will edwards on thu 8 mar 01
Mia and those who might have an interest,
The below reply is exactly what I am stating in an earlier post. We are a=
ll
guilty of getting a glaze from somewhere and tweeking it this way or that=
way
but some of these glazes are particular about the allowable tweeks they w=
ill
take.
Another prime example is Floating Blue. It works for some but not for oth=
ers.
I bet if everyone that found the blue went green and some additional stra=
nge
effects would be surprized even more so by dropping the cone a little. Th=
e
atmosphere in kilns is so unpredictable most times. If you were measuring=
the
heat in all the various areas at one time I bet many of those who find ch=
anges
in their glazes would find cool or hot spots in their kilns. Stacking and=
placing shelves and cooling rates are also involved in this heat holding.=
=
The best thing I can say is check Skutt's Digital program out for the ram=
p
information for a medium fire and use that as a way to get the red and ad=
d a
few minutes hold at the end for good measure for all the colors. Any smal=
l
blimishes have a chance to heal over and I seldom if ever encounter any g=
laze
issues much less cracking since I run the glazes and check the fit using
calculations against the type of clay I am using. I have never had one p=
iece
to crack in any kilns I have used at any of the studio's where I have wor=
ked
or played due to a glaze fit issue after I have calculated for it. (of co=
urse
I have my own set of limits for that).
However I do recommend people to play with glazes in order to understand =
their
function. You should observe the variations and record how different oxid=
es
effect what. Coloring oxides play a vital role in the development of the =
glaze
through several actions including fluxing them.
TiO2 is a prime example of modifying a glaze. But also do a 3 day standin=
g
vinegar test for color release at room temperature to confirm the first s=
teps
of potential use in a food based recipe. Then your next step is
ultra-scientific. Make certain it has been ran through a good lab and
extractions for heavy metals or any potential toxins should they exist. I=
f you
don't have ample experience with what is a toxin and what is a hazard som=
eone
will be happy to help on that. (I will provide labs if you need me to?)
Mia and 30 or 40 more who have used the glaze the way it was written all =
have
declared the same response. I do research and those people like Mia mean =
a
great deal to me. I get some travel experience through their unselfish ac=
ts of
kindness. Try Rosenrot with various degrees of modifications and post the=
group with them. Its not an answer to all questions but a good place to s=
tart
working some out.
William Edwards
Alchemy 101 - Rosenrot. I have to admit that Lana Wilson and Jackie Webb=
er
was/is the inspiration behind my research for this red. It is not glossy =
as
hers (Lana's) but she and I have discussed the need for newer versions of=
red
since GB has been removed from our list of toys to play with.
Frim Mia>>>>>
Mary Ellen,
I used Edward's original Rosenrot on white stoneware. My results were
the expected chrome tin red - an opaque semi matt wine red throughout. I
found that when glazes are tinkered with you no longer get the same
results. Mia in ABQ
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