Jim Tabor on sun 19 jan 03
Back off from the books. Pick a temp and test some blends. If it is a
sculpture surface (not in contact with food stuff), flux your claybody
and try some iron bearing colors. Thin application may work best. I
sponge thin mixes and overlay with sponge stamping thicker slips for a
rocky look. I usually work dark to light with an iron wash first. Slips
are opaque enough to cover anythin under them. A simple line blend will
probably give the sheen you want. A= 10% flux and claybody and B=90%
flux and body. Add them in equal parts so you have 50% A, 50% B, 50/50
A&B, split for 25A & 75B, and & again for 75A & 25B. In your temp range,
try neph. syn. or better, your most friendly frit. Thin v thick will be
different. Red iron, yellow iron, rutile, and yellow stains should get
you in the range you are looking for. If you have a gritty body, leave
out the grit (grog or flint). If it is commercial, screen the grit
out...or not.
Thin mixes will flow into deep areas and stiff mixes can highlight as
needed. A base slip will dilute colors as needed. Colorants may be 100%
red iron to 10% stain.
good luck,
Jim Tabor
http://www.members.cox.net/taborj/ceramics1.html
Glenn Minards wrote:
>I have been searching everywhere for a cone 06 to cone 5 oxidation glaze
>that have all the qualities of the the rock surfaces we have here in the
>Australian outback.I have researched every internet site ,all of the
>clayart archives and looked at a lot of words and pictures relating to
>variegated and textural surfaces [Lana Wilson ] and tried to find any and
>every known way to achieve Orange Red colours , including the use of iron ,
>rutile , titanium ,chrome , potassium dichromate , red and yellow ochres ,
>vanadium and many more in combination with textural and colour enhancing
>materials but without much luck. Am I looking for the Holy Grail of ancient
>looking glazes in all the wrong places.I need to move out of miscellaneous
>up into money and then across to travel one day.Can anyone give me some
>advice on specific books I should be reading , materials I should be using
>or glaze recipies I should be trying. Regards Glenn Minards
>AUSTRALIA
>
>______________________________________________________________________________
>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.
>
>
>
Glenn Minards on sun 19 jan 03
I have been searching everywhere for a cone 06 to cone 5 oxidation glaze
that have all the qualities of the the rock surfaces we have here in the
Australian outback.I have researched every internet site ,all of the
clayart archives and looked at a lot of words and pictures relating to
variegated and textural surfaces [Lana Wilson ] and tried to find any and
every known way to achieve Orange Red colours , including the use of iron ,
rutile , titanium ,chrome , potassium dichromate , red and yellow ochres ,
vanadium and many more in combination with textural and colour enhancing
materials but without much luck. Am I looking for the Holy Grail of ancient
looking glazes in all the wrong places.I need to move out of miscellaneous
up into money and then across to travel one day.Can anyone give me some
advice on specific books I should be reading , materials I should be using
or glaze recipies I should be trying. Regards Glenn Minards
AUSTRALIA
Brian on mon 20 jan 03
Glenn
On 19/1/03,you wrote...
>I have been searching everywhere for a cone 06 to cone 5 oxidation glaze
>that have all the qualities of the the rock surfaces we have here in the
>Australian outback.
I do not have a specific glaze to recommend but can suggest an
approach to creating surfaces that is very simple.
peruse my web site and click the link to clay/glaze explore.......the
next link to gumboot glazing will be the place to start reading.
I might be persuaded to be a little more specific.....if you were interested
Brian
--
ceramic desigNZ
http://www.gartside.info
Ababi on mon 20 jan 03
Hello Glenn
The problem with red crater glaze is the high magnesium in these glazes "kills" most
colors.
If you have done Lana Wilson glaze and succeed you can add 10% red stain and have
it a bit pinkish. The glaze will also blow a bit.
I fire to ^6 oxidation.
Enter to http://members4.clubphoto.com/ababi306910/185990/
http://members4.clubphoto.com/ababi306910/775033/
http://members4.clubphoto.com/ababi306910/981929/
The next page is in Hebrew please see the last two slides
http://members4.clubphoto.com/ababi306910/839502/
http://members4.clubphoto.com/ababi306910/186015/
For 06 glaze: I had one, not mine but it is easier.
