Jonathan Kaplan on wed 7 oct 98
I've been a participant on this list for probably 5 yerars or so, and it
amazes me that for this length of time, there are many re-occuring topics,
not to mention perhaps the most popular one, "RE: Floating Blue." And of
course, there are many others, too numerous to mention, but its the nature
of the list, and that's OK. But I am troubled with the threads on "
Floating Blue" and I'll tell you why.
Seems to me that this is a fickle glaze, to say the least, fires in the
neighborhood of cone 6 oxidation and when it works, gives a blue with some
interesting surface activity, sometimes caalled a "reactive" glaze.
Also,it's apparant to me that this glaze gives a reduction type surface in
an electric kiln, which we all really know fires in a neutral atmosphere.
What is most obvious to me in reflecting back on years of this post,
including some of Ron's adjustments that when it works, it works fine,
which is not very often, and when it doesn't work, it has been called many
nasty things, one of the most recent calling it snot green. Whatever. And
my sense is that it doesn't work most of the time at least in the comments
that I have read on the list So I am prompted to ask why are you struggling
with this glaze, loosing pots over and over in a valient struggle to obtain
this surface? Sure I know that many are not able to have a gas kiln, and
thats fine. But to continue to butt heads with this glaze seems to me
counter productive, to say the least. So what to do? I'm hearing it now,
"God, I really want that funky runny sruface active glaze with lots going
on in my electric kiln but this Floating Blue is driving me nuts." "And
here's Jonathan putting in his 2 cents ." Or something like that.
Let me propose the following suggestions. I preface this by including here
that as a custom production shop for the ceramics industry including the
pottery, giftware, tabletop, etc. segments of this field, we work
throughout the temperature spectrum and in any atmosphere. Let me postulate
that a surface reminiscent of "Floating Blue" is very obtainable without
the struggle of using "Floating Blue" at mid range temperatures in an
electric kiln. We do it weekly for clients. While I am not at liberty to
post formulas that would violate my non disclosure agreements with my
clients, here are some ways to achieve this "elusive" surface.
1. Layering glazes. To develope surface depth and activity, layer glazes
either by dipping, pouring, or spraying. Of course, you have run many tests
before committing a large body of work, haven't you?
2. Use a slip glaze underneath your glaze to develope a breaking surface,
or use a slip glaze over your glaze. We have used a glaze that is mostly
Barnard slip with some additions over a one of our glazes to produce a
fabulous varigated surface with incredible depth (and yes, blue or blue
grey/green) at cone 4 in the electric kilns.
3. Combine two glazes in a line blend. Trust me, some of our most
successful surfaces have resulted from this simple task.
4. Use commercial glazes for your temperature range over your shop glazes
for either a full coating or for decoration.
5. Diversify the fluxes in your formula. We use several base glazes at cone
5-6 that contain Fusion frits as well as spars.
6. Take a glaze that fires at a higher temperature and re-calculate it to
fire at your temperature.
6. Combine some or all of the above suggestions, and of course, test test test.
7. And finally, eliminate "Floating Blue" as you may know it, from your
glaze repetorie, and concentrate on not trying to duplicate the reduction
look in an electric kiln. Use and exploit the electric kiln for its virtues
and incredible firing abilities.
Jonathan
Jonathan Kaplan, president
Ceramic Design Group LTD/Production Services
PO Box 775112
Steamboat Springs CO 80477
plant location
1280 13th Street Unit 13
Steamboat Springs CO 80487
(970) 879-9139 voice and fax
jonathan@csn.net
http://www.sni.net/ceramicdesign/
June Perry on thu 8 oct 98
Another way to get some rich surfaces that I found from a potter friend whose
kiln sheln burned down. He had to quickly get work on the market, so he bought
an electric kiln and used his salt slips and then put a clearish ash glaze
over.
Those pots were gorgeous -- lots of texture, depth of color and a nice buttery
matt finish.
So for those of you who own electric kilns and are maybe pining for the
reduction look but are not in a position or location to have a fuel kiln, try
layering slips and playing around with wood ash glazes. Take a clear or
transparent base glaze and start adding ash to it in increments of five to 10%
till you get something that works.
Also, trying sprinkling some ash or gerstley borate or a combination of both
on some plates, bowls etc. to get some interesting texture/breakup.
Try spraying slips instead or just brushing on to get more interest and
melding of the color; or do a combination of brush, dipping and spraying.
Make lots of small tests bowls and cups and just experiment and have fun!
Regards,
June
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