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Single Fire Cone 6 Oxidation



 
 
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  #11  
Old November 12th 06, 04:39 PM posted to rec.crafts.pottery
Bob Masta
external usenet poster
 
Posts: 96
Default Attention Steve Mills (and other singel fire players) Single Fire Cone 6 Oxidation

On Sat, 11 Nov 2006 15:36:06 -0500, "DKat"
wrote:

Ok, I've been doing a lot of playing around. Some glazes seem complete
secure. Others seem fine except for on the lip. This has flaked off. Have
you had this problem and is there any way to recover from it. I'm working
with little tiny bowls right now so they are fairly tolerant. Do I spray
the entire pot to dampen it and then just dip the lip? Do I paint the lip
with corn syrup and then dip? Anyone have experience with this? I want to
fire the pieces to see how the glazes look but as is they would then have to
be thrown out.

Also are you glazing bone dry or leather hard?


Regarding the last question, you have to be very careful
when glazing bone-dry wa If it absorbs too much water,
the body can crack. Sometimes the cracking is not obvious
until after firing. I have given up using pour and dip methods
on bone-dry single-fire, but I suspect spraying would be OK
since you could keep it dry. (I am avoiding spraying since
I don't have a setup for that.)

Something else you might want to consider, at least for
experimentation if not for production, is using a base other
than water for pour and dip glazing of bone-dry ware.
The idea is that water rehydrates the body and causes
expansion cracking, but some other vehicle may not.
So far I have only tried oil (canola). I just mixed up the
regular glaze recipe but added oil instead of water.
This basically works, but it is really hard to use because the
glaze is left as a vrey loose powder on the surface of the
piece... reminds me of butterfly wing scales. So I ended
up with unavoidable finger smudges just from moving the
ware into the kiln, etc. But for a production operation you
might be able to use tongs or something.

I suspect any non-aqueous solvent would be a good candidate
to try. The problem is finding one that is cheap and safe.
For example, concentrated alcohol might work, but who can
afford that except for someone-off masterpiece? And
various low-weight solvents might work, but who wants
to have gasoline or xylene, etc, in the studio?

If anyone has any ideas for other solvents, I'm all ears!

Best regards,


Bob Masta
dqatechATdaqartaDOTcom

D A Q A R T A
Data AcQuisition And Real-Time Analysis
www.daqarta.com
Home of DaqGen, the FREEWARE signal generator
Ads
  #12  
Old November 12th 06, 09:01 PM posted to rec.crafts.pottery
DKat
external usenet poster
 
Posts: 141
Default Attention Steve Mills (and other singel fire players) Single Fire Cone 6 Oxidation


"Bob Masta" wrote in message
...
On Sat, 11 Nov 2006 15:36:06 -0500, "DKat"
wrote:

Ok, I've been doing a lot of playing around. Some glazes seem complete
secure. Others seem fine except for on the lip. This has flaked off.
Have
you had this problem and is there any way to recover from it. I'm working
with little tiny bowls right now so they are fairly tolerant. Do I spray
the entire pot to dampen it and then just dip the lip? Do I paint the lip
with corn syrup and then dip? Anyone have experience with this? I want
to
fire the pieces to see how the glazes look but as is they would then have
to
be thrown out.

Also are you glazing bone dry or leather hard?


Regarding the last question, you have to be very careful
when glazing bone-dry wa If it absorbs too much water,
the body can crack. Sometimes the cracking is not obvious
until after firing. I have given up using pour and dip methods
on bone-dry single-fire, but I suspect spraying would be OK
since you could keep it dry. (I am avoiding spraying since
I don't have a setup for that.)

Something else you might want to consider, at least for
experimentation if not for production, is using a base other
than water for pour and dip glazing of bone-dry ware.
The idea is that water rehydrates the body and causes
expansion cracking, but some other vehicle may not.
So far I have only tried oil (canola). I just mixed up the
regular glaze recipe but added oil instead of water.
This basically works, but it is really hard to use because the
glaze is left as a vrey loose powder on the surface of the
piece... reminds me of butterfly wing scales. So I ended
up with unavoidable finger smudges just from moving the
ware into the kiln, etc. But for a production operation you
might be able to use tongs or something.

