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Comment by Norm Stuart on May 31, 2017 at 3:15pm

The only Cone 56 firing our studio has used for 5 years is with the six hour slow-cool 50 F per hour between 1,800 and 1,500.

I'd love to see a photo of what Orange Street looks like in other types of firings.

The biggest variable in most iron glazes like Orange Street is the purity and particle size of the red iron oxide you use. We use synthetics made with the Bayer process by Lanxess and other licensees. Iron sulfate is purified by crystallization then oxidized in a tunnel kiln to 99%+ pure red iron oxide. The product is then sorted by particle size. When firing to Cone 6, larger particle size iron oxide resists degradation to black iron oxide better, and if fired hotter it leaves more pure red iron oxide seed crystals to crystallize more of it from the melt. The brand name product Bayferrox is used to tint cement and as a printing pigment.

I've used Iron Oxide Precipitate from Standard Ceramic - http://standardceramic.com/products/materials/

and High Purity Iron Oxide from US Pigment - https://uspigment.com/product/iron-oxide-red-high-purity/

It's one of the few things we pay shipping on rather than receiving it with our $35 truck delivery of 1,000+ pounds of clay and supplies from Laguna Clay.  Laguna's Red Iron Oxides all fire brown rather than red.

My Orange Street Recipe using Ferro Frits 3110 and 3134 instead of gerstley borate looks almost identical.  The look of the glaze does vary depending on the clay body. Some brown clays lead Orange Street to become shinier.

Comment by Joseph Fireborn on May 31, 2017 at 10:57am

Norm. I know I might have asked this before, but is this with your classic 50F/hour 1800-1500 schedule cooling result? It is pretty lovely and shows some really nice texture. I have used orange street before but didn't get a result like this. I had way more crystals and not as much matting.

Comment by Norm Stuart on November 23, 2013 at 9:53pm

Most excellent!  Thank you June.

Comment by June Perry on November 23, 2013 at 1:02pm

My stubborn detective work paid off. Here's their etsy page. This link should take you directly to the page of sold pots with pictures of this glaze. As I thought, it's a cone 10 version of Floating green, over a Sienna brown glaze. This should give you a great starting point.

http://www.etsy.com/shop/PrometheanPottery/sold?ref=shopinfo_sales_...

Till later,

June

Comment by June Perry on November 23, 2013 at 10:20am

Aargh - lost my message before it posted. Start over! I just did some more research on this yesterday and it seems that this is a cone 10 oxidation recipe using that top glaze over an iron bearing mahogany brown glaze. I don't think it's nickel in that recipe since nickel does not always break up or grow crystals like that in all recipes. It's more likely it's a version of a rutile type glaze. Floating blue is  cone 6 glaze like this and there are a couple of green versions out there. John Hesselbert has one one his website in the glaze formulas section, and there another different one out there. You can see some blue in the Mossy version, so I suspect there are equal parts copper and cobalt in there. I would do a version that way and then do one with a bit more copper than cobalt. I'd probably do each other those with a few percent of red iron oxide as well. If you go to google and search out Floating blue, you will see similar variegation and just imagine it with copper as well as cobalt in the recipe and it revealing the iron brown glaze and the top glaze moves. These chun type glazes do move which is why they're their most beautiful right before they run off the pot!

Comment by Norm Stuart on November 23, 2013 at 9:49am

June Perry - Having more glaze experience now, I'd guess the colorant in Promethian Mossy Mahogany is Nickel Carbonate with Rutile.

Nickel carbonate creates both the Amber Brown as well as the green moss look in this ^06 low fire as well.

I call this ^06 Olive Speckle.

100%  Ferro Frit 5301

  10%  Nickel Carbonate

    1%  Bentonite

Promethian ^10 Mossy Mahogany

Promethean Pottery

Comment by June Perry on June 11, 2013 at 3:30pm

Norm and Jeff, I did a bit of detective work and found out that the Mossy glaze is a single glaze, according to the creator.  I'm pretty sure it's a cone ten version of a reactive, rutile glaze with iron and either chrome or copper added to it.

