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#1
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Question on glazing
I am new to this forum and to earth clay and kilns. I have made some small
masks about 1 1/2" x 1 3/4" and have bisqued fired them. They turned out really good with no cracks, etc. I am wanting to glaze them on both sides. They have two tubes on the back sides so a cord can be used for hanging them or making a necklace. I want an all over glaze on front and back. I know I cannot dip them as the glaze could fill the holes. My question is---What is the best way to go about getting a glaze on the front and back without the glaze sticking to the triangles in the final firing? I have some small triangles that are about 1/4" high that I purchased from Amaco. Do I coat the triangles in kiln wash? Will this help? Am I expecting to be able to do something that might not be possible? I will need to fire to 1915F. These little triangles are rated for up to cone 10. I appreciate any help that you can offer. If you need a photo to visualize what I am asking, just let me know. Thanks! Jeanne Rhea Web site http://www.heartofclay.com/ Art for the Heart Blog http://artfortheheart.blogspot.com/ Ebay listings http://cgi3.ebay.com/ws/eBayISAPI.dl...id=vintagenet2 |
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#2
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Question on glazing
On Thu, 18 Jan 2007 19:30:38 -0500, "Jeanne Rhea"
wrote: I am new to this forum and to earth clay and kilns. I have made some small masks about 1 1/2" x 1 3/4" and have bisqued fired them. They turned out really good with no cracks, etc. I am wanting to glaze them on both sides. They have two tubes on the back sides so a cord can be used for hanging them or making a necklace. I want an all over glaze on front and back. I know I cannot dip them as the glaze could fill the holes. You can always plug the holes temporarily (with wet clay, etc) while you dip, then remove the plugs after the glaze is dry. Or just dip away and let the glaze fill the holes, then clean it out later with a pipe-cleaner or wire. My question is---What is the best way to go about getting a glaze on the front and back without the glaze sticking to the triangles in the final firing? I have some small triangles that are about 1/4" high that I purchased from Amaco. Do I coat the triangles in kiln wash? Will this help? Am I expecting to be able to do something that might not be possible? I will need to fire to 1915F. These little triangles are rated for up to cone 10. I haven't used the triangles you mention, so I can't address those specifically. But here are some general ideas: First, if the backs are not really intended to be conspicuous and you only want to glaze them to seal them, you can put a much lighter coating of glaze on the back than the decorative glaze on the front. This will most likely mean everything is brushed on at first, but if you go into production there are other approaches possible, such as a light dip, masking the back, and a second dip for the front. Having less glaze on the back will mean much less dripping or running onto the supports during firing. After a few trials, you should be able to get good sealing coverage with no running at all. I suspect the kiln wash idea will be helpful with the triangles, but whatever you use you may have to accept a blemish where it touches, or else be prepared to do a little touch-up grinding. You can probably do that with a hand-held stone, no power tools needed. But if you have glaze-free hanging holes on these masks already, the simplest approach might be to fire them while hanging on high-temperature wire, as is done with beads. You can make your own support for the wires, or string it between kiln posts or something. Keep in mind that the wire will lose stiffness when it is hot, so keep the unsupported length as short as feasible until you get a feel for this. You don't want the weight of the masks to sag the wire such that the masks touch the bottom or fall off. For heavy-ish things (these sound heavier than typical beads) I have had good luck with bundles of wire for added stiffness. I usually coat the wire with kiln wash, which helps if some glaze sneaks around the edges and onto the wire. I find the kiln wash goes on easier if the wires are warm, so I put them in the kitchen oven first. Hope this helps! Bob Masta dqatechATdaqartaDOTcom D A Q A R T A Data AcQuisition And Real-Time Analysis www.daqarta.com Scope, Spectrum, Spectrogram, Signal Generator Science with your sound card! |
#3
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Question on glazing and a new question
Thanks, Bob.