I suspect any non-aqueous solvent would be a good candidate
to try. The problem is finding one that is cheap and safe.
For example, concentrated alcohol might work, but who can
afford that except for someone-off masterpiece? And
various low-weight solvents might work, but who wants
to have gasoline or xylene, etc, in the studio?

If anyone has any ideas for other solvents, I'm all ears!

Best regards,


Bob Masta
dqatechATdaqartaDOTcom

D A Q A R T A
Data AcQuisition And Real-Time Analysis
www.daqarta.com
Home of DaqGen, the FREEWARE signal generator


So do you have any idea what is in corn syrup? I assume water is the main
component but I don't know. What would happen if you painted the piece with
corn syrup when wet or leather hard and then glaze when bone dry.... Going
to go try.



  #13  
Old November 13th 06, 01:22 AM posted to rec.crafts.pottery
Steve Mills
external usenet poster
 
Posts: 49
Default Attention Steve Mills (and other singel fire players) Single Fire Cone 6 Oxidation

I'm lucky over here; most of the clays I use will handle glazing while
dry.

I've just realized an answer that's been staring me in the face;

We found out while being Ceramic Suppliers that turning a glaze into a
brush-on almost without exception made it absolutely fine for raw
glazing regardless of the ingredients. The addition of CMC seems to work
the magic.
It was a chance discovery by a customer accidentally glazing some kids
earthenware models with commercial brush-on glazes without bisque firing
them.

The most important thing to remember though is that CMC is an organic
material, so MUST have some anti-bacterial material in it to stop it
going *off*!

I have a copy of the original information sheet we used to hand out, so
I have copied it and pasted it below.

Email me if you have any questions, remember to do what it says in my
address at the top of this post.

Note: Glowkil is an odourless commercial anti-bacterial preparation
which we used and sold. I can't supply any of this stuff now!

Steve
Bath
UK

BATH POTTERS' SUPPLIES Guidelines for making your own Brush-on Glazes

The process of making up your own brush-on glazes is fairly
straightforward. However
two important rules need to be observed:
1) make-up the glaze as for a standard dipping glaze.
2) when stirring in the CMC, use a medium or slow means of stirring;
because fast
stirring will make the organic polymer overheat and become stringy.

Basic recipe for earthenware glazes
To make 2 gal:
6 kilos glaze base powder e.g. B276.
9 litres of water.
270 grams CMC (organic polymer).
120 grams Glowkil (an anti-bacterial solution that increases shelf
life).
Colour.
Mix glaze, water, and colour together to the right proportions for
dipping glaze. Slowly add CMC. Stir well, for at least one hour. Allow
to stand for half an hour, add Glowkil and mix for a further ten
minutes, and then bottle down.
If you are going to leave the resulting glaze in the bucket, remember to
stir well before using it.

Stoneware glazes

2 gal prepared glaze.
100 g CMC per gallon.
45 g Glowkil per gallon.
Mixing instructions as for earthenware.

Raku brush-on glazes are very tricky to construct as the recipe varies
with each different coloured glaze. So it is down to trial and error
using the earthenware recipe as a starting point

Note
1) Glazes containing bone ash will need the amount of CMC in the
recipe reduced, the proportion will vary according to the amount of bone
ash used. Trial & error is the technique here as there are no hard and
fast rules.
2) Glazes containing Calcium Chloride glaze suspender are not
suitable for converting into brush-on glazes
3) These proportions are for UK based materials. Be prepared for
variations in materials local to you!



In article , Bob Masta
writes


Regarding the last question, you have to be very careful
when glazing bone-dry wa If it absorbs too much water,
the body can crack. Sometimes the cracking is not obvious
until after firing. I have given up using pour and dip methods
on bone-dry single-fire, but I suspect spraying would be OK
since you could keep it dry. (I am avoiding spraying since
I don't have a setup for that.)

