Lgeese@aol.com on tue 23 apr 96
Thanks to everybody who gave suggestions on the great "scrap glaze" dilemna.
I'm off to cook up a batch of "Mystery" or "GOK" or "Kitchen Sink"...
As you can see, I've found all the names to be quite entertaining!
Thanks again!
Lisa in Des Moines
Lgeese@aol.com
WACKY on thu 1 aug 96
Does anybody out there have some good glaze recipes for
majolica wares to share? The majolica pieces are expected
to be fired at CONE 07.
>>>Common sense is very uncommon<<<
~Horace Greeley
YEN
E-mail:94a37506512d@nievax.nie.ac.sg
trevor herceg on mon 28 oct 96
Hello, Trevor Herceg here in Wolverhampton
England, Doing my MFA equivalent...The weather
is overcast and damp right now... Anyway the
other day Terry the studio tech and I came
across some information about Tungsten oxide
for use in glazes. The paper didn't give us
any idea about use or colors or temps. So I
thought I would put it out to you and see what
turns up... I have never heard of it nor has
Terry...so if anybody has info on it please
email me or post it to clayart....
Thanks Trevor Herceg
Email: d9670220@wlv.ac.uk
Robert Carlson on fri 9 may 97
Looking for cone 05-06 glazes that are compatible with cast commercial
white talc body. Clear glazes that will work with Reward and other
commercial underglazes and a good black that is highly opaque.
Thanks,
MH
Tony Hansen on sat 10 may 97
> Looking for cone 05-06 glazes that are compatible with cast commercial
> white talc body. Clear glazes that will work with Reward and other
> commercial underglazes and a good black that is highly opaque.
Check web page at www.ceramicsoftware.com/magic/majolica.htm
It describes a glaze that uses equal parts of a high and low
expansion frit along with 15% kaolin and 5% flint. You can juggle
the frits to tune the glaze fit.
--
=================================================================
Tony Hansen, IMC thansen@mlc.awinc.com
Joyce Lee, Jim Lee on fri 19 sep 97
For Sue and other true newbies only. Everybody else, delete.
When I started with clay three years ago with one Brent wheel and one
Cress electric kiln I had blindly purchased at a doll show (talk about
gasp!) and four buckets, I used commercial glazes for oxidation at ^6.
I had no idea how to start nor what questions to ask so I just ordered
whatever sounded okay in the catalogs. (Turned out, I didn't like
dolls.) I, too, did not like my commercial glazes. My only resource (I
thought) was one not-bad textbook. After several unhappy firings, I
bought a clear and a white and mixed in stains. In fact, I got some
rather glorious glazes on my thick, bumpy pots. I even kept a couple.
One is an ashy looking yellow with red winey spots that I achieved
inadvertently by emptying the glaze bucket, not washing it (you can't
learn everything the first month! I "thought" everything you didn't
want, "fired out." What a concept!) and mixing a formerly putrid yellow
glaze in it. I think there was some blackberry stain left in the
bucket. The glaze was lovely. However, I learned almost nothing during
these months of bumbling about because nothing was repeatable since I
kept no records. I thought I could just remember everything. Oh, only
if that were true! This all, of course, was before Clayart and Robin
Hopper's Mechosin International Summer School of the Arts "Glaze and
Colour Development" course. I had to wheedle my way in since it was
meant for professionals, but what an eyeopener! I didn't even know I
liked chemistry.
Anyway, use the catalogs, get a good beginning text, TALK TO YOUR
TEACHER and other potters, find a mentor, ask your supplier, take risks
and KEEP RECORDS of everything.
Joyce
In the Mojave realizing that everybody on Clayart thinks I'm plumb
stupid. I'm not. Well, sometimes...
Mark Issenberg on sat 20 sep 97
I need some glazes for blackbird clay and Albany slip. If anyone would
share any, I sure would appreciate it.
Mark in Miami
Karen Gringhuis on sun 21 sep 97
What cone and what atmosphere??
"Rafael Molina-Rodriguez (Rafael Molina-Rodriguez)" on mon 29 sep 97
Mark :
I've had good success with the following glazes containing Blackbird
(a.k.a. Barnard) clay and Albany Slip :
Wood Ash # 1 ^ 10 reduction (from Paul McCoy)
Wood Ash 60 ( I use Post Oak from my parent's fireplace)
Barnard Slip 40
A very nice gloss (where thick) and matt (where thin) "tobacco spit"
color glaze with rivulets. Fits nicely with no crazing on white stoneware
I use. Very fluid.
Wood Ash # 2 ^ 10 reduction (from Paul McCoy)
Wood Ash 40
Barnard Slip 60
Rhodes' Ash ^ 10 reduction
Wood Ash 50
Albany Slip 50
Very nice "frog skin" green glaze with some rivulets. In my experience,
a matt texture on dark stoneware with no crazing, but on white
porcelainous stoneware a gloss texture with crazing. I tried, to no avail,
to correct crazing on porcelainous stoneware by additions of 5% and
10% silica. Very curious.
If you're not a purist you might try adding 1.56 % cobalt and 1.56 % iron
for blue or 3.5 % iron and 0.51 % rutile for amber/brown.
Rafael
>>> Mark Issenberg 09/20/97 08:39am >>>
----------------------------Original message----------------------------
I need some glazes for blackbird clay and Albany slip. If anyone would
share any, I sure would appreciate it.
Mark in Miami
Ron Wright on wed 4 feb 98
For those who asked, I've put photo's and the recipes for a version
floating blue and a floating green on my web page.
