Glazes - Development and Adjustment - Electric Mid&Hi Fired Ceramics2024-03-28T21:20:44Zhttps://cone6pots.ning.com/forum/categories/glazes-development-and/listForCategory?feed=yes&xn_auth=noGelling with Gerstley - Not a fun dance routinetag:cone6pots.ning.com,2021-05-04:2103784:Topic:1706772021-05-04T02:59:39.959Zcp dunbarhttps://cone6pots.ning.com/profile/cpdunbar
<p>My glazes have been acting ...... peculiar , lately.</p>
<p>and I read this on Facebook. Please consider the source, so I come here for verification.</p>
<p><span>"Gerstley borate can be substituted for Frit 3134 and is half the price. Today's Gerstley borate tends to cause gelling, so about 1 drop of Darvan per 100 g recipe may be needed during mixing to get it to go through the sieve, or later after it has sat for a while and more solubles have come into…</span></p>
<p>My glazes have been acting ...... peculiar , lately.</p>
<p>and I read this on Facebook. Please consider the source, so I come here for verification.</p>
<p><span>"Gerstley borate can be substituted for Frit 3134 and is half the price. Today's Gerstley borate tends to cause gelling, so about 1 drop of Darvan per 100 g recipe may be needed during mixing to get it to go through the sieve, or later after it has sat for a while and more solubles have come into solution."</span></p>
<p><span>So is it possible that my glazes containing current gerstley are gelling up and covering poorly due to the above?</span></p>
<p></p>
<p><span>If so, are we to watch out for this and for the Thixotropic change? I swear my glazes used to just work.</span></p>
<p><span>Appreciate any input as glazes too thick or too thin is a problem.</span></p> First experiment with wood ash glazestag:cone6pots.ning.com,2021-02-20:2103784:Topic:1700312021-02-20T17:03:14.631ZLucahttps://cone6pots.ning.com/profile/Luca
<p>Last year I decided to resume my passion for modeling clay and in particular stoneware and porcelain clay. </p>
<p>I decided to specialize in single firing (I had a book taken in Scotland several years earlier). </p>
<p>At the moment I'm cooking at 1240°C, non-stop. The cooking lasts 3 hours between 0 and 200°C and then travels at a speed of about 100°C per hour (if I remember correctly: the oven is not mine).</p>
<p>I'm doing glazes experiment using wood ash. This idea came from the fact…</p>
<p>Last year I decided to resume my passion for modeling clay and in particular stoneware and porcelain clay. </p>
<p>I decided to specialize in single firing (I had a book taken in Scotland several years earlier). </p>
<p>At the moment I'm cooking at 1240°C, non-stop. The cooking lasts 3 hours between 0 and 200°C and then travels at a speed of about 100°C per hour (if I remember correctly: the oven is not mine).</p>
<p>I'm doing glazes experiment using wood ash. This idea came from the fact that we use the fireplace and in particular the pellet stove for the winter. </p>
<p>Wood ash from the pellet stove is probably not ideal: because some of the finer particles are lost and the sieve work is longer and give a coarser material. But I have a lot of ash from this stove and it's a shame not to use it, if possible.</p>
<p></p>
<p>I had some book from Scotland about ash glazes and cone 6 glazes and I'm starting from them.</p>
<p>To make my life easier, I use wood ash washed several times but I do not dry it: I let it settle and remove the surface water leaving only about 1 cm of water. </p>
<p>At the beginning I used a volumetric system in the first 2 recipes (photos).</p>
<p>Recipe 1:</p>
<p>- 1 jar of dense slip of 1250°C spotted stoneware clay</p>
<p>- 1 jar of thick potassium feldspar slip</p>
<p>- 2 jars of dense wood ash slip</p>
<p></p>
<p>Recipe 2:</p>
<p>- 1 jar of dense slip of porcelain clay</p>
<p>- 1 jar of thick potassium feldspar slip</p>
<p>- 2 jars of dense wood ash slip.</p>
<p></p>
<p>Than I made 2 little experiment with a little of cobalt and copper oxide.</p>
<p></p>
<p>I calculated that those slips contain approximately 50% water and 50% clay or feldspar. Instead, I estimate a quantity of about 300 grams of dry ash in a liter of ash slip. The calculation is very approximate but future experiment I am conducting will be based on this hypothesis.</p>
<p><a href="https://storage.ning.com/topology/rest/1.0/file/get/8578640871?profile=original" target="_blank" rel="noopener"><img src="https://storage.ning.com/topology/rest/1.0/file/get/8578640871?profile=RESIZE_710x" class="align-full"/></a></p> Green Pooling Blue glazetag:cone6pots.ning.com,2016-07-08:2103784:Topic:1350062016-07-08T11:54:17.093ZMary Lou Eshelmanhttps://cone6pots.ning.com/profile/MaryLouEshelman
I bought a beautiful glaze called Green Pooling Blue from Glazemixer.com. It had been posted there without a recipe listed. Now Glazemixer is defunct and I'm looking for someone who knows the recipe for this lovely glaze. It is very runny. I use it on the inside of gloss-white glazed pots and it is greenish blue pooling to a blue that looks like the depths of the sea. If you know of it, I would greatly appreciate the information since it's one of my favorite glazes.
