln the work is placed or
if it is in the Noborigama. Also, the thickness of the glaze is varied
according to the thickness of the wall of the pot. Almost all the work is
dipped, though with some large platters, it is ladled on. This glaze doe
not run.
--
Lee Love
Mashiko JAPAN Ikiru@kami.com
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ASHPOTS@AOL.COM on thu 8 feb 01
Hey, when i use my ash glaze 50/50 i mix it up every firing. I use a gallon
per firing.My kiln is 24 cu ft. Of course i run out sometimes and have to
make more so that will be the culture for the next batch. Not very
scientific, but it works for me.If that glaze sits it will foam up.
I ALWAYS spray the ash glaze.My favorite spray gun is the one i bought at
Harbour Freight in Lost Wages at the Tom Coleman workshop
Capt Mark
aaron tester on thu 8 feb 01
I have a question for you...to what cone are you firing to? I have a 50/50
glaze that is just resd atr and wood ash and I have seen the results at ^10
in an anagama kiln and they are quite lovely. Are you firing to ^10 or
lower?
Aaron
>From: Lee Love
>Reply-To: Ceramic Arts Discussion List
>To: CLAYART@LSV.CERAMICS.ORG
>Subject: Re: ash glazes
>Date: Thu, 8 Feb 2001 20:32:05 +0900
>
>I always dipped my Ash glaze. It was about half ash and half Alberta
>slip.
>At Shimaoka's pottery, they use a similar glaze, the tradition half natural
>ball clay and half oak ash. The ash is thoroughly rinsed (I never rinsed
>my ash glaze, it was runny when thick) and a percentage of kaolin is added
>according to the temperature of the area of the kiln the work is placed or
>if it is in the Noborigama. Also, the thickness of the glaze is varied
>according to the thickness of the wall of the pot. Almost all the work
>is
>dipped, though with some large platters, it is ladled on. This glaze doe
>not run.
>
>--
>
>Lee Love
> Mashiko JAPAN Ikiru@kami.com
>Interested in Folkcraft? Signup:
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>
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>
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Lee Love on fri 9 feb 01
----- Original Message -----
From: "aaron tester"
> I have a question for you...to what cone are you firing to? I have a
50/50
> glaze that is just resd atr and wood ash and I have seen the results at
^10
> in an anagama kiln and they are quite lovely. Are you firing to ^10 or
> lower?
Aaron,
I used to fire (in St. Paul) in gas, wood or soda to cone 10/11.
The glaze would always run in soda. I always wadded and put a clay
disc under the wads. In the gas kiln, I'd often glaze the bottom
fourth of the pot with a stable glaze. The type of ash you use has a
great effect. I used red elm.
In the Noborigama, the 50/50 glaze doesn't run at all. The ash
is from oak. We washed the last batch of Dobai (wood ash) for about 6
weeks, siphoning off the water a couple times a day and replacing it with
fresh water.
There are a range of temperatures in the Noborigama. A big
woodfire kiln is not as even as a small gas kiln. Like I mentioned, a
percentage of kaolin is added for the hotter areas of the kiln. Basically,
the glaze is a soft green celadon, but is brown where thin in reduction.
I've seen gas fired work with this glaze and it is very difficult to tell
the difference from Noborigama fired work. The variations you get from
the glaze itself seem to be more important than whether you fire in gas or
wood.
--
Lee Love
Mashiko JAPAN Ikiru@kami.com
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Bobbruch1@AOL.COM on fri 26 oct 01
I have been working at cone 6 oxidation with ash glazes that I found in the
archives. The application is very different from the use of ash glazes that
you may have experienced at cone 10 reduction.
I have found that my test tiles often don't tell me what to expect on a
larger piece. Thickness of application and clay bodies are very important.
I have been brushing the glazes on my pieces and have been refiring up to 3
and 4 times to get results that I am satisfied with. Never had that problem
with cone 10 reduction ash glazes. I have found that most of the ash glazes
respond quite well to refiring, in that they accept another coat glaze or
even another ash glaze over them much easier than most other glaze types seem
to do after they already have been fired to temperature. Layering, even in a
refire, can produce interesting results. So, if you don't like the tiles,
put the glaze on thicker and refire. Or, try another ash glaze over them.
