Alisa og Claus Clausen on thu 15 mar 01
Dear Clayart,
Although I am focusing on coloring bases at the moment, and some subbing =
of materials, I am still testing a few glazes that seem of interest to =
me. I am also testing whatever William is sending. The Rosenrot red =
was a great success on porcelain. Very much like reduced red I felt =
lucky to get in the old days of cone 9.
Crazy weather, it thundering.
I am particulary pleased with combination of Rosenrot Red and Val's =
Turquoise. Sounds like a dreadful combination but it looked beautiful, =
glass like, on some porcelain "orbs" I made for the purpose of seeing =
the glazes break on porcelain.
They did not actually make a blening line where they met, but rather the =
red broke over the turquoise. Bright glassy colors are usually not my =
choice, but I admit this looks special. =20
In general, this glaze firing went the best of any firing to date in my =
electric kiln, because I slightly lowered the top temp. to 1215c instead =
of 1220 c and soaked it there for 30 minutes instead of shutting down. =
Smooth glazes all the way around. Colors of tests to fill an Easter =
basket; pink, blues, turquoises, lilacs and greens. Not really sure how =
and when I would use these colors, but they make for nice test tiles .I =
like whites and browns. Almost more importantly to me, the surfaces =
were nice. Hope there is something of use to some of the Clayarters.
=20
Best regards,
Alisa in Denmark
Alisa Clausen on sun 22 aug 04
Dear Clayart
The tests were both recipes found and a few experiments.
The White Bird recipe called for any combination of Tin Oxide and
Zircopax from 10 - 12%. This could have lead to dozens of tests,
but I limited it to one, using a combination of 70/30. My tests were
all glosses instead of mat, as the name indicates.
Charcoal satin mat has never given me a mat and the only time I have
been able to get grays in oxidation, is with a stain. Therefore I made =
some
experiments to try to get a gray without a stain (read more in Behrens) =
in the hopes of
getting a glaze with a slightly less uniform color than stains tend to =
yield,
and to make a glaze using a lot of clay, so that it might perform well =
as a once firing glaze.
The results were varied, and I posted the two grays I thought were best =
and a black that looks
like the unstable Metallic Black I like. That was my personal darling =
of all the experiments.
All of the glaze experiments passed a 24 hour lemon slice test.
Otherwise, no claims except for how they look which you can see on=20
http://photos.yahoo.com/alisapots
album nr. 4.
I will be working on high clay content glazes and will post results as =
they come along, both in once firings and at higher temps.
than 1220c.
regards from Alisa in Denmark
Alisa Clausen on mon 21 feb 05
Dear Clayart,
I have made tests to try to achieve structures and textures in the glaze =
surface. =20
Mostly by reading articles, reports and books from the shelf and =
internet, authored by Ian Currie, Brian Gartside, Lana Wilson, Ababi =
Sharon, Lili Krakowski, as well as correspondence with Bacia Edelman, I =
have been able to get the glaze results I was aiming for in these tests. =
=20
These are the tests that were successful. There were as many in the =
weeks before that were not. I am happy and feel privileged that through =
Clayart correspondence, I am able to be in dialogue with most of the =
wise sons and daughters mentioned above. Learning about glazes has =
taken my interest in many directions. Although the practical work is =
exhausting at times, the benefits I have reaped, both by meeting people =
and the glaze success I aim for, makes me feel, emotionally at times, =
happy. =20
Bacia has been a great help in teaching me how to apply the glazes. She =
and Ababi directed me to Lana Wilson's recipes. Brian responded to my =
Gartside Chats. Ian Currie, is always the helpful and moderate person =
he is. Lili' Krakowski's Albany slip substitute made me think more =
about developing the red clay glazes I had begun with some months ago. =
Ababi is honored for his work by continuing his experiments, as he =
wished his work would inspire us to do. =20
I am working on sculptures for a juried show and that is why I was =
concentrating on these glazes at the other end of the spectrum I =
normally work with on my utilitarian everyday pots. It is slow process =
but intensely educational, to work with raw materials and try to =
understand their properties, both alone and interacting with other =
materials.
Until I kiss you all over your faces at NCECA
regards from Alisa in Denmark
Gaye Sekula on mon 21 feb 05
Alisa,
My most sincere and heartfelt thanks for sharing your glaze tests. You are
quite an inspiration, not only in your diligence, but in your generosity.
Gaye Sekula
San Antonio, Texas
John Post on wed 27 feb 08
Hi Alisa,
I have a few questions for you.
Why do you let your kiln max cool down to 900c and then hold for only
30 minutes?
(In my experience with slow cooling I have found that it takes longer
than 30 minutes to get nice crystal growth.)
I noticed you tested Jen's Juicy Fruit but you omitted the soda ash
and the titanium. I'm just curious as to why did this?
>> Firing ramp with an electric controller is:
>> 100c p/h to 600c (212f - 1112f)
>> 150c p/h to 1140c (302f - 2084f)
>> 80c p/h to 1220c (176f - 2228f)
>> 15 min. soak
>> cool down max. to 900c (1652f)
>> Hold 30 minutes
>>
>> Shut off kiln
John Post
Sterling Heights, Michigan
http://www.johnpost.us :: cone 6 glaze website ::
http://www.wemakeart.org :: elementary art website ::
Alisa Clausen on wed 27 feb 08
Dear Clayart
http://www.flickr.com/photos/glazes/sets/
That is where you can see the photos.
Two sets, one Feb 2008 tests
and Manganese Pinks
Yes, I do remember when I went crazy. About 10:00 today. I have loads of
test tiles, all sort of pinkish brown.
Had to get them into their right little pile. Did it. It was just a sea of
Manganese pinks and browns, but yes, I regained
sanity when I could see, there was method to my madness.
The other album of tests where mostly recipes recently on Clayart. The Lana
purple glazes are bright, and the aquas are subtle and
I think, attractive. A couple of the tests are of recipes revisited by
myself, the Sea Green, Toni's Ultra Clear and Karen's Starshine
Aqua.
Puh ha, I like the exercises, but I know that I am going to do smaller
batches of one colored tiles next time. I have been concentrating all day
and now I am going outside.
I used Ruth's stand up tile and rack method and I think it was very good.
The tiles are flat instead of my usual round extrusions and are easier to
stack, record and hang up.
Best regards,
Alisa in Denmark
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