Ron Wright
Shiresham Pottery - Chicago
http://www.concentric.net/~wrright
carol young on wed 11 feb 98
Looking for some cone 6 classroom glaze recipes. This is for highschool
students, electric kiln. thank you
Carol Young
Andrew Lubow on thu 12 feb 98
Here's one I tested that I liked a great deal.
Test#^6/23 Cone Six Iron Red
%
EPK 5.88
Flint 29.41
Custer Feldspar 19.61
Talc 13.73
Gerstley Borate 31.37
Add: Red Iron Oxide 14.71
Shiny Red mottled foreground. Background variations of light to medium
Tans/Browns. Beautiful Glaze
-----Original Message-----
From: carol young
To: Multiple recipients of list CLAYART
Date: Wednesday, February 11, 1998 10:12 AM
Subject: glazes
----------------------------Original message----------------------------
Looking for some cone 6 classroom glaze recipes. This is for highschool
students, electric kiln. thank you
Carol Young
Starr Davis. Please tell me cost. on thu 12 feb 98
I, too, am looking for cone 6 glazes for an electric kiln. Could you share
your results with me? I'm especially interested in ones with texture and some
interest. I use Quale's or Rod's Bod clay bodies.
JFTRT on fri 13 feb 98
This glaze has worked very nicely for a number of years; does not run, very pred
etc.
Periwinkle C/6 oxidation
Gerst. Borate - 49.0
EPK - 19.0
Silica - 37.0
Soda Ash - 0.2
Ultrox - 5.0
Cobalt carb. - 2.5
Denim Blue/purple mix, shows texture underneath, will work at c/5, too.
Bob Wicks on fri 13 feb 98
Carol:
For a cone 6 Glaze site with over 150 glazes go to
http://members.aol.com/goodrichdn
I think you will be very pleased. I have done it and the results are great.
Good Luck
Bob
Kris Griffith on fri 13 feb 98
you might try looking in the new Pottery Making Illustrated, first issue, it=
has
a couple of pages on cone six firing glazes and recipes, also Emanual =
coopers
book as well as Chapell's book all have a wide variety of formulas. I =
realize
people are looking for tried and true recipes, but what works for me in =
Kansas,
won't necessarily work for you in where ever because the materials we use =
come
from different places, and the materials we use are always changing, test, =
test,
test, thats all you really can do when you get a recipe weather it is from a
book or the list.
Good luck
Kris
----------
From: Starr Davis. Please tell me cost.=5BSMTP:Jellestar=40aol.com=5D
Sent: Thursday, February 12, 1998 8:09 AM
To: Multiple recipients of list CLAYART
Subject: Re: glazes
----------------------------Original message----------------------------
I, too, am looking for cone 6 glazes for an electric kiln. Could you share
your results with me? I'm especially interested in ones with texture and =
some
interest. I use Quale's or Rod's Bod clay bodies.
Carol Ratliff on sat 14 feb 98
I am not familiar with one of the ingredients listed in following glaze. What
is Ultrox? Can something else be substituted?
carol ratliff
san diego
In a message dated 98-02-13 09:31:26 EST, you write:
<< ----------------------------Original message----------------------------
This glaze has worked very nicely for a number of years; does not run, very
pred
etc.
Periwinkle C/6 oxidation
Gerst. Borate - 49.0
EPK - 19.0
Silica - 37.0
Soda Ash - 0.2
Ultrox - 5.0
Cobalt carb. - 2.5
Denim Blue/purple mix, shows texture underneath, will work at c/5, too.
>>
Carrie Shields on sat 14 feb 98
Hi Starr,
Here's a cone 6 glaze that I like...when applied wet it has the usual crawl
glaze surface. If you sift it onto the piece dry (while wearing a dust mask)
it gives a very crusty, rough surface. It works well with Mason stains.
Mark Bell's Dry Lichen Glaze (white base crawl)
Soda Feldspar 30.56%
Magnesium Carbonate 31.04%
Frit P-54 (or substitute P-25) 6.21%
Talc (or substitue whiting) 7.55%
Kaolin 18.91%
Zinc Oxide (omit when using chrome based stains) 5.73%
A while back someone asked me for some of my crawl & crater recipes. I had a
problem with my email & lost that post before I could reply, so whoever you
are, or anyone else who is interested, email me & I'll share my recipes.
Carrie
cshie673@aol.com
Lili Krakowski on tue 17 feb 98
Ultrox is/was a zirconium opacifier. I'd try whatever is on the shelf.
FYI I have had interesting results with straight line blends substituting
some tin for zircopax.
Good luck
Lili Krakowski
carol young on sat 12 sep 98
I am looking for a cone 6 oxidation glaze. Earthy tones in cream to off
white with iron spots or black spots. It is for a high school class that
makes their own glazes. Thanks for all the previous help
Carol Young
Ron Wright on sun 13 sep 98
This recipe comes out a satin matte, light tan or cream with brown
specks. Less iron, less speckleing.
I've attached 2 photo's of a test mug.
Cream breaking red
35 gerstley borate
15 soda spar
10 whiting
4 strontium
10 flint
13 tin oxide
2 rio
Ron Wright
3 Dogs Pottery - Chicago
http://www.concentric.net/~wrright
Sheilah Bliss on mon 14 sep 98
In a message dated 9/12/98 5:32:32 AM, you wrote:
<<----------------------------Original message----------------------------
I am looking for a cone 6 oxidation glaze. Earthy tones in cream to off
white with iron spots or black spots. It is for a high school class that
makes their own glazes. Thanks for all the previous help
Carol Young
>>
Hi Carol -
You know what you might try.... a basic cream/off white colored glaze with the
addition of illmenite or manganese crystals. I have a friend who makes
and uses what he calls "glaze with speckles" by adding one or the other of
these. When fired, there's these little brown speckles in the glaze. I don't
do it myself so can't really advise the exact amount, but my understanding is
it doesn't take much.
