Eric Newman on sat 6 aug 11
Before I spend too much time with initial experiments, does anyone out th=
=3D
ere=3D20
have experience using soluble metal salts (copper and cobalt sulfate, e.g=
=3D
.) to=3D20
color their crystalline glazes? I am thinking about brushing areas of a=
=3D
lready=3D20
applied (unfired) glaze with the colorant to vary the color of crystal on=
=3D
different=3D20
areas of the pot. Does this even work? Should I use a saturated solutio=
=3D
n? And=3D20
yes, I will be VERY CAREFUL in handling these toxic, soluble solutions. =
=3D
Thx!
wschran@COX.NET on sat 6 aug 11
---- Eric Newman wrote:
> Before I spend too much time with initial experiments, does anyone out th=
ere
> have experience using soluble metal salts (copper and cobalt sulfate, e.g=
.) to
> color their crystalline glazes? I am thinking about brushing areas of a=
lready
> applied (unfired) glaze with the colorant to vary the color of crystal on=
different
> areas of the pot. Does this even work? Should I use a saturated solutio=
n? And
> yes, I will be VERY CAREFUL in handling these toxic, soluble solutions. =
Thx!
Eric, the answer is basically yes.
The method you ask about has been used by artists working with crystalline =
glazes - brushing/spraying metallic oxides over the glaze containing no col=
orants. I would expect the metallic salts might have a weaker effect depend=
ing on the saturation of the solution. After all, the sulfate will burn out=
leaving the oxide.
Post back with discoveries.
Bill
James A. Monk on sun 7 aug 11
Could anyone tell me if the information below is correct?
Instruction for Oil Reduction (Crystalline glazes)
1. Throw a catch basin for the glazes, because the glaze runs.
2. Paint the catch basin with equal parts of EPK and Alumina Hydrate.
3. Fire in an electric kiln to temperature.
4. After the temperature cools to 1500=3DB0 start dropping cooking oil=3D=
20
into the kiln until the temperature drops to 1000=3DB0 , at the rate=3D=
20
of one drop per second.
I was just wondering, since the cone is not listed.
Thanks in advance,
James Alton Monk
wschran@COX.NET on sun 7 aug 11
James, What you ask is essentially correct.
#2 - EPK/alumina - you want a flat surface between pot foot and pedestal th=
=3D
at matches the diameter of foot ring.
The EPK/alumina, or just one of these is mixed with white glue and is appli=
=3D
ed to pedestal ring, then attach foot of pot.
The catch basin is just that, catches excess glaze, but the pedestal is det=
=3D
tached from pot after firing.
Check my web site: www.creativecreekartisans.com and click on the crystalli=
=3D
ne glaze article I wrote for PMI a few years back.
I describe another type of pedestal you can easily make.
Bill
---- "James A. Monk" wrote:=3D20
> Could anyone tell me if the information below is correct?
>=3D20
>=3D20
> Instruction for Oil Reduction (Crystalline glazes)
> 1. Throw a catch basin for the glazes, because the glaze runs.
> 2. Paint the catch basin with equal parts of EPK and Alumina Hydrate.
> 3. Fire in an electric kiln to temperature.
> 4. After the temperature cools to 1500=3DC2=3DB0 start dropping cooking=
oil=3D
=3D20
> into the kiln until the temperature drops to 1000=3DC2=3DB0 , at the =
rate=3D
=3D20
> of one drop per second.
>=3D20
> I was just wondering, since the cone is not listed.
>=3D20
> Thanks in advance,
>=3D20
> James Alton Monk
cynosure _arts on wed 10 aug 11
well - the results from the first test of using soluble salts to color tint=
=3D
macro-crystalline glazes came back ambiguous.there was definitely green fr=
=3D
om the copper and blue from the cobalt (sulfates)=3D2C but the crystals did=
n=3D
=3D3Bt form well soI'm not certain how well this will work vs just adding o=
xi=3D
des on the surface.
I'll keep y'all posted with further results. =
=3D
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