All of this information helped. I made the holes in the masks small so I don't think that I have wire that would work well in the kiln and not stretch too much with the heat so I will not try that idea. I will try a few different things you suggested and see which works the best. I am going to put one thin layer of glaze all over with a paint brush and then two more layers on the top and back, but not on the areas that touch the shelves or triangles. They are curved and just the two sides will touch the shelf. I will also try the triangles with glaze and without glaze on the back edges and see how it works. I have coated some kiln shelves that are for tiles with many layers of kiln wash so I will also try to see how they work. One other question. I have some of the kiln paper that I purchased before really knowing what I planned to do with the kiln. I am not certain what brand or even what it is made of, but got it at a stained glass shop. I have checked online and most kiln paper can be heated to 1600F, but I will be heating to a higher temperature. If I used it, would it just burn up? Fumes? Would the fibers be released to float all around and maybe land on my pieces? I'll resist my urge to test this until I hear what you think. Thank you and I will let you know how well this turns out! Jeanne Web site http://www.heartofclay.com/ Art for the Heart Blog http://artfortheheart.blogspot.com/ Ebay listings http://cgi3.ebay.com/ws/eBayISAPI.dl...id=vintagenet2 "Bob Masta" wrote in message ... On Thu, 18 Jan 2007 19:30:38 -0500, "Jeanne Rhea" wrote: I am new to this forum and to earth clay and kilns. I have made some small masks about 1 1/2" x 1 3/4" and have bisqued fired them. They turned out really good with no cracks, etc. I am wanting to glaze them on both sides. They have two tubes on the back sides so a cord can be used for hanging them or making a necklace. I want an all over glaze on front and back. I know I cannot dip them as the glaze could fill the holes. You can always plug the holes temporarily (with wet clay, etc) while you dip, then remove the plugs after the glaze is dry. Or just dip away and let the glaze fill the holes, then clean it out later with a pipe-cleaner or wire. My question is---What is the best way to go about getting a glaze on the front and back without the glaze sticking to the triangles in the final firing? I have some small triangles that are about 1/4" high that I purchased from Amaco. Do I coat the triangles in kiln wash? Will this help? Am I expecting to be able to do something that might not be possible? I will need to fire to 1915F. These little triangles are rated for up to cone 10. I haven't used the triangles you mention, so I can't address those specifically. But here are some general ideas: First, if the backs are not really intended to be conspicuous and you only want to glaze them to seal them, you can put a much lighter coating of glaze on the back than the decorative glaze on the front. This will most likely mean everything is brushed on at first, but if you go into production there are other approaches possible, such as a light dip, masking the back, and a second dip for the front. Having less glaze on the back will mean much less dripping or running onto the supports during firing. After a few trials, you should be able to get good sealing coverage with no running at all. I suspect the kiln wash idea will be helpful with the triangles, but whatever you use you may have to accept a blemish where it touches, or else be prepared to do a little touch-up grinding. You can probably do that with a hand-held stone, no power tools needed. But if you have glaze-free hanging holes on these masks already, the simplest approach might be to fire them while hanging on high-temperature wire, as is done with beads. You can make your own support for the wires, or string it between kiln posts or something. Keep in mind that the wire will lose stiffness when it is hot, so keep the unsupported length as short as feasible until you get a feel for this. You don't want the weight of the masks to sag the wire such that the masks touch the bottom or fall off. For heavy-ish things (these sound heavier than typical beads) I have had good luck with bundles of wire for added stiffness. I usually coat the wire with kiln wash, which helps if some glaze sneaks around the edges and onto the wire. I find the kiln wash goes on easier if the wires are warm, so I put them in the kitchen oven first. Hope this helps! Bob Masta dqatechATdaqartaDOTcom D A Q A R T A Data AcQuisition And Real-Time Analysis www.daqarta.com Scope, Spectrum, Spectrogram, Signal Generator Science with your sound card! |
#4
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Question on glazing and a new question
Jeanne Rhea wrote: Thanks, Bob. snip One other question. I have some of the kiln paper that I purchased before really knowing what I planned to do with the kiln. I am not certain what brand or even what it is made of, but got it at a stained glass shop. I have checked online and most kiln paper can be heated to 1600F, but I will be heating to a higher temperature. If I used it, would it just burn up? Fumes? Would the fibers be released to float all around and maybe land on my pieces? I'll resist my urge to test this until I hear what you think. fiber paper that you got is usually used for creating a smooth shelfside surface on glass items. it is used instead of kilnwash. it is really a ceramic product (dust or fibers) with a carrier, usually some sugar based product. you can use it for pottery. depending upon it's type, it will either continue to be a fiber product, or dust, after firing. the dust kind of paper should be vacuumed up with a hepa filter, as it's very bad to breathe. the paper residue is also very bad to breathe in, as the fibers turn into asbestos type fibers after firing. if possible, wet the residue down before moving it. dispose of the residue somewhere that when dried, it won't get blown around. you should also vent your kiln by leaving a plug out until you get above 1000F when using any fiber paper product, as the binder burning off may redeposit on wares. it is a cause of fogging on the glass surface when used in that manner, but i don't know if it does cause that on ceramics. if you look into the kiln when it's firing, it will turn black, then back to white. the black is the sugar carbonizing. regards, charlie http://glassartists.org/chaniarts |
