lauras@epix.net on mon 20 may 96
I am using Standard Ceramics cone 6 #112 clay body. Has speckles in it.
Having a difficult time finding interesting colors. I have a white, but
when I use the same formula to make blues and greens, etc. it doesn't
look like blues or greens on the 112 clay. I have tried the colors on
white stoneware and porcelain and they are fine. How can I get a blue to
look blue on this body or any other color look true? Any help would be
appreciated. My chemistry knowledge is limited but I'm willing to try
any good suggestions. TIA lauras@epix.net
Deborah Bedwell on tue 21 may 96
Laura:
Having made many pots using #112 long, long ago, I would suggest two
possibilities:
1. Use a white slip on the pots when they're leatherhard in those places
where you want the glaze to be true blue or green...or...
2. Opacify the glaze a bit with 5% to 10% zircopax, depending on your
desired effect.
My hunch is that your glaze is pretty transparent. It is like the
difference between painting with watercolor on white paper or on a brown
paper bag.
Good luck..Deborah
Bill Aycock on tue 21 may 96
At 08:09 PM 5/20/96 EDT, lauras@epix.net wrote:
>----------------------------Original message----------------------------
>I am using Standard Ceramics cone 6 #112 clay body. Has speckles in it.
>Having a difficult time finding interesting colors. >
The specks in 112 are granular manganese, and I find they add "character "to
lots of otherwise "bland" glazes.
The problem of losing the blue or green on it is not new, and is
particularly bad on transparent or transluscent glazes. . However, I have
found that adding a small amount of Rutile to give the colorant something to
show against helps.
Highwater has a similar clay they call "speckled Brownstone" that I like.
Bill- sweating it out (really!) on Persimmon Hill.
June Perry on tue 21 may 96
If you apply a white slip to your pots you will get purer colors but this can
get to be a pain if you are having to do this with all your pots.You may want
to considering changing your clay body. I use a darker stoneware body as well
as a white ware body and my reclamation of scraps is somewhere in between.
The colorants in the clay body are what is muting and modifying the colors of
your glazes. Do you make your own glazes? If you have a blue glaze that also
has iron or rutile you may want to rebatch them with only the cobalt. In
other words, take out some of the modifying oxides since your dark claybody
is going to have the same effect. This may help a bit. Other than that the
slip is the only thing I can think of other than changing your body.
Best regards,
June Perry
EMail: Gurushakti@aol.com
BobWicks@aol.com on wed 22 may 96
Laura:
If you would give me the recipe for the glaze you are using I may be able to
help you. It would seem to me that the color of your body is showing through
the glaze. It you would add 6 to 12% zircopax it might opacify the glaze you
are using so the clay body would have little effect on the color of the glaze
LYN PEELLE on thu 20 feb 97
Hi Anyone
I have a cone 6 semi-matt glaze-well here it is-
Volc Ash 55
Whiting 25
Sronum carb 7.5
Ball clay 10
Colbalt ox .5%
(I subbed 7.5 stronium for 10 Barium carb in org. recp)
The PROBLEM I'm having is when I glaze my bisque piece
it (the liquid glaze) drys real fast o n the piece and clumps
up and then fires unevenly (even when I try and brucsh and smooth
it when it's dry peoopps peioe I mean prior to firing. My
QUESTIOM is is there something I can add to the batch of glaxe to
smooth out its application? Glycern has been mentioned in connection
with slips-wold it be useful here --if not is there something???
anything??? I really llike thsi glaze and if I could get it to
work if possible.
Thains opps THANKS for any help
(and I can type -- somethimes??)
Lyn
Lili Krakowski on fri 21 feb 97
I add 3%-5% bentonite to all my glazes also 2% of epsom salts unless I
can get calcium chloride, which, however has some drawbacks because of
teh chlorine. Then I add a bit of gum (different gums have different
directions). The bentonite/epsom salsts suggestion is found in Fraser,
can't take credit for it. This will make a glaze like cream soup, and you
should test it for ideal thickness of application. Too long to go into
here, BUT if your clumpy nasty, glaze now is 2 whiskers thick in ideal
application--i.e. the layer of glaze on your pot is about yeah thick--
you may have to go to three or 4 whiskers of thickness (or, as
mathimaticians will tell you yeah thick x 2!) TEST Now exactly why your
glaze peels and behave poorly I am not sure. But you might try dampening
your bisque a bit more....
