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#11
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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 |
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#12
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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
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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
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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
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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
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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
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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
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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
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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
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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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