Something else you might want to consider, at least for
experimentation if not for production, is using a base other
than water for pour and dip glazing of bone-dry ware.
The idea is that water rehydrates the body and causes
expansion cracking, but some other vehicle may not.
So far I have only tried oil (canola). I just mixed up the
regular glaze recipe but added oil instead of water.
This basically works, but it is really hard to use because the
glaze is left as a vrey loose powder on the surface of the
piece... reminds me of butterfly wing scales. So I ended
up with unavoidable finger smudges just from moving the
ware into the kiln, etc. But for a production operation you
might be able to use tongs or something.

I suspect any non-aqueous solvent would be a good candidate
to try. The problem is finding one that is cheap and safe.
For example, concentrated alcohol might work, but who can
afford that except for someone-off masterpiece? And
various low-weight solvents might work, but who wants
to have gasoline or xylene, etc, in the studio?

If anyone has any ideas for other solvents, I'm all ears!

Best regards,


Bob Masta
dqatechATdaqartaDOTcom

D A Q A R T A
Data AcQuisition And Real-Time Analysis
www.daqarta.com
Home of DaqGen, the FREEWARE signal generator


--
Steve Mills
Bath
UK
  #14  
Old November 13th 06, 01:48 AM posted to rec.crafts.pottery
DKat
external usenet poster
 
Posts: 141
Default Attention Steve Mills (and other singel fire players) Single Fire Cone 6 Oxidation

Does it really mean stir for one hour? I won't even do that for carmels
(made with thick cream, sugar and corn syrup - to die for - literally).
Thank you again! Donna

"Steve Mills" wrote in message
...
I'm lucky over here; most of the clays I use will handle glazing while
dry.

I've just realized an answer that's been staring me in the face;

We found out while being Ceramic Suppliers that turning a glaze into a
brush-on almost without exception made it absolutely fine for raw
glazing regardless of the ingredients. The addition of CMC seems to work
the magic.
It was a chance discovery by a customer accidentally glazing some kids
earthenware models with commercial brush-on glazes without bisque firing
them.

The most important thing to remember though is that CMC is an organic
material, so MUST have some anti-bacterial material in it to stop it
going *off*!

I have a copy of the original information sheet we used to hand out, so
I have copied it and pasted it below.

Email me if you have any questions, remember to do what it says in my
address at the top of this post.

Note: Glowkil is an odourless commercial anti-bacterial preparation
which we used and sold. I can't supply any of this stuff now!

Steve
Bath
UK

BATH POTTERS' SUPPLIES Guidelines for making your own Brush-on Glazes

The process of making up your own brush-on glazes is fairly
straightforward. However
two important rules need to be observed:
1) make-up the glaze as for a standard dipping glaze.
2) when stirring in the CMC, use a medium or slow means of stirring;
because fast
stirring will make the organic polymer overheat and become stringy.

Basic recipe for earthenware glazes
To make 2 gal:
6 kilos glaze base powder e.g. B276.
9 litres of water.
270 grams CMC (organic polymer).
120 grams Glowkil (an anti-bacterial solution that increases shelf
life).
Colour.
Mix glaze, water, and colour together to the right proportions for
dipping glaze. Slowly add CMC. Stir well, for at least one hour. Allow
to stand for half an hour, add Glowkil and mix for a further ten
minutes, and then bottle down.
If you are going to leave the resulting glaze in the bucket, remember to
stir well before using it.

Stoneware glazes

2 gal prepared glaze.
100 g CMC per gallon.
45 g Glowkil per gallon.
Mixing instructions as for earthenware.

