Ingeborg Foco on sun 2 mar 03
I am in the process of making a wall mural - high relief sculptural tiles.
I normally work in ^10 R instead of the ^04 (or so) that I plan fire these
tiles. I will be firing them in my electric bisque kiln.
These tiles are for my building signage and I don't have much time to
experiment with glazes. If I let the permit run out, I have to reapply for
a new permit. Something I would prefer to avoid if at all possible.
The colors that I need are red, black, turquoise, gray, yellow, pink, green
and orange. I think that takes care of it. I am asking for advice on how
to go about this....Should I make my own glazes (I normally do) or would it
be better to buy ready made such as Amaco in a bottle? Is it complicated to
achieve this palette if you mix your own? If not, can you (possibly) steer
me to a CM month, year giving insight into glazes in that temp range.
This mural will be outside but it is under a three foot overhang and of
course it doesn't freeze here in SW Florida. It does, however, rain sideways
during hurricane season. Should it be gloss or doesn't it matter? Any
info will be sincerely appreciated.
Thank you.
Sincerely,
Ingeborg
the Potter's Workshop & Gallery
P.O. Box 510
3058 Stringfellow Road
St. James City, Florida 33956
239-283-2775
Lois Stevens on mon 3 mar 03
I find that it is very easy to acheive all those different colors using
commercial underglazes and a covering of a commercial clear glaze. I've
been firing to cone 5 but it should be even better using a lower firing
temperature. I also use mason stains mixed with slip but I think if you go
this route, you will need to do a lot more experimenting. I've had success
with both Duncan and Amaco underglazes. I would do at least one test of
all your colors to make sure they are compatible(don't change colors) with
the glaze you apply over them.
Good luck
On Sun, 2 Mar 2003 18:43:56 -0500, Ingeborg Foco
wrote:
>I am in the process of making a wall mural - high relief sculptural tiles.
>I normally work in ^10 R instead of the ^04 (or so) that I plan fire these
>tiles. I will be firing them in my electric bisque kiln.
>
>These tiles are for my building signage and I don't have much time to
>experiment with glazes. If I let the permit run out, I have to reapply for
>a new permit. Something I would prefer to avoid if at all possible.
>
>The colors that I need are red, black, turquoise, gray, yellow, pink,
green
>and orange. I think that takes care of it. I am asking for advice on how
>to go about this....Should I make my own glazes (I normally do) or would it
>be better to buy ready made such as Amaco in a bottle? Is it complicated
to
>achieve this palette if you mix your own? If not, can you (possibly) steer
>me to a CM month, year giving insight into glazes in that temp range.
>
>This mural will be outside but it is under a three foot overhang and of
>course it doesn't freeze here in SW Florida. It does, however, rain
sideways
>during hurricane season. Should it be gloss or doesn't it matter? Any
>info will be sincerely appreciated.
>Thank you.
>
>Sincerely,
>
>Ingeborg
>the Potter's Workshop & Gallery
>P.O. Box 510
>3058 Stringfellow Road
>St. James City, Florida 33956
>
>239-283-2775
>
>___________________________________________________________________________
___
>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.
I find that it is very easy to acheive all those different colors using
commercial underglazes and a covering of a commercial clear glaze. I've
been firing to cone 5 but it should be even better using a lower firing
temperature. I also use mason stains mixed with slip but I think if you go
this route, you will need to do a lot more experimenting. I've had success
with both Duncan and Amaco underglazes. I would do at least one test of
all your colors to make sure they are compatible(don't change colors) with
the glaze you apply over them.
Good luck
Mike Gordon on mon 3 mar 03
Hi,
I would go with commercial glazes and keep them (if possible) in the
opaque or semi - opaque class rather than transparent, Mike Gorodn
Lily Krakowski on mon 3 mar 03
If time is of the essence, as it appears to be, buying a commercial glaze
seems the bette part of valor. No?
