Glazes
"Raku Frequently Asked Questions"
(1)
Didn't Paul Soldner invent raku?
Not exactly. Soldner is an innovator and one of a few responsible for popularizing raku in this country beginning in the 1950's. Raku
was first developed by Korean potters under Japanese rule in the 17th century.
The circumstances that led to its launch and spread are somewhat of a mystery though.
(2)
How do pit, sawdust, smoke firing, and raku differ?
These types of firings are often confused with each other because they can share some similar characteristics. Briefly, raku ware is
fired in a more or less conventional type kiln where glaze technology is understood and utilized.
The others are forms of primitive firing where temperatures reached are generally lower and glazes are not commonly used. In primitive
firings, the "kiln" may consist of a simple hole in the ground (ie, a pit).
(3)
Isn't raku a once-fire process where you don't have to bisque first?
Raku firing greenware is a sure way to line the bottom of your kiln with shards. Always bisque-fire to at least Cone 08 before
glazing and raku firing.
(4)
Is raku suitable for functional use?
The traditional use of raku ware in the Japanese tea ceremony has contributed to confusion about the functional use of raku. With
very few exceptions, all raku fired ware is fragile, porous, and generally unsuitable for functional use. Unless such fragile ware is
treated post-firing with a non-glaze material, such as a polyurethane or acrylic sealer or an oil of some kind, the pots will sweat water
and eventually breakdown. Treat raku as decorative. The occasional use of raku in a functional setting is OK but keep in mind that the
glaze is soft and can be easily chipped and end up being ingested. If you must use your pots for food try to limit the use to dry food.
The fragility of the ware also renders the reliability of handles and other appendages extremely questionable.
(5)
What constitutes a raku clay?
A raku clay is any clay that can be successfully raku fired. That includes most any type of clay out there! As I say at my workshops;
"I've never met a clay that I couldn't raku." Generally though, a clay suitable for raku needs to contain a lot of fireclay and similar
refractory materials so that it can withstand the sudden heat shock of the raku process. This includes most stock stoneware clays. The
clay does not have to be loaded with coarse grog but it does have to be open enough to expand and contract without cracking. Most clay
suppliers can help you choose an appropriate claybody. The other characteristics that you are looking for are your personal ones such as
plasticity, color, texture, etc. Nothing needs to be sacrificed in order to have a good, reliable raku clay.
(6)
What is a raku glaze?
Similar to the question of raku clays is the answer to this question. Any glaze that you can successfully raku fire is a raku glaze.
The most important factors in identifying raku glazes is the temperature at which they mature, how you plan on using them, and what kind
of effects you are looking for. You must also keep in mind that if you are using a variety of glazes on the same pot or in the same kiln
load, unless you know that they all mature to your satisfaction at around the same temperature, you will be faced with varying degrees of
maturity. However, just because a glaze is formulated to fire at a temperature higher than your usual range doesn't mean that you should
eliminate that glaze from your pallet. Experiment with your glazes to achieve a variety of surface effects from dry textures to surfaces
with a high gloss. Don't limit yourself to homemade or personal glazes either. Try low fire commercial glazes for some unusual
results
(7)
Which cones do I use in raku?
The only cones that should be used near a raku kiln are ice cream cones. Because of the fast firing, varying atmosphere, multiple
loads and other factors, pyrometric cones are generally poor indicators of heat and temperature so they are not used. Most raku potters
fire their wares using the actual glaze melt as the visual indicator of maturity. Many potters, however, do use pyrometers or cones to
warn of coming glaze maturity and then check the ware visually through the peephole(s). It takes some temperature of raku depends on the
glazes that you are using. Most raku is fired in the range of cone 010-06. You must remember though that you as the maker of the pots are
the final expert on whether a glaze is mature, underfired, or overfired. If a glaze is not glossy enough, doesn't have the expected
crackles or metallic effects, or doesn't exhibit any other characteristic that you find desirable, you need to adjust the firing.
(8)
How do you get those bright metallic effects? Sometimes my glazes don't crackle as much as I like. What can I
do?
Assuming you are using the correct glazes, both metallic effects and dark crackle lines are a result of firing the glazes to their
maximum maturity followed by a fast post-firing reduction technique. You must quickly get your pot from the kiln to the reduction
container and covered before the pot has a chance to cool too much, otherwise the post-firing reduction will not be effective. Pronounced
crackle effects are also often dependent on a thick application of glaze.
(9)
All I ever get are bright metallic effects. How do I get more colorful glaze effects?