Sheilah Bliss
Bill Aycock on mon 14 sep 98
Ron- Please include your firing condition when giving a glaze recipe- Temp
or cone, and OX or RED
At 08:17 PM 9/13/98 EDT, you wrote:
>----------------------------Original message----------------------------
>This recipe comes out a satin matte, light tan or cream with brown
>specks. Less iron, less speckleing.
>I've attached 2 photo's of a test mug.
>
>Cream breaking red
>
>35 gerstley borate
>15 soda spar
>10 whiting
>4 strontium
>10 flint
>13 tin oxide
>2 rio
>
>Ron Wright
>3 Dogs Pottery - Chicago
>http://www.concentric.net/~wrright
>
>
Bill Aycock --- Persimmon Hill
Woodville, Alabama, US 35776
(in the N.E. corner of the State)
W4BSG -- Grid EM64vr
baycock@HiWAAY.net
Judith Enright on tue 15 sep 98
If memory serves me, there was a thread a couple of years ago about the
food-safety factor of this glaze. Was it Tom Buck who provided a few
alternative versions of this glaze to enhance food-safety? I'll check my files
-- anyone else?
Judith Enright @ Black Leopard Clayware
----------
From: "Bill Aycock"
Sent: Monday, September 14, 1998 10:19 AM
To:
Subject: Re: GLAZES
----------------------------Original message----------------------------
Ron- Please include your firing condition when giving a glaze recipe- Temp
or cone, and OX or RED
At 08:17 PM 9/13/98 EDT, you wrote:
>----------------------------Original message----------------------------
>This recipe comes out a satin matte, light tan or cream with brown
>specks. Less iron, less speckleing.
>I've attached 2 photo's of a test mug.
>
>Cream breaking red
>
>35 gerstley borate
>15 soda spar
>10 whiting
>4 strontium
>10 flint
>13 tin oxide
>2 rio
>
>Ron Wright
>3 Dogs Pottery - Chicago
>http://www.concentric.net/~wrright
>
>
Bill Aycock --- Persimmon Hill
Woodville, Alabama, US 35776
(in the N.E. corner of the State)
W4BSG -- Grid EM64vr
baycock@HiWAAY.net
This email may contain confidential and privileged material for the sole use of
Janet H Walker on sat 7 nov 98
...Barney (With my head swimming)...
Gracious. It is hard to learn about glaze calculation with or
without programs and hard to learn about what all the components of
the glazes do and VERY VERY hard to try to do both at once. Sigh.
You are an impatient fellow!
Since your head is swimming anyhow (and believe me I remember how
this felt!!) get yourself two or three very good books and read them
straight through several times. Then go on vacation for a week or
two and when you come back, everything you read will make perfect
sense.... (Well, I may be exaggerating just a touch.)
(two essentials)
Obstler, Mimi. Out of the Earth, Into the Fire. Amer. Ceram. Soc. $50
Currie, Ian. Stoneware Glazes; A Practical Approach. (??)
(and everyone needs a copy of
Hamer, Frank & Janet. Potters Dictionary of Materials & Techniques. 4th
ed, $50)
Geez, Steve's annual sale at the Potter's Shop starts right after
Thanksgiving and you'll get 25% off those prices instead of 15% off
so in the meantime you could try finding one at the library to tide
you over. I love 'em all, read 'em all, all the time.
It just takes time to start to learn how all this information goes
together. It really is a complex and multi-dimensional technical
field. Don't kid yourself that it is "low tech" because people in
less developed countries can do it. They learned over centuries
exactly what worked for them and they don't step outside those
boundaries casually! There's lots there to learn. Just start
somewhere (there is no beginning) and keep reading (there is no
end).
Best wishes,
Jan Walker
Cambridge MA USA
LORRIE HNATIUK on wed 14 apr 99
Hi everyone,
First, I just want to thank everyone on this list for all the wonderful
ideas and inspiration. I've been throwing pottery for only a year &1/2
now, but just love it!! Up until now, since I only throw about once a
week, I haven't had a big desire to mix up my own glazes. I've been using
slip & underglaze on everything & finishing with a clear glaze, so far.
Now I would like to try out some colored glazes. Does anyone have some
'tried and true' glaze recipes that work well on brown clay (M332)? I fire
my stuff at cone 6. If so, please e-mail me.... much appreciated!
Lorrie
Bill Williams on thu 15 apr 99
I like floating blue on my brown clay. It looks good if you leave part of
the pot unglazed, too. If you want the recipe, I will e-mail it to you.
Connie
-----Original Message-----
From: LORRIE HNATIUK
To: CLAYART@LSV.UKY.EDU
Date: Wednesday, April 14, 1999 9:32 AM
Subject: Glazes
----------------------------Original message----------------------------
Hi everyone,
First, I just want to thank everyone on this list for all the wonderful
ideas and inspiration. I've been throwing pottery for only a year &1/2
now, but just love it!! Up until now, since I only throw about once a
week, I haven't had a big desire to mix up my own glazes. I've been using
slip & underglaze on everything & finishing with a clear glaze, so far.