Also, try adding an ash glaze to some tiles with glossy glazes already fired
to temperature.
You also need to look at the effects you want. Some of the ash glazes in the
archives are matte with interesting random spotting where applied thickly,
and they do not have alot of movement. Others can create significant drips,
IF APPLIED THICKLY ENOUGH, and they may have either matte or glossy surfaces.
In either case, keeping thinking about thickness of application. You might
want to make larger tiles and layer them to see the differentiation that
thickness of application can cause. I might recommend firing some of the
"dripping" glazes on softbrick to save both kiln shelves and pots. In my
last firing, I put flint on the softbrick to help catch some of the dripping.
Hope this helps,
Bob
<<<<<<<
Subject: Help with Ash Glazes
I have made numerous attempts to make an ash glaze that works well firing at
cone 6 in an electric kiln on stoneware. Opening my kiln this morning, I was
once again disappointed with my test tiles. This is about my 10th attempt
(each attempt included several formulas on test tiles and pieces) to make a
workable ash glaze and my wife keeps reminding me that I vowed to give up
after about my seventh try.
All of the glaze formulas I attempted came from Clayart archives--yes, I read
most of the emails on ash glazes, Ceramic Monthly's and various books. If
anyone is doing successful cone 5 or cone 6 ash glazing in an electric kiln
could you share your
"secrets" with me. Being a former librarian, I have read extensively about
the process and just can't get good results. I know there must be some of
you out
there doing it right because I see gorgeous pictures of oxidation ash glazed
pieces.
I've tried homemade ash, commercial ash, etc. and use Laguna #55 or Laguna
#60 but will change to any clay body commercially available if it makes a
difference.
Thanks for anything anyone can offer.
Holder, Samuel on fri 26 oct 01
Bob wrote:
From: Bobbruch1@AOL.COM [mailto:Bobbruch1@AOL.COM]
Sent: Friday, October 26, 2001 6:42 AM
To: CLAYART@LSV.CERAMICS.ORG
Subject: ash glazes
I have been working at cone 6 oxidation with ash glazes that I found in the
archives.
I have found that my test tiles often don't tell me what to expect on a
larger piece.
Thickness of application and clay bodies are very important.
Bob, this was a nice review... lots of insights.
Could you tell us what clay bodies and glazes you were using?
Thanks in advance.
Samuel.
Brian Guffey on sun 9 mar 03
I'm experimenting with building an ash glaze from scratch, what is the
difference in the different type of ash's one can use (i.e. wood ash, bone
ash, volcanic ash, potash, soda ash, etc.) and what do the ash glazes do
when fired.
Lorraine Pierce on mon 10 mar 03
Hello Brian, may I suggest a quick trip to the library where I recommend you
read A Potter's Book by Bernard Leach. It is a joyful read for a budding
potter and has much of the info you need; page 159 is headed Wood Ash, page
161, Vegetable Ash and page 163 starts Miss Katherine Pledell-Bouvarie's
Effects of Different Wood Ashes on Glazes (1930-40).
You can find a limit formula and an excellent way to start your experiment
in Clay and Glazes for the Potter, Daniel Rhodes third edition, revised and
expanded by Robin Hopper, 2000; It should be MOST helpful to you , page
314-315.
The Potter's Dictionary of materials and techniques by Frank and Janet
Hamer, fourth ed 1997, will give in depth definitions of the materials you
question.
If enough ashes are used as the flux in a glaze, the glaze can web or
streak or string, as the case may be, in an interesting way; Some ash
glazes use another flux with the ash for stability. There are also fake ash
glazes.
Now I have questions Brian...are you alone in this project or do you have an
instructor or mentor to guide you? what temperature and kiln type are you
using? Have you looked at pots or pictures of glazes that are either
kissed by the wood fire or sprinkled with wood ash or have ashes used as the
flux? Since you do not know what an ash glaze DOES in the firing, your
words, I wonder why you are interested in using this glaze.What effect you
are after?
Or did you mean , what the different MATERIALS in an ash glaze are there
to 'do'? It has only now occurred to me that this may be a class assignment
you wish us to do for you! Perhaps the joke is on me!! Lori Pierce in
New Port Richey, Fl.
