Talbott on sun 29 sep 96
Do any of you clayarters have a good receipe for Macro-crystalline
glazes..CONE 8-10 range.....INCLUDING the FIRING SCHEDULE (ie:
oxidation/reduction cycles--cooling cycles, etc)..in other words the WHOLE
story if you please...I know that this is a tall order...Thanks...Marshall
Marshall Talbott
Pottery By Celia
Route 114
P.O. Box 4116
Naples, Maine 04055-4116
(207)693-6100 voice and fax
clupus@ime.net
Roeder on mon 30 sep 96
Hello Marshall,
There was a time when I was looking into crystalline glazes and found one
book that had more information than any other at the time. Contemporary
Ceramic Formulas by John W. Conrad ISBN #0025276409.
It has many recipes, photos, charts, diagrams and step-by-step information
(over 60 pages of info and 40 photos, 40+ recipes) on crystalline glaze
firing (maco, micro, aventurine). I believe it may be out of print...I
obtained the last copy that one dealer carried, but it may be in a library
somewhere, or some store may still have it.
Back issues of Ceramics Monthly have had information as well.
I bought the book and a good grinder, and a digital pyrometer 4 years ago......
Good luck,
Candice Roeder
CRoeder@worldnet.att.net
In Michigan
At 02:52 AM 9/30/96 +0000, you wrote:
>----------------------------Original message----------------------------
>Do any of you clayarters have a good receipe for Macro-crystalline
>glazes..CONE 8-10 range.....INCLUDING the FIRING SCHEDULE (ie:
>oxidation/reduction cycles--cooling cycles, etc)..in other words the WHOLE
>story if you please...I know that this is a tall order...Thanks...Marshall
>
>Marshall Talbott
>Pottery By Celia
>Route 114
>P.O. Box 4116
>Naples, Maine 04055-4116
>(207)693-6100 voice and fax
>clupus@ime.net
Jocelyn McAuley on mon 3 jun 02
Oh Joyce,
Jump in, the water's just fine!
If your glaze is on the outside, and if it runs, a pedestal, catcher
combo is a very good thing. There are crystalleurs who use their glazes
on the inside of pieces only (therefore no catcher assembly
needed). There are also artists who use non-running formulas.
There are a number of publications which nicely illustrate the catcher
mechanism needed for runny glazes. I have a quick and dirty guide to
getting started on my website:
http://www.ceramicism.com/index.cfm?fuseaction=document_center&subfuse=displ
ay&document_id=40
If one trims/throws the bottoms of their pieces to the same consistant
size, then making pedestals -and keeping track of which ones belong to
which pots isn't as bad of a chore as it may sound.
I must say, that now is the time to dive in. Many people have contributed
their knowledge to this exciting glaze... there are not as many wrinkles
in the process for a beginner as there use to be.
May I recommend one of my favorite places of worship?
http://www.tiltonpottery.com is a stunner.
Cheers
Jocelyn
--
Jocelyn McAuley ><<'> jocie@worlddomination.net
Eugene, Oregon http://www.ceramicism.com
Joyce Lee on mon 3 jun 02
I can't believe that this glaze still haunts me! Several years ago =
during my very first week on Clayart, I read a couple of posts by a =
Texas potter named Rose Downs (? close, anyway), which led me to her =
website ..... wherein for the first time I saw with my own weather =
beaten desert brown eyes Rose's magical crystalline pots .... I'd never =
before even heard of such a varmint. I rapidly concluded (unusual for =
me) that this glaze and firing was out of my newbie realm. Later, when =
I felt that with extensive study, workshops and practice..... not to =
mention the help of clayarters .... I might be able to tackle =
crystallines ...... I was stopped in my tracks by the daunting piece of =
info that such glazes must be fired in a "saucer" ... a saucer which =
will then become attached to the pot, needing to be detached after =
firing, and the bottom of each pot ground. =20
Questions: Is this information accurate?
And.... if it is ....... how does that work for you who are crystalline =
fanatics? I can see myself becoming totally enamored with a process I =
can't even begin to handle ..... but then I thought that about shinos, =
which .... while not easy by any means ...... are workable with enough =
effort and a willingness to forgive the unforgivable ..... messed up =
pots... even messed up loads of pots.
Thank you and forgive my crankiness earlier .... just overloaded for a =
short period.... okay now.
Joyce
In the Mojave
Snail Scott on tue 4 jun 02
At 05:36 PM 6/3/02 -0700, you wrote:
>...such glazes must be fired in a "saucer" ... a saucer which will then
become attached to the pot, needing to be >detached after firing, and the
bottom of each pot ground.
>Questions: Is this information accurate?
Not a saucer, really, but more of an inverted
mushroom shape, or a short tower with a moat.
Or like a Bundt pan. The 'stem' of the mushroom
(or tower) may be only about 1" tall, but is
made to the exact diameter of the pot's foot.
The 'moat' is often about 1/2" deep and 1/2"
across for small pieces; large pieces (with an
expectation of greater runoff) may require a
trough of greater capacity.
