Roman Jones on tue 12 aug 97
Hello All. I'm using Linda Arbuckels majolica glaze recipe and having alot
of problems. First, my pieces are large platters and getting them into a flat
glazing container ( or finding one ) for "dipping" is challanging enough. I
always have finger marks to cover up and with this glaze you just can't do
that, because they show after the firing. Also. a big problem is with
waxing. After I've done my design and wax over it, I wait awhile and then
with a lg brush do the background color over the wax. Now the problem,...the
tiny drops of background glaze left on the waxed parts must be carefully
sponged off . When I do this the entire spot wax and base glaze come up! And
don't tell me to do it more lightly. I am soo careful. I am very frustrated
with this glaze. I would do much better with something that I could brush on,
but I am not certain that anything exists. I have looked into commerical
glazes like the new Ammaco. but it looks just like a pre-fab commerical glaze
with no depth. I have heard that Terry Seibert first fires her base glazed
pots to ^018 to stablize the base glaze and make it easier to paint on. But
is it still pourious enough to take the mason stains? Any advice is welcome.
Linda, are you out there ? Thanks Roman in Philly
Jennifer Boyer on wed 13 aug 97
Hi Roman,
I've had good success dipping platters(with tongs) in a vary wide shallow
trough type thing that I think is made to mix mortar in. It's plastic and
is about 30 by 30 inches square with sides that taper to a 15 by 15 inch
flat base. It's about 6 inches deep. I doubt that I have more than 4 inches
of glaze in it for 14 inch platters. When I dip the platter and bring it
out of the glaze, a ridge of glaze starts to form as the glaze sheets off,
and I dip the bottom half the platter back in to smooth this out. When the
glaze dries, I sand the tong marks, sometimes dabbing a little glaze on to
fill in any scratch the tong makes. I do over-glaze decoration and get a
smooth coat of glaze. Have you tried The green water based wax resist from
Aftosa? It's good stuff. Axner carries it.
Hope this helps..Jennifer in Vermont
>----------------------------Original message----------------------------
>Hello All. I'm using Linda Arbuckels majolica glaze recipe and having alot
>of problems. First, my pieces are large platters and getting them into a flat
>glazing container ( or finding one ) for "dipping" is challanging enough. I
>always have finger marks to cover up and with this glaze you just can't do
>that, because they show after the firing. Also. a big problem is with
>waxing. After I've done my design and wax over it, I wait awhile and then
>with a lg brush do the background color over the wax. Now the problem,...the
>tiny drops of background glaze left on the waxed parts must be carefully
>sponged off . When I do this the entire spot wax and base glaze come up! And
>don't tell me to do it more lightly. I am soo careful. I am very frustrated
>with this glaze. I would do much better with something that I could brush on,
> but I am not certain that anything exists. I have looked into commerical
>glazes like the new Ammaco. but it looks just like a pre-fab commerical glaze
>with no depth. I have heard that Terry Seibert first fires her base glazed
>pots to ^018 to stablize the base glaze and make it easier to paint on. But
>is it still pourious enough to take the mason stains? Any advice is welcome.
>Linda, are you out there ? Thanks Roman in Philly
~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*
Jennifer Boyer
Thistle Hill Pottery
Montpelier, Vt. 05602
jboyer@plainfield.bypass.com
Cindy on thu 14 aug 97
Roman,
I can't help with all your glaze problems, but for suitable flat containers
for dipping, try one of the containers used by bricklayers for mixing
mortar. I need to find one, too, and not sure where to look. Ask
around--I'm sure you'll find what you need.
Cindy
cobbeldi on thu 14 aug 97
Jennifer--just thought I'd interject a comment on Axner's wax resist. I
used the stuff years ago and had the whole gallon go bad. Have you smelled
that stuff when it ferments?! I couldn't believe how ripe it can get.
Since I live in the south and my studio gets very warm, I quit using it
because I couldn't stand the odor!
Debra in Alabama
----------
> ----------------------------Original message----------------------------
> Hi Roman,
> I've had good success dipping platters(with tongs) in a vary wide shallow
> trough type thing that I think is made to mix mortar in. It's plastic and
> is about 30 by 30 inches square with sides that taper to a 15 by 15 inch
> flat base. It's about 6 inches deep. I doubt that I have more than 4
inches
> of glaze in it for 14 inch platters. When I dip the platter and bring it
> out of the glaze, a ridge of glaze starts to form as the glaze sheets off,
> and I dip the bottom half the platter back in to smooth this out. When
the
> glaze dries, I sand the tong marks, sometimes dabbing a little glaze on to
> fill in any scratch the tong makes. I do over-glaze decoration and get a
> smooth coat of glaze. Have you tried The green water based wax resist from
> Aftosa? It's good stuff. Axner carries it.
