Friday, September 06, 2013
How excited was I to receive this freebie download from Ceramic Arts Daily last month?!? I
15 Low-Fire Glaze Recipes from the Pros: Recipe Cards for Low Fire Pottery Glazes
From Linda Arbuckle's Majolica Glaze to Gail Kendall's White Slip to Darren Emenau's MNO Lichen glaze, I just couldn't resist passing this amazing resource along.
If you haven't already signed up to receive email tips, techniques, inspiration and information from Ceramics Arts Daily, you should! It's a fantastic resource!
An opaque glaze that has a more glossy than matte appearance, despite the name. (See the glare on these test tiles without a camera flash?) What I love about this glaze are the little variations, or specks of color that add depth and dimension to the surface.
Semi Matte Glaze - Cone 04
For Color add -
Blue: + 2% Copper carbonate and 0.5% Cobalt carbonate
Jade green: 3% Copper carbonate
These test tiles had 2-3 even coats of medium-thick glaze applied by brush.
Excited to be a part of Made in Florida 2013: Florida Craftsmen Members' Exhibition! The Opening Reception is this Friday, August 2 at the Gadsden Art Center in Quincy, FL. http://www.gadsdenarts.org/
Had an amazing time (as always) teaching at Arrowmont School of Arts and Crafts in Gatlinburg,TN a couple weeks ago. I am always so impressed with the work my students take home with them on Saturday. Yes! After just a 1-week workshop!
Classes started Sunday night, and we firing our first kiln that evening! Some students had no clay experience. Some no glass experience. And some neither. Some were professional potters or glass artists. The skill range is always so varied and one of the things I love most about teaching this workshop!
If you'd like to see more photos, click on over to my Facebook page. And 'Like' the page while you're there!
When I found and tested this glaze a few years ago, it was called "Bubble." Well, this glaze never did bubble for me, but instead created this amazing, old-wrinkled-skin look. If you're a figurative sculptor and need a textured glaze, this is the one for you!
Bubble Glaze - Cone 04
And like most of my texture glazes, it needs to be applied, super, SUPER thick!
If you're in the Ingram, TX area, please stop by! And if you do, I'd love to see some photos of the exhibition.
I'm often asked how I get the dark, carved lines in a lot of my work.
This simple recipe is an old stand by! It's just a 50/50 mix by volume of stain/oxide and Frit 3124. (ie 1 spoonful of each ingredient.)
Red Iron Oxide Wash
1 Tablespoon Red Iron Oxide
1 Tablespoon Frit 3124
How much water? Well, that depends. When I want the carved lines to stay dark, I only add enough water to be able to mix the ingredients and still be able to brush them on. I typically like to apply this wash to bone dry greenware and then bisque fire it to cone 06.
This simple recipe also has endless variations. Red iron oxide isn't the only oxide that can be used. Experiment with chrome oxide for a green wash, cobalt carbonate for a blue, etc. Or, like we used in the Arrowmont Official Birthday Mug, a black mason stain. Yep, this recipe works with mason stains too.
Or, you could substitute another frit. I've chosen Frit 3124 because it doesn't run too much during a cone 04 glaze fire, and is pretty opaque. Depending on your needs, you could try Frit 3195 if you want a more transparent wash with just a little bit of flow. Check out this cone 04 Frit Melt Test. I made this handy reference years ago, and it has been extremely helpful in determining the differences between frits.
Well, folks, that's it for this segment of Low Fire Friday. Anyone out there using a colored wash they are happy with and willing to share? What other applications are available?
If you were starting from scratch and needed to buy raw materials and chemicals for low fire glaze mixing, what would you need?
But wait, let me back up...
It started in January. My annual studio clean up. But this year, I did a seriously over-due, deep cleaning. Top to bottom - reorganized, threw away junk, recycled, sold unused equipment/supplies, and built a new glazing area. The new glazing area brings me to today's edition of Low Fire Friday.
And here's my before and after...
It's a dream! Compulsively organized, just like I like it. All that cleaning up, throwing, away, and organizing all those chemicals got me thinking, which raw materials do I use most often? And what would qualify as "must-haves" so that I could mix all my favorite glazes.
Without further ado, here's the grocery list I came up with
The materials I listed above are definitely enough to get you started with a few low fire glazes. But if you're looking for more, I like to have the materials listed below readily available so that when I come across an irresistible glaze recipe, I have what I need to do the testing. The 50lbs of Red Art and XX Sagger are for terra sigillata. I buy most of my raw materials from Highwater Clays
, so the prices quoted are from their website.
Some other materials I have on hand are:
What about you? What raw materials do you use the most? What did I overlook?
Thanks for checking in and happy glazing!
I often get emails with questions about the crawl glazes that I have posted previously for Low Fire Friday.
- "How do you apply your glazes?"
There are several ways of applying glaze. Dipping the piece into a large bucket of glaze. Pouring a thin, liquid glaze onto a piece. Spraying on a glaze. Or Brushing on the glaze.
I almost exclusively use the brush method. Whether it is a glaze, slip, underglaze, or oxide, I prefer to use a brush. Since I apply multiple colors in specific areas, brushes give me the ability to control placement and composition.
- "I brushed my glazes, but they didn't crawl like yours? What happened?"
Well, one of the biggest "secrets" is to mix and apply these type of glazes THICK. And by thick, I mean like cake frosting. It isn't a matter of "How many coats?". Usually, just one "frosting" will to the trick. They end up being about 1/16" - 1/8" thick. (Another reason brush application is preferred over other methods.)
When the glaze has dried on the bisque ware you should see the crackle or crawl pattern. This is also when the glaze is the most fragile, and tends to chip when over-handled. (Right photo below.) When using crawl glazes in combination with non-crawl glazes, I apply the crawl glaze last, and then immediately load it in the kiln if possible.
Another tip: Be mindful of the direction you apply the glaze. This crawl glaze will tend to pick up brush strokes. Where the glaze is the thickest, the crawl beads will be larger. Thinner glaze = smaller beads.
Want this low fire crawl glaze recipe? Click here.
Friday, February 01, 2013
In honor of Valentines Day, I'm featuring my favorite RED glaze. After years of searching and chasing the "perfect red", I stumbled across Spectrum's Fire Engine Red and found the answer I was looking for.
Often I'll use it over slip trailing. (left photo.) But I've also discovered interesting effects when it is layered over this Bleeding Cake Glaze. It becomes this wonderful glossy and crunchy surface that I love. (right photo.)
That's it for now. Happy Glazing.