Pfeiffer Fire Arts on wed 18 jun 08
Lili >> Glazes should be clearly marked
and TINTED to prevent contamination. >>>
How do you do this? We use food coloring but it
does not work well. A whole bottle has a small
effect in 5 gallons of wet glaze and almost none
when dry. Our reason for doing it is to help tell
what color a glaze is already on the pot as we do
a number of colors over a day or so. The biggest
problems are cobalt and copper glazes, for some
reason they always dry to a very close shade of
blue green.
I tried to find book edge dye, it is a very strong
power dry. I used it a long time ago for
bookbinding but have been unable to find it now.
Dan & Laurel in Elkmont Al
www.pfeifferFireArts.com
Tony Ferguson on thu 19 jun 08
When I taught, we actually wired a test tile onto the bucket clearly showing what the glaze was.
Tony Ferguson
Pfeiffer Fire Arts wrote: Lili >> Glazes should be clearly marked
and TINTED to prevent contamination. >>>
How do you do this? We use food coloring but it
does not work well. A whole bottle has a small
effect in 5 gallons of wet glaze and almost none
when dry. Our reason for doing it is to help tell
what color a glaze is already on the pot as we do
a number of colors over a day or so. The biggest
problems are cobalt and copper glazes, for some
reason they always dry to a very close shade of
blue green.
I tried to find book edge dye, it is a very strong
power dry. I used it a long time ago for
bookbinding but have been unable to find it now.
Dan & Laurel in Elkmont Al
www.pfeifferFireArts.com
Tony Ferguson
315 N. Lake Ave. Apt 312
Duluth, MN 55806
...where the sky meets the lake...
Artist, Educator, Photographer, Film Maker, Web Meister
fergyart@yahoo.com
(218) 727-6339
http://www.tonyferguson.net
Des & Jan Howard on thu 19 jun 08
Dan or Laurel
Some of our pots have single glazes, some have up to 9 different layered
effects, brushed, trailed, sprayed or dipped. If we couldn't keep track
of the layers we'd be in a mess. We use powdered food colouring, from a
wholesale food ingredients company in 1 kg containers. The liquid forms
are too dilute. There are other stronger dyes, but, we reckon if the
food colouring is OK to get in our innards it's OK to get on our outards.
Of the food colours some appear to only stain the water,(dunno why, so
don't ask), some on the dry pots show little difference. So, we only use
blue or yellow or blue+yellow (green). Brown is also effective.
Two teaspoons of these powders in your 5 gals would work well. Our
glazes are tinted enough to differentiate layers on dry pots. I have to
admit after a glazing run my hands are a tad multicoloured.
Des
Pfeiffer Fire Arts wrote:
> Lili >> Glazes should be clearly marked
> and TINTED to prevent contamination. >>>
>
> How do you do this? We use food coloring but it
> does not work well. A whole bottle has a small
> effect in 5 gallons of wet glaze and almost none
> when dry.
>
David Hendley on mon 23 jun 08
Trying to color glazes with organic dyes is a pain, in my
experience. A weak dye will not adequately color the
glaze and a strong dye will cause the glaze to stain
everything it comes in contact with.
Here's what I do. Being a long-time gourmet scrounger,
I have a rainbow coalition of 5-gallon buckets. My glazes
are stored in buckets the same colors as the glazes. This
is fool-proof, even if the attached label or test tile gets
knocked off the bucket.
I actually have different shades of blue buckets, bright
red for copper red and maroon red for iron red, yellow for
manganese gold, and black for tenmoku. If I used Mel's
Orange, I would go to Home Despot and buy one of their
trademark buckets.
The second part of the strategy is my little slips of colored
paper. Since I use several glazes that end up looking
"light gray" when they are applied and dried, I simply throw
a slip of paper in the pot after glazing. Again, red paper for
copper red, blue paper for rutile blue, etc. Then, I know for
sure what I have if I want to add another glaze. This is also
useful for deciding on placement when loading the kiln, since
most kilns have "sweet spots" for particular glazes.
