Marianne Lombardo on mon 12 aug 02
I finally got around to using the Bone glaze in Mastering Cone 6 Glazes that
I've had mixed up for about 6 weeks now. Very, very nice. But it came out
a lovely satin gloss soft butter yellow instead of the ivory/beige I
expected. Much nicer result, actually. That was on MCS porcelain.
I think I measured the rutile accurately. Perhaps the color developed
because the glaze has been sitting for awhile? Maybe the rutile is
different? This is almost two year old rutile.
Marianne Lombardo
Omemee, Ontario, Canada
email: mlombardo@nexicom.net
Joan & Tom Woodward on tue 13 aug 02
That's what I get too, and I love it.
Joan
----- Original Message -----
From: Marianne Lombardo
To:
Sent: Monday, August 12, 2002 9:39 PM
Subject: Bone glaze result
> I finally got around to using the Bone glaze in Mastering Cone 6 Glazes
that
> I've had mixed up for about 6 weeks now. Very, very nice. But it came
out
> a lovely satin gloss soft butter yellow instead of the ivory/beige I
> expected. Much nicer result, actually. That was on MCS porcelain.
>
> I think I measured the rutile accurately. Perhaps the color developed
> because the glaze has been sitting for awhile? Maybe the rutile is
> different? This is almost two year old rutile.
>
> Marianne Lombardo
> Omemee, Ontario, Canada
> email: mlombardo@nexicom.net
>
>
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Ruth Ballou on tue 13 aug 02
Marianne,
I've tested all the glazes in R & J's book for the community studio where I
teach. Several of the glazes have been used for about 3 months by the
students and I've been able to see how they do in a wide variety of uses.
In the first test, which was a bit underfired (^6 just bending) Bone turned
out the butter yellow you've described. All the glazes were tested again,
fired hotter. The Bone turned out more like the book in this second test.
We still see the butter yellow if a pot is in a cool spot in the kiln,
which some students prefer. All these glazes are dependent on reaching a
true ^6 for a full melt. This is not just for leaching, but also for
appearance. Ron and John have said as much many times. I'm just saying it
again
I've tinkered with the firing schedule in the book. Unfortunately, I don't
have it in front of me here at home, so I'm going on memory here, which is
especially dicey in my case! I've changed the rate of the last up ramp to
match the ramp recommended by Orton for the cones, which I think is 108C.
Orton has a lot of information about cones and I remember reading that the
rate of temp. increase of the last hour of a firing has the biggest impact
on the melt on the cone and that at this rate a cone falls one third of
the way every 20 minutes. As you know, cones are formulated to melt at a
particular temp based on a specified rate of temp increase. I've found that
following this makes it easier to adjust the firing if it's not quite
right. So, I've slowed the rate to match the specified rate. This seems to
give us better results with all our glazes. As always, every little change
makes a difference!
Hope this helps....
Ruth Ballou
Silver Spring, MD
.
>I finally got around to using the Bone glaze in Mastering Cone 6 Glazes that
>I've had mixed up for about 6 weeks now. Very, very nice. But it came out
>a lovely satin gloss soft butter yellow instead of the ivory/beige I
>expected. Much nicer result, actually. That was on MCS porcelain.
>
>I think I measured the rutile accurately. Perhaps the color developed
>because the glaze has been sitting for awhile? Maybe the rutile is
>different? This is almost two year old rutile.
>
>Marianne Lombardo
>Omemee, Ontario, Canada
>email: mlombardo@nexicom.net
>
>______________________________________________________________________________
>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.
Marianne Lombardo on tue 13 aug 02
Ruth;
I think you are right about this. The pot was in the lower half of the
kiln. I forgot about that, and the glaze certainly *looks* fully melted.
OK, I'm making a note in my book that when I want the butter yellow to fire
in the lower portion of the kiln. I'll try another next firing and place it
higher up and see what happens.
I don't have a controller on my kiln as it's very old. I have to cool down
manually by flipping switches on and off. For this particular firing I
didn't do a manual slow cooldown because most of the glazes didn't need one.
Also, the kiln was loaded with a lot of small items and had 5 full kiln
shelves which tend to hold the heat in much longer anyway.
Marianne Lombardo
Omemee, Ontario, Canada
email: mlombardo@nexicom.net
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