Kirsten Barrett on thu 23 mar 06
Oh great earthen gods and goddesses of clay,
I am a reduction firer trapped in an oxidation firer's body! I have an L&L
oxidation fire kiln and I am trying to get away from the dip and pour
methods of applying glaze. I use commercial glazes but have mixed glazes in
the past - I just don't have the ability to mix in my new studio (no
adequate venting).
I love the drippy blended method that wood-fired stoneware takes on with ash
glazes and the way the colors variate with a Shino - which I don't have the
current setup to do.
1. Are there any additives that I can add to commercial glazes that will
make the glaze EXTREMELY runny (so if I dip the top of a cup an inch into
the glaze, I will get several drips (instead of the 3 or 4)? Will a
floculant or emulsion do this or just make it more applicable?
2. Is there any way to get subtle variations instead of a bumpy hard line
(where the second color ends after it is fired) when you half dip the second
time?
In the past I have used a hand pumped sprayer (no professional one yet) and
Potter's Choice glazes (awsome!), but I need more options!!! Any feedback
would be very appreciated!!
Kirsten
Humble potter
www.barrettconsulting.net/pottery - site in beta!
Pat Southwood on thu 23 mar 06
Hi Kirsten,
Have you tried artistically dribbling your second glaze with a slip trailer
with the pot on a banding wheel.?
You can have quite a lot of control this way.
Pat Southwood
pat@southwood4.fsnet.co.uk
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W J Seidl on thu 23 mar 06
Kirsten:
It's time to trade in that body, dear, and join the ranks of the =
reduction
electric firers .
Please go to the archives and review the following post(s) and =
thread(s):
Item # Date Time Recs Subject=20
081525 00/07/03 13:26 128 gas/electric=20
088983 00/10/01 12:03 78 itc stuff=20
091533 00/11/02 10:36 143 gas/electric instructions=20
091796 00/11/05 09:27 36 back pressure=20
092569 00/11/13 14:01 55 gas/electric/good news=20
109153 01/05/20 16:30 172 Re: gas/electric -- a firing schedule (long)=20
128469 02/01/15 20:34 130 gas/electric=20
161479 03/02/02 09:25 129 gas/electric kiln=20
186935 03/11/15 20:00 130 itc/gas electric instructions=20
207774 04/07/16 08:52 95 new kiln/electric/dreaming=20
213506 04/10/14 08:18 188 itc/3/ questions/gaselectric inst.=20
241571 05/11/11 06:54 24 reduction electric
Best,
Wayne Seidl
neither god nor goddess...just a mudpuppy like all y'all
-----Original Message-----
From: Clayart [mailto:CLAYART@LSV.CERAMICS.ORG] On Behalf Of Kirsten =
Barrett
Sent: Thursday, March 23, 2006 12:20 PM
To: CLAYART@LSV.CERAMICS.ORG
Subject: Suggestions for glaze techniques in oxidation kiln?
Oh great earthen gods and goddesses of clay,
I am a reduction firer trapped in an oxidation firer's body! I have an =
L&L
oxidation fire kiln=20
snip
Kirsten
Humble potter
Lynn Goodman Porcelain Pottery on thu 23 mar 06
First, a suggestion that you may not like: embrace the difference in
working with oxidation! You will have a hard time duplicating a
reduction glaze (although I won't say it's impossible), and you would
need the ability to mix up your own glazes. There are many things that
oxidation does that reduction can't. I switched to oxidation when I was
still in college and had reduction kilns available to me (so that I
would never have to go without a kiln) and I do not miss it.
Now that I've preached, let me say that there are commercial glazes out
there that probably get as close to reduction as you are likely to get.
An easier way to get some variation may be in slip-work underneath the
glaze. As far as drippiness, I know people who actually drip on one
glaze over another. If done very carefully, it can give an "ashy"
appearance. Also, I know that there are glazes which mimic the
drippiness--I've seen them published in Ceramics Monthly and books
which concentrate on ^6. You can also try to incorporate some ash into
a glaze--it may be horrible, but I've seen it work in other people's
pieces. Just be prepared to cover up the color: you may get the
texture, but not the beautiful color you are looking for.
As far as getting rid of that line where the glaze layers overlap, you
can work some gum into the glaze and do some painting over the line to
make a more ambiguous line/area. Or, work the line into the way you
glaze. It may also be as easy as investing in bigger/differently shaped
glaze buckets. Or, apply something else entirely over that area to
emphasize it and make it an asset. Personally, I paint a lot of my
glazes on, but I may be insane to do it.