Lili Krakowski lkkrakow@edisto.cofc.edu
On Thu, 20 Feb 1997, LYN PEELLE wrote:
> ----------------------------Original message----------------------------
>
>
> Hi Anyone
>
> I have a cone 6 semi-matt glaze-well here it is-
> Volc Ash 55
> Whiting 25
> Sronum carb 7.5
> Ball clay 10
> Colbalt ox .5%
>
> (I subbed 7.5 stronium for 10 Barium carb in org. recp)
> The PROBLEM I'm having is when I glaze my bisque piece
> it (the liquid glaze) drys real fast o n the piece and clumps
> up and then fires unevenly (even when I try and brucsh and smooth
> it when it's dry peoopps peioe I mean prior to firing. My
> QUESTIOM is is there something I can add to the batch of glaxe to
> smooth out its application? Glycern has been mentioned in connection
> with slips-wold it be useful here --if not is there something???
> anything??? I really llike thsi glaze and if I could get it to
> work if possible.
>
> Thains opps THANKS for any help
> (and I can type -- somethimes??)
>
> Lyn
>
James Dapogny on sat 22 feb 97
> But you might try dampening>your bisque a bit more....
Dear Lili,
Do you know exactly what happens when you dampen the bisque? I have a
friend who seems to be going nuts not being able to adequately glaze her
thin porcelain bowls that we are bisquing to cone 06. She says that they
become so saturated with glaze she can't get them properly coated or dry
enough to second-coat. Someone suggested that she dampen them (advice
which she did not feel comfortable taking). ??
Gail Dapogny in Ann Arbor
R Wuetherick on sun 23 feb 97
Hello Gail,
For fear of getting flamed here again... When the sitter in my kiln
gets wacked out and I have cold bisque. The porosity is very high
and the piece just sucks up the glaze. Thats exactly what I do. I have
a bucket of water and I completly immerse the piece and pull it out. Give
it a moment or two. Then plunge it into the glaze....Works for me
Rod Wuetherick
Calgary, AB, Canada
> enough to second-coat. Someone suggested that she dampen them (advice
> which she did not feel comfortable taking). ??
> Gail Dapogny in Ann Arbor
Craig Martell on sun 23 feb 97
At 08:57 AM 2/22/97 EST, you wrote:
>----------------------------Original message----------------------------
>Do you know exactly what happens when you dampen the bisque? I have a
>friend who seems to be going nuts not being able to adequately glaze her
>thin porcelain bowls that we are bisquing to cone 06. She says that they
>become so saturated with glaze she can't get them properly coated or dry
>enough to second-coat.
Hi Gail: I've had the same trouble with glazing thin porcelain bowls,
especially with glazes that contain a lot of clay and other plastisizers and
suspension agents, that retard the drying of the glaze.
The best remedy that I've come up with, is to glaze the bowls in two stages.
I do the inside first, let the piece dry and then glaze the other side. I
know, it slows down the process and is a pain, but it has worked well for
me. Sometimes, when bisqueware becomes saturated, during glazing, you can
get crawls and nobody wants that to happen. I would avoid suspension agents
such as, CMC gum too. CMC really slows down the drying time of the freshly
applied glaze. I sure wouldn't dampen the bisque before glazing, I think
this will only make matters worse. The only thing I do prior to glazing is
lightly sponge off any dust, using as little moisture as possible.
This is just what has worked for me, not necessarily a great universal truth!
Craig Martell-Oregon
Tony Hansen on sun 23 feb 97
> I add 3%-5% bentonite to all my glazes also 2% of epsom salts unless I
> can get calcium chloride, which, however has some drawbacks because of
> teh chlorine.
I've always found that messing with flocculation means your glaze needs more
water. More water means more shrinkage. More shrinkage detrimentally affects
the bisque-glaze bond and produces more cracking off during drying.
That means crawling. I think glaze additives should be all but unnecessary in
most glazes that have 15% or more kaolin. They are often a little like taking
tylenol for headaches that would be better dealt by cutting coffee intake.
