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Comment by Al Brown on May 15, 2013 at 9:59pm

Matte green?

I have been searching for a matte green like this for months and can't find anything. I have done a little testing with no success. Anyone have ideas or glazes that are similar?

thanks!

Comment by Kabe Burleson on December 8, 2012 at 2:47pm

Putting out a call. We had a member who said she new to glaze mixing. When I started it seemed a bit overwhelming. It's not that bad. If you have tips on safety, measuring, storing chemicals, how to test results, how to make test tiles, what type of scale, good deals, and all the other stuff that goes into mixing your own. Please dazzel us with your knowledge. That way we all learn. Happy Firing

Comment by Kabe Burleson on November 3, 2012 at 7:45am

I thought I would pass this simple discovery on to anyone who has trouble keeping track of test glazes. I am about as organized as a junk drawer. I can get organized but how to stay that way eludes me.The affliction is know as "Illdoitlatterism". As my life move ever onward toward chaos, any attempt to slow the progress is appreciated. The pain of this affliction is made most acute with the discovery of hardened hocky pucks of glaze rattling in the bottom of some unmarked yogart containers. The first thought upon discovery? "Gee wonder what these were?". This is followed by a self inflicted lecture on how and why not to do this again and a quick analysis of my IQ level. I use yogart containers to mix test glazes. They are the perfect size for 100 grames of glazes. I mix them carefully on slow with a single beater mixer, stir in the edges that he rounded beaters can't reach and mix again. At first I wrote the name or number of the glaze on the lid but that ruined the lid for the next test and I ran out of lids for the containers. I tried putting pieces of paper on the containers, knowing that the would never get lost or relocated.  HA!What a disappointment that was. So I started using garden row markers, they look like plastic tounge depressers. Write the name on it and leave it in the container but that got to be to expensive. You had to go to a garden supply store to get them. I would pay a nickel 98 for the markers and a whole bunch for a flat of plants that I wouldn't have bought if I had just stayed away from the store. Now I write the name on the white plastic spoon and leave it. It is so simple. Now when I need to match my fired test tile with the container that birthed its color, to my great glee there it is. The right glaze hardened around the spoon that bears its name. I can rehydrate it to do more test or add it to the batch. Most the time I put the dry glaze and the marked spoon into a plastic zip-lock sandwich bag. That way when I want to do more test latter it is already made up. No more mystrey glazes plopped into the hash bucket. It is almost an embarrassment to admit to needing such a simple way to stay organized, but I bet I am not the only one. I hope this will help anyone who intends to be organized but finds they fall a bit short of the mark. Ain't clay fun, Kabe

Comment by Joe Shaw on October 25, 2012 at 12:00pm

Chris Clark's glaze starts with Pete Pinnell's Weathered Bronze recipe base. All the ingredients and colorants are the same. I use it quite a bit. I put the glaze on fairly thick. When I dip I double dip with this one. To keep it in suspension I add 2% bentonite. I can reglaze quite easily with this glaze and build up layers by spraying, heat gun and spaying until satisfied.

Comment by George Lewter on October 5, 2010 at 6:25pm

I just checked out the original recipe for Val's Turquoise and it appears to be a more stable glaze, conforming more closely to limit formulas and have a thermal expansion rate of 7.09x10-6 which is very close to my clay bodies. So I'm going to test this as well. To me this is a better place to start than with a wildly out of balance glaze that one tries to bring back to usefulness when the changes will have to be drastic enough to change the characteristic you're trying to save.

Recipe Name: Val's Turquoise

Cone: Color:
Firing: Surface:

Amount Ingredient
35.6 Feldspar--Custer
21.8 Gerstley Borate--1999
27.5 Silica
3.7 Dolomite
11.4 Whiting

100 Total

Additives
2.9 Copper Carbonate
1 Bentonite

Unity Oxide
.094 Na2O
.13 K2O
.067 MgO
.709 CaO
1.000 Total

.257 Al2O3
.274 B2O3
.002 Fe2O3

3.216 SiO2

12.5 Ratio
7.1 Exp

Comments:

RESULTS - Turned out to be a pretty attractive slightly variegated turquoise with a bit of movement. Am really looking for a matte surface though. 

Comment by George Lewter on October 5, 2010 at 5:26pm

Several months ago I was drooling over Otto's turquoise matte, but abandoned it when I ran it in
Glazemaster and found it to have a theoretical co-efficient of expansion of 8.96 x10-6. That seems to be borne out by his comments on crazing. Just today I was quite excited to see Teresa Wooden's pieces glazed with Chris Clarke's Strontium Matte. But once again I find it calculates with a very high rate of thermal expansion (8.75). Looking more closely, I see the two recipes are nearly identical with variations mainly in the minor components. I'm going to go ahead and test the Chris Clarke's Strontium Matte, just because I want it so bad. The recipe comes from Alisa Clausen and the Sankey Glaze Database.

Recipe Name: Chris Clarke Strontium Matte

Cone: 6 Color: Bronze, Blue and Green
Firing: Oxidation Surface: Matte

Amount Ingredient
1 Lithium Carbonate
20 Strontium Carbonate
60 Nepheline Syenite
10 Ball Clay--Old Mine #4
9 Silica

100 Total


Unity Oxide
.047 Li2O
.334 Na2O
.106 K2O
.009 MgO
.028 CaO
.475 SrO
1.000 Total

.577 Al2O3
.003 Fe2O3

2.973 SiO2
.005 TiO2

5.2 Ratio
8.8 Exp

Comments: All measurements measured up or down to the nearest whole decimal.
Substitutions: None

For Bronze, added
5.0 Titanium ox, 5.0 Copper carb.
=
Resulted in a thick, matt patina green glaze, with movement and some =
black streaking. Looks like patinaed bronze as Chris suggests. Looks =
just like the photo in her website at www.ccpots.com Paint or dip =
thickly for strongest greens, otherwise it is browner. Stays where =
applied and opaque.

For Blue and Green added
2 Chrome oxide, 4 Cobalt Carb., 4 Rutile

Resulted in a matt Blue and Green glaze. This glaze is interesting =
because it is not blue/green like a teal, it changes from blue to green =
on the surface. Very sublte changes and a smooth matt surface.

For Graphite added
8 Copper Carb.

Resulted in dark grey matt where thickest, breaking a bit greener where =
thinner. Also a smooth surface with subtle color changes from grey to =
green grey.

Good glazes for textured work Chris, gives a lot of play on the =
surfaces. Thanks.

Best regards,
Alisa in Denmark

-----------------------------------
Calculations by GlazeMaster™
www.masteringglazes.com
------------------------------------

Comment by George Lewter on September 3, 2010 at 8:33am

Glaze pages are by far the most often visited and glazes are the most discussed topics on the cone6pots network. This group could logically become the centerpiece of the network, if it is well nurtured. I will participate in testing glazes with this group, but unfortunatley I do not have time to lead the group. One of you will have to get it up and running. I would suggest that you start by setting up some standards for batch recipes, test tiles, a reporting form people can print and fill out for each glaze they test. These issues should be discussed before being finalized. I would be happy to help with getting the content online if that is a challenge for you.

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