#5
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Question on glazing
Thanks for this idea on the steel sheet. I need to find a source for wire
that is considered high temperature wire. I do have some bead wire and supports for the kiln, but it is too thick for my taste. I can see I have so much to learn. Thanks! Jeanne Rhea Web site http://www.heartofclay.com/ Art for the Heart Blog http://artfortheheart.blogspot.com/ Ebay listings http://cgi3.ebay.com/ws/eBayISAPI.dl...id=vintagenet2 |
#6
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Question on glazing and a new question
Charlie,
Thanks for all the advice and info on the kiln paper. I think since I have already put on several layers of kiln wash on my shelves, I will test this first and see how it works and save the kiln paper for glass fusing. Jeanne Rhea Web site http://www.heartofclay.com/ Transferring Images to Polymer Clay Tutorial http://www.heartofclay.com/page35 Art for the Heart Blog http://artfortheheart.blogspot.com/ Ebay listings http://cgi3.ebay.com/ws/eBayISAPI.dl...id=vintagenet2 "charlie" wrote in message oups.com... Jeanne Rhea wrote: Thanks, Bob. snip One other question. I have some of the kiln paper that I purchased before really knowing what I planned to do with the kiln. I am not certain what brand or even what it is made of, but got it at a stained glass shop. I have checked online and most kiln paper can be heated to 1600F, but I will be heating to a higher temperature. If I used it, would it just burn up? Fumes? Would the fibers be released to float all around and maybe land on my pieces? I'll resist my urge to test this until I hear what you think. fiber paper that you got is usually used for creating a smooth shelfside surface on glass items. it is used instead of kilnwash. it is really a ceramic product (dust or fibers) with a carrier, usually some sugar based product. you can use it for pottery. depending upon it's type, it will either continue to be a fiber product, or dust, after firing. the dust kind of paper should be vacuumed up with a hepa filter, as it's very bad to breathe. the paper residue is also very bad to breathe in, as the fibers turn into asbestos type fibers after firing. if possible, wet the residue down before moving it. dispose of the residue somewhere that when dried, it won't get blown around. you should also vent your kiln by leaving a plug out until you get above 1000F when using any fiber paper product, as the binder burning off may redeposit on wares. it is a cause of fogging on the glass surface when used in that manner, but i don't know if it does cause that on ceramics. if you look into the kiln when it's firing, it will turn black, then back to white. the black is the sugar carbonizing. regards, charlie http://glassartists.org/chaniarts |
#7
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Question on glazing
On Sat, 20 Jan 2007 14:58:51 -0500, "Jeanne Rhea"
wrote: Thanks for this idea on the steel sheet. I need to find a source for wire that is considered high temperature wire. I do have some bead wire and supports for the kiln, but it is too thick for my taste. I can see I have so much to learn. Thanks! Jeanne Rhea You can use even pretty thin bead wire to make stilts, by just sticking it vertically into a clay pad but keeping the exposed wire short (say, 1/4 inch or less). If you are trying to support the concave backside of your masks, you may want to build a little form just for this purpose. It would look like a cast of the mask backside, with the short support wires protruding vertically. Note that I really do mean vertically, not perpendicular to the local curved surface like a pincushion: You want the force on the wires to come straight down as much as possible, trying to buckle the wire instead of bending it. Short wires are always stiffer than long ones, and usually harder to buckle than to bend. One advantage of making a custom support like this instead of suspending the whole mask on a wire, is that if you miscalculate and the mask sags the wire, it just moves closer to the support instead of crashing sieways into something else in the kiln. Best regards, Bob Masta dqatechATdaqartaDOTcom D A Q A R T A Data AcQuisition And Real-Time Analysis www.daqarta.com Scope, Spectrum, Spectrogram, Signal Generator Science with your sound card! |
#8
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Question on glazing
Thanks for these suggesions. My first load of masks were in the kiln
