Ababi on tue 11 feb 03
In case it helps you, I failed too - with this glaze.
It looks to me that there are many factors that require very many tests. I tested some
similar glazes and failed too.
It needs relations of bone ash lithium iron and heat work.
One of the recipes that looks easy but hard to make!
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 ----------
>Theresa wrote, in part:
>Als, I'm working on Michael Bailey's brilliant iron orange, and it only tuns
>out
>dull brown. Has anyone tried it and have any suggestions?
>Hi Theresa,
>I worked on this one and my notes say "yuckky brown with red crystals that
>don't look good, glaze drips nearly to shelves" This was for 10% RIO (red
>iron oxide) and the same for 12%, 13%, 14% and 15%
>Then I tried again, substituting spodumene for lithium (used INSIGHT to
>match the original analysis) and I started to get tiny orange crystals in a
>brown field at 8%RIO, mustard with orange red crystals at 10%RIO,
>mostly red everywhere at 12%RIO and dark red all over at 14%RIO. The
>problem was, the whole surface was a mass of tiny tiny pinholes and felt
>like sandpaper. Great colour but bad surface for functional ware.
>This is a classic case of the difficulties glazes have when they "travel".
>Sometimes they work, other times not.
>Best regards,
>Carol
>Dubai, UAE
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Paul Lewing on tue 11 feb 03
on 2/10/03 7:52 PM, Carol Tripp at cjtripp@HOTMAIL.COM wrote:
> I'm working on Michael Bailey's brilliant iron orange, and it only tuns
> out
> dull brown. Has anyone tried it and have any suggestions?
All of these iron reds are very, very dependent on two variables (at
least). One is the particular kind of iron you use. When I first started
testing them, I tested black iron, yellow iron and seven different kinds of
red iron. You want to use the iron that is the brightest color before it's
fired to get the brightest color after firing.
And the firing cycle makes a huge difference. Slow cooling is probably a
must.
Paul Lewing, Seattle
Carol Tripp on tue 11 feb 03
Theresa wrote, in part:
Als, I'm working on Michael Bailey's brilliant iron orange, and it only tuns
out
dull brown. Has anyone tried it and have any suggestions?
Hi Theresa,
I worked on this one and my notes say "yuckky brown with red crystals that
don't look good, glaze drips nearly to shelves" This was for 10% RIO (red
iron oxide) and the same for 12%, 13%, 14% and 15%
Then I tried again, substituting spodumene for lithium (used INSIGHT to
match the original analysis) and I started to get tiny orange crystals in a
brown field at 8%RIO, mustard with orange red crystals at 10%RIO,
mostly red everywhere at 12%RIO and dark red all over at 14%RIO. The
problem was, the whole surface was a mass of tiny tiny pinholes and felt
like sandpaper. Great colour but bad surface for functional ware.
This is a classic case of the difficulties glazes have when they "travel".
Sometimes they work, other times not.
Best regards,
Carol
Dubai, UAE
_________________________________________________________________
Add photos to your e-mail with MSN 8. Get 2 months FREE*.
http://join.msn.com/?page=features/featuredemail
Carol Tripp on wed 12 feb 03
BTW, it's Theresa who is working on the Orange Red. I finished with that
one because the surface was too rough for me.
As for the iron oxide, I have had very good results with the Spanish Red
Iron Oxide purchased from Bailey's. (Usual disclaimers.)
As a side note, the underlying clay seems to make a big difference to iron
red glazes. I can get a deep red with "Persimmon" after a ^6 and a ^05
refire over Tucker's Mid Red, Smooth White and a combo of the two but over
their ^6 porcelain, MCS, the red is insipid and mustardy.
Aren't glazes fun?
Best regards,
Carol
Dubai, UAE
Where we are having a five day holiday for Eid-Al-Adha, the Feast of the
Sacrifice following the Haj. Yesterday was the day for sacrificing so the
men walking through our neighbourhood carrying big long knives were no cause
for alarm! Cultural diversity is a wonderful thing. We spent the day
cleaning out the garage and the garden. Our kids noticed a few things at
the dumpster and demanded to know if they were ours. We changed the
subject. And I told my husband to drive home another route next time.
>From: Paul Lewing
>on 2/10/03 7:52 PM, Carol Tripp at cjtripp@HOTMAIL.COM wrote:
>
> > I'm working on Michael Bailey's brilliant iron orange, and it only tuns
> > out
> > dull brown. Has anyone tried it and have any suggestions?
>
>All of these iron reds are very, very dependent on two variables (at
>least). One is the particular kind of iron you use. When I first started
>testing them, I tested black iron, yellow iron and seven different kinds of
>red iron. You want to use the iron that is the brightest color before it's
>fired to get the brightest color after firing.
>And the firing cycle makes a huge difference. Slow cooling is probably a
>must.
>Paul Lewing, Seattle
>
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Steve Mills on wed 12 feb 03
Further to Paul's comment on Iron Oxides; we found, when trying to
source the Iron Oxide we had used for years as production potters, that
in the UK our main supplier listed 42 different sorts of Red Iron Oxide,
all with different characteristics!
Confusing or what!
Steve
Bath
UK
In message , Paul Lewing writes
>on 2/10/03 7:52 PM, Carol Tripp at cjtripp@HOTMAIL.COM wrote:
>
>> I'm working on Michael Bailey's brilliant iron orange, and it only tuns
>> out
>> dull brown. Has anyone tried it and have any suggestions?
>
>All of these iron reds are very, very dependent on two variables (at
>least). One is the particular kind of iron you use. When I first starte=
>d
>testing them, I tested black iron, yellow iron and seven different kinds =
>of
>red iron. You want to use the iron that is the brightest color before it=
>'s
>fired to get the brightest color after firing.
>And the firing cycle makes a huge difference. Slow cooling is probably a
>must.
>Paul Lewing, Seattle
--
Steve Mills
Bath
UK
Ivor on wed 12 feb 03
This glaze is brilliant. Don't be put off by the difficulty reported by
some claybuds.
Like many stoneware glazes, it relies for its effect on microcrystals
which form during the cooling phase of the firing. A slow cool as
recently discussed by Ron Roy and others is essential. Modern
kilns with 3 inches or less of insulating brick need to be "fired
down" to get results. My experience is that I had to double the
time taken to get down to 750 Dc (1380 dF). For the record, I use
synthetic red iron oxide.
Ivor J Townshend
Macclesfield UK
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