Now I would like to try out some colored glazes. Does anyone have some
'tried and true' glaze recipes that work well on brown clay (M332)? I fire
my stuff at cone 6. If so, please e-mail me.... much appreciated!
Lorrie
Marty Anderson on mon 19 apr 99
Hi Lorrie, attached files are some of the glazes we use at school and all of
them are good and we use them on functional ware also.
Here are also some other glazes that I use at home all the time. Love them
Rasberry
Gerstley Borate 21
Nepheline Syenite 16
EPK 11
Whiting 20
Silica 32
ADD:
Tin Oxide 5
Chrome Oxide .15
This is a trasparent glaze of sorts. I double dip on white and buff clay.
I also double dip on the clay I use most, which is a brown spotted clay. I
fire everything in oxidation. ^6
Floating Blue
Nep Sy 47.3
Gerstley Borate 27
Silica 20.3
EPK 5.4
ADD:
Red Iron Oxide 2
Cobalt Oxide 1
Rutile 4
Bentonite 1
I love this one. I brush Jo's red on the inside and 1/3 down the outside.
Looks great. I also sponge numerous colors of this glaze for wonderful
effects.
The Jo's red is made very thick. If it is not very very thick it has to be
double dipped in order to get the red. I never have trouble getting red but
everyone on clayart has a terrible time getting their red iron reds. Guess
they don't understand what thick means.
Wayne's Blue
Kona Feldspar 44
Gerstley Borate 26
Ball Clay 15
Silica 10
Dolomite 5
ADD:
Cobalt Carb 6 Yes, this is a very deep cobalt
blue. On brown clay it is almost black blue. Very rich color.
Lime Green
Neph Sy 45
Gerstley Borate 13
Dolomite 7
Talc 15
EPK 5
Flint 20
ADD:
Nickel Oxide 2 Nice satin matt lime green
Butterscotch
Frit 3134 20
Dolomite 20
Spodumene 20
Ball Clay 20
Flint 20
ADD:
Tintanium Dioxide 10
Rutile 6
Wonderful brushed or sponged here and there over the Jo's Red. Give it a
gold color.
Hope these are helpful to you. Lots of fun overlapping different glazes for
different effects.
I have attached pictures of a platter that is Floating blue with Jo's red
brushed over. The red really is red not the brown you see. I take lousy
pictures. A bowl with the butterscotch over the red. Not to be put more
than 1/4 dow the outside, it runs.
I have more pictures to scan in when my husband figures out why the scanner
is not working of all the glazes I use all them time and different
combinations. I will send them to you when I get them scanned.
marty
martya@airmail.net
-----Original Message-----
From: LORRIE HNATIUK
To: CLAYART@LSV.UKY.EDU
Date: Wednesday, April 14, 1999 7:33 AM
Subject: Glazes
----------------------------Original message----------------------------
Hi everyone,
First, I just want to thank everyone on this list for all the wonderful
ideas and inspiration. I've been throwing pottery for only a year &1/2
now, but just love it!! Up until now, since I only throw about once a
week, I haven't had a big desire to mix up my own glazes. I've been using
slip & underglaze on everything & finishing with a clear glaze, so far.
Now I would like to try out some colored glazes. Does anyone have some
'tried and true' glaze recipes that work well on brown clay (M332)? I fire
my stuff at cone 6. If so, please e-mail me.... much appreciated!
Lorrie
elizabeth l gowen on wed 21 apr 99
Marty, you mention a JO's red but I don't see the recipe. I've been trying
to work on iron reds for several years ever since I had gone to a show where
some potters had a nice orange red from an oxidation kiln. At that time they
didn't wish to share how it was done. I've gotten it to work with two glazes
I use together SOMETIMES I am just not sure how. Is it the time of firing or
the chemicals or both. Any light you might shed would be appreciated. Have
tried refiring a ^6 iron red in a bisque and it does turn more red but the
other glazes that are on the same pot blister. Read about the thought of a
soak or slow cool between 700 and 900 C and may try this.
Any insight would be appreciated
Liz Gowen elgowen@jersey.net
-----Original Message-----
From: Marty Anderson
To: CLAYART@LSV.UKY.EDU
Date: Monday, April 19, 1999 10:39 AM
Subject: Re: Glazes
>----------------------------Original message----------------------------
>Hi Lorrie, attached files are some of the glazes we use at school and all
of
>them are good and we use them on functional ware also.
>
>Here are also some other glazes that I use at home all the time. Love them
>
>Rasberry
>
>Gerstley Borate 21
>Nepheline Syenite 16
>EPK 11
>Whiting 20
>Silica 32
>
>ADD:
>
>Tin Oxide 5
>Chrome Oxide .15
>
>This is a trasparent glaze of sorts. I double dip on white and buff clay.
>I also double dip on the clay I use most, which is a brown spotted clay. I
>fire everything in oxidation. ^6
>
>Floating Blue
>
>Nep Sy 47.3
>Gerstley Borate 27
>Silica 20.3
>EPK 5.4
>
>ADD:
>
>Red Iron Oxide 2
>Cobalt Oxide 1
>Rutile 4
>Bentonite 1
>
>I love this one. I brush Jo's red on the inside and 1/3 down the outside.
>Looks great. I also sponge numerous colors of this glaze for wonderful
>effects.
>
>The Jo's red is made very thick. If it is not very very thick it has to be
>double dipped in order to get the red. I never have trouble getting red
but
>everyone on clayart has a terrible time getting their red iron reds. Guess
>they don't understand what thick means.
