Chris Schafale on thu 16 sep 04
Nan,
I smiled when I read about your floating blue experience because I did
almost exactly the same thing at one point early on in glaze-mixing. I'm
guessing that one or more of three things happened to you:
1) You accidentally put in twice as much rutile as called for. This will cause
exactly the effect you got, and is what I finally decided that I had done. It's
amazing how much cobalt that extra rutile will "soak up" without the glaze
getting any bluer. The cure is to mix up another batch of the same size,
with no rutile at all, then mix the two batches together. Since you now have
twice as much cobalt in the first batch as you really need, don't put any
cobalt in the new batch. Add just enough iron to the old batch to bring it up
to double the original recipe. You may want to line blend the two batches,
rather than just mixing 50-50, to see what blend gives the result you want.
2) You got a new batch of rutile recently and it's very different from the old
one. This may have been a factor for me, too.
3) You changed your firing schedule to slow down the cooling, because the
gurus say it's such a good idea. I had this problem, too, and eventually
solved it by keeping the slow cool-down but changing the proportion of
colorants in my floating-blue-like glazes. Now I use a LOT more iron 5-6%
instead of 1-2, and a LOT less rutile (1-2% instead of 4), but because the
long cool-down seems to "potentiate" or promote the opacifying qualities of
the rutile, I get a color more like what I used to get with the old FB.
As for the other questions, I have less experience. I know that putting
chrome and tin together in a glaze that you want to turn out green is not a
good idea, because tin tries to turn pink in the presence of chrome. Leave
out the tin if you are trying for a clearer green. Chrome in itself, in my
experience, gives kind of muddy greens, which is one of the reasons why I
avoid it.
Chris
On 16 Sep 2004 at 15:36, Andre Lopez wrote:
> Hi everyone:
> I have been listening in for a couple of months now, ever since I had a
> series of terrible firings, and a friend in Seattle suggested I join this
> list. It has been very helpful to me, especially since I have been so
> isolated from any sort of dialogue for more than five years. I had always
> been in a cooperative studio atmosphere before; the ^10 reduction glazes
> were made for me, and all I had to do was dip, put on shelf and pick them up
> after they were fired. Then I moved to Belize, bringing a wheel and all
> sorts of chemicals with me. Since then I have been trying to learn cone 6
> oxidation glazes by tiral and error...most of it error.
> The list has helped me understand where I need to go, ie better record
> keeping, dipping instead of brushing, different kiln schedules, and more
> testing. I purchased Mastering ^6 Glazes and am anxious to try some of the
> recipes, but will have to wait until i can get the ingredients.
> So I'm still in the empirical mode of maiking up a recipe and seeing if it
> works for me on my dark local clay or a light imported stoneware. I have
> one glaze that is very successful on both clays. It has a glossy, semi
> transparent quality that I really like and is very easy to apply. It calls
> for 2% copper carbonate and 5% tin oxide. I have tried to make a
> transparent baby blue by just using coalt carbonate and it blistered badly.
> Then I tried to make an emerald green using chrome and copper, but it just
> became more muddy. My question is what function does the tin serve, that
> is, other than opacifying? Why can't I seem to use this glaze without it?
> A second question is about floating blue. This has been my favorite glaze.
> I finally made up a big batch recently, but it fired too light. I had been
> getting a very rich cobalt blue, but this batch was more sky blue. So I
> added more CO, screened and retested. The next firing was sky blue again.
> So I again added more CO and this time some more RIO as well, so that the
> batch now has double the required amount of cobalt and 1-1/2 the amount of
> RIO. I re-screened and it turned out lighter than ever...with a green
> tinge. What is happening? How can I get my precious 3000 g batch to work
> for me?
> One last thing. I really enjoyed the potteryforms website. Beautiful work,
> but best of all getting to put styles with many of the names I'm getting to
> know on the list. Thanks.
> Nan Lopez
> Clay Pot Farm
> Bullet Tree Falls, Cayo
> Belize
>
> _________________________________________________________________
> STOP MORE SPAM with the new MSN 8 and get 2 months FREE*
> http://join.msn.com/?page=features/junkmail
>
> ______________________________________________________________________________
> 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.
