Veena Raghavan on thu 21 aug 08
Dear Clayarters,
Sometime in the recent past, don't know when, someone posted a gold wash,
which they thought might be Val Cushing's which created gold flecks when applied
on a glaze. I know there are lots of rutile and GB etc. washes that have been
posted, but this one was by far the best I have tried. I mixed it and used it
with great results, but have since lost the recipe! It had red iron oxide in
it apart from the rutile. If anyone remembers posting this and would be kind
enough to post it again, I would be most grateful. I have spent hours looking
through my saved Clayart information, papers everywhere (and I have far too much
paper), so am totally frustrated.
Thanks in advance if you can help me with this.
Veena
VeenaRaghavan@cs.com
Angela Davis on thu 21 aug 08
Morning Veena,
I saw your request and had to find it to try myself.
I found this comment from Dannon, at this page:
http://www.potters.org/subject16465.htm
Very interesting, gotta try it.
Dannon Rhudy on fri 28 aug 98
Approximately this same iron-rutile wash
was/is being used everywhere I was this
summer. There were variations in the way
it was mixed, but the results were extremely
similar, including small to large gold crystals.
The varying mixtures I've come across:
1/3 red iron, 1/3 rutile, 1/3 gerstley borate,
mixed with water and used as over-wash. Val
Cushing recommends this one. Beautiful over
both matt and glossy glazes. This one also got
tried using black iron instead of red; worked a
bit differently but still interesting.
Angela Davis
in Homosassa where Fay is still making things nasty.
----- Original Message -----
From: "Veena Raghavan"
To:
Sent: Thursday, August 21, 2008 3:53 AM
Subject: Gold wash
> Dear Clayarters,
>
> Sometime in the recent past, don't know when, someone posted a gold wash,
> which they thought might be Val Cushing's which created gold flecks when
> applied
> on a glaze. I know there are lots of rutile and GB etc. washes that have
> been
> posted, but this one was by far the best I have tried. I mixed it and used
> it
> with great results, but have since lost the recipe! It had red iron oxide
> in
> it apart from the rutile. If anyone remembers posting this and would be
> kind
> enough to post it again, I would be most grateful. I have spent hours
> looking
> through my saved Clayart information, papers everywhere (and I have far
> too much
> paper), so am totally frustrated.
>
> Thanks in advance if you can help me with this.
>
> Veena
>
> VeenaRaghavan@cs.com
jonathan byler on thu 21 aug 08
Veena,
we have been using an amber celadon recipe from cushing's handbook
that has been coming out with gold flecks when the cooling cycle is
long enough. seems to happen most when the kiln is packed totally
full, so that there is enough thermal mass on hand to cool slowly.
the original recipe has been changed slightly because we don't keep a
few of the ingredients around, and albany slip is not available.
our current manifestation is:
alberta slip 35.9
wollastonite 14.10
epk 3.30
gerstly borate 3.30
whiting 7.60
flint 14.10
g-200 potash feldspar 21.70
---------------------------------------------
yellow ochre 8.70
we tend to heat up rather quickly, with a hard reduction (8-10"
orange tipped flames from both spyholes) around ^012 - ^08 for ~ 1
hour, then back off the reduction for about a 4-6" blue flame from
both spyholes for the remainder until cone ten is good and flat. the
bottom has been lagging a bit, but IIRC it hasn't made a big
difference. Thicker glaze application in my experience seems to lead
more toward crystal growth on cooling. on occasion our regular
celadon glaze, which is also from cushing's handbook has turned
matte on really slow cooling, also, I'm pretty sure it is depending
on application thickness.
g-200 potash feldspar 31
whiting 26
flint 30
om-4 ball clay 13
---------------------------------------
RIO 2
the original of that recipe is the GA (glossy amber) celadon which
probably has custer in same proportions as the g-200 and IIRC 8 for
the RIO
I haven't tried the amber celadon as a wash over anything else to see
if it makes gold flecks on it's own.
jon byler
3-D Building Coordinator
Art Department
Auburn University, AL 36849
On Aug 21, 2008, at 2:53 AM, Veena Raghavan wrote:
> Dear Clayarters,
>
> Sometime in the recent past, don't know when, someone posted a gold
> wash,
> which they thought might be Val Cushing's which created gold flecks
> when applied
> on a glaze. I know there are lots of rutile and GB etc. washes that
> have been
> posted, but this one was by far the best I have tried. I mixed it
> and used it
> with great results, but have since lost the recipe! It had red iron
> oxide in
> it apart from the rutile. If anyone remembers posting this and
> would be kind
> enough to post it again, I would be most grateful. I have spent
> hours looking
> through my saved Clayart information, papers everywhere (and I have
> far too much
> paper), so am totally frustrated.
>
> Thanks in advance if you can help me with this.
>
> Veena
>
> VeenaRaghavan@cs.com
sacredclay on fri 22 aug 08
Am I to understand that the gold flecks can only happen when a
reduction is done? Any possiblity of doing that in a ^6 Ox. kiln?