----- Original Message -----
From: "Brian Guffey"
To:
Sent: Sunday, March 09, 2003 11:23 PM
Subject: ash glazes
> I'm experimenting with building an ash glaze from scratch, what is the
> difference in the different type of ash's one can use (i.e. wood ash, bone
> ash, volcanic ash, potash, soda ash, etc.) and what do the ash glazes do
> when fired.
>
>
____________________________________________________________________________
__
> 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.
Lily Krakowski on mon 10 mar 03
OOPS!
As far as I know "ash glaze" refers to a glaze with a good amount of plant
ash in it. In Leach's book, and in several others no doubt, there is/are
chart with "typical" analyses of specific ashes. These are nice ball-park
guesses as while there are overarching characteristics shared by all trees
of a specific variety (apples, elms) each batch will differ. That's nature
for you. Therefore it is a good idea to have a wine carton or so full of
ash before one starts testing a specific batch.
Coal ash--not that common anymore--also is good in ash glazes.
Volcanic ash is just that, and has its own makeup. Again analyses are
available.
Potash is the common name for potassium oxide,no idea why.
Bone ash is calcium phosphate, introduced in a glaze for the phosphorus
which has nice properties. (Look'em up.) Since Mad Cow disease other forms
of phosphorus have been used including TriSodium Phosphate.h
Soda ash is a form of sodium carbonate.
As said: I have no idea how "ash" became part of the name of some of these,
those wood ash, coal ash, and volcanic ash all derive from something
burning.
Brian Guffey writes:
> I'm experimenting with building an ash glaze from scratch, what is the
> difference in the different type of ash's one can use (i.e. wood ash, bone
> ash, volcanic ash, potash, soda ash, etc.) and what do the ash glazes do
> when fired.
>
> ______________________________________________________________________________
> 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.
Lili Krakowski
P.O. Box #1
Constableville, N.Y.
(315) 942-5916/ 397-2389
Be of good courage....
Hendrix, Taylor J. on tue 11 mar 03
Lily!
How odd. Fly ash, a form of coal ash, is used in the cement/concrete
industry. I just asked my bro-in-law who is a chemical engineer for
said industry if he had some old fly ash samples I could take off his
hands. He is looking! I will ask about this in another thread too.
Taylor, in Waco
-----Original Message-----
From: Lily Krakowski [mailto:mlkrakowski@CITLINK.NET]=20
Sent: Monday, March 10, 2003 4:19 PM
To: CLAYART@LSV.CERAMICS.ORG
Subject: Re: ash glazes
OOPS!
As far as I know "ash glaze" refers to a glaze with a good amount of
plant
ash in it. In Leach's book, and in several others no doubt, there
is/are
chart with "typical" analyses of specific ashes. These are nice
ball-park
guesses as while there are overarching characteristics shared by all
trees
of a specific variety (apples, elms) each batch will differ. That's
nature
for you. Therefore it is a good idea to have a wine carton or so full
of
ash before one starts testing a specific batch.
Coal ash--not that common anymore--also is good in ash glazes.
Volcanic ash is just that, and has its own makeup. Again analyses are
available.
Potash is the common name for potassium oxide,no idea why.
Bone ash is calcium phosphate, introduced in a glaze for the phosphorus
which has nice properties. (Look'em up.) Since Mad Cow disease other
forms
of phosphorus have been used including TriSodium Phosphate.h
Soda ash is a form of sodium carbonate.
As said: I have no idea how "ash" became part of the name of some of
these,
those wood ash, coal ash, and volcanic ash all derive from something
burning.
Brian Guffey writes:
> I'm experimenting with building an ash glaze from scratch, what is
the
> difference in the different type of ash's one can use (i.e. wood ash,
bone
> ash, volcanic ash, potash, soda ash, etc.) and what do the ash glazes
do
> when fired.
>
>
________________________________________________________________________
______
> 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.
Lili Krakowski
P.O. Box #1
Constableville, N.Y.
(315) 942-5916/ 397-2389
Be of good courage....
________________________________________________________________________
______
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.
Lily Krakowski on tue 11 mar 03
Fly ash? FLY ASH? Are you people down in petroland so depleted that you
are heating with flies? Actually I know the term and will look for and then
post some recipes or relevant info...
