Janet H Walker on thu 19 mar 98
Just a reminder -- when you report that something "doesn't work"
it is helpful to say exactly what happens that you weren't expecting.
Gives folks more to go on in giving advise. Maybe your expectations
are not realistic!!
Anyhow, I'm glad you mentioned what your slip is. Plain old ball
clay by itself I would not think would necessarily make a perfect
slip.
Although (big caveat: I am just getting going with slip myself) here
are some suggestions. Get some slip recipes that are formulated for
your purpose. If you apply the slip to leatherhard clay, the most
appropriate slips have a different recipe than slips for applying to
bisque. The difference? In shrinkage primarily so that the slip
fits well. Then consider what is in the ingredients for the slip
too in case they conflict with whatever you are expecting. Ball
clay for example has quite a lot of iron impurities. I wonder if
that is interfering with the crimson stain. And what percent stain
are you using? Perhaps the percentage you need to use in the slip
needs to be different for the results you want.
So, instead of using your pieces as tests, make up a bunch of test
pieces (same clay and surface, just not carefully finished and
decorated). Make up a bunch of test slips. 100g batches are fine
for testing. Put the slip on the tests and fire them all in the
same firing and take a good hard look at them to see what looks
best.
Good slip recipes? I'm sure not an expert on this. If you have
access to the Val Cushing Handbook in your studio library, he has
an extensive discussion of slips, along with recipes for several.
Here's one recipe I've used, that Vince Pitelka posted to ClayArt
last year:
"All temperature" white slip base (really a ^10 clay formula)
34 EPK
20 ball clay
27 potash spar e.g. Custer
19 silica
plus 8 zircopax for good opacity if wanted
Color with standard oxides in about the same % as for coloring glazes
or color with 1% to 15% Mason stains (depending on the stain).
You can also paint the Mason stains onto the slip. it works fine
for some colors but i have had plenty of trouble with a light rose
stain color burning off at cone 6. 5% rose stain in a slip just
gave me white.
Getting pinks needs lots of tinkering and tests and, I suspect, just
the right kind of firing schedule.
Good luck,
Jan Walker
Cambridge MA USA
Janet H Walker on sun 3 may 98
Hi! There is an enormous amount to learn about working with
slips. Great fun. Just go to your nearest library and start
taking out books. The more you read, the more you'll get
confused (for awhile) and then you'll come out the other side
with a deeper understanding than any one person could give you!!
Your simplest choice is indeed a slip made from your throwing body.
If you do that, decorate while the piece is still wet.
Like glaze, a slip has to fit the body and shrink appropriately
with it. It is possible to have a funny situation where a glaze
fits a body but you put a slip on the body where the slip doesn't
fit the body and the glaze doesn't fit the slip. then you get
two different layers of crazing. I just saw this on a piece last
week!!
Anyhow, slips are easy to mix. Generally I think it is wise to
mix one because you can control the color and the characteristics.
e.g. a nice creamy white slip with no grog to put over a body
that isn't particular pretty on its own. Slip recipes are a lot
like glaze recipes with a lot of the same ingredients, even the
same oxide colorants. Much cheaper to color a slip layer on top
of a clay body than to color the whole clay body too.
Well, this is not an organized answer. Just dabble with it and
read a lot until you get your own understanding built up.
I may be misremembering, but didn't Lila Krakowski have an article
on slips in the first issue of Pottery Making Illustrated. Maybe
someone remembers where that was.
Enjoy.
Jan Walker
Cambridge MA USA
Joan & Tom Woodward on fri 27 aug 99
------------------
Here's a question to Vince and other Knowledgeable Ones: When I was taking
classes, my instructor made slip from whatever clay we were using, just by
adding water. I use (among others) Rainer clay (Cone 6 porcelain) from Clay=
Art
Center in Seattle. What's the difference between using regular throwing =
clay
and using a specific slip recipe?
Thanks for the info.
Joan in Alaska where the sun came out again today.
Vince Pitelka on sun 29 aug 99
At 04:36 PM 8/27/99 -0400, you wrote:
>----------------------------Original message----------------------------
>------------------
>Here's a question to Vince and other Knowledgeable Ones: When I was taking
>classes, my instructor made slip from whatever clay we were using, just by
>adding water. I use (among others) Rainer clay (Cone 6 porcelain) from
Clay Art
>Center in Seattle. What's the difference between using regular throwing clay
>and using a specific slip recipe?
Joan -
Using your regular throwing clay to make slip is ideal, as long as it gives
you the base color you want. Many people who throw stoneware want a white
base slip, and the one I posted works well. I have generally found that
almost any claybody made into a slip will work fine on any other claybody
which fires to the same or a lower temperature. The opposite is not true,
of course, because many low-fire clays will fuse to a glaze at high
temperatures.