Take your favorite glaze make a blend base with add of 10-50 magnesium carbonate
+ 1-2% CMC apply several times thick, until it cracks. Than test and decide. You can
add cobalt for violet or commercially made stains for other colors
Ababi Sharon
Glaze addict
Kibbutz Shoval Israel
ababisha@shoval.org.il
http://members4.clubphoto.com/ababi306910/
http://www.milkywayceramics.com/cgallery/asharon.htm
and also
http://www.israel-ceramics.org/membersGallery/personalpage.asp?MID=507
---------- Original Message ----------
>I have been searching everywhere for a cone 06 to cone 5 oxidation glaze
>that have all the qualities of the the rock surfaces we have here in the
>Australian outback.I have researched every internet site ,all of the
>clayart archives and looked at a lot of words and pictures relating to
>variegated and textural surfaces [Lana Wilson ] and tried to find any and
>every known way to achieve Orange Red colours , including the use of iron ,
>rutile , titanium ,chrome , potassium dichromate , red and yellow ochres ,
>vanadium and many more in combination with textural and colour enhancing
>materials but without much luck. Am I looking for the Holy Grail of ancient
>looking glazes in all the wrong places.I need to move out of miscellaneous
>up into money and then across to travel one day.Can anyone give me some
>advice on specific books I should be reading , materials I should be using
>or glaze recipies I should be trying. Regards Glenn Minards
>AUSTRALIA
>______________________________________________________________________________
>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 Liskin Clausen on tue 21 jan 03
Dear Glenn,
This is a surface that I use with many variations.
The basic slip or glaze is one called Desert Slip, gleaned from Clayart
posted by Stephanie Stephensen, if I am correct.
50% Zircopax
50% Borax Frit
I have made many variations of this slip,
keeping the Borax frit constant at 50%
and adding the following:
Ball Clay 50%
Tin Ox. 50%
Tin Ox. 40%, 10% Rutile
Kaolin 50% very dry, I like it a lot
Dolomite 50%
and combinations of all the above in varying amounts, but I have
always kept the Borax Frit at 50%.
I have also colored it with Rutile, Ochre, RIO, Yellow Iron Oxide and
Cobalt.
The addition of Zinc made a glossy glaze so that I only tried once in the
test group.
Anyway, brush it on thickly, you will see the brush strokes in the fired
surface.
These tests are in the archives under either
Desert Wash or Desert Slip.
good luck,
regards from Alisa
Janet Price on wed 22 jan 03
Glenn,
I'm not sure if this is helpful or not. The following glaze is not
orange-red, but is sort of yellow brick or sandstone with grey-green lichen
where thick at about cone 4. Very unusual texture and color. It's possible
that if you left out the copper and increased the iron, it would be closer
to the color you want.
However, it looks like this ONLY over A.R.T.'s orangestone clay. Over
porcelain it is a satiny metallic grey--completely different. I don't know
what is in the orangestone clay that interacts so strongly with glazes,
because this is not the only glaze that comes out very differently over this
clay. Perhaps someone else knows what's responsible and you could put a
slip under the glaze.
Brick Lichen Glaze (cone 4 over ART's orangestone clay)
34 EPK
29 zircopax
30 custer spar
17 flint
3 bentonite
20 lithium carbonate
3.35 copper carbonate
1.35 red iron oxide
I know this doesn't add to 100--it's how the glaze came to me.
Janet Price
Stephani Stephenson on wed 22 jan 03
Glenn Minards wrote:
"I have been searching everywhere for a cone 06 to cone 5 oxidation
glaze
that have all the qualities of the the rock surfaces we have here in the
Australian outback."
Glen
I don't know exactly what your 'rocks ' look like in Australia, but here
are some general ideas.
I would probably start by thinking in terms of slips/engobes to apply to
the surface of the pots .
Try materials such as coarser clays, fireclay, etc.
do line blends with these materials and a flux, such as a frit, if you
want to go low temperature....
Start with simple line blends, even quick ones such as 20/80, 40/60,
50/50, 60/40 , 80/20
Once you have a slip which will still adhere to the pot , try adding
gritty additions such as grog or sand , especially sands or rock from
your area.....also experiment with colorants. Try coarse colorants such
as granular ilmenite. or apply colorant manually or by spraying under
or over the slip.
Magnesium carb will encourage crawling...
also experiment with additions to claybody and such surface altering
techniques as washing or scrubbing to expose grog, scraping to pull
grog free and add texture, etc. you might try marbling or layering clay
with different additives to get that layered geological
look....additions that will burn out , such as sawdust, etc., or
additions which will stay in, such as mica, grog, etc. may be helpful.
finally in the firing process, you may want to look into saggar
firing.....
Stephani Stephenson
steph@alchemiestudio.com
http://www.alchemiestudio.com
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