> Hope this helps..Jennifer in Vermont
> >----------------------------Original message----------------------------
> >Hello All. I'm using Linda Arbuckels majolica glaze recipe and having
alot
> >of problems. First, my pieces are large platters and getting them into a
flat
> >glazing container ( or finding one ) for "dipping" is challanging
enough. I
> >always have finger marks to cover up and with this glaze you just can't
do
> >that, because they show after the firing. Also. a big problem is with
> >waxing. After I've done my design and wax over it, I wait awhile and then
> >with a lg brush do the background color over the wax. Now the
problem,...the
> >tiny drops of background glaze left on the waxed parts must be carefully
> >sponged off . When I do this the entire spot wax and base glaze come up!
And
> >don't tell me to do it more lightly. I am soo careful. I am very
frustrated
> >with this glaze. I would do much better with something that I could
brush on,
> > but I am not certain that anything exists. I have looked into commerical
> >glazes like the new Ammaco. but it looks just like a pre-fab commerical
glaze
> >with no depth. I have heard that Terry Seibert first fires her base
glazed
> >pots to ^018 to stablize the base glaze and make it easier to paint on.
But
> >is it still pourious enough to take the mason stains? Any advice is
welcome.
> >Linda, are you out there ? Thanks Roman in Philly
>
>
> ~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*
> Jennifer Boyer
> Thistle Hill Pottery
> Montpelier, Vt. 05602
> jboyer@plainfield.bypass.com
>
Jennifer Boyer on sat 16 aug 97
Hi ,
Yes I've had the wax go "bad". I use a little at a time, in a seperate
little container, which I go through frequently. I've never had the gallon
go bad, just the little container, and I live with it. You can still use
the stinky stuff. It doesn't always happen, but maybe it happens more in
warmer climates than my frozen northern home....my studio is in a walkout
basement and stays mercifully cool.
Take Care,
Jennifer in VT
>----------------------------Original message----------------------------
>Jennifer--just thought I'd interject a comment on Axner's wax resist. I
>used the stuff years ago and had the whole gallon go bad. Have you smelled
>that stuff when it ferments?! I couldn't believe how ripe it can get.
>Since I live in the south and my studio gets very warm, I quit using it
>because I couldn't stand the odor!
>Debra in Alabama
>
~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*
Jennifer Boyer
Thistle Hill Pottery
Montpelier, Vt. 05602
jboyer@plainfield.bypass.com
Linda Arbuckle on wed 12 aug 98
Karl,
Is the wrinkling (sometimes referred to as "pigskinning") all over the
surface or limited to a specific color of decoration?
My experiences with this have usually been the use of a refractory
color, or a color that's border-line used thicker than usual.
Mason 6020 pink, Titanium yellow, and one of the lavender colors are all
body stains and too refractory, even mixed 1 colorant + 4 flux, for
majolica use. Created for use in coloriing slips. As an aside, you can
make really nice pink shino (orange thin to salmon thick) by adding 8%
6020 pink to your regular shino base. But make sure it's adequately
reduced, or you get a really startling donut-icing pink if it's
oxidized.
If the whole glaze surface is pigskinned, I'd wonder if the kiln reached
temperature and look at the visual cones. If you don't fire with visual
cones in front of the peep, this is a good time to be reminded to start.
Really helps w/detective work. I use small cones, and expect
more-or-less one cone cooler in front of the peep than the sitter cone.
This is because the sitter cone is horizontal and has a bar resting on
it, and so bends sooner than the same cone standing at an 8 degree angle
in a cone pack.
If you suspect kiln temperature, you may want to test your elements. You
can push in the sittle button and gently lower the trip lever so it
won't turn the kiln off, turn all switches to high, and wait about 5
minutes. All the elements should be glowing. If not, you may have a dead
element, which could interfere with the kiln reaching temperature.
Linda
--
Linda Arbuckle
Graduate Coordinator, Assoc. Prof.
Univ of FL
School of Art and Art History
P.O. Box 115801, Gainesville, FL 32611-5801
(352) 392-0201 x 219
e-mail: arbuck@ufl.edu
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