Elizabeth Priddy on wed 21 dec 05
You would have to do your own messing around with
it, but Minnesota Clay sells a glaze that I have had
successful students use to get a gassy, FB look at
cone 6 oxidation (and I always cool fast as I am impatient).
The glaze is called nebula and it is meant for layering with
other glazes to get hare's fur type effects.
I could go on about it, but my clay, firing, glaze application,
and other "glazing snibblets" are not what you will get in
your studio. I can only recommend that you buy a pound
of it and try it. It's cheap enough to take a chance.
http://www.minnesotaclayusa.com/glazes/sg-series/sg2.html
If I wanted a FB look, I would get a lb of
http://www.minnesotaclayusa.com/glazes/hg-series/hg2.html
and layer nebula over it.
But I am not a glaze making person. I rather hate chemistry.
I found an excellent and consistent glaze person in the form
of Bob Stryker, and used glazes he developed instead. He
no longer works there, and I never did, but I learned to trust
the company.
I have used their glazes on a wide variety of clays over the
last 15 years and have only been dissappointed once. The
Manzarine blue is hard to apply, but layered with with emerald
green is beautiful enough to be worth it. It looks like soft
seafoam over a satin matt blue, especially on rice bowl shapes.
If I had to make my own glazes, I would get Ron's book and
start there. The stuff in Kenny and other books has a lot of
glaze information that has been thoroughly refined and I see
them now as historical references to glaze making rather than
state of the art.
(And I have made many many glazes from scratch. I have a
beam scale, even. But I haven't used it in ten years. Oh the
joy of delegating the parts of one's life that are bothersome.
And I am a "real" potter....who hates chemistry. It is not
an oxymoron. The very fact that I felt the need to pre-emptively
defend myself is one of the few problems I have with clayart.
So anyone who wants to get in a pissing contest about how
you need to make your own everything or you don't count:
Back up off me! I ain't interested. I done fought that fight.)
Another benefit of using a commercially produced glaze is
that all OSHA/MSDS and other required bits for teaching
kids is covered by their business plan, leaving me to just worry
about my own needs. I started using them because of that
and then found that their high firing line was a good fit with
my personal work.
So anyhow, it's a place to start for those with a hankering for
FB, but without the learning curve and glaze materials storage
issues. (Living at the coast where it usually ain't the heat but
the 90 % humidity, NOT storing glaze materials is a real good thing.)
Probably too much information here, but it's something I have
been round and round on for nearly a decade.
Good night and Happy Winter Break to everyone!
Elizabeth
Elizabeth Priddy
Beaufort, NC - USA
http://www.elizabethpriddy.com
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louroess2210 on thu 22 dec 05
On Dec 21, 2005, at 8:57 PM, Elizabeth Priddy wrote:
> The glaze is called nebula and it is meant for layering with
> other glazes to get hare's fur type effects.
Does anyone know why the hare's fur effect occurs and why it
sometimes occurs on the outside of a bowl but not on the inside or
vice versa? Does it have to do with thickness? Can you predict which
glazes will produce this effect, or do something to a glaze that
doesn't have it to bring it out?
Thanks,
Lou in Colorado
Dave Finkelnburg on thu 22 dec 05
Dear Lou,
A thick glaze application favors the hare's fur effect. So does a relatively fluid glaze. Additions of low melting materials like boron can create this effect, but use with care because other problems like blistering can be aggravated by melting early in the firing.
I am certainly no expert on this, but in general I can tell you the running or at least flowing of the glaze that causes the hare's fur effect is the result of low viscosity in the glaze. That means low alumina relative to the firing temperature--less than one would need to make a glaze that doesn't flow. Silica will also "stiffen" the glaze, make it less fluid, but not nearly as much as alumina.
Here's what's important. The body contributes alumina to most glazes...it has on the order of ten times as much alumina, on a mole percent basis, as the glaze. Soooooo...if you apply the glaze thickly, the alumina from the body has little effect and the glaze is more likely to run. To convince yourself this is so, just imagine a glaze applied very thinly. It may fire dry, not pleasant, because of the alumina from the body, and won't run at all. The more glaze you apply, the less the alumina from the body influences the result.
Good potting!
Dave Finkelnburg
louroess2210 wrote:
Does anyone know why the hare's fur effect occurs and why it
sometimes occurs on the outside of a bowl but not on the inside or
vice versa? Does it have to do with thickness? Can you predict which
glazes will produce this effect, or do something to a glaze that
doesn't have it to bring it out?
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