I bought a beautiful glaze called Green Pooling Blue from Glazemixer.com. It had been posted there without a recipe listed. Now Glazemixer is defunct and I'm looking for someone who knows the recipe for this lovely glaze. It is very runny. I use it on the inside of gloss-white glazed pots and it is greenish blue pooling to a blue that looks like the depths of the sea. If you know of it, I would greatly appreciate the information since it's one of my favorite glazes. Once firing alumina replacementtag:cone6pots.ning.com,2016-06-29:2103784:Topic:1349782016-06-29T10:12:19.301ZTom Humphrieshttps://cone6pots.ning.com/profile/TomHumphries
I've recently experimented with raw glazing and once firing. My glaze was very flaky and I experienced lots of crawling. I was glazing the pots whilst bone dry and the glass has around 25% China clay. I'm thinking of reducing the clay content to around 10%. This will require some additional alumina to maintain the glaze chemistry and was thinking of using aluminium hydrate as "The hydrated version of alumina stays in suspension better in glaze slurries and has better adhesive qualities." Any…
I've recently experimented with raw glazing and once firing. My glaze was very flaky and I experienced lots of crawling. I was glazing the pots whilst bone dry and the glass has around 25% China clay. I'm thinking of reducing the clay content to around 10%. This will require some additional alumina to maintain the glaze chemistry and was thinking of using aluminium hydrate as "The hydrated version of alumina stays in suspension better in glaze slurries and has better adhesive qualities." Any thoughts on this? Mason stains, or what?tag:cone6pots.ning.com,2016-06-02:2103784:Topic:1324992016-06-02T11:53:43.660ZAyjayhttps://cone6pots.ning.com/profile/AlexanderJohnPleasance
<p>I'm trying to achieve a red glaze, I don't want to go down the "Iron Red" route and so I've tried a couple of commercial preparations, bought as a dry mix.</p>
<p></p>
<p>Neither of them have been the colour I want.</p>
<p></p>
<p>I'm thinking now it will be easier to achieve (with the obvious testing) if I just use Mason Stains mixed into my usual clear gloss liner glaze.</p>
<p></p>
<p>Is there a better way? I did originally think I might add stain to the bought glaze but I'm shying away…</p>
<p>I'm trying to achieve a red glaze, I don't want to go down the "Iron Red" route and so I've tried a couple of commercial preparations, bought as a dry mix.</p>
<p></p>
<p>Neither of them have been the colour I want.</p>
<p></p>
<p>I'm thinking now it will be easier to achieve (with the obvious testing) if I just use Mason Stains mixed into my usual clear gloss liner glaze.</p>
<p></p>
<p>Is there a better way? I did originally think I might add stain to the bought glaze but I'm shying away from that idea now.</p>
<p></p>
<p>Two pics below hopefully, (but not appearing in preview) the red (and black) is from my most recent firing, the other pic is nearer to what I want.</p>
<p></p>
<p></p>
<p></p>
<p></p> Crater or Lava glaze helptag:cone6pots.ning.com,2016-05-02:2103784:Topic:1296752016-05-02T20:38:21.828ZSusanne Scherhttps://cone6pots.ning.com/profile/SusanneScher
<p>Hi all,</p>
<p>I'm new to the group and 've been trying to get a good crater glaze with big crater holes and it's driving me crazy because all my test results look like bubbly grey oatmeal with no actual craters. I've tried incrementally adding silicon carbide and a bunch of other suggested things, but to no avail.</p>
<div><div>I'm hoping for a possible recipe to test at cone 6.</div>
</div>
<div>I'm a fan James Lovera's work and love the big crater holes and textures in…</div>
<p>Hi all,</p>
<p>I'm new to the group and 've been trying to get a good crater glaze with big crater holes and it's driving me crazy because all my test results look like bubbly grey oatmeal with no actual craters. I've tried incrementally adding silicon carbide and a bunch of other suggested things, but to no avail.</p>