--
Light One Candle Pottery
Fuquay-Varina, North Carolina, USA
(south of Raleigh, NC)
www.lightonecandle.com
email: chris at lightonecandle dot com
Form galleries: www.potteryforms.org
(insert the @ and . as appropriate)
Andre Lopez on thu 16 sep 04
Hi everyone:
I have been listening in for a couple of months now, ever since I had a
series of terrible firings, and a friend in Seattle suggested I join this
list. It has been very helpful to me, especially since I have been so
isolated from any sort of dialogue for more than five years. I had always
been in a cooperative studio atmosphere before; the ^10 reduction glazes
were made for me, and all I had to do was dip, put on shelf and pick them up
after they were fired. Then I moved to Belize, bringing a wheel and all
sorts of chemicals with me. Since then I have been trying to learn cone 6
oxidation glazes by tiral and error...most of it error.
The list has helped me understand where I need to go, ie better record
keeping, dipping instead of brushing, different kiln schedules, and more
testing. I purchased Mastering ^6 Glazes and am anxious to try some of the
recipes, but will have to wait until i can get the ingredients.
So I'm still in the empirical mode of maiking up a recipe and seeing if it
works for me on my dark local clay or a light imported stoneware. I have
one glaze that is very successful on both clays. It has a glossy, semi
transparent quality that I really like and is very easy to apply. It calls
for 2% copper carbonate and 5% tin oxide. I have tried to make a
transparent baby blue by just using coalt carbonate and it blistered badly.
Then I tried to make an emerald green using chrome and copper, but it just
became more muddy. My question is what function does the tin serve, that
is, other than opacifying? Why can't I seem to use this glaze without it?
A second question is about floating blue. This has been my favorite glaze.
I finally made up a big batch recently, but it fired too light. I had been
getting a very rich cobalt blue, but this batch was more sky blue. So I
added more CO, screened and retested. The next firing was sky blue again.
So I again added more CO and this time some more RIO as well, so that the
batch now has double the required amount of cobalt and 1-1/2 the amount of
RIO. I re-screened and it turned out lighter than ever...with a green
tinge. What is happening? How can I get my precious 3000 g batch to work
for me?
One last thing. I really enjoyed the potteryforms website. Beautiful work,
but best of all getting to put styles with many of the names I'm getting to
know on the list. Thanks.
Nan Lopez
Clay Pot Farm
Bullet Tree Falls, Cayo
Belize
_________________________________________________________________
STOP MORE SPAM with the new MSN 8 and get 2 months FREE*
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Tony Hansen on fri 24 sep 04
Did not see anyone answer this, there is information
on tin here:
http://ceramic-materials.com/cermat/material/1642.html
There are links to other opacifiers on the page also.
-------8<--------
My question is what function does the tin serve, that
is, other than opacifying? Why can\'t I seem to use this glaze without it?
-------
Tony Hansen, http://digitalfire.com
Personal Contact Page: http://digitalfire.com/services/contact.php
Calculation/Database Software for Ceramic Industry
Gary Harvey on wed 24 nov 04
My attempts at floating blue were questionable. The glaze was blue with
green mixed in. It was quite ugly. Is this the response you are getting?
Any ideal as to what I am doing wrong? I did substitute cobalt carbonate for
cobalt oxide and added 1 % more. Gary Harvey, Palestine TX
----- Original Message -----
From: "Andre Lopez"
To:
Sent: Wednesday, November 24, 2004 11:00 AM
Subject: Re: cone 6 glaze questions
> Chris:
> Thanks for your response about floating blue. It has taken several
firings,
> but I have finally managed to get a usuable glaze. You were right about
the
> rutile. It was a new batch. So, I made up a second batch without rutile
> and found that a 50-50 blend worked for my red clay...but not the white.
> After more fiddling...mostly adding more cobalt, but some iron as well, I
am
> pleased with my gigantic batch of blended glaze. I'll be making floating
> blue pots for years.