David Hendley
Maydelle, Texas
david(at)farmpots(dot)com
http://www.farmpots.com
>
> ----- Original Message -----
>
>> Lili >> Glazes should be clearly marked
>> and TINTED to prevent contamination. >>>
>>
>> How do you do this? We use food coloring but it
>> does not work well. A whole bottle has a small
>> effect in 5 gallons of wet glaze and almost none
>> when dry. Our reason for doing it is to help tell
>> what color a glaze is already on the pot as we do
>> a number of colors over a day or so. The biggest
>> problems are cobalt and copper glazes, for some
>> reason they always dry to a very close shade of
>> blue green.
>
Randall Moody on mon 23 jun 08
Couldn't you just paint the bucket and lid to match? I think Krylon
has some paint out that is specifically for plastic.
--
Randall in Atlanta
Kathy Stecker on tue 24 jun 08
My solution was to use electrical plastic tape that comes in many colors,
even purple and to band the bucket and lids. Being a visual person it made it
much easier to find buckets around the group studio, than having to search for
the name on the side. Love David Hendley's idea of the multicolored pieces of
paper in a pot though for keeping track while you are glazing, I can get so
distracted.
Kathy Stecker
Winter Springs, FL
**************Gas prices getting you down? Search AOL Autos for
fuel-efficient used cars. (http://autos.aol.com/used?ncid=aolaut00050000000007)
Kathy Forer on tue 24 jun 08
On Jun 18, 2008, at 11:35 PM, Pfeiffer Fire Arts wrote:
> How do you do this? We use food coloring but it
> does not work well. A whole bottle has a small
> effect in 5 gallons of wet glaze and almost none
> when dry.
So-Strong=99 Color Tints for Urethanes
http://www.smoothonsecure.com/store/index.php?cPath=3D291_270_28
are used with plastics and resins but are incredibly potent dyes. I've =20=
used them with water-based paint and there seem to be no ill-effects. =20=
The sheet says that .001% to 3% is suggested for color-loading.
I have no idea what kind of interaction these dyes might have with =20
glaze but if you need a strong dye, they could be worth an experiment. =20=
There's little information available about them and I wonder what they =20=
are. They seem like thick water-soluble ink. A healthier alternative =20
might be earth pigments for plaster, yet these are incredibly strong =20
colorants.
Kathy Forer
www.kforer.com
Pfeiffer Fire Arts on tue 24 jun 08
David,
I like the idea of using the paper slips but that
still leaves a problem of white glazes. Our dark
blue glaze is the same color as our bisque ware.
Almost all are very pale without some help. One of
our big problems is not seeing that we missed a
spot on the pot. Good color contrast is a great
help.
Still looking for a source of the power dry. So
far all I found is one place that only sells by
the drum.
Dan & Laurel
...
The second part of the strategy is my little
slips of colored
paper. Since I use several glazes that end up
looking
"light gray" when they are applied and dried, I
simply throw
a slip of paper in the pot after glazing. Again,
red paper for
copper red, blue paper for rutile blue, etc.
Then, I know for
sure what I have if I want to add another glaze.
This is also
useful for deciding on placement when loading the
kiln, since
most kilns have "sweet spots" for particular
glazes.