>
>Wayne's Blue
>
>Kona Feldspar 44
>Gerstley Borate 26
>Ball Clay 15
>Silica 10
>Dolomite 5
>
>ADD:
>
>Cobalt Carb 6 Yes, this is a very deep
cobalt
>blue. On brown clay it is almost black blue. Very rich color.
>
>
>Lime Green
>
>Neph Sy 45
>Gerstley Borate 13
>Dolomite 7
>Talc 15
>EPK 5
>Flint 20
>
>ADD:
>
>Nickel Oxide 2 Nice satin matt lime green
>
>Butterscotch
>
>Frit 3134 20
>Dolomite 20
>Spodumene 20
>Ball Clay 20
>Flint 20
>
>ADD:
>
>Tintanium Dioxide 10
>Rutile 6
>
>Wonderful brushed or sponged here and there over the Jo's Red. Give it a
>gold color.
>
>Hope these are helpful to you. Lots of fun overlapping different glazes
for
>different effects.
>
>I have attached pictures of a platter that is Floating blue with Jo's red
>brushed over. The red really is red not the brown you see. I take lousy
>pictures. A bowl with the butterscotch over the red. Not to be put
more
>than 1/4 dow the outside, it runs.
>
>I have more pictures to scan in when my husband figures out why the scanner
>is not working of all the glazes I use all them time and different
>combinations. I will send them to you when I get them scanned.
>
>marty
>martya@airmail.net
>
>-----Original Message-----
>From: LORRIE HNATIUK
>To: CLAYART@LSV.UKY.EDU
>Date: Wednesday, April 14, 1999 7:33 AM
>Subject: Glazes
>
>
>----------------------------Original message----------------------------
>Hi everyone,
>
>First, I just want to thank everyone on this list for all the wonderful
>ideas and inspiration. I've been throwing pottery for only a year &1/2
>now, but just love it!! Up until now, since I only throw about once a
>week, I haven't had a big desire to mix up my own glazes. I've been using
>slip & underglaze on everything & finishing with a clear glaze, so far.
>
>Now I would like to try out some colored glazes. Does anyone have some
>'tried and true' glaze recipes that work well on brown clay (M332)? I fire
>my stuff at cone 6. If so, please e-mail me.... much appreciated!
>
>Lorrie
>
Valerie Mann on wed 19 may 99
Hi folks,
I have a question. I am doing earthenware clay hand building plus
pouring molds...now my glazes aren't are brilliant as I would like. I
am doing the majolica and would like to find some glazes that I could
fire 05 or 06 cone.....I have never made my own glazes but would like
to try.....question....how? where do I start? and can I do this?
Thanks
Bright Blessings, Val Mann
Yesterday's Child/ PRODUCTION MICROGRAPHICS
London ON Canada
ICQ # 1592406
http://www.tlaz.com/craftcoop
val@tlaz.com
Longfellow on fri 23 jul 99
Would anyone be able to share with me the recipies for the following glazes =
seen
in Ceramics Monthly?
cone 10 Leather Glase by Rick Malmgren, Lothian, Maryland, (the recipe he
shared was a cone 6 revision from his origional cone 10)
cone 10 Sohngen Stony Yellow by Steven Hill
Thank you for any help,
Georgine at chrisl=403dwave.com
Jennifer Boyer on sat 24 jul 99
Here is the recipe I got from a Stephen Hill workshop I attended
last winter:
SNGN Stony Yellow
F4 spar 1675
Kaolin 1250
Dolomite 850
Talc 525
Spodumene 350
Whiting 225
Bentonite 100
Red Iron Oxide 95
Jennifer
Longfellow wrote:
>
> ----------------------------Original message----------------------------
> Would anyone be able to share with me the recipies for the following glazes se
> in Ceramics Monthly?
> cone 10 Leather Glase by Rick Malmgren, Lothian, Maryland, (the recipe he
> shared was a cone 6 revision from his origional cone 10)
> cone 10 Sohngen Stony Yellow by Steven Hill
> Thank you for any help,
> Georgine at chrisl@3dwave.com
--
~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*
Jennifer Boyer jfboyer@sover.net
Thistle Hill Pottery
Vermont USA
http://www.vermontcrafts.com/members/ThistleHill.html
~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*
Mary Lynch on wed 21 jun 00
I would be happy to see that info on ox. glazes online -- esp. since I must
come up with new glazes w/o Gerstley borate. A very generous offer --
thanks!
Sheron Roberts on wed 21 jun 00
Hal,
Count me in!
Please!
Sheron in NC
gemini53@weblnk.net
Shirley Tschannen on wed 21 jun 00
ME too!!!Hal, just think that is a worthy project.
Sheron Roberts wrote:
> Hal,
> Count me in!
>
> Please!
>
> Sheron in NC
> gemini53@weblnk.net
>
> ______________________________________________________________________________
> 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.
will edwards on mon 6 nov 00
Hello,
Recently I posted a test glaze I wrote to begin the search for another re=
d
similar to Lana's Red since GB has been removed from our list of material=
s.
Rosenrot ^6 ox. was one of them that has a beautiful look but is a deep m=
auve
pink. (Not a Rose Red) However, (we) Veronika and I are close to fixing t=
hat.
Also for those that are actually interested in some variations of color I=
under-took the time to use Ron Roy's base for a Matte Glaze and made some=
tiles that are really nice! 2nd glaze down.