> Thanks and Happy Thanksgiving,
> Nan
> Clay Pot Farm
> Bullet Tree Falls
> Belize
>
> >From: Chris Schafale
> >Reply-To: Clayart
> >To: CLAYART@LSV.CERAMICS.ORG
> >Subject: Re: cone 6 glaze questions
> >Date: Thu, 16 Sep 2004 21:52:58 -0400
> >
> >Nan,
> >
> >I smiled when I read about your floating blue experience because I did
> >almost exactly the same thing at one point early on in glaze-mixing. I'm
> >guessing that one or more of three things happened to you:
> >
> >1) You accidentally put in twice as much rutile as called for. This will
> >cause
> >exactly the effect you got, and is what I finally decided that I had
done.
> >It's
> >amazing how much cobalt that extra rutile will "soak up" without the
glaze
> >getting any bluer. The cure is to mix up another batch of the same size,
> >with no rutile at all, then mix the two batches together. Since you now
> >have
> >twice as much cobalt in the first batch as you really need, don't put any
> >cobalt in the new batch. Add just enough iron to the old batch to bring
it
> >up
> >to double the original recipe. You may want to line blend the two
batches,
> >rather than just mixing 50-50, to see what blend gives the result you
want.
> >
> >2) You got a new batch of rutile recently and it's very different from
the
> >old
> >one. This may have been a factor for me, too.
> >
> >3) You changed your firing schedule to slow down the cooling, because the
> >gurus say it's such a good idea. I had this problem, too, and eventually
> >solved it by keeping the slow cool-down but changing the proportion of
> >colorants in my floating-blue-like glazes. Now I use a LOT more iron
5-6%
> >instead of 1-2, and a LOT less rutile (1-2% instead of 4), but because
the
> >long cool-down seems to "potentiate" or promote the opacifying qualities
of
> >the rutile, I get a color more like what I used to get with the old FB.
> >
> >As for the other questions, I have less experience. I know that putting
> >chrome and tin together in a glaze that you want to turn out green is not
a
> >good idea, because tin tries to turn pink in the presence of chrome.
Leave
> >out the tin if you are trying for a clearer green. Chrome in itself, in
my
> >experience, gives kind of muddy greens, which is one of the reasons why I
> >avoid it.
> >
> >Chris
> >
> >
> >On 16 Sep 2004 at 15:36, Andre Lopez wrote:
> >
> > > Hi everyone:
> > > I have been listening in for a couple of months now, ever since I had
a
> > > series of terrible firings, and a friend in Seattle suggested I join
> >this
> > > list. It has been very helpful to me, especially since I have been so
> > > isolated from any sort of dialogue for more than five years. I had
> >always
> > > been in a cooperative studio atmosphere before; the ^10 reduction
glazes
> > > were made for me, and all I had to do was dip, put on shelf and pick
> >them up
> > > after they were fired. Then I moved to Belize, bringing a wheel and
all
> > > sorts of chemicals with me. Since then I have been trying to learn
cone
> >6
> > > oxidation glazes by tiral and error...most of it error.
> > > The list has helped me understand where I need to go, ie better record
> > > keeping, dipping instead of brushing, different kiln schedules, and
more
> > > testing. I purchased Mastering ^6 Glazes and am anxious to try some
of
> >the
> > > recipes, but will have to wait until i can get the ingredients.
> > > So I'm still in the empirical mode of maiking up a recipe and seeing
if
> >it
> > > works for me on my dark local clay or a light imported stoneware. I
> >have
> > > one glaze that is very successful on both clays. It has a glossy,
semi
> > > transparent quality that I really like and is very easy to apply. It
> >calls
> > > for 2% copper carbonate and 5% tin oxide. I have tried to make a
> > > transparent baby blue by just using coalt carbonate and it blistered
> >badly.
> > > Then I tried to make an emerald green using chrome and copper, but it
> >just
> > > became more muddy. My question is what function does the tin serve,
> >that
> > > is, other than opacifying? Why can't I seem to use this glaze without
> >it?