overnight and they are cooling right now. I used the teeny triangular bars coated with kiln wash to prop them this time. I have no idea if these will work well. This is so exciting as I used different colors on many of the masks. I used different colors, used some gloss glazes and some matte glazes. (I was careful to use glazes that needed the same cone rating.) I also made a bunch of 2" sample flat pieces with two colors on them and then put a stripe of matte and a stripe of gloss on top to see how it changes and left one small section as out of the bottle. I'm just keeping my fingers crossed that some of them turn out well. I'll be letting you know this evening. I'll probably make my own supports as the ones that can be purchased do not fit the masks too well. The tips are very helpful. Thanks. Jeanne Rhea Web site http://www.heartofclay.com/ Transferring Images to Polymer Clay Tutorial http://www.heartofclay.com/page35 Art for the Heart Blog http://artfortheheart.blogspot.com/ Ebay listings http://cgi3.ebay.com/ws/eBayISAPI.dl...id=vintagenet2 "Bob Masta" wrote in message ... On Sat, 20 Jan 2007 14:58:51 -0500, "Jeanne Rhea" wrote: Thanks for this idea on the steel sheet. I need to find a source for wire that is considered high temperature wire. I do have some bead wire and supports for the kiln, but it is too thick for my taste. I can see I have so much to learn. Thanks! Jeanne Rhea You can use even pretty thin bead wire to make stilts, by just sticking it vertically into a clay pad but keeping the exposed wire short (say, 1/4 inch or less). If you are trying to support the concave backside of your masks, you may want to build a little form just for this purpose. It would look like a cast of the mask backside, with the short support wires protruding vertically. Note that I really do mean vertically, not perpendicular to the local curved surface like a pincushion: You want the force on the wires to come straight down as much as possible, trying to buckle the wire instead of bending it. Short wires are always stiffer than long ones, and usually harder to buckle than to bend. One advantage of making a custom support like this instead of suspending the whole mask on a wire, is that if you miscalculate and the mask sags the wire, it just moves closer to the support instead of crashing sieways into something else in the kiln. Best regards, Bob Masta dqatechATdaqartaDOTcom D A Q A R T A Data AcQuisition And Real-Time Analysis www.daqarta.com Scope, Spectrum, Spectrogram, Signal Generator Science with your sound card! |
#9
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Question on glazing
A small addition to Bob's excellent advice: when I make wire stilts, I cut
the end of the wire at an angle with the wire cutters to make a sharp point which leaves even less evidence than a blunt end. the common name for the most effective wire is Nichrome Wire. Kanthal or Element wire becomes very brittle after a firing. Nichrome does not. Steve -- Steve Mills Bath UK "Jeanne Rhea" wrote in message ... Thanks for these suggesions. My first load of masks were in the kiln overnight and they are cooling right now. I used the teeny triangular bars coated with kiln wash to prop them this time. I have no idea if these will work well. This is so exciting as I used different colors on many of the masks. I used different colors, used some gloss glazes and some matte glazes. (I was careful to use glazes that needed the same cone rating.) I also made a bunch of 2" sample flat pieces with two colors on them and then put a stripe of matte and a stripe of gloss on top to see how it changes and left one small section as out of the bottle. I'm just keeping my fingers crossed that some of them turn out well. I'll be letting you know this evening. I'll probably make my own supports as the ones that can be purchased do not fit the masks too well. The tips are very helpful. Thanks. Jeanne Rhea Web site http://www.heartofclay.com/ Transferring Images to Polymer Clay Tutorial http://www.heartofclay.com/page35 Art for the Heart Blog http://artfortheheart.blogspot.com/ Ebay listings http://cgi3.ebay.com/ws/eBayISAPI.dl...id=vintagenet2 "Bob Masta" wrote in message ... On Sat, 20 Jan 2007 14:58:51 -0500, "Jeanne Rhea" wrote: Thanks for this idea on the steel sheet. I need to find a source for wire that is considered high temperature wire. I do have some bead wire and supports for the kiln, but it is too thick for my taste. I can see I have so much to learn. Thanks! Jeanne Rhea You can use even pretty thin bead wire to make stilts, by just sticking it vertically into a clay pad but keeping the exposed wire short (say, 1/4 inch or less). If you are trying to support the concave backside of your masks, you may want to build a little form just for this purpose. It would look like a cast of the mask backside, with the short support wires protruding vertically. Note that I really do mean vertically, not perpendicular to the local curved surface like a pincushion: You want the force on the wires to come straight down as much as possible, trying to buckle the wire instead of bending it. Short wires are always stiffer than long ones, and usually harder to buckle than to bend. One advantage of making a custom support like this instead of suspending the whole mask on a wire, is that if you miscalculate and the mask sags the wire, it just moves closer to the support instead of crashing sieways into something else in the kiln. Best regards, Bob Masta dqatechATdaqartaDOTcom D A Q A R T A Data AcQuisition And Real-Time Analysis www.daqarta.com Scope, Spectrum, Spectrogram, Signal Generator Science with your sound card! |
#10
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Question on glazing
Here are my first experiments with clay and the kiln. I have a lot to
learn, but still it was a lot of fun. One question though---I applied the Amaco Designer Velvet Underglazes and fired. Can I apply a transparent matte glaze and refire or will that crack or not stick? I put some description on my blog and so you can read about it there. http://artfortheheart.blogspot.com/ Thanks for all your help! Jeanne Rhea Web site http://www.heartofclay.com/ Transferring Images to Polymer Clay Tutorial http://www.heartofclay.com/page35 Art for the Heart Blog http://artfortheheart.blogspot.com/ Ebay listings http://cgi3.ebay.com/ws/eBayISAPI.dll?ViewUserPage&userid=vintagenet2 |
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