Shirl LeVesconte on tue 3 feb 98
Ron,
Yes, please do post your successful ^6 glazes with you comments on
appearance, surface, visual texture, etc. Always interested.
And thank you Mr. Moderator for you intervention. It was *enough
already.*
:-)
--
shirl
Do or do not do. There is no try. -Yoda
Shirl LeVesconte, 602 Robinwood
Yellow Springs, Ohio 45387
937-767-3549
Gracedart on sun 15 mar 98
wabi (your name didn't print...must have been on page 2)
Here are some tested, tried and true glazes:
Susan Gerr of Birch Mtn. Pottery passed this one on to me:
Base Glaze ^6... a semi-glass white
Frit 3134 20 %
dolomite 20 %
spodume 20 %
kentucky (!?) ball clay *20 % (prior to the dioxin scare i had used EKP)
flint/silica 20 %
*check the clayart lists "threads" about dioxin !...substitute another type of
ball clay ????
Bahama Blue
add to the above base
Zercopax 10 %
cobalt carb 1 % ( .5 % cobalt oxide makes a greener blue )
copper carb 3 %
Raspberry
add to the above base
black berry wine mason stain 20 %
this is a semi matt lavendar
Susan also had this one but i haven't used it yet:
New Brown
to the above base add:
tin oxide 5 %
iron oxide 4 %
rutile dark 4 %
White
add to the above base:
zercopac or ultrox 8 %
zinc oxide 2 %
tin oxide 4
from Chappell's book:
"Chappell blue" ( a dark speckled gray gloss blue...soft and slightly,
visually textured)
colemanite 50 %
epk 15 %
silica 35 %
cobalt oxide 1 %
copper oxide 2 %
rutile 1 % ( presumably, dark
to all out there...happy glazing and let me how these go for you
Grace
Ron Roy on wed 18 mar 98
This first glaze (Base glaze ^6) is a little short of silica to be
considered durable at cone 6 - not too fare off - adding 5% silica fixes it
up just fine - Using ball or kaolin will not affect the glaze either way
very much from a durability or expansion standpoint. I doubt if the
Spodumene is necessary - it's expensive and the only reason to use Lithium
in a glaze would be to try and lower the expansion - that won't work in
this glazes because of the amount other alkalies - so try it with Custer or
G200 instead of the spod - I think you will not see much, if any
difference.
The Chappell glaze is a joke from the perspective of durability - you might
be able to scratch it with plastic knife (Ok I'm exaggerating) - and the
expansion is dangerously low.
>Base Glaze ^6... a semi-glass white
>Frit 3134 20 %
>dolomite 20 %
>spodume 20 %
>kentucky (!?) ball clay *20 % (prior to the dioxin scare i had used EKP)
>flint/silica 20 %
>*check the clayart lists "threads" about dioxin !...substitute another type of
>ball clay ????
>
>Bahama Blue
>add to the above base
>Zercopax 10 %
>cobalt carb 1 % ( .5 % cobalt oxide makes a greener blue )
>copper carb 3 %
>Raspberry
>add to the above base
>black berry wine mason stain 20 %
>this is a semi matt lavendar
>Susan also had this one but i haven't used it yet:
>New Brown
>to the above base add:
>tin oxide 5 %
>iron oxide 4 %
>rutile dark 4 %
>White
>add to the above base:
>zercopac or ultrox 8 %
>zinc oxide 2 %
>tin oxide 4
>
>from Chappell's book:
>"Chappell blue" ( a dark speckled gray gloss blue...soft and slightly,
>visually textured)
>colemanite 50 %
>epk 15 %
>silica 35 %
>cobalt oxide 1 %
>copper oxide 2 %
>rutile 1 % ( presumably, dark
Ron Roy
93 Pegasus trail
Scarborough Otario
Canada M1G 3N8
Phone: 416-439-2621
Fax: 416-438-7849
Web page: Home page http://digitalfire.com/education/people/ronroy.htm
Dianna Abell on tue 28 apr 98
> ----------------------------Original message----------------------------
> wabi (your name didn't print...must have been on page 2)
> Here are some tested, tried and true glazes:
> Susan Gerr of Birch Mtn. Pottery passed this one on to me:
>
> Base Glaze ^6... a semi-glass white
> Frit 3134 20 %
> dolomite 20 %
> spodume 20 %
> kentucky (!?) ball clay *20 % (prior to the dioxin scare i had used EKP)
> flint/silica 20 %
> *check the clayart lists "threads" about dioxin !...substitute another type of
> ball clay ????