(I am worldly enough to know peoplke smoke roaches--but this--FLIES!
Hendrix, Taylor J. writes:
> Lily!
>
> How odd. Fly ash, a form of coal ash, is used in the cement/concrete
> industry. I just asked my bro-in-law who is a chemical engineer for
> said industry if he had some old fly ash samples I could take off his
> hands. He is looking! I will ask about this in another thread too.
>
> Taylor, in Waco
>
> -----Original Message-----
> From: Lily Krakowski [mailto:mlkrakowski@CITLINK.NET]
> Sent: Monday, March 10, 2003 4:19 PM
> To: CLAYART@LSV.CERAMICS.ORG
> Subject: Re: ash glazes
>
>
> OOPS!
> As far as I know "ash glaze" refers to a glaze with a good amount of
> plant
> ash in it. In Leach's book, and in several others no doubt, there
> is/are
> chart with "typical" analyses of specific ashes. These are nice
> ball-park
> guesses as while there are overarching characteristics shared by all
> trees
> of a specific variety (apples, elms) each batch will differ. That's
> nature
> for you. Therefore it is a good idea to have a wine carton or so full
> of
> ash before one starts testing a specific batch.
>
> Coal ash--not that common anymore--also is good in ash glazes.
>
> Volcanic ash is just that, and has its own makeup. Again analyses are
> available.
>
> Potash is the common name for potassium oxide,no idea why.
>
> Bone ash is calcium phosphate, introduced in a glaze for the phosphorus
> which has nice properties. (Look'em up.) Since Mad Cow disease other
> forms
> of phosphorus have been used including TriSodium Phosphate.h
>
> Soda ash is a form of sodium carbonate.
>
> As said: I have no idea how "ash" became part of the name of some of
> these,
> those wood ash, coal ash, and volcanic ash all derive from something
> burning.
>
>
>
> Brian Guffey writes:
>
>> I'm experimenting with building an ash glaze from scratch, what is
> the
>> difference in the different type of ash's one can use (i.e. wood ash,
> bone
>> ash, volcanic ash, potash, soda ash, etc.) and what do the ash glazes
> do
>> when fired.
>>
>>
> ________________________________________________________________________
> ______
>> 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.
>
>
>
> Lili Krakowski
> P.O. Box #1
> Constableville, N.Y.
> (315) 942-5916/ 397-2389
>
> Be of good courage....
>
> ________________________________________________________________________
> ______
> 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.
Lili Krakowski
P.O. Box #1
Constableville, N.Y.
(315) 942-5916/ 397-2389
Be of good courage....
BRIAN GUFFEY on wed 12 mar 03
This is a lone personal assignment of sorts, i was mainly wondering what =
the different qualities of ash glazes were, in glazes. because when you =
read all these books, they don't really tell you any sort of comparison b=
etween ashes. (i worked at barnes and nobles for a good number of years)=
and either they have pages on types of wood ash's, or they have a few li=
mit formulas. and i do have an instructor, but at the moment and for the=
next 3 weeks, he is going to be out of town and what such for nceca and =
his vacation. =20
----- Original Message -----
From: Lorraine Pierce
Sent: Monday, March 10, 2003 11:20 PM
To: CLAYART@LSV.CERAMICS.ORG
Subject: Re: ash glazes
Hello Brian, may I suggest a quick trip to the library where I recommend =
you
read A Potter's Book by Bernard Leach. It is a joyful read for a budding
potter and has much of the info you need; page 159 is headed Wood Ash, pa=
ge
161, Vegetable Ash and page 163 starts Miss Katherine Pledell-Bouvarie's
Effects of Different Wood Ashes on Glazes (1930-40).
You can find a limit formula and an excellent way to start your experimen=
t
in Clay and Glazes for the Potter, Daniel Rhodes third edition, revised a=
nd
expanded by Robin Hopper, 2000; It should be MOST helpful to you , page
314-315.
The Potter's Dictionary of materials and techniques by Frank and Janet
Hamer, fourth ed 1997, will give in depth definitions of the materials yo=
u
question.