Also, many porcelaneous stoneware bodies have fine sand or grog in them, and
it is a lot of trouble to sieve the grit out of the slip, and therefore
easier to mix a slip from dry materials. But if you are using a gritless
white body, your best bet is to make your white base slip from that body.
This certainly applies to the person who posted the original request. I
should have suggested it at the time.
One advantage of mixing slip from dry materials is that you can dry-mix a
large amount in a cardboard drum with a snap lid, and then as you need it
weigh out whatever amount you want, figure your oxide or stain additions,
and then mix that with water (containing the flocculant).
Best wishes -
- Vince
Vince Pitelka - vpitelka@DeKalb.net
Home 615/597-5376, work 615/597-6801 ext. 111, fax 615/597-6803
Appalachian Center for Crafts
Tennessee Technological University
1560 Craft Center Drive, Smithville TN 37166
goatnose on sun 29 aug 99
Joan in Alaska: You can use any clay body, to make slips, that's
compatible
with your clay body. The difference is
they made them for you. Also, imagine
the trouble you'd be in attempting to make
a light colored slip from an iron-loaded
body.
Antoinette Badenhorst on sun 29 aug 99
Joan, slip that is made from adding water to the clay that you are
using can be used to coat a that piece while it is still wet enough.
Normally one want to do that if you want to change the color of the
clay by adding oxides and scratch through a pattern to see the original
clay (this decorating method is called sgraffigo). If you use it on a
different clay it might not fit and will either chip off or crack. The
other use will be to join two pieces of clay together.
The slip that is made up as a recipe can normally be used as a coating
over several clay bodies. Potters also call that an ENGLOBE. This slip
normally has some glaze qualities. This does not mean that it will
melt like a glaze, but it will not crack , or chip off, due to a
different shrinkage as the clay piece. The condition though will be
that you paint it on while the clay object is still wet enough. The
best way I can explain how wet, will be to category the drying stages
from fresh thrown(you can paint it on from this stage), to cheese hard,
to leather hard(just before the color will start changing as it get
dry. Leather hard will be almost too dry. At this stage it might start
chipping off.
Depending on the ingrediants there might be a temperature limit. (it
will start bubbling if fired too high)
You can decorate with slip (englobe) in different manners. The ones
that I can think of immediately will be masking out,sgraffigo and
burnishing. Slip can also be used for what they call the mishima
decoration. This is where you scratch some paterns in your original
clay body and fill it out with slip a of a different color. If you
leave it for a while to set, you can smooth and clean the surface with
the edge of a metal kidney. What will show up, will be a crisp patern.
I hope that I explained this clearly, but I am sure other Clayarters
will fill in with me.
Try this, it is fun!
Antoinette
--- Joan & Tom Woodward wrote:
> ----------------------------Original
> message----------------------------
> ------------------
> Here's a question to Vince and other Knowledgeable
> Ones: When I was taking
> classes, my instructor made slip from whatever clay
> we were using, just by
> adding water. I use (among others) Rainer clay
> (Cone 6 porcelain) from Clay Art
> Center in Seattle. What's the difference between
> using regular throwing clay
> and using a specific slip recipe?
>
> Thanks for the info.
>
> Joan in Alaska where the sun came out again today.
>
===
Antoinette Badenhorst
PO Box 552
Saltillo,Mississippi
38866
Telephone (601) 869-1651
timakia@yahoo.com
__________________________________________________
Do You Yahoo!?
Bid and sell for free at http://auctions.yahoo.com
NakedClay@aol.com on sun 29 aug 99
Hi Joan, and other slip fans!
One uses common clay body "slips" to match the color, texture, and most
importantly, the qualities of drying that the particular clay body has. Many
potters prepare slips this way for those reasons.
I also mix my own slips, using recipies gleaned from ClayArt listings,
Ceramics Monthly, etc., to fit to a particular purpose. For instance, if I
want a high-fire matte finish, sometimes preparing a slip for the ware will
do better than mixing a matte glaze. Another advantage of mixing one's own
slip: color oxides mix better, and one can control the saturation of a color
better, mixing from scratch. The disadvantage: like a glaze, hand-made slips
may not fit certain clay bodies. It's best to experiment, coating a test tile
made of the clay with which you want to use the slip, with a small quantity
of self-mixed slip.
For the record, my favorite slip is from a clay body called "Navajo Wheel."
