Reid Harvey on tue 25 apr 00
Dear All,
The great tips I got on clayart gave me the confidence to introduce my
ceramic class to raku. The idea of formulating a glaze was daunting,
especially since the right, naturally occurring materials can be hard to
come by in this part of the world. (It would seem that geologists here
are interested in the not-so-useful minerals, like diamonds.) So we used
^05 Amoco, the glaze available at the school. But...... where's the
crackle?
The metallic appearance is great, but really dominates the colors,
making pieces appear dark. We can work on that, but for the crackle I
can only imagine applying the glaze a little more thickly. Can anyone
help out with some insight?
Thanks again,
Reid Harvey
Ceramiques d'Afrique
P.S. To let everyone know, my family is moving to Bangladesh in July. I
would also love to hear any insights concerning ceramics in Bangladesh.
RH
Kent / Pat on wed 26 apr 00
Reid,
How do you put the pieces into reduction? Or did you post-fire reduce?
That may be the problem. If you place the piece into a reduction receptacle
before the exterior temp crackles the glaze, you may not see the crackle.
At Bicentennial Art Center we pull the coppers first and dump them right
into reduction. The White Crackle or Clear Crackle is pulled and left to
sit with people waving cardboard, garbage can lids or whatever like maniacs,
until the piece starts to "ping and pop". Then If you want dark cracks,
throw it into a reduction pail. You'll have to experiment with your
reduction materials. We use hay, sawdust shredded paper - whatever is smoky
and cheap.
Pat Porter
pporter@4dv.net
http://www.geocities.com/windy_pines_2000/index.html
Aurora CO USA
----- Original Message -----
From: "Reid Harvey"
To:
Sent: Tuesday, April 25, 2000 12:08 PM
Subject: where's the crackle?!
> ----------------------------Original message----------------------------
> Dear All,
>
> The great tips I got on clayart gave me the confidence to introduce my
> ceramic class to raku. The idea of formulating a glaze was daunting,
> especially since the right, naturally occurring materials can be hard to
> come by in this part of the world. (It would seem that geologists here
> are interested in the not-so-useful minerals, like diamonds.) So we used
> ^05 Amoco, the glaze available at the school. But...... where's the
> crackle?
>
> The metallic appearance is great, but really dominates the colors,
> making pieces appear dark. We can work on that, but for the crackle I
> can only imagine applying the glaze a little more thickly. Can anyone
> help out with some insight?
>
> Thanks again,
> Reid Harvey
> Ceramiques d'Afrique
> P.S. To let everyone know, my family is moving to Bangladesh in July. I
> would also love to hear any insights concerning ceramics in Bangladesh.
> RH
Richard Jeffery on thu 27 apr 00
you could also try spraying the pieces with cold water - a cheap plant
mister from a garden centre is fine. Keep the spray very, very fine, and
you get a gossamer fine crackle (with a bit of luck). Watch out if the
spray "splutters" - the larger drops will show in the crackle pattern.
I guess this could be developed if you wanted to experiment.
The alternative is to fire in the rain - which I seem to be doing ALL the
time. I'm really fed up with it! It comes to something when you have to
explain that the delicate patterning in the copper matt is actually where
the rain was washing the glaze (no, I know it isn't, technically...) off the
pieces warming over the kiln flue...
Richard
Bournemouth UK
(supposed to be the sunny south coast - part of the English Riviera.. I
tell you, tourism marketeers are a funny breed)
-----Original Message-----
From: Ceramic Arts Discussion List [mailto:CLAYART@LSV.UKY.EDU]On Behalf
Of Kent / Pat
Sent: 26 April 2000 17:58
To: CLAYART@LSV.UKY.EDU
Subject: Re: where's the crackle?!
----------------------------Original message----------------------------
Reid,
How do you put the pieces into reduction? Or did you post-fire reduce?
That may be the problem. If you place the piece into a reduction receptacle
before the exterior temp crackles the glaze, you may not see the crackle.
At Bicentennial Art Center we pull the coppers first and dump them right
into reduction. The White Crackle or Clear Crackle is pulled and left to
sit with people waving cardboard, garbage can lids or whatever like maniacs,
until the piece starts to "ping and pop". Then If you want dark cracks,
throw it into a reduction pail. You'll have to experiment with your
reduction materials. We use hay, sawdust shredded paper - whatever is smoky
and cheap.
Pat Porter
pporter@4dv.net
http://www.geocities.com/windy_pines_2000/index.html
Aurora CO USA
----- Original Message -----
From: "Reid Harvey"
To:
Sent: Tuesday, April 25, 2000 12:08 PM
Subject: where's the crackle?!
> ----------------------------Original message----------------------------
> Dear All,
>
> The great tips I got on clayart gave me the confidence to introduce my
> ceramic class to raku. The idea of formulating a glaze was daunting,
> especially since the right, naturally occurring materials can be hard to
> come by in this part of the world. (It would seem that geologists here
> are interested in the not-so-useful minerals, like diamonds.) So we used
> ^05 Amoco, the glaze available at the school. But...... where's the
> crackle?
>
> The metallic appearance is great, but really dominates the colors,
> making pieces appear dark. We can work on that, but for the crackle I
> can only imagine applying the glaze a little more thickly. Can anyone
> help out with some insight?
>
> Thanks again,
> Reid Harvey
> Ceramiques d'Afrique
> P.S. To let everyone know, my family is moving to Bangladesh in July. I
> would also love to hear any insights concerning ceramics in Bangladesh.
> RH
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