will edwards on sat 14 apr 01
Hello,
=46rom ragged torn jeans to glazes that don't travel, from spam to ham...=
All
the posts here have some good content from time to time and even some of =
the
people here have became my favorite reads. Short or long ramblins are ok =
too
with me. If you don't read them, don't fuss when you miss something impor=
tant.
This post contains a recipe that you might miss if you delete it right no=
w.
That is of course your solution to having to read something that latter c=
ould
be of interest. Hit it now or read it through.
I am trying to answer posts as I get them privately and keep them on here=
since they pertain to public made statements or posts made myself in rega=
rds
to Edward's 1234 glossy and other glazes like it. 20x5 is a good example.=
Its
a great base with 20% each of selected materials. How much easier could o=
ne
ask. Balance out the scales and go to town! 1234 glossy does a similar da=
nce
with a slide down on the scales by 1 or 100 or 1000 starting at 4,3,2,1, =
in
any combination. 400+300+200+100 =3D 1000. add colourants and go to town.=
(Easy/E.Z.) Want to throw it toward a higher firing range swap 3134 out f=
or
3124. Then your B203 level is cut in half and the Al203 is higher. Then w=
ould
that mean heat is doing the work that the chemistry was doing. Exspansion=
changes, Si:Al ratio changes and ST or surface tension changes.
Now another take on this which is all in my book - place the wollastonite=
in
the 20% column and use the 3124 Frit for 3134 in the 40% column and repla=
ce
the SiO2 with 10% OM-4 ball clay and you have a hum-dinger waxy matte tha=
t is
Sweet as the day is long. The mix is hanging by its toe nails in the limi=
ts I
use for ^6 ox. But works just the same where it just falls in the limits =
on
the high side at ^7. It works at cone 6 because it is an Al203 matte glaz=
e but
has enough B203 and Calcia to butter it up. It is a sodium, high alumina,=
calcium borate glaze that holds up in the bucket well due to having grand=
clay
content in it. Becomes thixotropic. Same can be said for the Glossy versi=
on as
well. Thixotropic and very gerstley Borate like in the bucket but frit th=
at
doesn't sink like a rock. (EPK is high, *wollastonite replace whiting, *b=
all
clay is in there and adds additional silica, gives a clean finish.)
* denotes clay content for the SiO2...
Glaze Name:Edwards 4.3.2.1. Matte Base OM-4 =A9 2001
Cone: 6 Ox.
Recipe:
Ferro Frit 3124 40.00
Epk Kaolin 30.00
Wollastonite 20.00
Ball Clay 10.00 (OM-4)
Would you like to mimmick the ^10 reduction glaze that made certain peopl=
e so
famous. (Looks like it anyways) Add this to the above glaze.
8% Praseodymium 4% Light rutile and 1% Spanish red iron oxide. Mix to lig=
ht
cream consistency in bucket. Fire to full cone 6 oxidation and you should=
get
a nice smooth matt yellow that will rock your world. I also have pictures=
for
that as well to be posted on the web soon. Don't apply so thick. It has p=
lenty
of clay and needs no salts or bentonite at all. All my own 1234 glazes ar=
e
FREE of additioanl fixes for thixotropic state. The rheology was taken in=
to
consideraton when these were being written.
Tony Hansen has set the ground work for allot of glaze work. Lawrence Ewi=
ng
has done the same on the other side of the continent. We now have more
information at our disposal or use than any other time in the world. Why =
not
use it? Also why must everything be so difficult always? Glazes with mino=
r
1/10ths of a percent where calcium or silica and alumina are some of the =
main
constituents of the glaze are abundant enough aren't they? I have yet to =
see
one so sensitive that I couldn't round up or down to get a whole number a=
nd
simplify my weighing. However colorant oxides are different! I will move =
1/2
of 1 percent or 0.50% at a time in general unless I am dealing with the
colorants which can make a difference. Cobalt and chromium being two I ca=
n
think of. Then those small increnments make a lot of difference!!!If some=
one
has a glaze like that where it is so fine tuned without the use of colour=
ants
please send it along so I can make it my next experimental goal.
The person who asked for a great yellow can achieve this with praseodymiu=
m
found in stains such as mason. 8% by weight is a good point to start out =
with.
The 1234 Glossy glaze works well with stains with exception to reds that =
come
from chrome tin. The chemistry does not support this. I do have a red tha=
t is
super and will be given some web space in the near future for the red and=
the
glossy clear. The lime can be achieved between the yellow and a small amo=
unt
of chromium I would think. Copper maybe? It will not take much chromium
because this glaze is extremely clear especially when dipped in a properl=
y
thinned bucket of it.
The reason I suggest chromium for the lime is I one time forgot to add Ti=
n
when I was making up a chrome tin invention and it came out neon lime gre=
en. I
almost gagged when I first saw it. But color is in the eye of the beholde=
r who
usualy is the artist. That would mean I used less than 0.50% of green chr=
omic
oxide. (Chromium is a strong colourant so go in small amounts.)
Without a physical test I would say 5% yellow stain to 0.50% to 0.75% sho=
uld
give you the desired look. I think mason also sells a very lime looking s=
tain
if I remember correctly?
Have fun, make it easy, live life to the fullest. =
William Edwards
Alchemy 101 - All people are created equal. Some wear jeans and others su=
its.
Does that make them different, dumber or smarter? Who decides what is
political correctness anyways? I need to speak to them myself!!!!!
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