Glaze Name: Rosenrot Revised (Newest)
Cone: 6
Recipe:
Ferro Frit 3134 15.00
Nepheline Syenite 15.00
Flint ( Quartz Silica ) 37.00
Whiting 16.00
Epk Kaolin 15.00
Strontium Carbonate 2.00
Tin Oxide 6.00
Chromium Oxide 0.45
This is a keeper however It is not the bright red of Lana's. I do have so=
me
new ones in the Oven.
Matte Base
G-200 30.00
EPK 30.00
Whiting 20.00
Frit 3134 20.00
Colorants 12.00 RIO and 6.00 Light Rutile.
This give a beautiful Variegated brown similar to a Mountain Rock with mo=
ttled
coloration.
I noticed that because of the extra iron it melts (fluxes) without crawli=
ng
and has few surface problems that showed with others similar to this one.=
This
base did have a crawling problem with less oxide fluxing but that may be =
fixed
in several ways.
Also this will support a chrome tin pink that is neat! (Yes, I tried it)
Glaze Name: Waxy 3134-2 Williams ^6 Ox.
Cone: 6
Recipe:
Ferro Frit 3134 31.00
Soda Feldspar NC 4 9.00
Talc 18.00
Epk Kaolin 16.00
Flint ( Quartz Silica ) 26.00
Strontium Carbonate 2.00
The above is a replacement glaze for a Waxy that I wrote using GB. It is =
a
nice color and accepts oxides well. (A favorite) Low in AL203 but not ter=
ribly
according to the limits I use. Also it will support PURPLE should anyone =
be
interested. (Ron come out of hiding)
add 01.75 Cobalt Carbonate + 01.75 Manganese Carbonate. Nice on light co=
lored
clay bodies. The Purple is named (Stormy Lavender Blue)
Should you test any of the above glazes as always please reply to me. I d=
o
read my mail but it is hard to get through all the other posts at times, =
so I
rely on direct comments.
The rabies thing and black death are a scary topic. But one that is much
needed for educational purposes. The metric issue is certainly a good one=
to
follow! Happy Posting.
With all glazes and those that mix them - It is your resposibility to
accertain the levels of toxic potentials unless other-wise noted. Persona=
lly I
seldom venture into a glaze that has any toxic material that is known as =
an
accute/chronic toxin without lab testing it first. Wearing gloves and NIO=
SH
approved respirators and good house keeping is always my first criteria. =
Make
it yours!
William Edwards
Opelika Arts Center (Director)
Tallapoosa River Pottery (Owner)
____________________________________________________________________
Get free email and a permanent address at http://www.netaddress.com/?N=3D=
1
Robin Brown on mon 30 jan 06
Hi All,
I have been a potter now since 1975 and have never really understood the
glaze formula for cone 6 clays.
I would really like to have a basic formula that I could get my brain
around. After all this time of just using someone else glazes I need to
understand and make my own!
Any help that anyone could offer me in regards to this would be greatly
appreciated.
Thank You.
R. Markquis Brown
email - cybermansees@gmail.com
Steve Slatin on tue 31 jan 06
Robin --
How basic do you want?
2 ingredient glaze --
80% alberta slip
20% frit 3134
add 3 - 5 percent milled rutile for an extremely reliable floating blue,
usual oxides for usual colors. (From DigitalFire site) Will run if
fired to ^7 and if applied thick.
3 ingredient glaze --
50% Gerstley Borate
20% EPK
30% silica
Smooth, clear, doesn't leach copper at 1 - 2%, COE a little low
and may dunt. Some pinholing if you don't do a controlled cool.
Replace Gerstley with Gillespie Borate and COE
is a little high and may crackle. Depending on your clay, one
or the other may be perfect.
Replace either GB with frit 3134 and you may have solved the
Goldilocks dilemma. (This is the Ian Begg version of the
recipe.)
The biggest difference I've found in these three is the COE.
All 3 give you clear, smooth glazes with a tendency to run
if applied thick and/or fired to nearly ^7. There are some
differences in color response, but since all 3 are rich in
both alkalis and boron, so they're pretty similar for colors.
With 3134 the colors may have been a bit more muted
overall.
Replace the 3134 with 3124 and instead of a clear glossy you
get a clear semi-matte.
You can also explore inverting the EPK and silica percentages,
or do it as a 50/25/25.
Best wishes -- Steve Slatin
Robin Brown wrote:
Hi All,
I have been a potter now since 1975 and have never really understood the
glaze formula for cone 6 clays.
I would really like to have a basic formula that I could get my brain
around. After all this time of just using someone else glazes I need to
understand and make my own!
Any help that anyone could offer me in regards to this would be greatly
appreciated.
Thank You.
R. Markquis Brown
email - cybermansees@gmail.com
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
William & Susan Schran User on tue 31 jan 06
On 1/31/06 1:45 AM, "Robin Brown" wrote:
> I have been a potter now since 1975 and have never really understood the
> glaze formula for cone 6 clays.
Get a copy of "Mastering Cone 6 Glazes" - that'll do ya!
-- William "Bill" Schran
Fredericksburg, Virginia
wschran@cox.net
wschran@nvcc.edu
Mert & Holly Kilpatrick on wed 1 feb 06
Robin,
On of the best articles I have read on the makeup of glazes was by Richard
Eppler. Right at the moment I can't seem to find that online, although I
think I have in the past. But I see that Tony Hansen has another, somewhat
similar, article on his website, by Richard Eppler:
http://digitalfire.com/services/consultants/eppler.html
If I find the other one I will send it your way. It basically explained what
materials you need, in what proportions, and what materials can supply them.
From that you can make up your own glaze and go from there.