Check the web page at
http://digitalfire.com/education/slurry.htm for more on this.
--
=================================================================
Tony Hansen, IMC - Get INSIGHT 5 beta or The Magic of Fire II at
http://digitalfire.com or http://www.ceramicsoftware.com
Peggy Heer on sun 23 feb 97
>----------------------------Original message----------------------------
>> But you might try dampening>your bisque a bit more....
>
>Dear Lili,
>Do you know exactly what happens when you dampen the bisque? I have a
>friend who seems to be going nuts not being able to adequately glaze her
>thin porcelain bowls that we are bisquing to cone 06. She says that they
>become so saturated with glaze she can't get them properly coated or dry
>enough to second-coat. Someone suggested that she dampen them (advice
>which she did not feel comfortable taking). ??
>Gail Dapogny in Ann Arbor
Hi Gail...
Try bisquing lower, at 07, and then glaze thin porcelain on the inside one
day and the outside the next day after the first (inside) glaze is dry. I
airbrushed my translucent porcelain for the most part but if it was a vase
or cylinder shape I would glaze the inside with a pour and then the next
day glaze the outside via airbrushing. With very thin porc. one must allow
the first coat to dry thourghly before trying the second coat because there
is just not enough clay for the glaze to soak into and the pot gets tooo
wet.
Hope this is understandable at this late hour and a long day of packing up
my studio.
As Always in Clay Peggy
Peggy Heer / Heer Pottery E-Mail p4337@connect.ab.ca
Edmonton AB, Canada
http://www.ffa.ucalgary.ca/artists/pheer/
Lili Krakowski on mon 24 feb 97
I know nothing about porcelain. BUT if you ahve a very thin pot and you
dip it in wet glaze the water in teh glaze will saturate your pot very
fast. If I wre dealing with thin pots I would pour the inside first, set
the pot aside till the inside glaze is almost dry and pour or brush on
the outside glaze. Maybe a porcelain potter can tell you ab eter way.
THIS IS JUST MY GUESS or HOW I WOULD DO I>
More importantly: too many potters I see just wipe the outside of a pot
with a dampish sponce. This does not necessarily get all the fine dust
off. "Rinsing" the bisque better
or dampening the pot a bit more may help the original problem. Emphasis
on MAY. Too many variables.
Lili Krakowski lkkrakow@edisto.cofc.edu
On Sat, 22 Feb 1997, James Dapogny wrote:
> ----------------------------Original message----------------------------
> > But you might try dampening>your bisque a bit more....
>
> Dear Lili,
> Do you know exactly what happens when you dampen the bisque? I have a
> friend who seems to be going nuts not being able to adequately glaze her
> thin porcelain bowls that we are bisquing to cone 06. She says that they
> become so saturated with glaze she can't get them properly coated or dry
> enough to second-coat. Someone suggested that she dampen them (advice
> which she did not feel comfortable taking). ??
> Gail Dapogny in Ann Arbor
>
K. Urban on wed 10 sep 97
Hello all,
I am looking for some information. What is a "Bristal" glaze? Does anyone
have a recipe for one? I need it in ^6. I have been looking for a certain
type of glaze and was told it was a "Bristal" glaze. It is a clear glaze
that tints the clay a blue or grey while still leaving the underglazes
fairly clear. Am I imagining things? Does it exist or was I just being
fooled. (It would be the first time ever, that anyone could fool me! I
swear!) ;-)
I would appreciate any help available.
Thanks in advance,
Kaye
One never knows when one tiny piece will pull the puzzle together.
M Richens on sat 13 sep 97
In article <3.0.2.32.19970909235758.00908948@internet1.net>, "K. Urban"
writes
>----------------------------Original message----------------------------
>Hello all,
>I am looking for some information. What is a "Bristal" glaze? Does anyone
>have a recipe for one? I need it in ^6. I have been looking for a certain
>type of glaze and was told it was a "Bristal" glaze. It is a clear glaze
>that tints the clay a blue or grey while still leaving the underglazes
>fairly clear. Am I imagining things? Does it exist or was I just being
>fooled. (It would be the first time ever, that anyone could fool me! I
>swear!) ;-)
> I would appreciate any help available.
