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Comment by Joseph Fireborn on February 11, 2016 at 5:01pm

Here is a better picture showing why I like the glaze when I spray. I can create a lot of variation in surface by spraying it different thicknesses then adding some RIO stain brush marks.

Comment by Joseph Fireborn on February 11, 2016 at 4:03pm

Sure:

I call it: Folk Fireborn White (giving some credit to the original creators). My version is higher on clay content, which makes it slurry better since I took out the GB. It also has higher SI:AI ratio, but not by much. Overall I like my version better, post your results if you give it a try.

Minspar 200 : 14

Spodumene: 7

Flint: 15

Grolleg Kaolin: 23

Dolomite: 16

Frit 3134: 22

Talc: 3

----

RIO(Synthetic): 2

Tin Oxide: 7.5

Bentonite: 2

Comment by Carl Ray Crutchfield on February 11, 2016 at 3:33pm

would you mind sharing your final recipe?

Comment by Carl Ray Crutchfield on February 11, 2016 at 3:29pm

that is interesting concerning the Folk Art Whit. I had seen it in his book and was attracted to it and liked the breaking it was doing, but notice the GB in the recipe and had heard there were difficulties with it or obtaining it???...

Nice combo of colors on your work.

Comment by Joseph Fireborn on February 11, 2016 at 5:00am

Carl,

The cream white is a heavily modified version of Folk Art White from John Britt's Book. I removed the Gerstley Borate and replaced it with Frit 3134 I also lowered the Tin Oxide and changed the EPK to Grolleg Kaolin. I did this because I disliked the surface of the other glaze it always had a million microdimples in it. This one is much smoother, and breaks a brighter orange/brown then the original which broke more rust dark brown.

I might have just had a low quality GB though, but I tried 2 suppliers. I avoid that material as much as I can. The orange/brown highlights between the green and white is just thinly applied Folk Art, because of the iron in the glaze when it is thin it turns an orange brown. I like a lot of texture in my work so I usually spray my glazes thin and thick in different places. You might have good results not changing all these things and using the default recipe. I didn't have such luck. Also if you get speckling from the iron, try a synthetic RIO. The first few batches I mixed I always got speckling because of my RIO, changed to synthetic and got rid of that problem right away.

The green bronze is Pinnell's Strontium Matte (Weathered Bronze) also from John's book. Again sprayed thin for the matte texture. The black and brown marks are RIO stain. Brushed on.

It was fired to cone 5 with a hold to put it to cone 6, then dropped to 2065F then held for 30 minutes to smooth out the defects. Then with various other holds, but not for this recipe for other glazes I use.

You can fire it to a straight cone 6 with no problems. The other glazes I use like the above firing schedule better. This one works just fine going straight to cone 6 and done.

Have a good weekend.

Comment by Carl Ray Crutchfield on February 11, 2016 at 3:37am

would be interested in glaze / firing info on this piece

Comment by Joseph Fireborn on February 10, 2016 at 7:09pm

Thanks.

Comment by Carl Ray Crutchfield on February 10, 2016 at 5:54pm

wow, beautiful piece