>
> Bahama Blue
> add to the above base
> Zercopax 10 %
> cobalt carb 1 % ( .5 % cobalt oxide makes a greener blue )
> copper carb 3 %
> Raspberry
> add to the above base
> black berry wine mason stain 20 %
> this is a semi matt lavendar
> Susan also had this one but i haven't used it yet:
> New Brown
> to the above base add:
> tin oxide 5 %
> iron oxide 4 %
> rutile dark 4 %
> White
> add to the above base:
> zercopac or ultrox 8 %
> zinc oxide 2 %
> tin oxide 4
>
> from Chappell's book:
> "Chappell blue" ( a dark speckled gray gloss blue...soft and slightly,
> visually textured)
> colemanite 50 %
> epk 15 %
> silica 35 %
> cobalt oxide 1 %
> copper oxide 2 %
> rutile 1 % ( presumably, dark
>
> to all out there...happy glazing and let me how these go for you
> Grace
>
>
Scott Simpson on sun 24 oct 99
I was searching back through the archives of the clayart news
now that it is available again and found a response from Ron Roy
about the durability of a Chappell glaze. The message was
sent on March 18, 1998.
My question is what is wrong with this glaze? It has been
around for several years and was released by the ceramics
monthly as a Soft Blue:
the recipe is as follows:
Frit 3134 20
Dolomite 20
Spodumene 20
Kentucky om4 20 (I use mississippi M&D)has a glossy deep look.
Flint/silica 20
for blue use
tin oxide 5
copper carb. 2.0
cobalt carb. 0.5
This is an oxidation glaze as I have used it.. It probably will work in
reduction also.
What do we need to do make this glaze fit better at ^6.
I do hear some crinkling noises from time to time when
it is cooling down.
I just thought it was this junky clay we get!! haha
I would appreciate any suggestions on this glaze.
Also Why does the miss. M&D clay make the glaze more beautiful.
Kentucky om4 makes the glaze settle out when thin.
Thanks for the help in Advance,
Scott Simpson
Texas
Scott Simpson
Texas
Jim Brooks on mon 25 oct 99
I have been using this glaze --20-20-20-2020... for over twenty years. It was
first published (i think this is right) by Gerald Rowan. There are a number
of color variations provided by Rowan. Please tell me again what problem
you are having with this glaze.. I have found it to be very stable, and have
used it on food surfaces many times.. I have a "juice pitcher" right now that
is about 20 year old......and still going strong (still
juiceing).......Thanks Jim .
Ron Roy on wed 27 oct 99
Actually this glaze is not that bad - the main problem could be the copper
- even that is not so high.
I would have to know which spodumene you are using to get a better read on
this. I cannot trust my expansion calculations because of the lithium in
this glaze so I don't know what the problem is - is it shivering or crazing
- try freezing the glaze for 24 hours and then dip in boiling water - make
sure you examine the glaze with a 10 x magnifying glass before and after
and let me know what you see. I see no problem in fixing the fit but need
to know which way to go.
There is not much difference in M&D and OM#4 - except for the higher iron
in the M&D. Most glazes will settle out quickly if thinned enough - perhaps
you need to bisque higher so you can keep your glaze thicker in the bucket.
RR
>----------------------------Original message----------------------------
>I was searching back through the archives of the clayart news
>now that it is available again and found a response from Ron Roy
>about the durability of a Chappell glaze. The message was
>sent on March 18, 1998.
>My question is what is wrong with this glaze? It has been
>around for several years and was released by the ceramics
>monthly as a Soft Blue:
>the recipe is as follows:
>
>Frit 3134 20
>Dolomite 20
>Spodumene 20
>Kentucky om4 20 (I use mississippi M&D)has a glossy deep look.
>Flint/silica 20
>
>for blue use
>tin oxide 5
>copper carb. 2.0
>cobalt carb. 0.5
>This is an oxidation glaze as I have used it.. It probably will work in
>reduction also.