Another approach is in Ian Currie's Revealing Glazes, where he gives some
"generic" recipes as a basis for experimentation. Great book.
Holly
East Bangor, PA
> -----Original Message-----
> From: Clayart [mailto:CLAYART@LSV.CERAMICS.ORG] On Behalf Of Robin Brown
> Sent: Tuesday, January 31, 2006 1:46 AM
> To: CLAYART@LSV.CERAMICS.ORG
> Subject: Glazes
>
> Hi All,
> I have been a potter now since 1975 and have never really understood the
> glaze formula for cone 6 clays.
> I would really like to have a basic formula that I could get my brain
> around. After all this time of just using someone else glazes I need to
> understand and make my own!
> Any help that anyone could offer me in regards to this would be greatly
> appreciated.
> Thank You.
> R. Markquis Brown
> email - cybermansees@gmail.com
Cheryl Weickert on wed 1 feb 06
Lili Krakowski wrote an excellent post a while ago... Basic Internet Glaze
Course. You should be able to find it some where in the archives.
Pinky in white MN... new snow is so nice it covers up the snirt... snow +
dirt = snirt.
James Cody on sun 12 feb 06
I have been pitfiring exclusively for the past six years. I have decided to do a mosaic and am currently making test tiles by wedging stains into porcelin. I am looking for a satin or matte glaze that I can fire to cone 8. Something to enhance the stained porcelin color pallette of greens, reds, and blues. Any ideas?
James Cody
codyceramics@earthlink.net
Why Wait? Move to EarthLink.
Earl Brunner on wed 3 may 06
There is no clay in this recipe, accept the little
bentonite which you put in it. Clay gives application
and handling strength to unfired glaze. There is
nothing to hold the water IN the glaze in this recipe.
Earl Brunner
Las Vegas, NV
-----Original Message-----
From: Clayart [mailto:CLAYART@LSV.CERAMICS.ORG] On
Behalf Of Susan Speck
Sent: Wednesday, May 03, 2006 9:25 AM
To: CLAYART@LSV.CERAMICS.ORG
Subject: glazes
hello all, may I get some insights as to a glaze I use
and love? It's
called Smalljohn's Glossy Light Blue Crystal (I think).
here is the recipe:
Vol. Ash---70%
Gerstly----30%
I add 2% Bentonite to it.
I mix dry, add water, let it sit to dissolve all
ingredients, mix it with a
drill attachment and sieve it to at least 60 mesh.
Here's the problem... upon application to bisque ware
it dries
IMMEDIATELY. this glaze will not slide much around the
pot. I have tried
the obvious and washed off the pot before applying the
glaze. It helps,
but the glaze dries perhaps 2 seconds later.
Just wondered if it was the property of Vol Ash to not
absorb H2O, stay
suspended, or just act goofy...or is it the Gerstley or
is it ME?
_______________________________________________________
_______________________
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.
Susan Speck on wed 3 may 06
hello all, may I get some insights as to a glaze I use and love? It's
called Smalljohn's Glossy Light Blue Crystal (I think).
here is the recipe:
Vol. Ash---70%
Gerstly----30%
I add 2% Bentonite to it.
I mix dry, add water, let it sit to dissolve all ingredients, mix it with a
drill attachment and sieve it to at least 60 mesh.
Here's the problem... upon application to bisque ware it dries
IMMEDIATELY. this glaze will not slide much around the pot. I have tried
the obvious and washed off the pot before applying the glaze. It helps,
but the glaze dries perhaps 2 seconds later.
Just wondered if it was the property of Vol Ash to not absorb H2O, stay
suspended, or just act goofy...or is it the Gerstley or is it ME?
Taylor Hendrix on wed 3 may 06
Sounds like very absorbant bisque to me. Have you tried raising your
bisque temperature and seeing if that helps slow the drying?
You might try reformulating to add some clay. This recipe has no clay
to slow down drying. I've got one that freezes drips and looks yucky.
I have no idea if increasing the bentonite would help.
Just some thoughts.
Rock on!
Taylor, in Rockport TX
On 5/3/06, Susan Speck wrote:
> hello all, may I get some insights as to a glaze I use and love? It's
> called Smalljohn's Glossy Light Blue Crystal (I think).
> here is the recipe:
> Vol. Ash---70%
> Gerstly----30%
> I add 2% Bentonite to it.
> I mix dry, add water, let it sit to dissolve all ingredients, mix it with=
a
> drill attachment and sieve it to at least 60 mesh.
> Here's the problem... upon application to bisque ware it dries
> IMMEDIATELY. this glaze will not slide much around the pot. I have trie=
d
> the obvious and washed off the pot before applying the glaze. It helps,
> but the glaze dries perhaps 2 seconds later.
>
> Just wondered if it was the property of Vol Ash to not absorb H2O, stay
> suspended, or just act goofy...or is it the Gerstley or is it ME?
Lynn Goodman Porcelain Pottery on wed 3 may 06
Have you tried adding CMC? Start with 1% and up it to 2% if necessary
(add to dry recipe, then mix thoroughly before adding water). It should
slow down the drying rate for you. Don't go past 2% or you may not get
a thick enough glaze coat when dipping.
Lynn
On May 3, 2006, at 12:25 PM, Susan Speck wrote:
> ...Here's the problem... upon application to bisque ware it dries
> IMMEDIATELY. this glaze will not slide much around the pot. I have
> tried
> the obvious and washed off the pot before applying the glaze. It
> helps,
> but the glaze dries perhaps 2 seconds later.
