Alisa og Claus Clausen on wed 23 jan 02
Glaze test for Falls Creek Shino, cone 6, oxidation.
Source: Clayart, Ababi (revision)
Credited to:
All tests fired on white, iron flecked, mid-range stoneware.
Fired to cone 6 (1220c) in oxidation.
Firing ramp:
100c (212f) per hour to 600c (1112f)
150c (302f) per hour to 1100c (2012f)
100c per hour to 1220c (2228f)
15 - 30 minute soak depending on matts and glosses used.
cool down 100c per hour to 900c.
Natural cool down to 150c (approximately 15 hours)
Recipe:
53 Red Clay
10 Ultrox
5 Tin oxide
33 Frit 3134
3 Whiting
10 Zinc Oxide
8 Flint
ADD
10 RIO
Note:
All raw materials measured up or down to nearest whole decimal.
Oxides used on percent basis to a 100 gram batch of glaze.
Substitutions:
Zircopax for Ultrox
Local frit for 3134
Oldenwalder Clay used for a Red Clay
Resulted in:
a dark brown gloss. Even and covering.
Same recipe as above
ADD
5% RIO
Very similar to 10% RIO. Cannot see much of a difference in color
intensity and surface is identical.
Regards from Alisa in Denmark
Ababi on thu 24 jan 02
The 10% RIO is not needed. If you use the same German clay I us G.R.T.,
it has 7% iron which is enough for this recipe.
Ababi
---------- Original Message ----------
>Glaze test for Falls Creek Shino, cone 6, oxidation.
>Source: Clayart, Ababi (revision)
>Credited to:
>All tests fired on white, iron flecked, mid-range stoneware.
>Fired to cone 6 (1220c) in oxidation.
>Firing ramp:
>100c (212f) per hour to 600c (1112f)
>150c (302f) per hour to 1100c (2012f)
>100c per hour to 1220c (2228f)
>15 - 30 minute soak depending on matts and glosses used.
>cool down 100c per hour to 900c.
>Natural cool down to 150c (approximately 15 hours)
>Recipe:
>53 Red Clay
>10 Ultrox
>5 Tin oxide
>33 Frit 3134
>3 Whiting
>10 Zinc Oxide
>8 Flint
>ADD
>10 RIO
>Note:
>All raw materials measured up or down to nearest whole decimal.
>Oxides used on percent basis to a 100 gram batch of glaze.
>Substitutions:
>Zircopax for Ultrox
>Local frit for 3134
>Oldenwalder Clay used for a Red Clay
>Resulted in:
>a dark brown gloss. Even and covering.
>Same recipe as above
>ADD
>5% RIO
>Very similar to 10% RIO. Cannot see much of a difference in color
>intensity and surface is identical.
>Regards from Alisa in Denmark
>_______________________________________________________________________
_
>______
>Send postings to clayart@lsv.ceramics.org
>You may look at the archives for the list or change your subscription
>settings from http://www.ceramics.org/clayart/
>Moderator of the list is Mel Jacobson who may be reached at
>melpots@pclink.com.
Alisa og Claus Clausen on fri 25 jan 02
At 07:32 24-01-02 +0200, you wrote:
>The 10% RIO is not needed. If you use the same German clay I us G.R.T.,
>it has 7% iron which is enough for this recipe.
>Ababi
Dear Ababi,
In my notes from Clayart, I read a post that I put your name on? where you
noted it could be tried with 10% RIO.
So, that was the test. Maybe I got the post's author's name
wrong. Anyway, I have tried it also without the RIO
and I think I have tried it 5 or 6 other ways. Now, I have to try it
really thick. I get brown and brown and brown!
Thanks Ababi.
regards from Alisa in Denmark
>-
Ababi on fri 25 jan 02
The beauty of this glaze is using "no colorants" you use Zircon
silicate and tin for white: The tin makes it soft white the Zircon,(
ultrox zircopax etc) gives it cold white shine. The red iron oxide that
is part of the red clay is enough to make it yellow where it is thick
and brownish where it is thin. Will be smarter on Sunday
Ababi
This red clay never been in Albany N.Y.