This is an IMCO commercial-ly produced clay, available widely on the West
Coast. When applied to whiteware or yellow ware clays, it produces a
marvelous reddish earthtone color. One caveat: Navajo Wheel is a cone 5-6
clay. I've fired this as a slip over a cone 10 clay, to cone 10 reduction,
satisfactorally. The color becomes a bit duller at the higher temperature. Be
sure to coat your kiln shelves with liberal amounts of kiln wash, as a
precaution, when using Navajo Wheel as a slip, fired to cone 10.
The most unusual slip I made was pinkish, almost skintone in color. I called
it "Freudian Slip!"
Milton NakedClay@AOL.COM
My clay, like this artist, are equally nude tonight.
David Hendley on sun 29 aug 99
As long as it works, "slip", as in "engobe", not casting
slip, can be just about anything you want it to be.
If you are already using porcelain clay, then you already
have a great slip base to modify and add colors to. When
using dark colored claybodies, a different recipe is often
used for better color response.
We usually think of slips as having a matt clay look, but
they can also be as shiny and glossy as glazes.
They can be thick, opaque, textural coatings or thin
washes that allow the clay underneath to show through.
They can be applied to just-thrown wet ware, leather hard
ware, bone dry ware, or even bisqued pieces.
Your slip recipe must take into account all of these
variables. For instance, your regular throwing clay with
nothing added would probably shrink too much to use
on bisque.
Hmmm....what's the difference between a glossy slip applied
to bisque ware and a glaze? I guess it's just a matter of
how you're thinking of it and what you want it to be.
I use some glazes/slips that have the same theoretical formula,
but are made with different recipes to make a slip and a glaze
that look the same but are used differently.
--
David Hendley
Maydelle, Texas
hendley@tyler.net
http://www.farmpots.com/
----------------------------Original message----------------------------
------------------
Here's a question to Vince and other Knowledgeable Ones: When I was taking
classes, my instructor made slip from whatever clay we were using, just by
adding water. I use (among others) Rainer clay (Cone 6 porcelain) from Clay
Art
Center in Seattle. What's the difference between using regular throwing
clay
and using a specific slip recipe?
Thanks for the info.
Joan in Alaska where the sun came out again today.
John Tiemann on mon 30 aug 99
I am using a buff/tan ^6 clay body in my classroom, and have been searching
for a well fit ^6 white (porcelain?) slip/englobe to use on it. Can anyone
suggest any slip recipes they use at ^6? Thanks for the help!!
John
Barbara Mueller on tue 10 sep 02
I went into the archives and tried to do a search on slips and could not
get the search engine to fire. Not sure what I am doing incorrectly.
Therefore I am posting here and asking for help with slip.
I did my first work with slip on some platters and plates and when I
unloaded my kiln I like the results of the experiment. I used slip made
from the clay body (Laguna Speckled Buff) fired to Cone 6. Some of the
plates were Sgraffito, some trailed and on some I just brushed to create
interest near the rim. What I found is that the slip when fired was not
smooth. Rather the areas which were slipped seemed to have a gravelly
appearance. Not sure if I am describing it correctly.
When I took it to a friend to comment as I was confused by these results
she said that I could not use the same kind of clay for the slip if it
had speckles in it and expect it not to look gravelly as it is the
specks popping out during firing. If she is correct what do I use for
slip? I here often about slip cracking if you have a different clay
body for the slip is it not more likely to happen?
This was very successful experiment besides the roughness. It adhered
well, it looks good, and I like what it did. What do people normally
do? Do they use the slurry from the clay that was thrown or do they
have a special Cone 6 slip recipe? Do you apply the slip after the clay
has had a chance to dry? Before or after its trimmed?
Looking forward to some thoughts,
B
Christena Schafale on tue 10 sep 02
Barbara,
It sounds to me like your clay has some grog in it, in addition to granular
manganese (that's where the speckles come from). If you want to use it to
make slips, and you want it to be smooth, you need to put it through a
fine-mesh sieve to get rid of the grog.
Chris
At 09:03 AM 9/10/02 -0700, you wrote:
>I went into the archives and tried to do a search on slips and could not
>get the search engine to fire. Not sure what I am doing incorrectly.
>Therefore I am posting here and asking for help with slip.
>
>
>
> I did my first work with slip on some platters and plates and when I
>unloaded my kiln I like the results of the experiment. I used slip made
>from the clay body (Laguna Speckled Buff) fired to Cone 6. Some of the
>plates were Sgraffito, some trailed and on some I just brushed to create
>interest near the rim. What I found is that the slip when fired was not
>smooth. Rather the areas which were slipped seemed to have a gravelly
>appearance. Not sure if I am describing it correctly.
>
>
>
>When I took it to a friend to comment as I was confused by these results
>she said that I could not use the same kind of clay for the slip if it
>had speckles in it and expect it not to look gravelly as it is the
>specks popping out during firing. If she is correct what do I use for
>slip? I here often about slip cracking if you have a different clay
>body for the slip is it not more likely to happen?
