Anjali Gulati on thu 5 mar 98
To all the Rakuers who's clear crackle glaze crackles:
I am new (six weeks) to RAKU so bear with me. Here is the
process and the recipes for slip and glaze I use:
1. I use Raku clay.
2. Burnish the pot when bone dry.
3. Bisque at 06
4. Apply two coats of following slip
China clay 600
Flint 400
5. When the slip is dry, I pour following glaze over the pot
Soft Borax frit (ferro frit 3134) 850
China clay 150
I then fire the pot in the electric kiln till glaze looks shiny.
Take the pot out wave it around for few seconds and then dunk the pot
in trash can with news paper. Cover the lid for an hour and
scour clean the glaze and the slip.
here is the problem: THE GLAZE DOES NOT CRACKLE TO GIVE BEAUTIFUL
SMOKE LINES.
Where am i going wrong? are the recipes correct?
Thank you .....anjali
Mary & Leonard Christopher on fri 6 mar 98
Anjali Gulati wrote:
> I then fire the electric kiln then dunk the pot in trash can with news paper.
Whenever I've done Raku, we immerse the pot in water after the smoking.
I thought this was to assist the crackling???
Stephen Mills on fri 6 mar 98
Anjali,
At first sight I would say the glaze coat is too thick, and you only
need one coat of slip. Try a light SPRAYED coat of the former. That is
what I do in both cases, and the rest of what you do matches what I do.
Steve
Bath
UK
In message , Anjali Gulati writes
>----------------------------Original message----------------------------
>To all the Rakuers who's clear crackle glaze crackles:
>
>I am new (six weeks) to RAKU so bear with me. Here is the
>process and the recipes for slip and glaze I use:
>
>1. I use Raku clay.
>2. Burnish the pot when bone dry.
>3. Bisque at 06
>4. Apply two coats of following slip
> China clay 600
> Flint 400
>5. When the slip is dry, I pour following glaze over the pot
> Soft Borax frit (ferro frit 3134) 850
> China clay 150
>
>I then fire the pot in the electric kiln till glaze looks shiny.
>Take the pot out wave it around for few seconds and then dunk the pot
>in trash can with news paper. Cover the lid for an hour and
>scour clean the glaze and the slip.
>
>here is the problem: THE GLAZE DOES NOT CRACKLE TO GIVE BEAUTIFUL
>SMOKE LINES.
>
>Where am i going wrong? are the recipes correct?
>
>Thank you .....anjali
>
--
Steve Mills
Bath
UK
home e-mail: stevemills@mudslinger.demon.co.uk
work e-mail: stevemills@bathpotters.demon.co.uk
own website: http://www.mudslinger.demon.co.uk
BPS website: http://www.bathpotters.demon.co.uk
C Redding on sat 7 mar 98
Here's my 2 cents: to get crackle, my prof taught me once it has been
fired (we have a two burner gas kiln), we set it outside for about 15
seconds...he says that by doing this, the glaze cools faster than the
claybody, hence the crackle...then into the post firing bin (with shredded
paper and wood shavings/sawdust), then we spray with water....cookie
On Fri, 6 Mar 1998, Mary & Leonard Christopher wrote:
> ----------------------------Original message----------------------------
> Anjali Gulati wrote:
>
> > I then fire the electric kiln then dunk the pot in trash can with news paper
>
> Whenever I've done Raku, we immerse the pot in water after the smoking.
> I thought this was to assist the crackling???
>
Tom Buck on sat 7 mar 98
You are doing some wheel-spinning, as others have noted. The way you put
on glaze components means this glaze will be difficult to craze/crackle.
As T Martens said, do it her way and you'll get dark lines.
Since you are already using a frit, try this one instead.
80 Ferro frit 3191
20 EP kaolin Very high expansion, means crackle.
And you do not have to use the slip first, unless it is applied strictly
to get a white covering. This glaze can be used on either rawware or
bisqueware because the high EPK allows for drying shrinkage.
Tom Buck
) tel:
905-389-2339 & snailmail: 373 East 43rd St. Hamilton ON L8T 3E1 Canada
(westend Lake Ontario, province of Ontario, Canada).
Stephen Mills on sun 8 mar 98
In message , Mary & Leonard Christopher writes
>----------------------------Original message----------------------------
>
>Whenever I've done Raku, we immerse the pot in water after the smoking.
>I thought this was to assist the crackling???
Not necessarily, the rapid cooling that takes place when the piece
leaves the Kiln and goes into the trash can causes most of the crazing.
Dunking it in water "freezes" the glaze by taking the surface
temperature down below 400oC. 400oC (give or take a degree or three) is
the point at which most Raku glazes cease to be affected by any outside
influence. Personally I avoid "dunking", the shock can destroy a
delicate pot. If I need to freeze, I use a watering can with the rose on
the spout, you only need about a teacup of water to cool the glaze
surface, once cooled it won't change.
Steve
--
Steve Mills
Bath
UK
home e-mail: stevemills@mudslinger.demon.co.uk
work e-mail: stevemills@bathpotters.demon.co.uk
own website: http://www.mudslinger.demon.co.uk
BPS website: http://www.bathpotters.demon.co.uk
Tim Stowell on sun 8 mar 98
When I was doing Raku to enhance the crackle I came up with two
technigues that worked great to enhance the crackle. The first was to
have someone else with a spray bottle spray cool water (using a simple
spray bottle) onto the pot while I was holding it. Depending on the
amount sprayed and how evenly and rapidly sprayed we could actually
control the amount of crazing to a certain extent. A second method was
actually a corrollary to the first: I would have a second person pull the
piece and then I would pour or spritz motor oil onto the piece,this
method not only enhanced the crackle it also instantly spot reduced as
the motor oil smoked. If careful you could actually create interesting
patterns of enhanced, blackened crackle patters prior to placing the pots
into the reducton chamber. As always follow safety precautions, equipment
and techniques!!!!
Of course I later discovered that these techniques "I" had created were
already being done by other potters. There are no such things as new
ideas, we merely rediscover old ones.
I always did my raku firings with a second person that I had trained to
pretty much know what I was going to do without saying anything. We
discussed each piece in the firing , the pull order, and techniques to be
used. I also fired at night so that flames coming out of the kiln were
more visible. Even though firing at night the area around the kiln was
well lit. If there were any spectators they were told specifically where
to stand and were told that under no conditions were they to touch a pot
without asking me and that they could not come close to me unless I was
on fire. I instituted these rules after a near miss. I turned to place a
bowl in a can, more rapidly than I should have because it was slipping
from the tongs and as I turned a person was sticking there head (almost
literally) into the can to see what I was using as Combustion materials.
Thinking quick I dropped the pot just before the can. To this day I don't
think that person understans how close they came to getting a new face. I
was madder at my own carelessness for his safety than I was at him. He
thought I overreacted.
Tim
Tim Stowell Gerard Stowell Pottery
Stacey Gerard 290 River Street
tstwll@juno.com Troy, NY 12180
(518)272-0983
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