---------- Original Message ----------
>At 07:32 24-01-02 +0200, you wrote:
>>The 10% RIO is not needed. If you use the same German clay I us G.R.T.,
>>it has 7% iron which is enough for this recipe.
>>Ababi
>Dear Ababi,
>In my notes from Clayart, I read a post that I put your name on? where
>you
>noted it could be tried with 10% RIO.
>So, that was the test. Maybe I got the post's author's name
>wrong. Anyway, I have tried it also without the RIO
>and I think I have tried it 5 or 6 other ways. Now, I have to try it
>really thick. I get brown and brown and brown!
>Thanks Ababi.
>regards from Alisa in Denmark
>>-
>________________________________________________________________________
>______
>Send postings to clayart@lsv.ceramics.org
>You may look at the archives for the list or change your subscription
>settings from http://www.ceramics.org/clayart/
>Moderator of the list is Mel Jacobson who may be reached at
>melpots@pclink.com.
Diane Woloshyn on fri 25 jan 02
Alisa,
I use this glaze a lot and for me it is a light tan breaking to red brown.
It does tend to deteriorate with age because of the gerstley, then it turns
to brown. Think it may have something to do with the substitutions you are
using. This glaze will sometimes crawl and leave the pulled away areas red
brown, but I like the look. I use it over a dark brown clay that fired to an
ocher. Have used it over white clays, but I don't like the look nearly as
well. Had this glaze tested by Alfred and it was safe for me.
I fire using a controller and cone packs with the 6 cone all the way down.
Diane Florida Bird Lady
Waiting anxiously for Ron and John's book to come.
Ababi on sat 26 jan 02
These two recipes of Falls Creek Shino I posted lately were intend to get
this effect of this beautiful glaze WITHOUT lithium carbonate. In this case
I had to add more flux The first one, was more similar to the "real" recipe
while in the second I added zinc as a flux Though I knew that Zinc and
RIO together are fighting. They did not fight. I got that glaze. It looks
very nice to touch. I thought it would be nicer with an add of 1 ( to the
about 120 units of base, RIO.
I believe it can be nice with other colors too. it is rich to touch and look
like my yellow teeth after I brush them.
Here again the first substitution. Not the one I sent yesterday. I made it
in
the studio without a
computer. that is why the numbers are "nice"! This one looks like "Falls
Creek Shino"!
Falls Creek Shino Ababi's version1
==================================
FRIT 3134........... 40.00 43.96%
RED CLAY............ 30.00 32.97%
DOLOMITE............ 5.00 5.49%
ULTROX.............. 10.00 10.99%
TIN OXIDE........... 5.00 5.49%
RIO................. 1.00 1.10%
========
91.00
CaO 0.59* 11.55%
MgO 0.12* 1.74%
K2O 0.06* 1.87%
Na2O 0.23* 5.01%
TiO2 0.01 0.38%
ZrO2 0.18 7.79%
Al2O3 0.21 7.37%
B2O3 0.45 11.08%
SiO2 2.35 49.50%
Fe2O3 0.07 3.69%
Si:Al 11.40
SiB:Al 13.60
Expan 7.53
Try original way like the German red clay was redart!
Here is the analysis I have for the GRT( German low fire casting slip power)
CaO 0.05* 0.25%
MgO 0.32* 1.21%
K2O 0.60* 5.23%
Na2O 0.03* 0.20%
TiO2 0.14 1.06%
Al2O3 2.17 20.62%
SiO2 11.49 64.39%
Fe2O3 0.47 7.04%
Si:Al 5.30
SiB:Al 5.30
Expan 6.46
The Wining combination is: 10 ultrox ( or relatives)
5 Tin oxide
and 7-8 red iron oxide, as part of the
recipe, redart or redclay. I believe Kaolin or ball clay with an ad of RIO
will work too!
Ababi
ry 25, 2002 11:45
Subject: Re: Glaze test for Falls Creek Shino, cone 6, oxidation.
> Alisa,
>
> I use this glaze a lot and for me it is a light tan breaking to red brown.