Ingeborg Foco writes:
> I am in the process of making a wall mural - high relief sculptural tiles.
> I normally work in ^10 R instead of the ^04 (or so) that I plan fire these
> tiles. I will be firing them in my electric bisque kiln.
>
> These tiles are for my building signage and I don't have much time to
> experiment with glazes. If I let the permit run out, I have to reapply for
> a new permit. Something I would prefer to avoid if at all possible.
>
> The colors that I need are red, black, turquoise, gray, yellow, pink, green
> and orange. I think that takes care of it. I am asking for advice on how
> to go about this....Should I make my own glazes (I normally do) or would it
> be better to buy ready made such as Amaco in a bottle? Is it complicated to
> achieve this palette if you mix your own? If not, can you (possibly) steer
> me to a CM month, year giving insight into glazes in that temp range.
>
> This mural will be outside but it is under a three foot overhang and of
> course it doesn't freeze here in SW Florida. It does, however, rain sideways
> during hurricane season. Should it be gloss or doesn't it matter? Any
> info will be sincerely appreciated.
> Thank you.
>
> Sincerely,
>
> Ingeborg
> the Potter's Workshop & Gallery
> P.O. Box 510
> 3058 Stringfellow Road
> St. James City, Florida 33956
>
> 239-283-2775
>
> ______________________________________________________________________________
> 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.
Lili Krakowski
P.O. Box #1
Constableville, N.Y.
(315) 942-5916/ 397-2389
Be of good courage....
Snail Scott on mon 3 mar 03
At 06:43 PM 3/2/03 -0500, you wrote:
>I am in the process of making a wall mural - high relief sculptural tiles.
>I normally work in ^10 R instead of the ^04 (or so) that I plan fire these
>tiles. Should I make my own glazes (I normally do) or would it
>be better to buy ready made such as Amaco in a bottle?
>...Should it be gloss or doesn't it matter?
If your time is short, go with commercial glazes. After
all, those folks have put years of development into
these things; why not take advantage of their effort?
They can get expensive, though, so if that's a factor,
make a large batch of low-fire engobe base, split it up,
color it with various mason stains, and cover it with a
low-fire clear. Much easier and faster to develop than
to get all those colors in glazes. Just buy commercial
for the colors you have trouble achieving as engobes -
red and orange can be difficult. (Your black, yellow,
green, pink, and turquoise will be no problem.) Buy
pints (or gallons) if you need a lot - much cheaper.
For weathering purposes, gloss doesn't matter. But, if
you go the engobe-and-clear-glaze route, remember that
colors tend to be less vivid under a matte clear. On
the other hand, crazing (and there will be some, if you
use earthenware in a damp climate like yours) will be
somewhat less visible with matte glazes. (With colored
glazes, opaque ones will hide crazing better than the
transparent ones, by the way.)
The fastest and easiest plan will be to buy commercial
glazes, so it's up to you to consider the importance
of cost. Development time for formulating new glazes
isn't free, either, (it's just unpaid!) especially if
you have no plans to use such glazes in your future work.
-Snail
Paul Lewing on mon 3 mar 03
on 3/2/03 3:43 PM, Ingeborg Foco at ifoco@EARTHLINK.NET wrote:
> The colors that I need are red, black, turquoise, gray, yellow, pink, green
> and orange. I think that takes care of it. I am asking for advice on how
> to go about this....Should I make my own glazes (I normally do) or would it
> be better to buy ready made such as Amaco in a bottle? Is it complicated to
> achieve this palette if you mix your own? If not, can you (possibly) steer
> me to a CM month, year giving insight into glazes in that temp range.
Hi, Ingeborg.
I think the easiest and fastest thing for you to do would be to use
commercial already-colored glazes. Your other options (buying a commercial
base glaze and coloring it, and mixing a base from scratch) would involve
more testing, probably. I wouldn't assume a commercial colored glaze would
work as advertised without testing that either, though.