Good luck--Lynn Goodman
On Mar 23, 2006, at 12:20 PM, Kirsten Barrett wrote:
> Oh great earthen gods and goddesses of clay,
>
> I am a reduction firer trapped in an oxidation firer's body! I have an
> L&L
> oxidation fire kiln and I am trying to get away from the dip and pour
> methods of applying glaze. I use commercial glazes but have mixed
> glazes in
> the past - I just don't have the ability to mix in my new studio (no
> adequate venting).
>
> I love the drippy blended method that wood-fired stoneware takes on
> with ash
> glazes and the way the colors variate with a Shino - which I don't
> have the
> current setup to do.
>
> 1. Are there any additives that I can add to commercial glazes that
> will
> make the glaze EXTREMELY runny (so if I dip the top of a cup an inch
> into
> the glaze, I will get several drips (instead of the 3 or 4)? Will a
> floculant or emulsion do this or just make it more applicable?
>
> 2. Is there any way to get subtle variations instead of a bumpy hard
> line
> (where the second color ends after it is fired) when you half dip the
> second
> time?
>
> In the past I have used a hand pumped sprayer (no professional one
> yet) and
> Potter's Choice glazes (awsome!), but I need more options!!! Any
> feedback
> would be very appreciated!!
>
> Kirsten
> Humble potter
>
> www.barrettconsulting.net/pottery - site in beta!
>
> _______________________________________________________________________
> _______
> 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.
>
>
Lynn Goodman
Fine Porcelain Pottery
548 Court St.
Brooklyn, NY 11231
718-858-6920
Cell 347-526-9805
www.lynngoodmanporcelain.com
Janet Price on thu 23 mar 06
Kirsten,
I have had some nice results using the following glaze to induce nice
drips--not ash-like, but interesting.
Zakin's GK (modified slightly)
36 frit 3124
14 magnesium carbonate
20 nepheline syenite
22 strontium carbonate
30 spodumene
20 EPK
26 whiting
24 superpax
2 bentonite
and 15% mixed fireplace ash, sifted but not washed.
I've used it on porcelain vases. I glazed the inside and bottom 3/4 of
the vase with one glaze, brushed this GK ash glaze roughly on the top
1/3 of the vase, overlapping unevenly the part that was glazed, then
dipping the top part of the vase in a second glaze. Different
combinations give different kinds of drips. Some combinations give very
distinct drips, others just flow into each other in waves. It seemed to
do something interesting with just about all combinations. I usually
used glossy glazes, but not always.
I'd be very interested to find out if this works for you. All clays and
glazes are different.
Janet Price
Kirsten Barrett wrote:
> Oh great earthen gods and goddesses of clay,
>
> I am a reduction firer trapped in an oxidation firer's body! I have an L&L
> oxidation fire kiln and I am trying to get away from the dip and pour
> methods of applying glaze. I use commercial glazes but have mixed glazes in
> the past - I just don't have the ability to mix in my new studio (no
> adequate venting).
>
> I love the drippy blended method that wood-fired stoneware takes on with ash
> glazes and the way the colors variate with a Shino - which I don't have the
> current setup to do.
>
> 1. Are there any additives that I can add to commercial glazes that will
> make the glaze EXTREMELY runny (so if I dip the top of a cup an inch into
> the glaze, I will get several drips (instead of the 3 or 4)? Will a
> floculant or emulsion do this or just make it more applicable?
>
> 2. Is there any way to get subtle variations instead of a bumpy hard line
> (where the second color ends after it is fired) when you half dip the second
> time?
>
> In the past I have used a hand pumped sprayer (no professional one yet) and
> Potter's Choice glazes (awsome!), but I need more options!!! Any feedback
> would be very appreciated!!
>
> Kirsten
> Humble potter
>
> www.barrettconsulting.net/pottery - site in beta!
>
> ______________________________________________________________________________
> 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.
>
May Luk on thu 23 mar 06
Hello Kirsten and whoever fancy reading this;
You can mix glaze without vent. Try this if you like.
Line your table with newspaper, spray water mist all
over it. Do your mixing on this moist newspaper. Try
to be tidy. Also, have a bucket of water close by,
spray bottle and wet sponge, mop and bucket etc for
clean up right away. When you finish, just wrap the
paper up carefully. Wipe your apron, wash your face,
that kind of stuff. Best to do it the end of the day.
Mist the room before you leave. Come back next day and
mop the floor before you start your chores. If you
know about vent, you must know about wearing a mask.
:-)
Perhaps you don't have to mix glaze inside. If it
applies. how about the hallway, backyard?
A quick and costly and environmentally unsound way to
have subtle line and runny oxide is to fire the wares
twice. Or fire it longer.
If you want to apply glaze very thickly without
crawling. Try dipping one to two coat at greenware
stage. Think of the glaze as a slip. Bisque fire and
dip again. You would have doubled the thickness of
your glaze without crawling. One way the old Chinese
potters did.