> It does tend to deteriorate with age because of the gerstley, then it
turns
> to brown. Think it may have something to do with the substitutions you
are
> using. This glaze will sometimes crawl and leave the pulled away areas
red
> brown, but I like the look. I use it over a dark brown clay that fired to
an
> ocher. Have used it over white clays, but I don't like the look nearly as
> well. Had this glaze tested by Alfred and it was safe for me.
>
> I fire using a controller and cone packs with the 6 cone all the way down.
>
> Diane Florida Bird Lady
> Waiting anxiously for Ron and John's book to come.
>
>
____________________________________________________________________________
__
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at
melpots@pclink.com.
Ron Roy on sat 26 jan 02
The cooling rate will affect this glaze I think - well I know but I don't
know how much and if it will be what you expect or want - I would think it
would be better with slow cooling.
Why not start posting the cooling time for it - say how long it takes from
top temp (how far the cone bends) down to 700C (1300F.)
better still why not include cooling time with all the glazes you post -
the lack of this crucial information is part of the reason glazes don't
travel well.
If we do that when talking about glazes we will all be able to know just
how slow or fast our kilns cool in relation to others.
Keep in mind - the glazes in our book look VERY ordinary when fast cooled -
They are infinitely more interesting (I would guess salable as well) when
slow cooled - as are - probably - some of your usual glazes as well.
keep in mind - cooling depends on the type of kiln, how dense the stacking
is, how old the kiln is (cracks), how well the lid fits, how well the peeps
are closed and even the ambient temperature in the room.
What ever you do - don't leave the vent system on - at least don't have it
sucking cool air into the kiln during cooling - if your vent manufacturer
says to leave it on - contact them and ask how to get around the fast
cooling effect.
Let me reword that - if you are using a controller - maintaining a cooling
rate - you can have the vent on - and even if you are just using your
elements on low or medium - or a combination of low and medium - you can
still have the vent system on - if it is left on you will have faster
cooling if it is off you will have slower cooling.
IMPORTANT !!! - if you leave a kiln on - you must not forget about it -
check your kiln at least every hour - carry a timer with you - strap it to
your forehead if you have to - always reset the timer as soon as it goes
off - make it a rule - don't even look at the kiln till the timer is reset.
Firing a kiln is a part of the craft - firing your house or studio is not.
>I use this glaze a lot and for me it is a light tan breaking to red brown.
>It does tend to deteriorate with age because of the gerstley, then it turns
>to brown. Think it may have something to do with the substitutions you are
>using. This glaze will sometimes crawl and leave the pulled away areas red
>brown, but I like the look. I use it over a dark brown clay that fired to an
>ocher. Have used it over white clays, but I don't like the look nearly as
>well. Had this glaze tested by Alfred and it was safe for me.
Ron Roy
RR# 4
15084 Little Lake Rd..
Brighton,
Ontario, Canada
KOK 1H0
Residence 613-475-9544
Studio 613-475-3715
Fax 613-475-3513
Marianne Lombardo on sat 26 jan 02
> I use this glaze a lot and for me it is a light tan breaking to red brown.
> It does tend to deteriorate with age because of the gerstley, then it
turns
> to brown.
Diane;
I have also used the gerstley version of this glaze and had results similiar
to yours. I am wondering though, when you say it tends to deteriorate with
age, do you mean after the glaze firing? Does the fired glaze actually
change color?
Marianne Lombardo
Omemee, Ontario, Canada
Cindy Griffis on sat 26 jan 02
Ron,
Thanks for the book! (My poor Mailman----he'll probably never be the same. I nearly tore the book from his hands---he couldn't believe someone could be so happy to get a book ;-D )
As someone who doesn't have a pyrometer, electronic controller, nor a kiln vent (I fire an Old Duncan kiln on a screen porch) should I turn the switches to Low when ^6 bends, then watch for the color to reach a "dull red" ? I'm afraid I need to start saving for a new kiln if I ever want to come close to these beauties........
Thanks for your advice,
Cindy Griffis, most certainly a pre-amateur now!
Ron Roy wrote: The cooling rate will affect this glaze I think - well I know but I don't
know how much and if it will be what you expect or want - I would think it
would be better with slow cooling.