>Thanks in advance,
>Kaye
>One never knows when one tiny piece will pull the puzzle together.
Hi,
That should be 'Bristol' a town in the West Country of England.
One from Wilson via Norton gave
Transparent.
0.36 K2O
0.24 ZnO
0.4 CaO
0.5 Al2O3
3.16 SiO2
Cone 5 1175 C
HTH
Max
--
Max Richens max@richens.demon.co.uk +44 (0) 1925756241
Enamel Consultant - Ceramist - Analyst programmer
Software for Batch Formulation and Millroom control.
Sue Beach on tue 27 jun 00
Hello. Could some of you glaze gurus help my friend (who is not on the
list) with this glaze?
It is a nice, reliable glossy black. Simple to make. She loves it.
However, she can't get anymore Gerstley Borate. Can someone suggest a
simple (we hope) reformulation using something more common? She fires to
cone 6 oxidation.
Alberta Slip 85
Gerstley Borate 10
Cobalt Carbonate 5
100
Thanks!
Sue Beach
Sue Beach
Muncie, IN
sbeach@iquest.net
http://members.iquest.net/~sbeach/index.html
http://bsuvc.bsu.edu/~00sdbeach/index.html
Paul Lewing on thu 29 jun 00
Sue Beach wrote:
>
> Hello. Could some of you glaze gurus help my friend (who is not on the
> list) with this glaze?
> It is a nice, reliable glossy black. Simple to make. She loves it.
> However, she can't get anymore Gerstley Borate. Can someone suggest a
> simple (we hope) reformulation using something more common? She fires to
> cone 6 oxidation.
>
> Alberta Slip 85
> Gerstley Borate 10
> Cobalt Carbonate 5
>
> 100
Sue,
There's so little GB in this glaze that I think a straight-across
substitution for frit 3134 would probably work just fine. And since the
rest of the glaze is Alberta Slip, she shouldn't have the problem with
GB substitutions that a lot of people are having, that of it not
suspending any more. That's where I'd start.
Good luck,
Paul Lewing, Seattle
Sue Beach on sat 1 jul 00
Thanks, Paul.
I will tell her to try the frit.
Sue
At 07:54 PM 06/29/2000 +0000, you wrote:
>Sue Beach wrote:
>>
>> Hello. Could some of you glaze gurus help my friend (who is not on the
>> list) with this glaze?
>> It is a nice, reliable glossy black. Simple to make. She loves it.
>> However, she can't get anymore Gerstley Borate. Can someone suggest a
>> simple (we hope) reformulation using something more common? She fires to
>> cone 6 oxidation.
>>
>> Alberta Slip 85
>> Gerstley Borate 10
>> Cobalt Carbonate 5
>>
>> 100
>
>Sue,
>There's so little GB in this glaze that I think a straight-across
>substitution for frit 3134 would probably work just fine. And since the
>rest of the glaze is Alberta Slip, she shouldn't have the problem with
>GB substitutions that a lot of people are having, that of it not
>suspending any more. That's where I'd start.
>Good luck,
>Paul Lewing, Seattle
>
>___________________________________________________________________________
___
>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.
>
>
Sue Beach
Muncie, IN
sbeach@iquest.net
http://members.iquest.net/~sbeach/index.html
http://bsuvc.bsu.edu/~00sdbeach/index.html
Louis H.. Katz on wed 5 jul 00
Hi Sue,
For what it is worth , here is what I came up with. A whole lot more
ingredients. Bottom one is cheaper though.
Louis
Glaze name: black
Cone: 6
Recipe: Percent Batch
Ferro Frit 3134 18.10
Alberta Slip 56.79
dolomite 3.79
cobalt carbonate 4.86
calcined kaolin 8.56
flint 6.56
red iron oxide 1.33
or
black2
Cone 6
Ingredient Amount
Ferro Frit 3134 16.92
Redart Clay 56.21
Custer Feldspar 5.31
Calcined Kaolin 2.41
Dolomite 10.92
silica 3.69
cobalt carbonate 4.55
Louis
Amy Romaniec on wed 9 dec 09
Dear Glaze Gurus=3D2C
I have read often on clayart =3D2Cabout folks adjusting glazes with more=
o=3D
r less flux to keep it from running.I have a glaze recipe that I need "adju=
=3D
sted" to not run .