>
>
>
>This was very successful experiment besides the roughness. It adhered
>well, it looks good, and I like what it did. What do people normally
>do? Do they use the slurry from the clay that was thrown or do they
>have a special Cone 6 slip recipe? Do you apply the slip after the clay
>has had a chance to dry? Before or after its trimmed?
>
>
>
>Looking forward to some thoughts,
>
>B
>
>______________________________________________________________________________
>Send postings to clayart@lsv.ceramics.org
>
>You may look at the archives for the list or change your subscription
>settings from http://www.ceramics.org/clayart/
>
>Moderator of the list is Mel Jacobson who may be reached at
>melpots@pclink.com.
Consultation and Referral Specialist
Resources for Seniors
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http://www.resourcesforseniors.com
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Raleigh, NC 27609
Snail Scott on tue 10 sep 02
At 09:03 AM 9/10/02 -0700, you wrote:
>What do people normally
>do? Do they use the slurry from the clay that was thrown or do they
>have a special Cone 6 slip recipe? Do you apply the slip after the clay
>has had a chance to dry? Before or after its trimmed?
If the slip is the same as the clay, it is best applied while
the clay is wet, or the difference in shrinkage may cause
problems. To apply slip to leather-hard or dry clay, try an
engobe (a 'slip' that's not 100% clay) designed for that state
of dryness, instead. And yes, a slip made from gritty clay
will make a gritty slip. (Another good reason for working from
a recipe.) A smooth glaze will hide many defects in the texture
of a slip, but if intended to be left bare, it's worthwhile to
test several engobe recipes with your intended colorants.
There are tons of good ^6 engobe recipes in the archives and
in books, and most of them will probably suit your work OK;
engobes are forgiving creatures, and adaptable.
-Snail
>
>
>
>Looking forward to some thoughts,
>
>B
>
>___________________________________________________________________________
___
>Send postings to clayart@lsv.ceramics.org
>
>You may look at the archives for the list or change your subscription
>settings from http://www.ceramics.org/clayart/
>
>Moderator of the list is Mel Jacobson who may be reached at
melpots@pclink.com.
>
vince pitelka on tue 10 sep 02
> When I took it to a friend to comment as I was confused by these results
> she said that I could not use the same kind of clay for the slip if it
> had speckles in it and expect it not to look gravelly as it is the
> specks popping out during firing. If she is correct what do I use for
> slip? I here often about slip cracking if you have a different clay
> body for the slip is it not more likely to happen?
Barbara -
It is nice when you can use the same claybody, for the reasons you point
out. But then you are limited to the base color of your claybody. If you
want more of a color palette, you need to use a grit-free porcelaneous white
base slip. Any grit-free porcelaneous white body that fires to the same
temperature should work well as a slip on your claybody. I use the term
"porcelaneous white body" because there is no such thing as a cone 6
porcelain. A true porcelain must be fired to at least cone 8. But that is
a matter of semantics.
You can find a supplier that sells a cone 6 porcelain claybody dry (but DO
NOT use a casting slip, because it is deflocculated), or else you can just
purchase a bag of moist white cone 6 clay, cut it into slices, dry it out
completely, put the dry pieces in a container and cover with water. The
next day, mix with a jiffy-mixer or whisk, and thin to the desired
consistency.
If you want to make colored slips, crush the dry white clay slightly (wear a
dust mask), and then you can weigh out any amount of dry clay and then
figure the oxide or stain additions from the dry weight before you slake
down the clay and add the oxides or stains.
But don't abandon your same-clay slip, because even with the rougher
surface, it sounds very successful. When you use your new porcelaneous
slip, it will give a nice contrast adjacent to the rougher slip.
This kind of slip will shrink just like a wet claybody, and therefore can
only be used thick (trailed, marbled) on very wet clay and thinner (painted,
poured, dipped) on leather hard clay, either before or after it is trimmed.
In order to be used on dry or bisqued clay, a claybody slip must be modified
to make an engobe, which contains more non-plastics (usually calcined clay)
to reduce drying shrinkage, and usually a small amount of a very active flux
such as borax to help it adhere to the surface during the early stages of
firing.
Best wishes -
- Vince
Vince Pitelka
Appalachian Center for Crafts
Tennessee Technological University
1560 Craft Center Drive, Smithville TN 37166
Home - vpitelka@worldnet.att.net
615/597-5376
Work - wpitelka@tntech.edu
615/597-6801 ext. 111, fax 615/597-6803
http://www.craftcenter.tntech.edu/
DEBBYGrant@AOL.COM on wed 11 sep 02
For the few times I make slip with my own clay body I always put the wet
body thrugh an 80 mesh screen first to eliminate the grog.