Why not start posting the cooling time for it - say how long it takes from
top temp (how far the cone bends) down to 700C (1300F.)
better still why not include cooling time with all the glazes you post -
the lack of this crucial information is part of the reason glazes don't
travel well.
If we do that when talking about glazes we will all be able to know just
how slow or fast our kilns cool in relation to others.
Keep in mind - the glazes in our book look VERY ordinary when fast cooled -
They are infinitely more interesting (I would guess salable as well) when
slow cooled - as are - probably - some of your usual glazes as well.
keep in mind - cooling depends on the type of kiln, how dense the stacking
is, how old the kiln is (cracks), how well the lid fits, how well the peeps
are closed and even the ambient temperature in the room.
What ever you do - don't leave the vent system on - at least don't have it
sucking cool air into the kiln during cooling - if your vent manufacturer
says to leave it on - contact them and ask how to get around the fast
cooling effect.
Let me reword that - if you are using a controller - maintaining a cooling
rate - you can have the vent on - and even if you are just using your
elements on low or medium - or a combination of low and medium - you can
still have the vent system on - if it is left on you will have faster
cooling if it is off you will have slower cooling.
IMPORTANT !!! - if you leave a kiln on - you must not forget about it -
check your kiln at least every hour - carry a timer with you - strap it to
your forehead if you have to - always reset the timer as soon as it goes
off - make it a rule - don't even look at the kiln till the timer is reset.
Firing a kiln is a part of the craft - firing your house or studio is not.
>I use this glaze a lot and for me it is a light tan breaking to red brown.
>It does tend to deteriorate with age because of the gerstley, then it turns
>to brown. Think it may have something to do with the substitutions you are
>using. This glaze will sometimes crawl and leave the pulled away areas red
>brown, but I like the look. I use it over a dark brown clay that fired to an
>ocher. Have used it over white clays, but I don't like the look nearly as
>well. Had this glaze tested by Alfred and it was safe for me.
Ron Roy
RR# 4
15084 Little Lake Rd..
Brighton,
Ontario, Canada
KOK 1H0
Residence 613-475-9544
Studio 613-475-3715
Fax 613-475-3513
______________________________________________________________________________
Send postings to clayart@lsv.ceramics.org
You may look at the archives for the list or change your subscription
settings from http://www.ceramics.org/clayart/
Moderator of the list is Mel Jacobson who may be reached at melpots@pclink.com.
Opportunity is missed by most people because it is dressed in overalls and looks like work.
- Thomas Edison
---------------------------------
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Ron Roy on mon 28 jan 02
Hi Cindy - tell the mailman - we think we made his day - what could be
better than getting that kind of satisfaction.
John and I have not done the experiments to see what is needed to get the
slower cooling with just switches - you will have to do the experiments and
report back to the list.
Yes - try all down to low till dull red - if that is not slow enough then
leave one on medium and two on low. A lot depends on how well insulated and
tight your kiln is.
A pyrometer - as Dannon says - is fine for this part - when you get it
right you simply duplicate the cooling cycle according to the pyrometer -
the accuracy is not the important.
Let us know what happens - I suggest making 5 sets of tests - that way -
when you try them different ways you have a fair chance at them being the
same thickness because you made then all at the same time.
RR
>Thanks for the book! (My poor Mailman----he'll probably never be the
>same. I nearly tore the book from his hands---he couldn't believe someone
>could be so happy to get a book ;-D )
>As someone who doesn't have a pyrometer, electronic controller, nor a kiln
>vent (I fire an Old Duncan kiln on a screen porch) should I turn the
>switches to Low when ^6 bends, then watch for the color to reach a "dull
>red" ? I'm afraid I need to start saving for a new kiln if I ever want to
>come close to these beauties........
>Thanks for your advice,
>Cindy Griffis, most certainly a pre-amateur now!
Ron Roy
RR# 4
15084 Little Lake Rd..
Brighton,
Ontario, Canada
KOK 1H0
Residence 613-475-9544
Studio 613-475-3715
Fax 613-475-3513
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