Raku brush-on glazes are very tricky to construct as the recipe varies
with each different coloured glaze. So it is down to trial and error
using the earthenware recipe as a starting point

Note
1) Glazes containing bone ash will need the amount of CMC in the
recipe reduced, the proportion will vary according to the amount of bone
ash used. Trial & error is the technique here as there are no hard and
fast rules.
2) Glazes containing Calcium Chloride glaze suspender are not
suitable for converting into brush-on glazes
3) These proportions are for UK based materials. Be prepared for
variations in materials local to you!



In article , Bob Masta
writes


Regarding the last question, you have to be very careful
when glazing bone-dry wa If it absorbs too much water,
the body can crack. Sometimes the cracking is not obvious
until after firing. I have given up using pour and dip methods
on bone-dry single-fire, but I suspect spraying would be OK
since you could keep it dry. (I am avoiding spraying since
I don't have a setup for that.)

Something else you might want to consider, at least for
experimentation if not for production, is using a base other
than water for pour and dip glazing of bone-dry ware.
The idea is that water rehydrates the body and causes
expansion cracking, but some other vehicle may not.
So far I have only tried oil (canola). I just mixed up the
regular glaze recipe but added oil instead of water.
This basically works, but it is really hard to use because the
glaze is left as a vrey loose powder on the surface of the
piece... reminds me of butterfly wing scales. So I ended
up with unavoidable finger smudges just from moving the
ware into the kiln, etc. But for a production operation you
might be able to use tongs or something.

I suspect any non-aqueous solvent would be a good candidate
to try. The problem is finding one that is cheap and safe.
For example, concentrated alcohol might work, but who can
afford that except for someone-off masterpiece? And
various low-weight solvents might work, but who wants
to have gasoline or xylene, etc, in the studio?

If anyone has any ideas for other solvents, I'm all ears!

Best regards,


Bob Masta
dqatechATdaqartaDOTcom

D A Q A R T A
Data AcQuisition And Real-Time Analysis
www.daqarta.com
Home of DaqGen, the FREEWARE signal generator


--
Steve Mills
Bath
UK



  #15  
Old November 13th 06, 10:14 AM posted to rec.crafts.pottery
Steve Mills
external usenet poster
 
Posts: 49
Default Attention Steve Mills (and other singel fire players) Single Fire Cone 6 Oxidation

I'm afraid so, I have a paint stirrer I shall set up clamped to the
bucket so that I don't get arm ache!!

Steve

In article , DKat
writes
Does it really mean stir for one hour? I won't even do that for carmels
(made with thick cream, sugar and corn syrup - to die for - literally).
Thank you again! Donna

--
Steve Mills
Bath
UK
  #16  
Old November 13th 06, 02:39 PM posted to rec.crafts.pottery
Bob Masta
external usenet poster
 
Posts: 96
Default Attention Steve Mills (and other singel fire players) Single Fire Cone 6 Oxidation

On Sun, 12 Nov 2006 15:01:20 -0500, "DKat"
wrote:

So do you have any idea what is in corn syrup? I assume water is the main
component but I don't know. What would happen if you painted the piece with
corn syrup when wet or leather hard and then glaze when bone dry.... Going
to go try.


Corn syrup is so concentrated that the tiny amount of water in it is
unlikely to be a problem... especially since you are only going to
brush it. In fact, I have had decent success brushing on
conventional water-based glazes just by using multiple thin
coats and allowing adequate drying between coats. The
cracking problems have only been with dipping and pouring.

Best regards,


Bob Masta
dqatechATdaqartaDOTcom

D A Q A R T A
Data AcQuisition And Real-Time Analysis
www.daqarta.com
Home of DaqGen, the FREEWARE signal generator
  #17  
Old November 13th 06, 06:08 PM posted to rec.crafts.pottery
DKat
external usenet poster
 
Posts: 141
Default Attention Steve Mills (and other singel fire players) Single Fire Cone 6 Oxidation

So heres the deal - most of the glazes I tested worked just fine except for
the lips where at least half of them simply flaked off. I hate to put these
pots through any more stress so I'm going to try painting on the lips a very
thin coat. Do I do this by thinning down the glaze or what? Do I add corn
syrup to the glaze and if so in what ratio? Thanks, Donna

"Bob Masta" wrote in message
...
On Sun, 12 Nov 2006 15:01:20 -0500, "DKat"
wrote:

So do you have any idea what is in corn syrup? I assume water is the main
component but I don't know. What would happen if you painted the piece
with
corn syrup when wet or leather hard and then glaze when bone dry....
Going
to go try.