If enough ashes are used as the flux in a glaze, the glaze can web or
streak or string, as the case may be, in an interesting way; Some ash
glazes use another flux with the ash for stability. There are also fake a=
sh
glazes.
Now I have questions Brian...are you alone in this project or do you have=
an
instructor or mentor to guide you? what temperature and kiln type are yo=
u
using? Have you looked at pots or pictures of glazes that are either
kissed by the wood fire or sprinkled with wood ash or have ashes used as =
the
flux? Since you do not know what an ash glaze DOES in the firing, your
words, I wonder why you are interested in using this glaze.What effect yo=
u
are after?
Or did you mean , what the different MATERIALS in an ash glaze are the=
re
to 'do'? It has only now occurred to me that this may be a class assignme=
nt
you wish us to do for you! Perhaps the joke is on me!! Lori Pierce=
in
New Port Richey, Fl.
----- Original Message -----
From: "Brian Guffey"
To:
Sent: Sunday, March 09, 2003 11:23 PM
Subject: ash glazes
> I'm experimenting with building an ash glaze from scratch, what is the
> difference in the different type of ash's one can use (i.e. wood ash, b=
one
> ash, volcanic ash, potash, soda ash, etc.) and what do the ash glazes d=
o
> when fired.
>
>
_________________________________________________________________________=
___
__
> 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@pclin=
k.com.
Lorraine Pierce on wed 12 mar 03
Hi Brian...Like most glazes, the visual qualities of ash glazes are many;
the look created depends on how the glaze is fired , (oxidation, reduction,
fossil fuel or electricity), as well as the proportions of other materials
in the glaze , how the glaze is applied ,as well as the composition of the
clay body, even mineral content of the water used...all of these things and
more contribute to the quality and visual characteristics of the glaze and
glaze stability .
Since ash from one tree or bush or grass varies from season to season, and
varies from soil to soil, it is best to prepare a quantity of ash before you
start your tests. These variables make it impossible to give you the hard
and fast answers you wish. You did not say what type of kiln and what cone
you will be firing these tests to...if it is ^9-10 you could start with a
standard shop glaze you like, perhaps mat, and after you glaze your pot
sprinkle the shoulders with prepared ash before it is set in the kiln .
Protect the shelf...you could have glaze runs. Or on the inside of a shallow
bowl, safer!
I did not mention in my last post Richard Zakin's book Electric Kiln
Ceramics. Beginning on pg. 69 he lays out a very clear method of ash
preparation, and glaze testing ...(with safety instructions). Simple and
direct. He adds his samples of wood ash in 10 and 40 gram amounts to 100
grams of a high silica recipe, a high alumina recipe, a high melter recipe
and a dark clay recipe. Enjoy your project. Lori P. in New Port
Richey, Fl.
----- Original Message -----
From: "BRIAN GUFFEY"
To:
Sent: Wednesday, March 12, 2003 12:30 AM
Subject: Re: ash glazes
This is a lone personal assignment of sorts, i was mainly wondering what the
different qualities of ash glazes were, in glazes. because when you read
all these books, they don't really tell you any sort of comparison between
ashes. (i worked at barnes and nobles for a good number of years) and
either they have pages on types of wood ash's, or they have a few limit
formulas. and i do have an instructor, but at the moment and for the next 3
weeks, he is going to be out of town and what such for nceca and his
vacation.
----- Original Message -----
From: Lorraine Pierce
Sent: Monday, March 10, 2003 11:20 PM
To: CLAYART@LSV.CERAMICS.ORG
Subject: Re: ash glazes
Hello Brian, may I suggest a quick trip to the library where I recommend you
read A Potter's Book by Bernard Leach. It is a joyful read for a budding
potter and has much of the info you need; page 159 is headed Wood Ash, page
161, Vegetable Ash and page 163 starts Miss Katherine Pledell-Bouvarie's
Effects of Different Wood Ashes on Glazes (1930-40).
You can find a limit formula and an excellent way to start your experiment
in Clay and Glazes for the Potter, Daniel Rhodes third edition, revised and
expanded by Robin Hopper, 2000; It should be MOST helpful to you , page
314-315.
The Potter's Dictionary of materials and techniques by Frank and Janet
Hamer, fourth ed 1997, will give in depth definitions of the materials you
question.