With this aforementioned bisqued glaze technique,
perhaps you can artificially 'force drip' with a slip
trailer? Then you don't have to worry about peeling
with over-thick glaze. Just a theoretical thought.
You might like to refresh your basic techniques -
stuff you know, but took it for granted - by taking a
look at The Potter's Guide to Ceramic Surfaces by Jo
Connell. There might be a few things that you can
combine to give you fresh new styling without limiting
yourself to the reduction look. Not that there's
anything wrong with it. ;-)
Regards
May
London, UK
Elizabeth Priddy on thu 23 mar 06
You said you use commercial glazes.
Minnesota Clay makes a 6 glaze called "Nebula". I have
found that it will do what you are asking for. You can put it
in a spritzer bottle and lightly coat the piece that has already been
glazed. If you do this unevenly, I think you will get what you want.
But heed Lili's warning and use a bisque slab under your piece
as the trouble with Nebula is that it does this job really well and
can make it run more than you want.
Another way to get what you want, diminishing the sharp
demarcation between glazes, is to triple lap them. You
visually divide the pot into thirds in terms of height. Dip the
bottom 2/3 in one glaze and the top 2/3 in another, and then
a third color diagonally across the top 2/3.
This is especially nice on mugs because you can place
the diagonal so that it does or does not include the handle top.
You will see some of the lap lines, but it will be good. Of
course this is with compatible glazes.
Lynn was right here, though. If you are using oxidation firing,
and reduction is your droolly lust bunny, then what you really
need is a new kiln, not a new recipe.
Personally, I like oxidation, but have done it for 20+ years,
so I am building a personal size wood kiln. I would no sooner
try to do my brush-painted tile work in the woodkiln as I
would ash-glaze in my L&L. But I am firing wood at cone 6.
I have a stable of glazes that will be very interesting in the
new circumstances and some new-new glazes that will be
a whole new ball game for me.
Electric oxidation firing is just as interesting, beautiful, diverse,
and rewarding as wood or gas. It just hasn't had the right kind
of press, yet. But it's day is in the process of arriving. All those
boomers with retired time on their hands are not going to spend
6 days stoking a fire with wood - too old, too-tired, too cheap,
too-far outside the immediate gratification window. Like the rest of
society, they will make the artform suit their nature rather than
change themselves. (they are like a tidal force running across
the fabric of society-there are sooo many of them...they matured,
they had kids, they worked, and now they are retiring - the only
thing you can do is try to stay out of the way or roll with them)
E
oxidation artist since 1984, and still lovin' it
Lynn Goodman Porcelain Pottery wrote:
First, a suggestion that you may not like: embrace the difference in
working with oxidation!
Elizabeth Priddy
Beaufort, NC - USA
http://www.elizabethpriddy.com
---------------------------------
Blab-away for as little as 1¢/min. Make PC-to-Phone Calls using Yahoo! Messenger with Voice.
Belinda Willis on thu 23 mar 06
Hi, Kirsten,
Since you dip the second layer of glaze, here=92s an idea to try that may
lessen that hard line where the second glaze meets the first.
Let the second glaze sit undisturbed for a bit so that the heavier glaze
particles start to settle out from the water. When I say let it sit
undisturbed, I mean 10 to 20 minutes; not overnight so there is water on
top and caked gunk on the bottom. Mix the glaze, use it as layer one on
some pieces then let it sit undisturbed just long enough for the glaze to
thin out at the surface. Trial and error will show you what works best with
your glazes.
I do this often and it results in a thinner more watery glaze at the top of
the bucket gradually getting thicker the deeper you dip into the bucket.
With certain glazes =96 those that break where thin =96 it can give lovely
variations that gradually blend the changing colors. This is my favorite
method for getting lots of interesting color variation using only two
glazes.
Also, depending on the shape of the piece, you can spray layer #1 with
water along the area where the two glazes will overlap. Heavy where the
two will meet and lighter toward the top or outer edge of the piece.
Again, that will prevent glaze #2 from absorbing into layer #1 as much and
again will thin out layer 2 and lessen the line.
If you try these ideas, it would be nice if you could report back to the
List with your results.
Have fun!
Belinda Willis
www.greatpottery.com
Ann Brink on sun 2 apr 06
Hello May,
Your idea below is a really good suggestion. I want to add that often the
layer of glaze that is fired in the bisque firing may craze, and if you
apply a different color you can get really interesting effects.
Good firings,
Ann Brink in Lompoc CA
May Luk wrote: "> If you want to apply glaze very thickly without
> crawling. Try dipping one to two coat at greenware
> stage. Think of the glaze as a slip. Bisque fire and
> dip again. You would have doubled the thickness of
> your glaze without crawling. One way the old Chinese
> potters did.
>
>
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