>
>What do we need to do make this glaze fit better at ^6.
>I do hear some crinkling noises from time to time when
>it is cooling down.
>I just thought it was this junky clay we get!! haha
>I would appreciate any suggestions on this glaze.
>Also Why does the miss. M&D clay make the glaze more beautiful.
>Kentucky om4 makes the glaze settle out when thin.
>Thanks for the help in Advance,
>
>Scott Simpson
>Texas
>
>
>
>
>
>
>
>
>
>Scott Simpson
>Texas
Ron Roy
93 Pegasus Trail
Scarborough
Ontario, Canada
M1G 3N8
Evenings 416-439-2621
Fax 416-438-7849
Bob Hamm on tue 18 apr 00
Here are two glazes that I created and fire to cone 6 to 6 =. There is
virtually no fluidity in these glazes so I think they could be fired even
higher but with a glossier surface.
I have not done any testing on my glazes to replace Gerstly Borate. I am
going to wait until the new substitutes are released. I have listed the
glazes in their present form.
1C017B-6 Spring Berry White Analysis %
Custer Feldspar 23.87 CaO 10.58
Talc 9.16 MgO 3.60
Gerstly Borate 8.12 K2O 2.74
EPK Kaolin 10.61 Na2O 1.30
Calcium Carbonate 13.53 Zr2O 5.55
Silica 26.93 SnO2 .44
Zircopax 7.39 Fe2O3 .22
Tin Oxide .39 MnO2 .01
100.00 TiO2 .05
P2O5 .03
Iron Oxide Red .13 B2O3 2.62
Iron Oxide Red .12 Al2O3 9.16
SiO2 63.70
Ratio 11.82
Expan 6.23
I ballmill the glaze for 1 1/2 hours then add the .12 red iron oxide. The
first iron is added before ballmilling for colour, and the second after, and
adds soft speckles and some extra colour. It is then screened through an 80
mesh screen to remove any large iron grains. They have a tendency to create
a swirl of speckles in the bottom of some pots, sometimes resulting a
distracting scummy appearance.
It is fired to cone 6 to 6 1/2 in a slow kiln (50 C per hour after 1000
with the last hour about 25 C per hour) then allowed to cool naturally
about 100 c per hour from the top and then shallows out later).
I use this on Laguna s B MIX 5. On the B MIX the glaze is a soft, warm
looking satin matte, with a silky surface. I love they way it feels. I
developed it on Plainsman M340 but consider it ordinary on that body
compared to B MIX.
I have mugs with this glaze on them that are more than 3 years old, used
almost daily, run through the dishwasher, and they look like they just came
out of the kiln. It is the most reliable glaze I have used.
Cobalt over this glaze makes beautiful blue, mauves, and purples. chrome
tin stains may burn out in this glaze. I have not tried them. I do apply
chrome tin coloured glazes ( rose to deep cranberry) over this glaze,
without the chrome tin colour burning out. Various other colours can be
achieved using stains and oxides.
This is a good base glaze to decorate over, or use as a starting point to
make your own version. Maybe remove the iron, then add in other stains and
oxides. Try it without Zircopax or with others opacifiers.
C-038G-6 Hi - Cal Base Analysis %
Custer Feldspar 28.74 CaO 12.85
Gerstly Borate 9.78 MgO .42
EPK Kaolin 12.77 K2O 3.34
Calcium Carbonate 16.29 Na2O 1.59
Silica 32.42 Fe2O3 .19
100.00 TiO2 .05
P2O5 .03
Ratio 10.19 B2O3 3.21
Expan 6.82 Al2O3 11.19
SiO2 67.12
This glaze was designed specifically for chrome tin stains and for
dinnerware. I have used a variety of Mason stains, by themselves, and in
combination with other stains and oxides. Colours vary from pale shades to
deep heavy colours that include, dark teal blues, dark forest greens,
burgundy, bright yellow, deep cobalt blue, and more.
This is a gloss glaze that resists crystallization when fired in the same
cycle as Spring Berry White, above.
It is ballmilled the same as the Spring Berry White with the colouring
oxides added after and then screened. It works well over other glazes I
use. I like the appearance of gloss patterns on a matte surface.