<div><div>I'm hoping for a possible recipe to test at cone 6.</div>
</div>
<div>I'm a fan James Lovera's work and love the big crater holes and textures in glazes.</div>
<div>Thanks in advance for any help you can give!</div>
<div>-- Susanne</div> Copper reds in oxidation using silicon carbidetag:cone6pots.ning.com,2016-03-12:2103784:Topic:1285622016-03-12T02:41:16.984ZIan Hall-Houghhttps://cone6pots.ning.com/profile/IanHallHough
<p>These are some recent results.</p>
<p>These are some recent results.</p> Slip and Hakeme Decorationtag:cone6pots.ning.com,2015-12-15:2103784:Topic:1266342015-12-15T04:27:13.358Zcp dunbarhttps://cone6pots.ning.com/profile/cpdunbar
<p>Been reading a lot about Jim Malone, Mike Dodd, and to some extent Phil Rogers regarding treatment with slip using finger trailing or Hakeme brushes.</p>
<p>It is used a great deal in functional ware and i am wondering if they put a clear slip over their work after the drawing through, or scratching through or what ever....</p>
<p></p>
<p>Jim Malone uses an iron wash that he then covers with a white slip (that looks pale yellow to me) and fires this as bisque. He then paints with cobalt…</p>
<p>Been reading a lot about Jim Malone, Mike Dodd, and to some extent Phil Rogers regarding treatment with slip using finger trailing or Hakeme brushes.</p>
<p>It is used a great deal in functional ware and i am wondering if they put a clear slip over their work after the drawing through, or scratching through or what ever....</p>
<p></p>
<p>Jim Malone uses an iron wash that he then covers with a white slip (that looks pale yellow to me) and fires this as bisque. He then paints with cobalt and iron. Others use only the slip with no other mention of separate glaze. It appears that one would have to use some clear glaze at a minimum to make the ware functional to eat or drink from.</p>
<p>Also what is Malone doing after he paints the cobalt / iron ? A glaze fire after clear ? Several texts are not clear on this. Would appreciate some help. Thank you all.</p>
<p>cp - on the pond, where i wait for the rain. I love the rain.</p> Substitution possibility questiontag:cone6pots.ning.com,2015-10-12:2103784:Topic:1254442015-10-12T15:36:30.194ZCarole Evanshttps://cone6pots.ning.com/profile/CaroleEvans
<div class="description"><div class="xg_user_generated"><p>I'm hoping to make up a glaze (eggplant) that I stumbled upon a few months ago, but don't have the main element on hand. I hate to buy a supply of it until I know if I really need it. Is there someone that could tell me if I might possibly be able to substitute 457 grams of nepheline syenite for 457 grams of soda feldspar (Kona F4, Minspar 4)? I use nepheline syenite in many of my glazes so already have that in my studio. I would…</p>
</div>
</div>
<div class="description"><div class="xg_user_generated"><p>I'm hoping to make up a glaze (eggplant) that I stumbled upon a few months ago, but don't have the main element on hand. I hate to buy a supply of it until I know if I really need it. Is there someone that could tell me if I might possibly be able to substitute 457 grams of nepheline syenite for 457 grams of soda feldspar (Kona F4, Minspar 4)? I use nepheline syenite in many of my glazes so already have that in my studio. I would greatly appreciate guidance on this question.</p>
<p></p>
</div>
</div> Historic tile glaze reproduction: any ideas?tag:cone6pots.ning.com,2015-07-15:2103784:Topic:1235792015-07-15T20:12:19.326ZNancy Krughttps://cone6pots.ning.com/profile/NancyKrug
<p><a target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/3036828541?profile=original"><img class="align-full" src="http://storage.ning.com/topology/rest/1.0/file/get/3036828541?profile=original" width="480"/></a></p>
<p><a target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/3036828541?profile=original"><img class="align-full" src="http://storage.ning.com/topology/rest/1.0/file/get/3036828541?profile=original" width="480"/></a></p>