Louis Katz on sun 12 oct 03
I don't know how G200 has traveled over the years. Whiting is an
immediate suspect as it can go from being near 50/50 magnesium/Calcium
carbonate to pure calcium carbonate. try substituting some dolomite for
some of the whiting. Say 7 dolomite 12 whiting.
Also does your current kiln cool more quickly.?
Louis
louis.katz@mail.tamucc.edu
http://www.tamucc.edu/~lkatz/LK/picturesof/pages/f.htm
On Sunday, October 12, 2003, at 01:05 PM, Barbara Kobler wrote:
> Dear Mel and any others so interested or can help,
>
> I just read an old posting of yours about glazes not traveling well
> and rhodes 32 results being effected by iron in the clay body.
>
> Thank you ever so much for discussing this. As another old timer I
> had been using a wonderful cone 5-8 glaze developed at Alfred in the
> late 50s. The glaze was altered in the 80s from red lead to Ferro
> Frit 3304 and has consistently worked perfectly from 1967 until I set
> up a new studio in Arizona 3 years ago. I've been unable get it to
> work.
> The formula is:
> 3304 50
> G200 spar 8
> whiting 19
> epk 22
> soda ash 1
> 3 fe
> At cone 6 it has always been a buttery to matte from light gold to
> varying shades of medium to dark reddish brown.
>
> Now it sometimes is glossy all over and a pukey kakhai tan green color.
> I've altered amounts, different spars, distilled water cause desert
> water is so full of chemicals. No avial. This gorgeous glaze that
> everyone loved and suited me well has been lost.
>
> I READ YOUR OLD POSTING. DUH. LIGHT BULB TURNS ON!
>
> I used to use Jordan clay or an unnamed light tan clay.
> Since coming out here I have been using a white paper clay.
> DUH. I teach clay and glaze and have and still always remind my
> students that glaze reacts differtly on differnt clays. Jeeze. I know
> this. I, like all old timers, developed my own glazes from scratch
> back in the wilds of the 60s. Duh. How could I never ever think of
> changing clays or applying an appropriate slip on top of the pclay?
> Talk about getting locked in a blind mind set. wow.
>
> THANK YOU MEL. THANKS CLAYARTERS.
> Today I am going to start testing a new batch on other clays and also
> test applying a coat of light tan slip with some yellow orche in it.
>
> p.s. I have been reading clayart for 3 years and this is my first
> post. Hope it follows the format alright.
> Thanks again for stimulating my brain pods.
>
> Barbara Kobler, www.claywoman.net
> Concepts in Clay From the Sonoran Desert
>
> _______________________________________________________________________
> _______
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at
> melpots@pclink.com.
>
Barbara Kobler on sun 12 oct 03
Dear Mel and any others so interested or can help,
I just read an old posting of yours about glazes not traveling well and rhodes 32 results being effected by iron in the clay body.
Thank you ever so much for discussing this. As another old timer I had been using a wonderful cone 5-8 glaze developed at Alfred in the late 50s. The glaze was altered in the 80s from red lead to Ferro Frit 3304 and has consistently worked perfectly from 1967 until I set up a new studio in Arizona 3 years ago. I've been unable get it to work.
The formula is:
3304 50
G200 spar 8
whiting 19
epk 22
soda ash 1
3 fe
At cone 6 it has always been a buttery to matte from light gold to varying shades of medium to dark reddish brown.
Now it sometimes is glossy all over and a pukey kakhai tan green color.
I've altered amounts, different spars, distilled water cause desert water is so full of chemicals. No avial. This gorgeous glaze that everyone loved and suited me well has been lost.
I READ YOUR OLD POSTING. DUH. LIGHT BULB TURNS ON!
I used to use Jordan clay or an unnamed light tan clay.
Since coming out here I have been using a white paper clay.
DUH. I teach clay and glaze and have and still always remind my students that glaze reacts differtly on differnt clays. Jeeze. I know this. I, like all old timers, developed my own glazes from scratch back in the wilds of the 60s. Duh. How could I never ever think of changing clays or applying an appropriate slip on top of the pclay?
Talk about getting locked in a blind mind set. wow.
THANK YOU MEL. THANKS CLAYARTERS.
Today I am going to start testing a new batch on other clays and also test applying a coat of light tan slip with some yellow orche in it.
p.s. I have been reading clayart for 3 years and this is my first post. Hope it follows the format alright.
Thanks again for stimulating my brain pods.
Barbara Kobler, www.claywoman.net
Concepts in Clay From the Sonoran Desert
Chris Schafale on mon 13 oct 03
Barbara,
You've probably thought of this, but have you
considered whether your firing schedule or final temp
has changed? The shift from matte to glossy suggests
that there could be something other than the claybody
contributing to the change -- although maybe the glaze
is picking up flux from the body.
Chris
On 12 Oct 2003 at 18:05, Barbara Kobler wrote: Thank
you ever so much for discussing this. As another old
timer I had been using a wonderful cone 5-8 glaze
developed at Alfred in the late 50s. The glaze was
altered in the 80s from red lead to Ferro Frit 3304 and
has consistently worked perfectly from 1967 until I set
up a new studio in Arizona 3 years ago. I've been
unable get it to work.
The formula is: 3304 50 G200 spar 8 whiting
19 epk 22 soda ash 1 3 fe At cone 6 it has
always been a buttery to matte from light gold to
varying shades of medium to dark reddish brown.
Now it sometimes is glossy all over and a pukey kakhai
tan green color.
Light One Candle Pottery
Fuquay-Varina, North Carolina, USA
(south of Raleigh)
candle@intrex.net
http://www.lightonecandle.com
| |
|