If enough ashes are used as the flux in a glaze, the glaze can web or
streak or string, as the case may be, in an interesting way; Some ash
glazes use another flux with the ash for stability. There are also fake ash
glazes.
Now I have questions Brian...are you alone in this project or do you have an
instructor or mentor to guide you? what temperature and kiln type are you
using? Have you looked at pots or pictures of glazes that are either
kissed by the wood fire or sprinkled with wood ash or have ashes used as the
flux? Since you do not know what an ash glaze DOES in the firing, your
words, I wonder why you are interested in using this glaze.What effect you
are after?
Or did you mean , what the different MATERIALS in an ash glaze are there
to 'do'? It has only now occurred to me that this may be a class assignment
you wish us to do for you! Perhaps the joke is on me!! Lori Pierce in
New Port Richey, Fl.
----- Original Message -----
From: "Brian Guffey"
To:
Sent: Sunday, March 09, 2003 11:23 PM
Subject: ash glazes
> I'm experimenting with building an ash glaze from scratch, what is the
> difference in the different type of ash's one can use (i.e. wood ash, bone
> ash, volcanic ash, potash, soda ash, etc.) and what do the ash glazes do
> when fired.
>
>
____________________________________________________________________________
__
> 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.
david mcbeth on mon 3 nov 03
I would like to read your thoughts about the virtues of washed and
unwashed wood ash in glazes and sprinkled on pots. I am firing to
Cone 10 in a downdraft gas kiln.
thanks
--
David McBeth, MFA
Professor of Art
Assistant Director of Honors Programs
330 B Gooch Hall
The University of Tennessee at Martin
Martin, Tennessee 38238
731-587-7416
Marc Hudson on mon 22 mar 04
Randy and Carol,
The following wood ash glaze is one I've been working on for a number of=20
years now. It is based on Richard Aerni's published ^10 reduction ash=20
glaze. I've modified it to fire at ^6 oxidation, and it has served me ve=
ry=20
well. Your choice of wood for ash, whether you wash or not wash the ash,=
=20
spray or dip, and whether you apply to large or small vessels will effect=
the=20
outcome. Personally, I use construction lumber, fire place wood ash, was=
h=20
twice (I don't like to work with caustic lye), and apply with a spray gun=
. =20
Also, I spray a dark stiff bronze glaze to the bottom of my vessels to sl=
ow=20
and absorb the ash glaze rivulets, so I don't have to grind the kiln=20
shelves! I use the usual suspects for coloring oxides: Cobalt Carbonate,=
=20
Copper Carbonate, Rutile, Tin/Chrome, etc, and I find the rivulets seem t=
o=20
develope best on large, untextured vessels. Take a look at this web site=
for=20
examples. Good luck, and let me know how your experiments go.
Marc Hudson
Playing with Fire
Espa=F1ola, NM, USA
http://www.artfulnm.org/hudson.html
Mrx Wood Ash Glaze:
Wood Ash 50%
Wollastonite 12.5%
Tennessee Ball Clay 12.5%
Kona F4 Feldspar 12.5%
CadyCal 100 or Gerstly Borate 12.5%
100%
Unity:
Na2O 0.065
K2O 0.105
MgO 0.207
CaO 0.623
Al2O3 0.067
B2O3 0.094
Fe2O3 0.009
SiO2 0.450
TiO2 0.003
P2O5 0.037
Si:Al 6.69
Coeff Exp. 114.11
L.O.I. 4.74
Randy McCall on mon 22 mar 04
Mark, if I can get the glaze to work for me you don't know how much I =
appreciate your formula. I have got a number of pieces I want to try it =
on. If it comes out half as good as yours looks I will be happy.
Thanks so much.........................