>>>>
June on tue 24 jun 08
I just hang a test tile on the bucket as well as writing the name with a ma=
gic marker in case the test tile gets broken.=A0It's also a good thing to w=
rite the name on the lid, since during glazing the lids can get moved=A0aro=
und and you can get confused as to what lid belongs where.=0ABefore glazing=
, I just make a bunch of small pieces of=A0paper and write down the glazes =
and slips I'm using and throw those in the pot. Since I might have two colo=
rs of green, or two orange flashing slips, etc. colored paper wouldn't work=
as well. I just find it easier to write=A0down the slip and glaze names. I=
t's a good=A0watching TV job, along with wad making.=A0=0ARegards,=0A=0AJun=
e (who has been given on OK by my surgeon to get back to work=A0the first w=
eek in=A0July! :-)=A0 =0A=0Ahttp://www.shambhalapottery.com=0Ahttp://shambh=
alapottery.blogspot.com=0Ahttp://groups.yahoo.com/group/sodasaltfiring/=0A=
=0A=0A=0A----- Original Message ----=0AFrom: Kathy Forer =
=0ATo: CLAYART@LSV.CERAMICS.ORG=0ASent: Tuesday, June 24, 2008 12:37:16 AM=
=0ASubject: Re: Coloring glaze in the bucket=0A=0AOn Jun 18, 2008, at 11:35=
PM, Pfeiffer Fire Arts wrote:=0A=0A> How do you do this? We use food color=
ing but it=0A> does not work well. A whole bottle has a small=0A> effect in=
5 gallons of wet glaze and almost none=0A> when dry.=0A=0A=0ASo-Strong=99 =
Color Tints for Urethanes=0Ahttp://www.smoothonsecure.com/store/index.php?c=
Path=3D291_270_28=0Aare used with plastics and resins but are incredibly po=
tent dyes. I've=A0 =0Aused them with water-based paint and there seem to be=
no ill-effects.=A0 =0AThe sheet says that .001% to 3% is suggested for col=
or-loading.=0A=0AI have no idea what kind of interaction these dyes might h=
ave with=A0 =0Aglaze but if you need a strong dye, they could be worth an e=
xperiment.=A0 =0AThere's little information available about them and I wond=
er what they=A0 =0Aare. They seem like thick water-soluble ink. A healthier=
alternative=A0 =0Amight be earth pigments for plaster, yet these are incre=
dibly strong=A0 =0Acolorants.=0A=0A=0AKathy Forer=0Awww.kforer.com=0A
Lee Love on tue 24 jun 08
Nothing beats teaching proper potter's skills. These shortcuts keep
students from learning responsibility. If you train your eye, you can
see bare spots on the pot, even if the glaze and clay are the same
color.
In the beginning, don't recommend the low contrast glazes. As
they become profeciant, reward them with the glazes that take more
skill.
On Mon, Jun 23, 2008 at 1:06 PM, David Hendley wrote:
> The second part of the strategy is my little slips of colored
> paper. Since I use several glazes that end up looking
> "light gray" when they are applied and dried, I simply throw
> a slip of paper in the pot after glazing.
Sumi-e ink is made from carbon black and burns off in the firing. Buy
a bottle of liquid ink at an art supply store and a cheap brush and
you can write on the pots, either glaze name abbreviations or location
in the kiln they go. This is what Warren MacKenzie does.
--
Lee Love in Minneapolis
http://mashikopots.blogspot.com/
http://claycraft.blogspot.com/
"We are such stuff as dreams are made on, and our little life is
rounded with a sleep." --PROSPERO Tempest Shakespeare
Des & Jan Howard on wed 25 jun 08
Dan or Laurel
Some of our pots have single glazes, some have up to 9 different layered
effects, brushed, trailed, sprayed or dipped. If we couldn't keep track
of the layers we'd be in a mess. We use powdered food colouring, from a
wholesale food ingredients company in 1 kg containers. The liquid forms
are too dilute. There are other stronger dyes, but, we reckon if the
food colouring is OK to get in our innards it's OK to get on our outards.
Of the food colours some appear to only stain the water,(dunno why, so
don't ask), some on the dry pots show little difference. So, we only use
blue or yellow or blue+yellow (green). Brown is also effective.
Two teaspoons of these powders in your 5 gals would work well. Our
glazes are tinted enough to differentiate layers on dry pots. I have to
admit after a glazing run my hands are a tad multicoloured.
Des
Pfeiffer Fire Arts wrote:
>
> How do you do this? We use food coloring but it
> does not work well. A whole bottle has a small
> effect in 5 gallons of wet glaze and almost none
> when dry. Our reason for doing it is to help tell
> what color a glaze is already on the pot as we do
> a number of colors over a day or so. The biggest
> problems are cobalt and copper glazes, for some
> reason they always dry to a very close shade of
> blue green.
>
Lee Love on fri 27 jun 08
On Fri, Jun 27, 2008 at 11:04 AM, Kim Hohlmayer wrote:
> the value and quality of the fine arts and crafts they'll see and hopefully
>buy someday. So having the short cuts for the temporary potters is often a
> studio necessity.