Debby Grant in NH
Martin Howard on wed 11 sep 02
Some firms, such as Valentine Clays in The Potteries, England, have a
Standard Red Earthenware, and a matching Standard White Earthenware, which
is used as the slip clay for the darker red clay. It fires white but looks
greyish when green.
To that slip clay you just add the finely ground stain or oxides (10-15%) to
produce the slip colour.
Other clays will need some adjustment to become a matching slip.
I find that I can use my slips on leather hard ware OR on bisque, and then
dip in glaze for a fine finish either leather hard or bisque or sprayed at
dry, with the slip detail holding well.
It is important to regularly screen the slip and make sure that the stain
powder and oxides are sufficiently fine (120 mesh, or at least 80 mesh) to
prevent rough surfaces, but that can sometime occur because of added grog to
the basic clay.
I made the mistake of adding some grogged clay to my routine and am having a
difficult time getting it our of the system.
But some potters will not throw with ungrogged clay.
Can't stand the stuff myself!
Oh, well, we are all different.
Martin Howard
Webbs Cottage Pottery
Woolpits Road, Great Saling
BRAINTREE, Essex CM7 5DZ
01371 850 423
martin@webbscottage.co.uk
http://www.webbscottage.co.uk
Updated 6th July 2002
Ron Roy on fri 13 sep 02
Hi Vince,
Question - why not use a deflocced slip? I routinely deflocc my slips so
they won't crack up when drying?
RR
Ron Roy
RR#4
15084 Little Lake Road
Brighton, Ontario
Canada
K0K 1H0
Phone: 613-475-9544
Fax: 613-475-3513
vince pitelka on fri 13 sep 02
> Question - why not use a deflocced slip? I routinely deflocc my slips so
> they won't crack up when drying?
Ron -
I guess it all depends on how you apply a slip. If you are applying a slip
overall, or brushing an isolated band of slip, then a deflocculated slip
might work fine, although in my experience it is far more apt to run or
slump - it just flows too readily because of the deflocculant. If you apply
two deflocculated slips in direct contact they will spontaneously
intermingle, especially in thick-application processes like slip-trailing,
feather-combing, or marbling. I those cases you usually end up with a big
mess.
A flocculated slip may shrink more, but it will stay right where you put it
on the pot, even in fairly thick applications on a vertical surface, and
colors applied next to each other or one on top of the other will not
intermix at all until you mechanically intermingle them, as in marbling or
feather-combing.
Best wishes -
- Vince
Vince Pitelka
Appalachian Center for Crafts
Tennessee Technological University
1560 Craft Center Drive, Smithville TN 37166
Home - vpitelka@worldnet.att.net
615/597-5376
Work - wpitelka@tntech.edu
615/597-6801 ext. 111, fax 615/597-6803
http://www.craftcenter.tntech.edu/
Bobbruch1@AOL.COM on sat 14 sep 02
Ron Roy: What to you use to deflocculate your slips and are there any general
rules on the percentages that you use?
Thanks,
Bob Bruch
<<<From: Ron Roy
Subject: Slips
Hi Vince,
Question - why not use a deflocced slip? I routinely deflocc my slips so
they won't crack up when drying?
Ron Roy on sun 15 sep 02
Deflocculation does result in less shrinkage - needs less mater to make it
liquid - good thing to know about.
I use mine quite thick and squirt it on with a squeeze bottle - sometimes
brush it on - the day before trimming - found if I did not deflocc it it
would crack up.
Perhaps I only partially deflocc it - just enough Darvan 7 to stop the
cracking - it's the damn porcelain - needs more care - always.
RR
>> Question - why not use a deflocced slip? I routinely deflocc my slips so
>> they won't crack up when drying?
>
>Ron -
>I guess it all depends on how you apply a slip. If you are applying a slip
>overall, or brushing an isolated band of slip, then a deflocculated slip
>might work fine, although in my experience it is far more apt to run or
>slump - it just flows too readily because of the deflocculant. If you apply
>two deflocculated slips in direct contact they will spontaneously
>intermingle, especially in thick-application processes like slip-trailing,
>feather-combing, or marbling. I those cases you usually end up with a big
>mess.
>
>A flocculated slip may shrink more, but it will stay right where you put it
>on the pot, even in fairly thick applications on a vertical surface, and
>colors applied next to each other or one on top of the other will not
>intermix at all until you mechanically intermingle them, as in marbling or
>feather-combing.