----- Original Message -----=20
From: Marc Hudson=20
To: CLAYART@LSV.CERAMICS.ORG=20
Sent: Monday, March 22, 2004 2:05 PM
Subject: Ash Glazes
Randy and Carol,
The following wood ash glaze is one I've been working on for a number =
of=20
years now. It is based on Richard Aerni's published ^10 reduction ash =
glaze. I've modified it to fire at ^6 oxidation, and it has served me =
very=20
well. Your choice of wood for ash, whether you wash or not wash the =
ash,=20
spray or dip, and whether you apply to large or small vessels will =
effect the=20
outcome. Personally, I use construction lumber, fire place wood ash, =
wash=20
twice (I don't like to work with caustic lye), and apply with a spray =
gun. =20
Also, I spray a dark stiff bronze glaze to the bottom of my vessels to =
slow=20
and absorb the ash glaze rivulets, so I don't have to grind the kiln=20
shelves! I use the usual suspects for coloring oxides: Cobalt =
Carbonate,=20
Copper Carbonate, Rutile, Tin/Chrome, etc, and I find the rivulets =
seem to=20
develope best on large, untextured vessels. Take a look at this web =
site for=20
examples. Good luck, and let me know how your experiments go.
Marc Hudson
Playing with Fire
Espa=F1ola, NM, USA
http://www.artfulnm.org/hudson.html
Mrx Wood Ash Glaze:
Wood Ash 50%
Wollastonite 12.5%
Tennessee Ball Clay 12.5%
Kona F4 Feldspar 12.5%
CadyCal 100 or Gerstly Borate 12.5%
100%
Unity:
Na2O 0.065
K2O 0.105
MgO 0.207
CaO 0.623
Al2O3 0.067
B2O3 0.094
Fe2O3 0.009
SiO2 0.450
TiO2 0.003
P2O5 0.037
Si:Al 6.69
Coeff Exp. 114.11
L.O.I. 4.74
=
_________________________________________________________________________=
_____
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.
Carole Fox on wed 24 mar 04
Marc-
Well, first off, let me say that your work is beautiful- really beautiful.
My question is-
Have you used both the GB and Cadycal with similar results? If different,
how so?
Carole Fox
Silver Fox Pottery
Elkton, MD
thesilverfox@dol.net
----- Original Message -----
From: "Marc Hudson"
Subject: Ash Glazes
Mrx Wood Ash Glaze:
Wood Ash 50%
Wollastonite 12.5%
Tennessee Ball Clay 12.5%
Kona F4 Feldspar 12.5%
CadyCal 100 or Gerstly Borate 12.5%
100%
Jan Goodland Metz on sat 5 feb 05
Hi Christine,
This would be by weight. If you made a 2000 gm. batch it would be a 1000 gms. in
weight each item. I would make the gloss glaze in a total dry weight of 1000
and add 1000 gms of wood ash. (I haven't made this glaze before...anyone? am I
interpreting this right?)
Jan
in Rhode Island
Quoting Christine Martin :
> >(I haven't tried this) Here is an ash glaze for c6 oxidation:
>
> Wood Ash (unwashed)50%
> Any transparent Gloss Glaze 50%<
>
> i haven't done anything but low-fire at this point but would love to expand
> my horizons eventually. i have tons of wood ashes every winter, from willow
> to oak to fruit trees. these ratios, are they by weight or by volume?
>
> christine
>
>
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Christine Martin on sat 5 feb 05
>(I haven't tried this) Here is an ash glaze for c6 oxidation:
Wood Ash (unwashed)50%
Any transparent Gloss Glaze 50%<
i haven't done anything but low-fire at this point but would love to expand
my horizons eventually. i have tons of wood ashes every winter, from willow
to oak to fruit trees. these ratios, are they by weight or by volume?
christine
Rhonda Kale on wed 11 may 05
Vince-
I am about a week behind in reading my posts because I have been in "Nana mode." My daughter-in-law is expecting again and have been babysitting due to her non-stop 24 hour nausea-am sooo behind on mail.
Read some posts about ash and getting into a powder-I am asking you since you have written a book and I have not-AND due to the general cynicism I have detected on Clayart lately, I have become weary of posting-anyway, this is what I do with ash:
What little I have done with ash, (DISCLAIMER-I am NOT an expert-I was experimenting!) I used an old food processor to get down to a powder(got them for a couple of dollars at the Goodwill)-once I used my studio blender (which is used for everything except food). You control the fineness/coarseness of the ash before washing/not washing. Makes it easier to go through the screen.
Maybe I am a heathen-maybe I'm lazy-maybe it's not traditional, but that's what I do.