The low viscosity of crystalline glazes is
what allows the glaze to run off the pot, but
is also what allows the crystals to form.
Fortunately, the low viscosity means that the
glaze coating which extends from the foot of
the pot onto the support is quite thin, and
breaking the pot off is not as difficult as
it may seem. (Still not error-proof, though.)
I have occasionally wondered if it would be
preferable to make a support for such pots
which fits inside the foot, allowing the glaze
to drip directly off into the trough. I've
never seen anyone do it, though, so I'm
assuming there's some hidden difficulty with
the notion. I decided quite some time ago to
quit messing around with 'interesting' glazes,
so I've never tried it...anyone else?
-Snail
iandol on tue 4 jun 02
Dear Joyce Lee,
You say and then ask "I was stopped in my tracks by the daunting piece =
of info that such glazes must be fired in a "saucer" ... a saucer which =
will then become attached to the pot, needing to be detached after =
firing, and the bottom of each pot ground....Is this information =
accurate?"
For most of the crystalline glazes based on Zinc Silicate, that is =
Willemite Crystals, this would be true. Those saucers are thrown with a =
concentric ring inside to match the size of the footring of the pot. A =
separator, probably aluminium hydrate is the best choice, is painted =
between the saucer ring and the footring to assist in separation.
Why? Because Zinc Crystalline glazes are extremely fluid at their =
maturing temperature. Most are compounded with the minimum of Alumina, =
like no clay, minimum of felspar etc, though I'm sure there are =
exceptions to this sort of "basic rule". Herbert Sanders (Glazes for =
Special Effects)tells how to make frits from Sodium Silicate or =
carbonate and Zinc oxide in addition to giving recipes based on =
commercial frits.
Get in touch with Avril Farley (avril@soudley44.freeserve.co.uk )I'm =
sure she would be willing to outline a good working program for you.
Best regards,
Ivor.
Avril Farley on tue 4 jun 02
Snail said : "I have occasionally wondered if it would be
preferable to make a support for such pots
which fits inside the foot, allowing the glaze
to drip directly off into the trough. I've
never seen anyone do it, though, so I'm
assuming there's some hidden difficulty with
the notion. "
.
Don't do it! I tried this and the glaze merely drifts around the bottom of
the foot and completely seals the catcher to the piece which is now beyond
unchipped separation.
I am always looking for easier ways to deal with glaze run off, but still
(frustratedly) go back to the tightly fitting glue/alumina seal between
catcher and piece, so any ideas are gratefully accepted!
Avril in the forest UK
____________________________________________________________________________
__
> 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.
>
Jocelyn McAuley on tue 4 jun 02
> I have occasionally wondered if it would be
> preferable to make a support for such pots
> which fits inside the foot, allowing the glaze
> to drip directly off into the trough. I've
Hi Snail,
I've wondered about this possibility as well (to rule out the need to make
exact sized pedestals...). I didn't actually try it out, but ruled it out
because it seems it wouldn't be as architecturally strong of a
support. the force of the vessels weight wouldn't have the pedestal to
support it, and with the use of porcelain, slumping could occur.
But then again this is theoretical. I'll test a small version soon...
--
Jocelyn McAuley ><<'> jocie@worlddomination.net
Eugene, Oregon http://www.ceramicism.com
James Crooks on tue 4 jun 02
For all of you worried about the glazes running onto the kiln shelf use a
mixture of half silica and half EPK to wash the shelves before loading. I
use this on all my shelves and had hundreds of pieces stick to the shelf
that
just pop off and only need a little grinding.
Matt
In Annapolis
Paul Lewing on wed 5 jun 02
Hi, Joyce
It's always been an element of craftsmanship when working with crystal
glazes to be a good hand with a grinder. It's pretty inevitable. But there
are, as usual, tricks.
I have a friend who slip-casts a lot of her crystal pots, and she also casts
a pedestal for each one. The pedestal is about an inch high with a saucer
attached at the bottom to catch the glaze. The top of the pedestal is
slightly smaller than the base of the pot, which has a flat bottom. So
often the glaze drips cleanly off the pot. Sometimes there are strings of
glaze all the way down to the saucer, but never a curtain all the way
around. But her most clever trick is that she glues the pots onto the bases
with Elmer's glue, so when she goes to load the kiln, she doesn't have to
fiddle with balancing the pots on the bases back or down in the kiln; they
go in as a unit. Her name is Ginny Conrow and she has a web site, which I
don't know the address of. Maybe a Google search would turn it up. If not,
let me know and I'll ask her. Her stuff is gorgeous, by the way.
Paul Lewing, Seattle
Fara Shimbo on wed 5 jun 02
Hi, Snail,
You mentioned catchers that fit inside the foot ring...
that's the kind I use typically. They work very well
assuming you're careful; the ring of the catcher can't
fit *just* inside the foot or else glaze may run around
the foot and wick up the inside, holding the catcher on
the piece until you cut it off. If you make sure there
will be about a centimenter and a half of space (a little
more than the width of a drop of glaze) between the inside
rim of the foot and the outside rim of the catcher pedistal
this problem is (usually) avoided.
