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Comment by June Perry on June 10, 2013 at 10:19pm

Jeff, I think your best bet is a rutile blue or rutile green, etc. under a tea dust or other temmoku. Here's a URL that shows the effect: http://justanothermudbug.blogspot.com/2008/12/two-mediocre-firings....

In oxidation, if you omit the cobalt which is usually present in those reactive rutile blue glaze recipes for oxidation, and maybe add a about 4-5% iron, you might get something as a starting point, either alone or under a tea dust or other temmoku. If under, you might want to skip the extra iron and just use the rutile and no cobalt.

 

June

 

Comment by Norm Stuart on June 10, 2013 at 4:57pm

I can offer you this fairly standard Hare's Fur recipe.

But it only looks like this without a slow-cool.

Almost all slow-cooled Hare's Furs I've tried turn out black, most glossy, some matte.

The exception is Chappell Floating Blue which ends up like this when slow-cooled . . .

Comment by Jeff Poulter on June 10, 2013 at 4:28pm

Thanks June
I will try those. I haven't found a good hares fur yet though. What I am really trying to find right now is a good substitute for Speckled Blue that Bath Potters used to make. It is in their "Offers" section. It is a low fire glaze that does wonderfully when layered. I have a few pics of what it does on this forum. If you had something that performed like that I would really be grateful for a recipe. Thanks. Jeff

Comment by June Perry on June 10, 2013 at 2:22pm

Jeff, another thing to try is  Waterfall green over some rust colored glazes (something with rutile and iron). Another one I'd try if Floating green and Floating blue over a black, and over a rust. Both of those glazes have breaking qualities from rutile.

I read some of the messages on their web page and they said that most of their glazes had something like 7 to 14% of iron in them.  So that maybe a clue for you. Also, check up on some hare's fur formulas as base.

I'm up to my ears right now with Cone 04 slips and other tests, otherwise I'd give the above a go.

 

June

Comment by Jeff Poulter on June 10, 2013 at 11:23am

Hi June,

   That is a really good idea!  A couple people on this forum have used it over porcelain & it kind of looks similar.  On porcelain, I think it overfluxes just a little and most of the green travels to the bottom of the piece & has a little variegation in it. I did a test tile with Waterfall Brown and Frogskin that looked promising.  Couldn't tell a lot because it was horizontal instead of vertical.  I should try that on the next cull I have.  Also someone posted about using Emeraude with WB to get the same effect on regular clay instead of porcelain.  I have some Emeraude so I should try that as well.  Also Norm here did one of his base glazes with nickle in it that did a nice variegation.  It was more of a light turquoise color.  Really cool.  Some many tests, so little time....  jhp

Comment by June Perry on June 9, 2013 at 9:57pm

Jeff, I think if you explore Ron Roy and John Hesselberth's Waterfall brown glaze, you will see it has the same variegation that Mossy Mahogany has. You can play around with that, maybe omitting some of the iron, adding some copper, etc. Waterfall Brown is a cone 6 glaze, so you should be able to play around with it and come up with something close to Mossy Mahogany.

June

Comment by Norm Stuart on April 22, 2013 at 10:14pm

Two new variations of Orange Street at ^6 with the 50F cool/hr between 1,800 and 1,500.

Orange Street with 10% Mason Stain 6450 Praseodymium Yellow  (Pr Si Zr), seen mostly in the crevasses.  I read a comment from someone that red iron glazes often look more red when laid on a yellow underglaze.

Orange Street with an even sprinkling of granular Ilemenite.  Brown crystals crowd-out the orange crystallization.

Comment by Norm Stuart on April 17, 2013 at 10:47pm

These are some interesting macro-crystalline Aventurine glazes.

http://s3.excoboard.com/exco/archive.php?ac=t&forumid=64484&...

I just mixed-up some John Britt Goldstone, from his book "The Complete Guide to High-Fire Glazes: Glazing and Firing at Cone 10".  I'll fire it as is, and add additional flux if needed.

http://books.google.com/books?id=5klq2XOXYaUC&pg=PA139&lpg=...

Comment by Norm Stuart on April 13, 2013 at 10:33pm

This is the same recipe with the silica level raised from 20% to 24%. Fired in the same kiln on the same shelf, but not the same look at all. No reflective crystals - just a glassy brown.

Comment by Norm Stuart on April 13, 2013 at 9:45pm

Using just 5301 Frit 100%, with 20% added Silica, and 24% Red Iron Oxide is the best for Cone 6. The best was Spanish Iron Oxide shown below. vThese tiles came out of our kiln using our 50F/hour slow-cool between 1,800F and 1,500F

Making a Cone 6 Aventurine glaze with 24% Silica added was a bust - no crystallization at all with a slow-cool - too much silica.

Where the glaze is applied thicker, as on this white clay tile below, there are larger macro-crystals with a glaze color like your vase, and best of all it doesn't run at all. I guess red iron oxide really is refractory, as is silica.

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