You don't say whether you want saturated or pastel versions of those colors,
but generally if you use a commercial stain, which would be the smart way
for you to go, 2% by weight will produce a pastel color, and about 8% a
saturated one. If you mix your own, this is easy. If you use a bottled
base, weighing is hard, but you don't need to know the exact weight, just
the concentrations. Add a certain weight of color to a known volume of
glaze and test that. By the way, 100g of homemade glaze is usually about
3/4 of a cup. Commercial glazes will vary from that because of the gum in
them. There are many lowfire glazes that are nothing more than a frit and
some clay to keep it in suspension, so mixing would be easy.
But I'd say, especially if you want to brush the glazes on, go with
commercial colored glazes.
Paul Lewing, Seattle
Stephani Stephenson on tue 4 mar 03
Ingeborg wrote
>I am in the process of making a wall mural - high relief sculptural
tiles.
>I normally work in ^10 R instead of the ^04 (or so) that I plan fire
these
>tiles. I will be firing them in my electric bisque kiln.
>
>These tiles are for my building signage and I don't have much time to
>experiment with glazes. If I let the permit run out, I have to
reapply for
>a new permit. Something I would prefer to avoid if at all possible.
>
Ingeborg
Though I agree, with your short lead time, your answer will probably be
to turn to commercial glazes.
(My advice is stick with the same line of products , since it sounds
like you won't have much time for experimentation. )
I have to say , though , that part of me says 'Arrrrgh!'
I have seen SO MANY tile murals, either relief or simple painted
polychrome:
where thought is given to the design, the relief, the composition
then the glazes look like a last minute addition
a last minute , ill fitting 'outfit' chosen for a very important
occasion.
Glaze or surface is as important to a tile as it is to a pot
I am not putting down commercial glazes
Those who use commercial glazes often go through a lot of
experimentation and selection before they find the
look, the surface, the combination they like, and the ones which work
with their clay and their personal aesthetic
finding or making glazes to fit your own needs , coming up with a good
palette to enhance rather than detract from your relief work is a very
important part of the process as well as the finished mural.
I am not saying yours is in this category , but
So many tile murals look as if the glaze was an afterthought.
it shouldn't be!
Stephani Stephenson
steph@alchemiestudio.com
North County Coast 'Day of CLAY', Saturday , March 15
http://www.alchemiestudio.com/nceca2.htm
Amtrak and Coaster info for North Coast '"Day of Clay"
http://www.alchemiestudio.com/ncecatrains.htm
NCECA Clayart 'Faves: Restaurants , other info
http://www.alchemiestudio.com/sandiegoclayartfaves.htm
San Diego Historic Tile : Self guided Tour
http://www.alchemiestudio.com/nceca.htm
Stephani Stephenson on thu 3 apr 03
Ingeborg, Ron
the Spod recipe Ingeborg mentions is a Pete Pinnell recipe for cone
06, and I have used as a starting point from 06-04.
by starting point I mean as a base to experiment with,.
Ron, you know a universe more about glazes than I do, but the Gerstley
held things in suspension, and addition of some bentonite of course
helped.
this glaze was a decent base glaze on cone 06- 04 clay, primarily I
used terra cotta, though it had more character when the old grey spod
was still around.
RE: expansion, again from the trenches, not the theoretical....
....I never had any problems with shivering with this glaze , shrinkage
is pretty low on clays at this temp,
STAINS: refractory stains added to the glaze tended to give it a
'pigskin ' or pucker quality, so glaze needed adjusting for differences
in stains and oxides
This glaze seemed to have some promise as a durable and well fitting
glaze, also good with regard to color response.
Of course, clays vary... lo fire clays tend to contain body fluxes as
well ,which interact with the glaze melt so I suppose this complicates
the picture even more.
I started testing it but then abandoned when GB vanished a few years
back.
Now GB is back.....but I haven't gotten back to this particular one.
sincerely
Stephani Stephenson
steph@alchemiestudio.com
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