Corn syrup is so concentrated that the tiny amount of water in it is
unlikely to be a problem... especially since you are only going to
brush it. In fact, I have had decent success brushing on
conventional water-based glazes just by using multiple thin
coats and allowing adequate drying between coats. The
cracking problems have only been with dipping and pouring.

Best regards,


Bob Masta
dqatechATdaqartaDOTcom

D A Q A R T A
Data AcQuisition And Real-Time Analysis
www.daqarta.com
Home of DaqGen, the FREEWARE signal generator



  #18  
Old November 13th 06, 06:12 PM posted to rec.crafts.pottery
DKat
external usenet poster
 
Posts: 141
Default Attention Steve Mills (and other singel fire players) Single Fire Cone 6 Oxidation


"Steve Mills" wrote in message
...
I'm afraid so, I have a paint stirrer I shall set up clamped to the
bucket so that I don't get arm ache!!

Steve

In article , DKat
writes
Does it really mean stir for one hour? I won't even do that for carmels
(made with thick cream, sugar and corn syrup - to die for - literally).
Thank you again! Donna

--
Steve Mills
Bath
UK


Do you think an electric mixer set at very low speed (folding or
breadmaking) would work?

I thought I was being very clever and put my bentonite in water before
adding it to the glaze. I'm now de-lumping it by putting batches in my
blender (we are not going to tell spouse and kids this). It makes are
really wonderful goo!


  #19  
Old November 13th 06, 11:53 PM posted to rec.crafts.pottery
Elaine Stutt
external usenet poster
 
Posts: 20
Default Attention Steve Mills (and other singel fire players) Single Fire Cone 6 Oxidation

"DKat" ) writes:
So heres the deal - most of the glazes I tested worked just fine except for
the lips where at least half of them simply flaked off. I hate to put these
pots through any more stress so I'm going to try painting on the lips a very
thin coat. Do I do this by thinning down the glaze or what? Do I add corn
syrup to the glaze and if so in what ratio? Thanks, Donna


I've done some raw glazing and I took some notes on it from a book.
Naturally, the notes aren't here. I think I remember that for flaking
on the lip, you may need to reformulate the glaze. It may be a
simple change i.e. instead of kaolin use ball clay as it's more elastic.
If the recipe doesn't have kaolin...I'll try and pick up my notes.

The only time I tried syrup it was icky. But it was for a re-glazing
and I may have used too much.

Elaine

  #20  
Old November 13th 06, 11:58 PM posted to rec.crafts.pottery
DKat
external usenet poster
 
Posts: 141
Default Attention Steve Mills (and other singel fire players) Single Fire Cone 6 Oxidation


"Elaine Stutt" wrote in message
...
"DKat" ) writes:
So heres the deal - most of the glazes I tested worked just fine except
for
the lips where at least half of them simply flaked off. I hate to put
these
pots through any more stress so I'm going to try painting on the lips a
very
thin coat. Do I do this by thinning down the glaze or what? Do I add
corn
syrup to the glaze and if so in what ratio? Thanks, Donna


I've done some raw glazing and I took some notes on it from a book.
Naturally, the notes aren't here. I think I remember that for flaking
on the lip, you may need to reformulate the glaze. It may be a
simple change i.e. instead of kaolin use ball clay as it's more elastic.
If the recipe doesn't have kaolin...I'll try and pick up my notes.

The only time I tried syrup it was icky. But it was for a re-glazing
and I may have used too much.

Elaine


Thank you. Every bit helps. I never have refired well. Other than being
icky did the syrup work?

Donna



 




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