>Best wishes -
>- Vince
Ron Roy
RR#4
15084 Little Lake Road
Brighton, Ontario
Canada
K0K 1H0
Phone: 613-475-9544
Fax: 613-475-3513
vince pitelka on wed 18 sep 02
> Just noticed that in this message the person was using slip before they
> trimmed. I thought you had to do the slip after you trimmed so that you
> would not lessen the integrity of the design. Is there a rule around
> this or an old wife's tale that some one would like to share?
Barbara -
Unless you are using an engobe, with some of the raw clay content replaced
by calcined clay in order to reduce shrinkage, then you are better off
applying the slip when the clay is soft-leather-hard - far too wet for
trimming. And if you are using a thicker application of slip, you will have
far more success if the clay is very wet. For marbling and feather-combing,
I always do the slip work immediately after throwing the pot - that gives me
the greatest success.
Good luck -
- Vince
Vince Pitelka
Appalachian Center for Crafts
Tennessee Technological University
1560 Craft Center Drive, Smithville TN 37166
Home - vpitelka@dtccom.net
615/597-5376
Work - wpitelka@tntech.edu
615/597-6801 ext. 111, fax 615/597-6803
http://www.craftcenter.tntech.edu/
Barbara Mueller on wed 18 sep 02
One more slip question. When I put the slip on some plates I decided
that I should slow down the drying process so that it would not crack.
It didn't so far. Would you expect it to crack in either bisque or
glaze firings and not while drying>
B
-----Original Message-----
From: Ceramic Arts Discussion List [mailto:CLAYART@LSV.CERAMICS.ORG] On
Behalf Of vince pitelka
Sent: Friday, September 13, 2002 6:40 PM
To: CLAYART@LSV.CERAMICS.ORG
Subject: Re: Slips
> Question - why not use a deflocced slip? I routinely deflocc my slips
so
> they won't crack up when drying?
Ron -
I guess it all depends on how you apply a slip. If you are applying a
slip
overall, or brushing an isolated band of slip, then a deflocculated slip
might work fine, although in my experience it is far more apt to run or
slump - it just flows too readily because of the deflocculant. If you
apply
two deflocculated slips in direct contact they will spontaneously
intermingle, especially in thick-application processes like
slip-trailing,
feather-combing, or marbling. I those cases you usually end up with a
big
mess.
A flocculated slip may shrink more, but it will stay right where you put
it
on the pot, even in fairly thick applications on a vertical surface, and
colors applied next to each other or one on top of the other will not
intermix at all until you mechanically intermingle them, as in marbling
or
feather-combing.
Best wishes -
- Vince
Vince Pitelka
Appalachian Center for Crafts
Tennessee Technological University
1560 Craft Center Drive, Smithville TN 37166
Home - vpitelka@worldnet.att.net
615/597-5376
Work - wpitelka@tntech.edu
615/597-6801 ext. 111, fax 615/597-6803
http://www.craftcenter.tntech.edu/
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Barbara Mueller on wed 18 sep 02
Just noticed that in this message the person was using slip before they
trimmed. I thought you had to do the slip after you trimmed so that you
would not lessen the integrity of the design. Is there a rule around
this or an old wife's tale that some one would like to share?
B
-----Original Message-----
From: Ceramic Arts Discussion List [mailto:CLAYART@LSV.CERAMICS.ORG] On
Behalf Of Ron Roy
Sent: Sunday, September 15, 2002 2:17 PM
To: CLAYART@LSV.CERAMICS.ORG
Subject: Re: Slips
Deflocculation does result in less shrinkage - needs less mater to make
it
liquid - good thing to know about.
I use mine quite thick and squirt it on with a squeeze bottle -
sometimes
brush it on - the day before trimming - found if I did not deflocc it it
would crack up.
Perhaps I only partially deflocc it - just enough Darvan 7 to stop the
cracking - it's the damn porcelain - needs more care - always.
RR
>> Question - why not use a deflocced slip? I routinely deflocc my slips
so
>> they won't crack up when drying?
>
>Ron -
>I guess it all depends on how you apply a slip. If you are applying a
slip
>overall, or brushing an isolated band of slip, then a deflocculated
slip
>might work fine, although in my experience it is far more apt to run or
>slump - it just flows too readily because of the deflocculant. If you
apply
>two deflocculated slips in direct contact they will spontaneously
>intermingle, especially in thick-application processes like
slip-trailing,
>feather-combing, or marbling. I those cases you usually end up with a
big
>mess.
>
>A flocculated slip may shrink more, but it will stay right where you
put it
>on the pot, even in fairly thick applications on a vertical surface,
and
>colors applied next to each other or one on top of the other will not
>intermix at all until you mechanically intermingle them, as in marbling
or
>feather-combing.