> > > A second question is about floating blue. This has been my favorite
> >glaze.
> > > I finally made up a big batch recently, but it fired too light. I had
> >been
> > > getting a very rich cobalt blue, but this batch was more sky blue. So
I
> > > added more CO, screened and retested. The next firing was sky blue
> >again.
> > > So I again added more CO and this time some more RIO as well, so that
> >the
> > > batch now has double the required amount of cobalt and 1-1/2 the
amount
> >of
> > > RIO. I re-screened and it turned out lighter than ever...with a green
> > > tinge. What is happening? How can I get my precious 3000 g batch to
> >work
> > > for me?
> > > One last thing. I really enjoyed the potteryforms website. Beautiful
> >work,
> > > but best of all getting to put styles with many of the names I'm
getting
> >to
> > > know on the list. Thanks.
> > > Nan Lopez
> > > Clay Pot Farm
> > > Bullet Tree Falls, Cayo
> > > Belize
> > >
> > > _________________________________________________________________
> > > STOP MORE SPAM with the new MSN 8 and get 2 months FREE*
> > > http://join.msn.com/?page=features/junkmail
> > >
> > >
>
>___________________________________________________________________________
___
> > > 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.
> >
> >--
> >Light One Candle Pottery
> >Fuquay-Varina, North Carolina, USA
> >(south of Raleigh, NC)
> >www.lightonecandle.com
> >email: chris at lightonecandle dot com
> >Form galleries: www.potteryforms.org
> >(insert the @ and . as appropriate)
> >
>
>___________________________________________________________________________
___
> >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.
>
> _________________________________________________________________
> Express yourself instantly with MSN Messenger! Download today it's FREE!
> http://messenger.msn.click-url.com/go/onm00200471ave/direct/01/
>
>
____________________________________________________________________________
__
> 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.
>
Andre Lopez on wed 24 nov 04
Chris:
Thanks for your response about floating blue. It has taken several firings,
but I have finally managed to get a usuable glaze. You were right about the
rutile. It was a new batch. So, I made up a second batch without rutile
and found that a 50-50 blend worked for my red clay...but not the white.
After more fiddling...mostly adding more cobalt, but some iron as well, I am
pleased with my gigantic batch of blended glaze. I'll be making floating
blue pots for years.
Thanks and Happy Thanksgiving,
Nan
Clay Pot Farm
Bullet Tree Falls
Belize
>From: Chris Schafale
>Reply-To: Clayart
>To: CLAYART@LSV.CERAMICS.ORG
>Subject: Re: cone 6 glaze questions
>Date: Thu, 16 Sep 2004 21:52:58 -0400
>
>Nan,
>
>I smiled when I read about your floating blue experience because I did
>almost exactly the same thing at one point early on in glaze-mixing. I'm
>guessing that one or more of three things happened to you:
>
>1) You accidentally put in twice as much rutile as called for. This will
>cause
>exactly the effect you got, and is what I finally decided that I had done.
>It's
>amazing how much cobalt that extra rutile will "soak up" without the glaze
>getting any bluer. The cure is to mix up another batch of the same size,
>with no rutile at all, then mix the two batches together. Since you now
>have
>twice as much cobalt in the first batch as you really need, don't put any
>cobalt in the new batch. Add just enough iron to the old batch to bring it
>up
>to double the original recipe. You may want to line blend the two batches,
>rather than just mixing 50-50, to see what blend gives the result you want.
>
>2) You got a new batch of rutile recently and it's very different from the
>old
>one. This may have been a factor for me, too.
>
>3) You changed your firing schedule to slow down the cooling, because the
>gurus say it's such a good idea. I had this problem, too, and eventually
>solved it by keeping the slow cool-down but changing the proportion of
>colorants in my floating-blue-like glazes. Now I use a LOT more iron 5-6%
>instead of 1-2, and a LOT less rutile (1-2% instead of 4), but because the
>long cool-down seems to "potentiate" or promote the opacifying qualities of
>the rutile, I get a color more like what I used to get with the old FB.