If anyone tries these out, please let me know how they worked for you. I am
particularly interested in the results of alterations.
Good luck.
Bob; the weekend snowfall has melted and were back to rather cool sunny
weather again.
Bob Hamm
Super Mud Works
Kelowna, BC Canada
Ph 250 765-8876
Email hamm@direct.ca
Bill Edwards on mon 3 dec 01
Hi,
I share in this issue regarding the continued battle
of virus fighting. Seems like Sircam, Nav and a few
more are roaming the circuits again. Norton is
lightening fast on seeking out Sircam should anyone
get hit by that one.
Now - I read where some would question why ^6 versus
^10??? They are a lot of reason to consider ^6 but I
don't think it versus ^10 in any particular way. ^6 is
usually a good mid point heat range that is fired in
oxidation for the most part. It is also at a level
where many colors can be achieved that may or may not
be produced the same at elavated heat ranges.
Reduction is usally the norm for ^10 and that alone
(reduced) affords a whole new set of choices for the
potter.
Cone 6 oxidation probably offers as many choices as
^10 reduction in many ways which gives the potter
leverage to control their glazes while having them
fire in a range where safety factors can be included
as well as newer vibrant developement of color is
involved. This is not to say safe recipes aren't found
at much cooler heat ranges. The conversion factor is
raised at this temperature while many lower range
recipes would have to eliminate some of the metals to
produce the same safety net upon firing.
I think each heat zone has its own area and ^6 just
was waiting to be explored more and more. I have
pictures of a cone ^ oxidation recipe that I wrote
that will show how similar it can be to ^10 reduction
if formulated correctly.
We still can't produce copper reds from a ^6 oxidation
but we do have the chrome reds in exchange. I think if
anyone has any questions about the ability to produce
safe durable colors at cone ^6 should take a look at
John and Ron's web site or I can send you a couple
shots of a few of mine. It is wonderful to see these
changes taking place when they were there all along!
William Edwards
__________________________________________________
Do You Yahoo!?
Buy the perfect holiday gifts at Yahoo! Shopping.
http://shopping.yahoo.com
Joyce Lee on mon 3 dec 01
ok
----- Original Message -----
From: "Bill Edwards"
To:
Sent: Monday, December 03, 2001 3:55 PM
Subject: ^6 glazes
> Hi,
>
> I share in this issue regarding the continued battle
> of virus fighting. Seems like Sircam, Nav and a few
> more are roaming the circuits again. Norton is
> lightening fast on seeking out Sircam should anyone
> get hit by that one.
> Now - I read where some would question why ^6 versus
> ^10??? They are a lot of reason to consider ^6 but I
> don't think it versus ^10 in any particular way. ^6 is
> usually a good mid point heat range that is fired in
> oxidation for the most part. It is also at a level
> where many colors can be achieved that may or may not
> be produced the same at elavated heat ranges.
> Reduction is usally the norm for ^10 and that alone
> (reduced) affords a whole new set of choices for the
> potter.
> Cone 6 oxidation probably offers as many choices as
> ^10 reduction in many ways which gives the potter
> leverage to control their glazes while having them
> fire in a range where safety factors can be included
> as well as newer vibrant developement of color is
> involved. This is not to say safe recipes aren't found
> at much cooler heat ranges. The conversion factor is
> raised at this temperature while many lower range
> recipes would have to eliminate some of the metals to
> produce the same safety net upon firing.
> I think each heat zone has its own area and ^6 just
> was waiting to be explored more and more. I have
> pictures of a cone ^ oxidation recipe that I wrote
> that will show how similar it can be to ^10 reduction
> if formulated correctly.
> We still can't produce copper reds from a ^6 oxidation
> but we do have the chrome reds in exchange. I think if
> anyone has any questions about the ability to produce
> safe durable colors at cone ^6 should take a look at
> John and Ron's web site or I can send you a couple
> shots of a few of mine. It is wonderful to see these
> changes taking place when they were there all along!
>
> William Edwards
>
>
> __________________________________________________
> Do You Yahoo!?
> Buy the perfect holiday gifts at Yahoo! Shopping.
> http://shopping.yahoo.com
>
>
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