I am glaze adjusting illiterate.
I have 5 glazes that have worked for 20 years with great success=3D2C so I =
ha=3D
ve no idea how to calculate a test batch.
I have NOT ever mixed small test batches of glaze .
I DO have a gram scale=3D2C ingredients for this glaze and kiln space av=
ai=3D
lable to do testing.
I need help remastering this particular ^ 10 black that I intend to use gl=
=3D
azing deer hounds and dapple gray horses for a show in 2010.=3D20
I need to test it now.
This particular glaze worked for 10 years until my container of Mason black=
=3D
stain was empty.I bought new stain and now it runs.
Here is the glaze as I mix it
Matt black:
Dolomite 340.188 grams
Whiting 136.572 grams
Custar feldspar 5 pounds 181.421 grams
EPK 2 pounds 226.792grams
Mason black stain 90.716 grams
Manganese Dioxide 90.716 grams
Cobalt carbonate 11.793 grams
Here is my problem:
Since obtaining a new bag of Mason black stain this glaze runs off the p=
=3D
ot at cone 10.
The color is still good.
-How can I adjust this glaze to not run at cone 10?=3D20
-Also How do I make the SMALL test batches ?How many grams ?
-
-I have said glaze mixed in a bucket (dried up) .Can I take that already mi=
=3D
xed batch and add some ingredient ?
to it and have it raise the melting point?????=3D20
Then how would I replicate that in another batch????
I know things need to equal 100=3D2C
OH gosh----
Permutations and combination's boggle my mind.
I am NO math whiz either=3D2C so directions might have to be carefully spel=
le=3D
d out.
I do understand that adjusting things that are the flux can fix the glaze =
=3D
to be more stable .
I would consider another ^10 matt black to test if it uses similar ingred=
=3D
ients and the recipe is for a small batch that I could mix and test .=3D20
THANKS a million for your consideration of my dilemma at this busy time of=
=3D
year..
Amy
=3D20
=3D20
Bing brings you maps=3D2C menus=3D2C and reviews organized in one place. Tr=
y it=3D
now. =3D20
Windows 7: Unclutter your desktop. Learn more. =
=3D20
_________________________________________________________________
Windows 7: Unclutter your desktop. Learn more.
http://www.microsoft.com/windows/windows-7/videos-tours.aspx?h=3D3D7sec&sli=
de=3D
id=3D3D1&media=3D3Daero-shake-7second&listid=3D3D1&stop=3D3D1&ocid=3D3DPID2=
4727::T:WL=3D
MTAGL:ON:WL:en-US:WWL_WIN_7secdemo:122009=3D
Don Goodrich on thu 10 dec 09
Hi Amy,
It's nice to see another dog potter on the list ;)
Although I work in ^6 rather than ^10, I reviewed your recipe using=3D20
GlazeChem, and it looks (as Lili said) to be starved for silica.
It also seems to have a rather high percentage of colorant.
If I were doing Deerhounds, I'd expect to use a greyer matt than what=3D20
your recipe suggests.
Adapting your recipe to add more silica and alumina, and to approach the
limit formula for a black ^9-10 matt, I get this:
Dolomite=3D09 25
Whiting=3D09 10
Custer feldspar 13
EPK=3D09 24
Silica=3D09 28
total 100
add:
Manganese dioxide=3D09 7
Cobalt carbonate=3D09 1
I left out the Mason black stain, because it may be a culprit, and with t=
=3D
hat
much manganese dioxide and cobalt you shouldn't need it for a black.
Also, have you considered using iron chromite (FeCrO4) as a colorant?=3D20
Rather than as a glaze ingredient, I use a few grams in water as a wash=3D2=
0=3D
on grey dogs like Wolfhounds and Deerhounds, then wax resist over it to=3D2=
0=3D
avoid a glossy surface. Though our techniques differ, you might give it a=
=3D
try=3D20
and see if it's of any use in your work. FeCrO4 can be purchased from
US Pigment ( http://www.uspigment.com/chemicals.shtml ). Like Manganese
Dioxide, it's toxic, so act accordingly.=3D20
Hope this helps,
Don Goodrich
http://dongoodrichpottery.com/
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