>
>As for the other questions, I have less experience. I know that putting
>chrome and tin together in a glaze that you want to turn out green is not a
>good idea, because tin tries to turn pink in the presence of chrome. Leave
>out the tin if you are trying for a clearer green. Chrome in itself, in my
>experience, gives kind of muddy greens, which is one of the reasons why I
>avoid it.
>
>Chris
>
>
>On 16 Sep 2004 at 15:36, Andre Lopez wrote:
>
> > Hi everyone:
> > I have been listening in for a couple of months now, ever since I had a
> > series of terrible firings, and a friend in Seattle suggested I join
>this
> > list. It has been very helpful to me, especially since I have been so
> > isolated from any sort of dialogue for more than five years. I had
>always
> > been in a cooperative studio atmosphere before; the ^10 reduction glazes
> > were made for me, and all I had to do was dip, put on shelf and pick
>them up
> > after they were fired. Then I moved to Belize, bringing a wheel and all
> > sorts of chemicals with me. Since then I have been trying to learn cone
>6
> > oxidation glazes by tiral and error...most of it error.
> > The list has helped me understand where I need to go, ie better record
> > keeping, dipping instead of brushing, different kiln schedules, and more
> > testing. I purchased Mastering ^6 Glazes and am anxious to try some of
>the
> > recipes, but will have to wait until i can get the ingredients.
> > So I'm still in the empirical mode of maiking up a recipe and seeing if
>it
> > works for me on my dark local clay or a light imported stoneware. I
>have
> > one glaze that is very successful on both clays. It has a glossy, semi
> > transparent quality that I really like and is very easy to apply. It
>calls
> > for 2% copper carbonate and 5% tin oxide. I have tried to make a
> > transparent baby blue by just using coalt carbonate and it blistered
>badly.
> > Then I tried to make an emerald green using chrome and copper, but it
>just
> > became more muddy. My question is what function does the tin serve,
>that
> > is, other than opacifying? Why can't I seem to use this glaze without
>it?
> > A second question is about floating blue. This has been my favorite
>glaze.
> > I finally made up a big batch recently, but it fired too light. I had
>been
> > getting a very rich cobalt blue, but this batch was more sky blue. So I
> > added more CO, screened and retested. The next firing was sky blue
>again.
> > So I again added more CO and this time some more RIO as well, so that
>the
> > batch now has double the required amount of cobalt and 1-1/2 the amount
>of
> > RIO. I re-screened and it turned out lighter than ever...with a green
> > tinge. What is happening? How can I get my precious 3000 g batch to
>work
> > for me?
> > One last thing. I really enjoyed the potteryforms website. Beautiful
>work,
> > but best of all getting to put styles with many of the names I'm getting
>to
> > know on the list. Thanks.
> > Nan Lopez
> > Clay Pot Farm
> > Bullet Tree Falls, Cayo
> > Belize
> >
> > _________________________________________________________________
> > STOP MORE SPAM with the new MSN 8 and get 2 months FREE*
> > http://join.msn.com/?page=features/junkmail
> >
> >
>______________________________________________________________________________
> > 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.
>
>--
>Light One Candle Pottery
>Fuquay-Varina, North Carolina, USA
>(south of Raleigh, NC)
>www.lightonecandle.com
>email: chris at lightonecandle dot com
>Form galleries: www.potteryforms.org
>(insert the @ and . as appropriate)
>
>______________________________________________________________________________
>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.
_________________________________________________________________
Express yourself instantly with MSN Messenger! Download today it's FREE!
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william schran on thu 25 nov 04
Gary wrote:>My attempts at floating blue were questionable. The glaze
was blue with
green mixed in. It was quite ugly. Is this the response you are getting?
Any ideal as to what I am doing wrong? I did substitute cobalt carbonate for
cobalt oxide and added 1 % more.<
I'm sure if you search the archives you'll find much information on
the Floating Blue issue that has been discussed many times over the
years.