I am sure someone on the list would have something to say about that-I am not glaze expert-just playing-but to the list-to quote the country song-"My "givead*mn is busted...."
Is this an acceptable way to do ash?
Rhonda Kale
31.23595 N, 85.40529 W
Potters Council Member
qndivauniv@earthlink.net
Lee Love on thu 12 may 05
Rhonda Kale wrote:
> Maybe I am a heathen-maybe I'm lazy-maybe it's not traditional, but that's what I do.
> I am sure someone on the list would have something to say about that-I am not glaze expert-just playing-but to the list-to quote the country song-"My "givead*mn is busted...."
>Is this an acceptable way to do ash
>
>
Hi Rhonda,
Back in St. Paul, I used something even "easier" to mix up my small test
batches: A Braun hand blender. What is so nice about them is that you
just stick them in a cup of water and turn them on to clean them. No
disassembling like you have to do to clean an oldfashioned blender (I
started with a yardsale blender and switched to the Braun.) I need to
get one here in Japan (I have two in storage in St. Paul.)
The hand blender is too small for my working batches today. My mainstay
glaze that is half woodash is in one 45 liter plastic trash can and a
second batch is in a 50 liter trash can. I have my next batch of woodash
in water in a 30 liter plastic pickle bucket (these are really great for
smaller amounts of glaze and/or materials.) So I use a heavy duty
Toshiba 530 watt drill with a heavy duty stainless steel glaze mixer
attachment, to mix these large quantities.
Do what works for you. Different situations require different methods.
Don't listen to the doofuses who say their way is the only way. ;-)
--
李 Lee Love 大
愛 鱗
in Mashiko, Japan http://mashiko.org
http://hankos.blogspot.com/ Visual Bookmarks
http://ikiru.blogspot.com/ Zen and Craft
candy murguia on thu 16 feb 06
I have recently been experiemnting with traditional runny ash glazes, and
some fake ash glazes (runny without the ash) and was wondering if anybody
had some good ash recipes to share, and I could share mine.
PS. If you want to see some fantastic ash glazed pottery go to
www.lookoutmointainpottery.com .
This guy has some really fantastic stuff, and he shares some of his recipes.
Candy
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Lee Love on sat 18 feb 06
On Thu, 16 Feb 2006 19:32:09 -0800, candy murguia
wrote:
>I have recently been experiemnting with traditional runny ash glazes, and
>some fake ash glazes (runny without the ash) and was wondering if anybody
>had some good ash recipes to share, and I could share mine.
I have had good luck with this. I especially liked it over Ostreich's
crackle slip. It runs. Usually only used on top half of pot:
Sander's Tamba
Michigan Slip (I used Alberta) 60
Wood Ash (unwashed) 40
R.I.Ox 5
>PS. If you want to see some fantastic ash glazed pottery go to
>www.lookoutmointainpottery.com
This link doesn't work. Got the right one?
]--
李 Lee Love
in Mashiko, Japan http://mashiko.org
http://seisokuro.blogspot.com/ My Photo Logs
http://ikiru.blogspot.com/ Zen and Craft
"The way we are, we are members of each other. All of us. Everything.
The difference ain't in who is a member and who is not, but in who knows
it and who don't."
--Burley Coulter (Wendell Berry)
Steve Slatin on sat 18 feb 06
Lee, it's a typo. Look at it and you can see what the error is.
It's a great example of why people should try hard to spell
properly and write clearly, though, so thank you for making
the point (evun iv u doan agri wit it).
-- Steve Slatin
Lee Love wrote:
On Thu, 16 Feb 2006 19:32:09 -0800, candy murguia
wrote:
>PS. If you want to see some fantastic ash glazed pottery go to
>www.lookoutmointainpottery.com
This link doesn't work. Got the right one?
]--
Lee Love
Steve Slatin --
In watermelon sugar the deeds were done and done again
as my life is done in watermelon sugar.
---------------------------------
What are the most popular cars? Find out at Yahoo! Autos
Peter on sat 18 feb 06
>>PS. If you want to see some fantastic ash glazed pottery go to
>>www.lookoutmointainpottery.com
>
> This link doesn't work. Got the right one?
Should be www.lookoutmountainpottery.com
Peter
NM
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