Kathryn Hughes in NC
Steve Slatin on fri 22 aug 08
Kathryn --
One of the problems with trading recipes
is that people disagree about the name for
various colors. What I call mustard yellow,
some people call gold. What I call gold
other folks might use a different word
for.
But rutile washes often give what some
people call a gold effect -- at cone 6
oxidation, mixing 50% rutile with 50%
frit 3134 or gerstley borate, in a thin
wash over a glaze fairly rich in sodium
will generally work well. (Other
combinations may as well, this is just one
that I know does work well.)
It's also easy to get gold flecks at
cone 6 oxidation with a recipe like
"V's Tenmoku Gold" (see below), if you=20
don't apply too thickly -- if thick, it goes
to mustard yellow and has a pronounced
surface texture; but thin it comes out
black with gold flecks suspended in the
glaze, and very thin over a white stoneware
you get a kind of eggplant color. If your
clay is dark, though, it'll be more of a
brown background and the flecks won't be
so visible.
Recipe Name: Tenmoku Gold (V's Tenmoku Gold)
Cone: 6 Color: Gold, tan
Firing: Oxidation Surface: Semiglossy to glossy
Amount Ingredient
60 Cornwall Stone
8 Whiting
3 Gerstley Borate--1999
10 Iron Oxide--Red
5.5 Lithium Carbonate
7 Dolomite
5.5 Flint
99 Total
Unity Oxide
.228 Li2O
.115 Na2O
.073 K2O
.113 MgO
.471 CaO
1.000 Total
.297 Al2O3
.034 B2O3
.196 Fe2O3
2.549 SiO2
.002 TiO2
.007 P2O5
8.6 Ratio
77 Exp
Comments: From Alisa Clausen, from Bacia Edelman, from John Rodgers, possi=
bly original to Veronica Shelford (Thetis Island, B.C.)=20
Gold flecks in caramel over white stoneware. Some running, possibly some c=
razing. Totals to 99.
Where thick, and with a slow cool, is mustard-gold with red, breaking to bl=
ack. =20
If applied thin, is glossy black with transparent caramel and gold flecks.
-----------------------------------
Calculations by GlazeMaster=E2=84=A2
www.masteringglazes.com
------------------------------------
=20
Steve Slatin=20
--- On Thu, 8/21/08, sacredclay wrote:
> Am I to understand that the gold flecks can only happen when
> a
> reduction is done? Any possiblity of doing that in a ^6 Ox.
> kiln?
> Kathryn Hughes in NC=0A=0A=0A
lela martens on fri 22 aug 08
I have used a ^6 ox. glaze. It has a kind of egg shell finish=2C dark brown=
-red with gold flecks=2C but darned if I can remember the name right now. M=
aybe someone else will think of it before I do..If=2C when I do I`ll send.
Lela> Date: Fri=2C 22 Aug 2008 02:39:55 +0000> From: sacredclay@GMAIL.COM> =
Subject: Re: Gold wash> To: CLAYART@LSV.CERAMICS.ORG> > Am I to understand =
that the gold flecks can only happen when a> reduction is done? Any possibl=
ity of doing that in a ^6 Ox. kiln?> Kathryn Hughes in NC
_________________________________________________________________
If you like crossword puzzles=2C then you'll love Flexicon=2C a game which =
combines four overlapping crossword puzzles into one!
http://g.msn.ca/ca55/208=
nori on fri 22 aug 08
Hi, Steve & everyone.
i LOVE val's tenmoku gold.
but... what makes the gold flecks?
just trying to increase my meagre glaze understanding here...
thanks!
sabra
--
Clifton, Norwich & Sabra
My pottery cat clay
Our studio crocus clay works
My charity A little effort + no money = a big difference!
sample soap
sacredclay on sat 23 aug 08
-
>
> Here are some gold metallic shinos and one with silver highlights.
> The gold ones were fired twice, second time dipped in a soda ash,
> neph sye solution.
>
> http://shinoglaze.blogspot.com/2008/06/metallic-shinos_4600.html
>
> http://shinoglaze.blogspot.com/2008/06/more-metallic-shino.html
>
> --
> Lee Love in Minneapolis
Gawd, Lee, those are bee-you-tee-full! It really made me want to hold
them in my hands and just mediate on its beauty. Thanks for showing
them! Mwah! Kathryn Hughes in NC
Lee Love on sat 23 aug 08
Here are some gold metallic shinos and one with silver highlights.
The gold ones were fired twice, second time dipped in a soda ash,
neph sye solution.
http://shinoglaze.blogspot.com/2008/06/metallic-shinos_4600.html
http://shinoglaze.blogspot.com/2008/06/more-metallic-shino.html
--
Lee Love in Minneapolis
http://mashikopots.blogspot.com/
http://claycraft.blogspot.com/
"Let the beauty we love be what we do.
There are hundreds of ways to kneel and kiss the ground." --Rumi
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