>Best wishes -
>- Vince
Ron Roy
RR#4
15084 Little Lake Road
Brighton, Ontario
Canada
K0K 1H0
Phone: 613-475-9544
Fax: 613-475-3513
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Snail Scott on wed 18 sep 02
At 09:43 AM 9/18/02 -0700, you wrote:
>I thought you had to do the slip after you trimmed so that you
>would not lessen the integrity of the design...
No rule. If it works for you, then it's good.
If the way you trim doesn't mess it up, then
why wait? If it does, then wait!
-Snail
artimater on sun 24 nov 02
Vince wrote:
If it is an ordinary clay slip intended for application to damp =
greenware,
then it will not work at all on bisque ware
Mebbe you should say it will mebbe not work.....After trying =
several "Flashing Slips" with careful comnbinations of oh so helpfull =
ingredients on bisque, I was getting those pop off places....Then a =
light bulb went off in my head in that I only use porcelain and it =
flashes just fine all by itself...Then another lightbulb and I started =
putting a little oxides in my throwing waterbowl, and brushing them on =
thin....I know this is not supposed to work but it does...NO POPPING =
OFF....With every firing my waterbowl soup gets a little bit tastier....
Of course this only works for me, cause the rest of you would =
rather follow all the rules I'm sure...Why I'm sure that a successful =
englobe can be formulated....Just gotta spend time with the nose in "the =
book"....get yersef a nice balance beam scale....and a slideruleHEHEHE
PAX,
Rush
"I only indulge when I've seen a snake, so I keep a supply of =
indulgences and snakes handy"
http://artimator.com
rush@artimator.com
http://groups.yahoo.com/group/texasceramics/
Artimator Galleries
2420 Briarwood Ln.
Carrollton, TX 75006
972-841-1857
Lee Love on mon 25 nov 02
----- Original Message -----
From: "artimater"
Vince wrote:
>If it is an ordinary clay slip intended for application to damp greenware,
>then it will not work at all on bisque ware
Rhode's crackle slip is exactly this. It was originally formulated to be used
on unbisqued ware. But when used on bisqued ware, it crackles nicely. When
used under a nice amber glaze, you get an effect related to one of my favorite
Korean Yi Teabowls.
You can see a photo here: http://hachiko.com/Ido.html
--
Lee Love
Mashiko JAPAN Ikiru@hachiko.com
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Pat Southwood on mon 25 nov 02
Hallo,
Lee Love wrote about Rhode's crackle slip,
Do you mean Daniel Rhodes?
If not, any chance of the recipe or its location?
It looks beautiful.
Cheers,
Pat.
pat@southwood4.fsnet.co.uk
Ababi on tue 26 nov 02
I tested this recipe I got from Penland school glaze book:
I see I do not have to convert it to the original materials were in the book...
CRACKLE SLIP FOR BISQUE
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,
Cone 6 1201 deg.C. -
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,
Custer feldspar 19.00
BALL CLAY AK 16.80
Calcined Kaolin 19.00
ENGLISH KAOLIN CC31 16.80
SILICA 19.00
ULTROX 4.70
Borax 4.70
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,
Seger Weight%
KNO 0.764 3.83%
CaO 0.035 0.12%
MgO 0.202 0.48%
Al2O3 4.145 25.21%
B2O3 0.224 0.93%
SiO2 18.260 65.49%
ZrO2 0.466 3.43%
TiO2 0.109 0.52%
K2O 0.520 2.93%
Na2O 0.243 0.90%
Al:Si 4.41
Expan. 5.37
ST 390.31
It works as it is and bellow a glaze at ^6 I think it is for ^10 too.
I made it only once.
Ababi Sharon
Glaze addict
Kibbutz Shoval Israel
ababisha@shoval.org.il
http://members4.clubphoto.com/ababi306910/
http://www.milkywayceramics.com/cgallery/asharon.htm
---------- Original Message ----------
> Hallo,
>Lee Love wrote about Rhode's crackle slip,
>Do you mean Daniel Rhodes?
>If not, any chance of the recipe or its location?
>It looks beautiful.
>Cheers,
>Pat.
>pat@southwood4.fsnet.co.uk
>______________________________________________________________________________
>Send postings to clayart@lsv.ceramics.org
>You may look at the archives for the list or change your subscription
>settings from http://www.ceramics.org/clayart/
>Moderator of the list is Mel Jacobson who may be reached at melpots@pclink.com.
Lee Love on tue 26 nov 02
----- Original Message -----
From: "Pat Southwood"
> Do you mean Daniel Rhodes?
> If not, any chance of the recipe or its location?