If drops do form on the foot rim, I use a lapidary unit
to take them out and then smooth the foot. Works wonders.
If you really polish the foot of a porcelain vessel with
this thing, the porcelain feels like jade and you just want
to touch it and touch it and touch it...
Fa
--
++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
Fara Shimbo, Certified Public Nuisance, Master Crystallier
Shimbo Pottery, Hygiene, Colorado, USA
crystalline-ceramics.info ++ shimbopottery.com
++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
"It's great to be known. It's even better to be known
as 'strange.'" -- Kaga Takeshi
Ilene Mahler on wed 5 jun 02
Thats' right and if the saucer isn't deep enough or cracks there goes the
shelf...I speak from experience.I am going to try a new kiln wash from Axner
before I try and do a glaze load tomorrow..Ilene
----- Original Message -----
From: Joyce Lee
To:
Sent: Monday, June 03, 2002 8:36 PM
Subject: macro-crystalline glazes
I can't believe that this glaze still haunts me! Several years ago during my
very first week on Clayart, I read a couple of posts by a Texas potter named
Rose Downs (? close, anyway), which led me to her website ..... wherein for
the first time I saw with my own weather beaten desert brown eyes Rose's
magical crystalline pots .... I'd never before even heard of such a varmint.
I rapidly concluded (unusual for me) that this glaze and firing was out of
my newbie realm. Later, when I felt that with extensive study, workshops
and practice..... not to mention the help of clayarters .... I might be able
to tackle crystallines ...... I was stopped in my tracks by the daunting
piece of info that such glazes must be fired in a "saucer" ... a saucer
which will then become attached to the pot, needing to be detached after
firing, and the bottom of each pot ground.
Questions: Is this information accurate?
And.... if it is ....... how does that work for you who are crystalline
fanatics? I can see myself becoming totally enamored with a process I can't
even begin to handle ..... but then I thought that about shinos, which ....
while not easy by any means ...... are workable with enough effort and a
willingness to forgive the unforgivable ..... messed up pots... even messed
up loads of pots.
Thank you and forgive my crankiness earlier .... just overloaded for a short
period.... okay now.
Joyce
In the Mojave
____________________________________________________________________________
__
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.
Brian Crocker on thu 6 jun 02
Dear Joyce,
Ginnie's work is extremely good, I attended one of her workshops when she
was in South Australia long ago and came away truly inspired.
She travels around the World often and you can not be sure of contacting her
but here is her e.mail address.
ginpots@hotmail.com
Kind regards,
Brian + Rena.
==============================
----- Original Message -----
From: "Paul Lewing"
To:
Sent: Thursday, June 06, 2002 2:34 PM
Subject: Re: macro-crystalline glazes
> Hi, Joyce
> It's always been an element of craftsmanship when working with crystal
> glazes to be a good hand with a grinder. It's pretty inevitable. But
there
> are, as usual, tricks.
> I have a friend who slip-casts a lot of her crystal pots, and she also
casts
> a pedestal for each one. The pedestal is about an inch high with a saucer
> attached at the bottom to catch the glaze. The top of the pedestal is
> slightly smaller than the base of the pot, which has a flat bottom. So
> often the glaze drips cleanly off the pot. Sometimes there are strings of
> glaze all the way down to the saucer, but never a curtain all the way
> around. But her most clever trick is that she glues the pots onto the
bases
> with Elmer's glue, so when she goes to load the kiln, she doesn't have to
> fiddle with balancing the pots on the bases back or down in the kiln; they
> go in as a unit. Her name is Ginny Conrow and she has a web site, which I
> don't know the address of. Maybe a Google search would turn it up. If
not,
> let me know and I'll ask her. Her stuff is gorgeous, by the way.
> 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.
>
Celia Littlecreek on thu 6 jun 02
> >Joyce wrote:
> "I was stopped in my tracks by the daunting piece of info that such
> glazes must be fired in a "saucer" ... a saucer which will then
> become attached to the pot, needing to be detached after firing, and
> the bottom of each pot ground.
> Questions: Is this information accurate?"
I have not done any crystal glazing on pots, but I have used some very
fluid cone 10 glazes that run off the pot. I like the glaze to go all the
way to the bottom of the foot so I made some saucers but they are a little
different (I think) than the ones others have talked about. Picture a
double walled vessel where the outside wall is about an inch or two tall and
the inner wall is 2 or 3 inches tall and looks like a bottle neck, and
smaller in diameter than the foot of your pot. Then, when the glaze runs,
it runs totally of the pot, and drops into the saucer. These can be used
repeatedly. I have not had to grind off any glaze. following is a drawing.
The dotted line is the outside wall. The pedestal in the middle is the
inside wall of the double walled vessel.
____
I I
I I
I---------------------------I
I---------------------------I
| |
|