Here are some highlights and what I've found from several years of
experience with this glaze. At school we mix the "original" recipe
with gertsley borate and we do use cobalt oxide.
We fire to a full ^5 and DO NOT slow cool to get the best blue
effects. In our larger, better insulated kiln, that cools slower than
the other kilns, the glaze will come out greener.
Bill
Chris Schafale on thu 25 nov 04
You have the infamous "snot green" FB, I see. All together now -- You're
firing too hot! (or possibly too long). The original FB prefers a
relatively cool (cone 5-ish), relatively short (no more than 12 hours) firing.
Chris Schafale
At 09:54 PM 11/24/2004, you wrote:
>My attempts at floating blue were questionable. The glaze was blue with
>green mixed in. It was quite ugly. Is this the response you are getting?
>Any ideal as to what I am doing wrong? I did substitute cobalt carbonate for
>cobalt oxide and added 1 % more. Gary Harvey, Palestine TX
>----- Original Message -----
>From: "Andre Lopez"
>To:
>Sent: Wednesday, November 24, 2004 11:00 AM
>Subject: Re: cone 6 glaze questions
>
>
> > Chris:
> > Thanks for your response about floating blue. It has taken several
>firings,
> > but I have finally managed to get a usuable glaze. You were right about
>the
> > rutile. It was a new batch. So, I made up a second batch without rutile
> > and found that a 50-50 blend worked for my red clay...but not the white.
> > After more fiddling...mostly adding more cobalt, but some iron as well, I
>am
> > pleased with my gigantic batch of blended glaze. I'll be making floating
> > blue pots for years.
> > Thanks and Happy Thanksgiving,
> > Nan
> > Clay Pot Farm
> > Bullet Tree Falls
> > Belize
> >
> > >From: Chris Schafale
> > >Reply-To: Clayart
> > >To: CLAYART@LSV.CERAMICS.ORG
> > >Subject: Re: cone 6 glaze questions
> > >Date: Thu, 16 Sep 2004 21:52:58 -0400
> > >
> > >Nan,
> > >
> > >I smiled when I read about your floating blue experience because I did
> > >almost exactly the same thing at one point early on in glaze-mixing. I'm
> > >guessing that one or more of three things happened to you:
> > >
> > >1) You accidentally put in twice as much rutile as called for. This will
> > >cause
> > >exactly the effect you got, and is what I finally decided that I had
>done.
> > >It's
> > >amazing how much cobalt that extra rutile will "soak up" without the
>glaze
> > >getting any bluer. The cure is to mix up another batch of the same size,
> > >with no rutile at all, then mix the two batches together. Since you now
> > >have
> > >twice as much cobalt in the first batch as you really need, don't put any
> > >cobalt in the new batch. Add just enough iron to the old batch to bring
>it
> > >up
> > >to double the original recipe. You may want to line blend the two
>batches,
> > >rather than just mixing 50-50, to see what blend gives the result you
>want.
> > >
> > >2) You got a new batch of rutile recently and it's very different from
>the
> > >old
> > >one. This may have been a factor for me, too.
> > >
> > >3) You changed your firing schedule to slow down the cooling, because the
> > >gurus say it's such a good idea. I had this problem, too, and eventually
> > >solved it by keeping the slow cool-down but changing the proportion of
> > >colorants in my floating-blue-like glazes. Now I use a LOT more iron
>5-6%
> > >instead of 1-2, and a LOT less rutile (1-2% instead of 4), but because
>the
> > >long cool-down seems to "potentiate" or promote the opacifying qualities
>of
> > >the rutile, I get a color more like what I used to get with the old FB.
> > >
> > >As for the other questions, I have less experience. I know that putting
> > >chrome and tin together in a glaze that you want to turn out green is not
>a
> > >good idea, because tin tries to turn pink in the presence of chrome.
>Leave
> > >out the tin if you are trying for a clearer green. Chrome in itself, in
>my
> > >experience, gives kind of muddy greens, which is one of the reasons why I
> > >avoid it.
