Snail Scott on thu 26 dec 02
At 12:12 PM 12/26/02 -0500, you wrote:
>...So then I wondered what would happen to glaze applied in lieu of
>slip at the leatherhard stage.
Sounds like a good idea to me! A slip-glaze,
a glaze high in clays, or a vitreous engobe
with a high clay content would all be good
candidates for this.
-Snail
Gail Dapogny on thu 26 dec 02
This question is not precisely about Clear Matt Glazes but related......
What would happen if I brushed a glaze onto greenware, then bisque-fired
it, and finally high-fired it (cone 9-10, gas reduction)? Now in case you
are wondering why I would do such a thing, I'll explain...
I want to apply a dark color (originally had planned on slip), incise a
design through it at the greenware stage, and have it end up with a matt
sheen and finished look, but not be diminished in color or intensity by a
"clear matt " glaze over it, and not be shiny such as a clear glaze would
produce.
I have tried taking some dark-slip-coated test tiles and applying the
following before high-firing them: 1) a brush of frit (3124), 2) frit with
ball clay (80-20), and 3) a thinly-applied clear glaze. They all produced
similar results: a faint sheen, but a rather unfinished, metallic sort of
look, somehow not very attractive.
What could I do instead? I thought of applying a dark matt glaze over the
incised dark slip prior to glaze firing, but then I would have to wax or
dig out all of the white incised areas, and either of those would be a
pain. So then I wondered what would happen to glaze applied in lieu of
slip at the leatherhard stage.
I'm puzzled!
----Gail
Gail Dapogny
1154 Olden Road
Ann Arbor, MI 48103-3005
(734) 665-9816
gdapogny@umich.edu
http://www.silverhawk.com/ex99/dapogny (single historical photo - no longer
registered with Silverhawk)
Jeffrey Francis Longtin on thu 26 dec 02
Gail,
It sounds like you're going for a very specific "sheen" quality that only you
can determine but I would suggest you try the Amaco commercial underglaze
product known as "Velvets". I have used them to cone 6 and found that MOST of
the colors maintain good stability and intensity. The reds, of course,
somewhat burnout but the other colors looked great and have a really nice
sheen. Oddly they almost do look like ceramic velvet (sorta).
I don't know how they would do at your temperature but maybe others on the
list might have some experience with that.
Good Luck
Jeff Longtin
claybair on thu 26 dec 02
Hi again,
I discovered that if I use just a very thin wash of a clear glaze I get a
matt sheen and maintain the color. Now I fire to ^6 ox so am not sure what
will happen with a ^9-10 redux. I also use thin washes of clear matt glaze
with mason stains to get a more watercolor effect on my slip carved pieces.
If you like, the next time I visit the clients who bought my tray I'll take
a digital and send it to you so you can see what I am talking about.
Gayle Bair
Bainbridge Island, WA
http://claybair.com
-----Original Message-----
From: Gail Dapogny
This question is not precisely about Clear Matt Glazes but related......
What would happen if I brushed a glaze onto greenware, then bisque-fired
it, and finally high-fired it (cone 9-10, gas reduction)? Now in case you
are wondering why I would do such a thing, I'll explain...
I want to apply a dark color (originally had planned on slip), incise a
design through it at the greenware stage, and have it end up with a matt
sheen and finished look, but not be diminished in color or intensity by a
"clear matt " glaze over it, and not be shiny such as a clear glaze would
produce.
I have tried taking some dark-slip-coated test tiles and applying the
following before high-firing them: 1) a brush of frit (3124), 2) frit with
ball clay (80-20), and 3) a thinly-applied clear glaze. They all produced
similar results: a faint sheen, but a rather unfinished, metallic sort of
look, somehow not very attractive.
What could I do instead? I thought of applying a dark matt glaze over the
incised dark slip prior to glaze firing, but then I would have to wax or
dig out all of the white incised areas, and either of those would be a
pain. So then I wondered what would happen to glaze applied in lieu of
slip at the leatherhard stage.
I'm puzzled!
----Gail
Ababi on fri 27 dec 02
If I remember correctly, my teacher has taught us to use the water above the
unmixed glaze. (Ready glaze, mixed and sieved was on the shelf without use for a
while. ) for this mate effect.
another way was to glaze and to clean with a sponge. This way, the second one, you
got a slight shin.
Ababi
---------- Original Message ----------
>Hi again,
>I discovered that if I use just a very thin wash of a clear glaze I get a
>matt sheen and maintain the color. Now I fire to ^6 ox so am not sure what
Ron Roy on sun 29 dec 02
I did this when I was in school - it worked well as long as you can get the
glaze to stick on the green ware - lots of potters fire once so it is
possible - I think the trick is to have lots of clay in the glaze if I
remember right.
There is something you will find out - because the 1st glaze is well
sintered on the bisque - from the first firing - it will resist - at least
partially - the next glaze. This can be very effective - make the first
glaze come out a lot stronger than you think it will. If there is boron in
the first glaze you can expect the resist effect to be stronger - in
relation to the amount of boron.
RR
>This question is not precisely about Clear Matt Glazes but related......
>
>What would happen if I brushed a glaze onto greenware, then bisque-fired
>it, and finally high-fired it (cone 9-10, gas reduction)? Now in case you
>are wondering why I would do such a thing, I'll explain...
>
>I want to apply a dark color (originally had planned on slip), incise a
>design through it at the greenware stage, and have it end up with a matt
>sheen and finished look, but not be diminished in color or intensity by a
>"clear matt " glaze over it, and not be shiny such as a clear glaze would
>produce.
>
>I have tried taking some dark-slip-coated test tiles and applying the
>following before high-firing them: 1) a brush of frit (3124), 2) frit with
>ball clay (80-20), and 3) a thinly-applied clear glaze. They all produced
>similar results: a faint sheen, but a rather unfinished, metallic sort of
>look, somehow not very attractive.
>
>What could I do instead? I thought of applying a dark matt glaze over the
>incised dark slip prior to glaze firing, but then I would have to wax or
>dig out all of the white incised areas, and either of those would be a
>pain. So then I wondered what would happen to glaze applied in lieu of
>slip at the leatherhard stage.
>
>I'm puzzled!
>----Gail
>
>Gail Dapogny
>1154 Olden Road
>Ann Arbor, MI 48103-3005
>(734) 665-9816
>gdapogny@umich.edu
>http://www.silverhawk.com/ex99/dapogny (single historical photo - no longer
>registered with Silverhawk)
>
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Ron Roy
RR#4
15084 Little Lake Road
Brighton, Ontario
Canada
K0K 1H0
Phone: 613-475-9544
Fax: 613-475-3513
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