>
> Just wondered if it was the property of Vol Ash to not absorb H2O, stay
> suspended, or just act goofy...or is it the Gerstley or is it ME?
>
> _______________________________________________________________________
> _______
> 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.
>
>
Lynn Goodman
Fine Porcelain Pottery
548 Court St.
Brooklyn, NY 11231
718-858-6920
Cell 347-526-9805
www.lynngoodmanporcelain.com
Ron Roy on thu 4 may 06
Hi Susan,
Maybe the bisque is too porus - what cone do you fire it to?
RR
>hello all, may I get some insights as to a glaze I use and love? It's
>called Smalljohn's Glossy Light Blue Crystal (I think).
>here is the recipe:
>Vol. Ash---70%
>Gerstly----30%
>I add 2% Bentonite to it.
>I mix dry, add water, let it sit to dissolve all ingredients, mix it with a
>drill attachment and sieve it to at least 60 mesh.
>Here's the problem... upon application to bisque ware it dries
>IMMEDIATELY. this glaze will not slide much around the pot. I have tried
>the obvious and washed off the pot before applying the glaze. It helps,
>but the glaze dries perhaps 2 seconds later.
>
>Just wondered if it was the property of Vol Ash to not absorb H2O, stay
>suspended, or just act goofy...or is it the Gerstley or is it ME?
Ron Roy
RR#4
15084 Little Lake Road
Brighton, Ontario
Canada
K0K 1H0
Ivor and Olive Lewis on thu 4 may 06
Dear Susan Speck,=20
As I understand things, Volcanic Ash is a Glass. It is insoluble in =
water, at least on the human time scale.
Your recipe of 30% Gerstly Borate, 70% Volcanic ash behaves the way you =
describe because it is a coarse slurry and water drains from it rather =
quickly. No doubt you would confirm that it tends to settle out in the =
bucket as well. The 2% bentonite is insufficient to flocculate the =
mixture and prevent the rapid adsorption by bisque ware.
Just how much residue do you have when you screen it ?
Perhaps you would get better results if you could mill it down to minus =
100 mesh or finer before compounding your recipe.
Without some knowledge of your firing temperature I cannot say more.
Best regards,
Ivor Lewis.
Redhill,
South Australia.
Digital Studio on tue 24 jun 08
The other day I found a ceramic coil pot that I made when I was in 5th
grade. I was a little horrified at the nasty painted on fluorescent
green factory glaze and that got me thinking... why does a factory glaze
look the way it does? Why do some factory glazes look really (can I say
this) crappy compared to the glazes that most of us mix ourselves? There
are some factory glazes that don't look the way that I am trying to
describe, some factory glazes are pretty cool (I'll use Fong Choo's work
as an example).
Is it because people use the factory glaze as a "paint" and it is
unevenly painted over the surface? I'm aesthetically used to the glazes
that I mix and these just look... different. Are they less transparent?
Some factory glazes that I've run across in photos seem like just a
glossy acrylic paint surface. What is the real difference between my
glaze I make and the factory glaze in terms of appearance?
--
Kendra Bogert
www.digital-studio.biz
641-208-6253
Kim Hohlmayer on fri 27 jun 08
Hi Kendra,
I have a question before I can comment. Do you fire oxydation or reduction? Also, at what cone do you fire?
I guess I can give a little comment even before I kknow all that. Many commercial glazes are mixed for hobbiests who wand to glaze precast, low fired items and they want colors that look good on Santa's red coat or the Easter Bunny's pretty little eggs. For kids' art classes teachers both public and private want colors that kids will like hence the neon green. Then there are the people who want to match a particular color in their decorating scheme. And yes, part of the problem is also in jkapplication. These are all usually supposed to be applied in usually 2 to 4 even layers with a paint brush. Most people who first apply glaze with a brush end up removing as much as they put on because they treat it like paint and that just doesn't work
When you mix your own glazes you are going for a completely different goal and probably dipping your pottery rather than painting it on. Thus you get a nice, artistic and pleasing glaze on your work. As more companies are catering to practical and art potters the availability of more potter look glazes is growing so bit by bit those who can't mix their own for whatever reason have better choices.
But don't completely write off the other commercial glazes. It may be the one area where we really can make a silk purse out of a sow's ear. I have seen some killer art done with what would usually be considered very unartsy commercial glazes. It is as always in the eye of the beholder. Does this help? --Kim H.
--- On Tue, 6/24/08, Digital Studio wrote:
> From: Digital Studio
> Subject: Glazes
> To: CLAYART@LSV.CERAMICS.ORG
> Date: Tuesday, June 24, 2008, 6:02 PM
> The other day I found a ceramic coil pot that I made when I
> was in 5th
> grade. I was a little horrified at the nasty painted on
> fluorescent
> green factory glaze and that got me thinking... why does a
> factory glaze
> look the way it does? Why do some factory glazes look
> really (can I say
> this) crappy compared to the glazes that most of us mix
> ourselves? There
> are some factory glazes that don't look the way that I
> am trying to
> describe, some factory glazes are pretty cool (I'll use
> Fong Choo's work
> as an example).
> Is it because people use the factory glaze as a
> "paint" and it is
> unevenly painted over the surface? I'm aesthetically
> used to the glazes
> that I mix and these just look... different. Are they less
> transparent?
> Some factory glazes that I've run across in photos seem
> like just a
> glossy acrylic paint surface. What is the real difference
> between my
> glaze I make and the factory glaze in terms of appearance?
>
> --
> Kendra Bogert
> www.digital-studio.biz
> 641-208-6253
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