I don't know what claybodies you use; but I don't remember if Emily, who created the Mossy glaze uses a white or buff body. If she does and you use a darker body you might want to test these over white slip as well as your regular, iron bearing body.

Here are three non blue versions of a cone 6 Floating blue - 2 green and one red. I think these would be the answer. I would combine both the floating green and floating red in equal parts  and then do a few more mixture with say 2/3 iron and 1/3 green, etc and just keep refining it to get it the way you want. One of their pots looked like there might be a bit of blue in there as well. Have a good time playing with this. Let me know how it goes. Wish I had time right now to do this.

Floating Green (the person posting this on Clayart said she used this firing schedule)

Fired to cone 6 (1220c) in oxidation.

Firing ramp:
100c (212f) per hour to 600c (1112f)
150c (302f) per hour to 1100c (2012f)
100c per hour to 1220c (2228f)
15 - 30 minute soak depending on matts and glosses used.
cool down 100c per hour to 900c.
Natural cool down to 150c (approximately 15 hours)

Recipe:

30 Nephelite Syenite
21 Gerstely Borate
8 Whiting
10 Kaolin
31 Silica

ADD
2.0 Chrome oxide
1. Cobalt oxide
============================================================
Floating Red - Cone 5-6 - Not known to be food safe - For Decorating Only (PS: I don't know why they says not food safe unless it's too much iron.)

(all numbers expressed as % by weight)

Gerstley B 55
Talc 15
Silica 30
Total 100
Add:
RIO 22

To stop running, lower Gerstley Borate to 45 and add 10 epk. It will still hold the ed color.

Or Substitute Feldspar for up to 50 % of the Gerstley Borate to reduce running.
============================================================
Frogskin ^6 ox Don Goodrich

22 Custer feldspar
22 Gerstley Borate
22 Nepheline syenite
26 Flint
3 Wollastonite
3 EPK
2 Titanium dioxide
3 RIO
4 Copper carbonate
 

June

PS: Yes the Stardust I found is one of the ones your mentioned. Just look up Moonlite, which is a cone 9-10 rutile glaze and see how much illmenite is in there, and use that amount with granular illmenite for your test. Sometimes they use manganese dioxide for spots, but that stuff isn't good to use if your in your studio during firing. The fumes and the dust are toxic.

Comment by Jeff Poulter on June 11, 2013 at 3:11pm

Hi June,

    So you were looking at the KGE18?  It is mostly light blue with the dark blue patches?  Do you think I should try adding illmenite to a couple of blue recipes? I have been able to replace the other 2 glazes that I use in that combo with glazes that I can make, so this would be the last one I need to replace.  Who makes the Stardust that you are talking about?  I have used the one from Stone Mountain Clay & also Spectrum.  Is it from somebody else?  I would like to try Norms Hares Fur over & under my layering combos.  Hopefully, i will get my e18t back up & running soon.  I guess i could make some shorter things to go in my Skutt in the meantime.  jhp

Comment by June Perry on June 11, 2013 at 6:02am

Norm, you can get the same effect using cone 6 glazes. Floating blue is a rutile, reactive glaze for cone 5-6. Try that variation as I mentioned earlier, with a teadust and other cone 6 high iron glazes over. Try the reverse too - with the temmoku etc. under the floating blue variations.

Also, I looked up that Bath potters blue glaze, and it looks like there's some granular illmenite in there to give it the spots. There's a commercial glaze called Stardust, available in the U.S. that looks similar to the blue you mentioned. You might want to try that one.

June

Comment by Norm Stuart on June 10, 2013 at 11:56pm

I notice the blog writer fired these glazes to cone 12.  I wonder if the effect is the same at cone 6?

(My clay doesn't bloat like the students' clay so the glazes came out extra-glossy and they actually look pretty nice for ^12.)

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