> > >
> > >Chris
> > >
> > >
> > >On 16 Sep 2004 at 15:36, Andre Lopez wrote:
> > >
> > > > Hi everyone:
> > > > I have been listening in for a couple of months now, ever since I had
>a
> > > > series of terrible firings, and a friend in Seattle suggested I join
> > >this
> > > > list. It has been very helpful to me, especially since I have been so
> > > > isolated from any sort of dialogue for more than five years. I had
> > >always
> > > > been in a cooperative studio atmosphere before; the ^10 reduction
>glazes
> > > > were made for me, and all I had to do was dip, put on shelf and pick
> > >them up
> > > > after they were fired. Then I moved to Belize, bringing a wheel and
>all
> > > > sorts of chemicals with me. Since then I have been trying to learn
>cone
> > >6
> > > > oxidation glazes by tiral and error...most of it error.
> > > > The list has helped me understand where I need to go, ie better record
> > > > keeping, dipping instead of brushing, different kiln schedules, and
>more
> > > > testing. I purchased Mastering ^6 Glazes and am anxious to try some
>of
> > >the
> > > > recipes, but will have to wait until i can get the ingredients.
> > > > So I'm still in the empirical mode of maiking up a recipe and seeing
>if
> > >it
> > > > works for me on my dark local clay or a light imported stoneware. I
> > >have
> > > > one glaze that is very successful on both clays. It has a glossy,
>semi
> > > > transparent quality that I really like and is very easy to apply. It
> > >calls
> > > > for 2% copper carbonate and 5% tin oxide. I have tried to make a
> > > > transparent baby blue by just using coalt carbonate and it blistered
> > >badly.
> > > > Then I tried to make an emerald green using chrome and copper, but it
> > >just
> > > > became more muddy. My question is what function does the tin serve,
> > >that
> > > > is, other than opacifying? Why can't I seem to use this glaze without
> > >it?
> > > > A second question is about floating blue. This has been my favorite
> > >glaze.
> > > > I finally made up a big batch recently, but it fired too light. I had
> > >been
> > > > getting a very rich cobalt blue, but this batch was more sky blue. So
>I
> > > > added more CO, screened and retested. The next firing was sky blue
> > >again.
> > > > So I again added more CO and this time some more RIO as well, so that
> > >the
> > > > batch now has double the required amount of cobalt and 1-1/2 the
>amount
> > >of
> > > > RIO. I re-screened and it turned out lighter than ever...with a green
> > > > tinge. What is happening? How can I get my precious 3000 g batch to
> > >work
> > > > for me?
> > > > One last thing. I really enjoyed the potteryforms website. Beautiful
> > >work,
> > > > but best of all getting to put styles with many of the names I'm
>getting
> > >to
> > > > know on the list. Thanks.
> > > > Nan Lopez
> > > > Clay Pot Farm
> > > > Bullet Tree Falls, Cayo
> > > > Belize
> > > >
> > > > _________________________________________________________________
> > > > STOP MORE SPAM with the new MSN 8 and get 2 months FREE*
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> > > >
> > > >
> >
> >___________________________________________________________________________
>___
> > > > 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.
> > >
> > >--
> > >Light One Candle Pottery
> > >Fuquay-Varina, North Carolina, USA
> > >(south of Raleigh, NC)
> > >www.lightonecandle.com
> > >email: chris at lightonecandle dot com
> > >Form galleries: www.potteryforms.org
> > >(insert the @ and . as appropriate)
> > >
> >
> >___________________________________________________________________________
>___
> > >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.
> >
> > _________________________________________________________________
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> > http://messenger.msn.click-url.com/go/onm00200471ave/direct/01/
> >
> >
>____________________________________________________________________________
>__
> > 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.
> >
>
>______________________________________________________________________________
>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.
Light One Candle Pottery
Fuquay-Varina, North Carolina, USA (near Raleigh)
www.lightonecandle.com
Galleries of Pottery Forms by Clayart Potters: www.potteryforms.org
Email: chris at lightonecandle dot com
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