> It looks beautiful.
http://hachiko.com/Ido.html Korean Yi Ido Teabowl
Hi Pat,
I first saw Jeff Oestrich use this slip on bisque. It is from
Rhodes' clay and
glazes book. Here is what's in my notebook:
Rhodes White Slip (Crackle on bisque.)
Borax 5
Zircopax 5
Feldspar 20
Ball Clay 15
Calcined
Kaolin 20
E.P.K. 15
Flint 20
I've used this runny glaze over it:
Sander's Tamba
Alberta/Albany Slip 60
HardWood Ash 40
(unwashed)
I sieve the ash dry through 30 mesh.
You can try your local iron bearing red slip clay as a substitute for the
Alberta Slip. I've had good luck in wood and soda firing. I heavily glaze
the top third, wad the piece on the bottom on a clay pad, and let the glaze run.
If you are lucky, you won't have to grind too much. :^)
Don't be limited by limit formulas or "what you are supposed to do."
:^) Thinking outside the lines is where discovery occures.
--
Lee Love In Mashiko, JAPAN Ikiru@hachiko.com
"Clay is molded to make a vessel, but the utility of the vessel lies in the
space where there is nothing...Thus, taking advantage of what is, we recognize
the utility of what is not.". --Lao Tzu
Lili Krakowski on fri 17 mar 06
Slips can and should be adjusted to the surface they go on.
The most plastic (biggest clay content) go on earthernware, and the least
plastic (more flint) on bisque. That is why I gave a list of ingredients
and potential proportions.
There also are pyrophyllite slips, of which one is:
Pyrophylitte 58
Ferro Frit 3110 12
Bentonite 18
Flint 12
With the formula Al2O3 4SiO2 H2O [Fournier] it is a lovely material for
slips...(The recipe above comes from CM--I think one of their "Questions"
answers, possibly by RR [?]
Also interesting as slips are glazes designed for single firing...Truth to
tell I often have applied such a single-fire glaze on leatherhard clay,
bisqued (ah, yes) then applied another glaze and fired to temp.
(I personally think Pyrophylitte is so ignored/neglected because it is so
hard to spell)
Lili Krakowski
Be of good courage
Deborah Thuman on sun 1 jan 12
Why not....
Take some of the clay you are using, put it in a recycled yogurt/sour
cream/whatever comes with a lid container and add water. Give it a day
or two, then stir. When it's watery enough for slip, add some mason
stain.
I've done this - sans mason stain - and used it for texture on the
piece.
Deb Thuman
http://debthumansblog.blogspot.com/
http://www.etsy.com/shop.php?user_id=3D5888059
http://www.facebook.com/pages/Deb-Thumans-Art-Page/167529715986
Mark Issenberg on tue 3 jan 12
I was reading my Val Cushings Handbook ,again, and he has some very good in=
=3D
fo on Slips . There are 6 pages of info. The article about slips starts wit=
=3D
h What is a Slip ?and what is an engobe?
First page says all rights reserved ,no part of this book may be reproduced=
=3D
with out permission
I paid $27 a few years ago.=3D20
VC Pottery
1497 Water Wells Rd
Alfred Station NY
14803
I was looking through the Handbook about mixing clay. I am using dry Lizell=
=3D
a and fireclay,and think I will add some Ball Clay. I also did a test of Re=
=3D
dart and Fireclay at cone 10 , Very interesting tests.=3D20
I like to have a few tests every firing. Im always testing ash and other st=
=3D
uff 50/50=3D20
Did on test with #1 Glaze Clay and ash. Its a nice tan matt glaze,=3D20
Mark=3D20
lookoutmountainpottery.com
tony clennell on tue 3 jan 12
Mark: The clay I used at USU was 50 Lizella, 50 Holmes fireclay( this had
varied particle size from dust to cigarette size) and 30% silica sand (20
medium, 10fine) It took some getting used to but I did love this clay.
later gator,
Tony
On Tue, Jan 3, 2012 at 9:42 AM, Mark Issenberg wrote:
> I was reading my Val Cushings Handbook ,again, and he has some very good
> info on Slips . There are 6 pages of info. The article about slips starts
> with What is a Slip ?and what is an engobe?
> First page says all rights reserved ,no part of this book may be
> reproduced with out permission
> I paid $27 a few years ago.
> VC Pottery
> 1497 Water Wells Rd
> Alfred Station NY
> 14803
> I was looking through the Handbook about mixing clay. I am using dry
> Lizella and fireclay,and think I will add some Ball Clay. I also did a te=
st
> of Redart and Fireclay at cone 10 , Very interesting tests.
> I like to have a few tests every firing. Im always testing ash and other
> stuff 50/50
> Did on test with #1 Glaze Clay and ash. Its a nice tan matt glaze,
>
> Mark
> lookoutmountainpottery.com
>
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