Have two sets of glazes, one for the ones that don't care to learn
and then one for the more capable. Let ones who are able "graduate"
to the glazes that require some attention.
> Besides, not all short cuts are bad.
That's true. Only the ones that prohibit learning are negative.
--
Lee Love in Minneapolis
http://mashikopots.blogspot.com/
http://claycraft.blogspot.com/
"We are such stuff as dreams are made on, and our little life is
rounded with a sleep." --PROSPERO Tempest Shakespeare
Kim Hohlmayer on fri 27 jun 08
Dear Lee,
I always love your posts. First let me establish that there are two very different types of pottery students. Therer are the "I am here for entertainment and will only take a class or two and then will never play in clay again." Then there are the serious students. That said, I work at an art center and must always walk that thin line between teaching my serious students the right way and keeping the "get dirty/have fun" from trashing our glazes and yet still going home happy and reccommending our place to the next group. That doesn't mean that I don't value the try and then quit students. At the very least they come to appreciate far better
the value and quality of the fine arts and crafts they'll see and hopefully buy someday. So having the short cuts for the temporary potters is often a studio necessity. Besides, not all short cuts are bad. --Kim H.
--- On Tue, 6/24/08, Lee Love wrote:
> From: Lee Love
> Subject: Re: Coloring glaze in the bucket
> To: CLAYART@LSV.CERAMICS.ORG
> Date: Tuesday, June 24, 2008, 8:19 PM
> Nothing beats teaching proper potter's skills. These
> shortcuts keep
> students from learning responsibility. If you train your
> eye, you can
> see bare spots on the pot, even if the glaze and clay are
> the same
> color.
>
> In the beginning, don't recommend the low
> contrast glazes. As
> they become profeciant, reward them with the glazes that
> take more
> skill.
>
>
> On Mon, Jun 23, 2008 at 1:06 PM, David Hendley
> wrote:
>
> > The second part of the strategy is my little slips of
> colored
> > paper. Since I use several glazes that end up looking
> > "light gray" when they are applied and
> dried, I simply throw
> > a slip of paper in the pot after glazing.
>
> Sumi-e ink is made from carbon black and burns off in the
> firing. Buy
> a bottle of liquid ink at an art supply store and a cheap
> brush and
> you can write on the pots, either glaze name abbreviations
> or location
> in the kiln they go. This is what Warren MacKenzie does.
>
> --
> Lee Love in Minneapolis
> http://mashikopots.blogspot.com/
> http://claycraft.blogspot.com/
>
> "We are such stuff as dreams are made on, and our
> little life is
> rounded with a sleep." --PROSPERO Tempest Shakespeare
Kim Hohlmayer on mon 30 jun 08
Good ideas Lee,
Thank you for helping me reach for higher standards. I will see what I can do after working through this with my coworkers. I am but one small cog in the larger wheel. Not that this ever stopped me from trying to push for change. Besides, my coworkers are an awesome bunch. Thanks kagain. --Kim H.
--- On Fri, 6/27/08, Lee Love wrote:
> From: Lee Love
> Subject: Re: Coloring glaze in the bucket
> To: CLAYART@LSV.CERAMICS.ORG
> Date: Friday, June 27, 2008, 10:24 PM
> On Fri, Jun 27, 2008 at 11:04 AM, Kim Hohlmayer
> wrote:
>
> > the value and quality of the fine arts and crafts
> they'll see and hopefully
> >buy someday. So having the short cuts for the
> temporary potters is often a
> > studio necessity.
>
> Have two sets of glazes, one for the ones that
> don't care to learn
> and then one for the more capable. Let ones who are able
> "graduate"
> to the glazes that require some attention.
>
> > Besides, not all short cuts are bad.
>
> That's true. Only the ones that prohibit learning
> are negative.
>
> --
> Lee Love in Minneapolis
> http://mashikopots.blogspot.com/
> http://claycraft.blogspot.com/
>
> "We are such stuff as dreams are made on, and our
> little life is
> rounded with a sleep." --PROSPERO Tempest Shakespeare
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