This is the exact opposite of the previous question and problem. Brighter colors need a degree of post firing oxidation in order to
develop. There are several ways to achieve this. When you remove the ware from the kiln, spray the areas with water where you would like
more color to develop before placing the ware in the reduction container. This will oxidize and cool the glaze. Another method is to hold
the ware in the air for 10 - 30 seconds before reducing the ware. Allow the combustable material to ignite and cover the container only
after flames have clearly developed. Other potters will uncover the reduction container after a short time allowing the material to
ignite again while fanning the ware. Using these and other similar techniques you will learn how to control the amount of metallic and
colorful effects on your wares as well as grey to black unglazed areas.
(10)
Can I preheat my pots in the kiln as it is warming up (starting w/a cold kiln). I will be using a fiber garbage can
kiln with a lift-off lid, not one where the entire kiln lifts off. I don't see how my pots will get preheated enough by just setting them
on the lid. Do they get hot enough on a fiber/expanded metal lid?
This question shows a common misunderstanding about the raku process. The only time you need to be concerned about preheating your
ware is when you are doing multiple firing loads in the same kiln. The first load should always be in a cold kiln taking the temperature
up slowly. Only if you are going to fire additional loads should you be preheating your pots on or along-side the kiln. If the lid of the
kiln is a wire mesh/fiber lid then you might get enough radiant heat. Place the pots near the flue opening so they get the heat coming
from the draft. Be careful not to place them too close, too soon, or they may break. After preheating on top of the kiln you can place
the pieces around the base of the kiln after you remove the fiber chamber, let them heat up there for a minute or two, then put them on
the kiln shelf letting them sit for another minute, then put the chamber back in place for a minute, then re-light the burner.
(11)
Must I use a certain type of kiln or can I fire raku in an electric kiln?
Most any type of kiln can be used for raku as long as it meets certain requirements of the raku process. It must be located outdoors
or in close proximity to the outdoors. You must be able to easily reach into the kiln to remove your ware. If you are going to be firing
multiple loads the temperature of the kiln must be easily controlled. An electric kiln is perfectly suitable for raku although there are
some special considerations that require careful attention. You must remember that you are exposing yourself to live electrical current
when you open an electric kiln so you must protect yourself from any possible contact with the current. There'll be more on this in a
subsequent revision of this FAQ.
(12)
When it comes to kilns I've heard the terms flue, damper, stack, and chimney. How do they apply to raku kilns?
All fuel fired kilns need some way for the gases to exit, the air flow to be controlled, and air to enter the chamber. Conventional
kilns have a flue, damper, and stack (or chimney). The flue is a path in the kiln for the gases to move through after they have
circulated through the kiln on their way to the stack. The damper is a device, usually a kiln shelf, that slides in and out of the lower
part of the stack in order to control the size of the opening, thus controlling the exit of the gases and their mixture with air. Raku
kilns are generally small and overpowered. Most have a simple opening in the top of the chamber covered by a kiln shelf shard. The kiln
chamber chamber is essentially the stack with the opening the flue and the kiln shelf the damper.
(13)
Why can't I reach temperature no matter how much gas I use?
This is the most common question regarding the raku firing. Successful rise of temperature in any fuel-fired kiln depends on the
correct mixture of air and fuel. A hotter kiln is not necessarily dependent on more fuel! If there is too much fuel, the atmosphere will
be smoky, full of flames and the temperature will not rise. Also, if there is too much air, the temperature will stagnate or fall.
Usually, the solution to a situation in which the kiln doesn't reach temperature is to increase the air in the air/fuel mixture. In a
gas-fired kiln this can be done by increasing the available air in the burner or around the burner. You can also simply open the flue
(the opening at the top of the kiln). Most potters use a venturi type burner that has a disk that screws open or closed. Open it for more
air. If you are using a power burner in which a fan is attached, increase the air flow. Experiment to arrive at the correct mixture but
be patient!
(14)
Don't the tongs used to lift the pots leave marks?
Sometimes they do. More often though the glaze is still molten enough that once the pot is released from the tongs, the marks tend to
smooth out. In either case the tong marks should not be treated as defects but rather as characteristics of raku.
(15)
I'm confused about the term reduction. Can you explain what this means?
Reduction is a firing term that refers to a lack of oxygen in the combustion process. This lack of oxygen causes the fuel to search
for free oxygen to allow for more complete combustion to take place. This can take place during a firing as in reduction stoneware. In
this conventional situation, the additional oxygen is gotten from the clay body and glazes, resulting in their characteristic effects.
Reduction as it is referred to in raku usually takes place out of the kiln separate from the actual firing as described earlier. However,
just because you are doing raku doesn't mean that you can't experiment with actual reduction firing in the more conventional sense.
(16)
Must I remove my ware from the kiln to apply post firing reduction or can I insert reduction material into the kiln
chamber?
As described earlier, post firing reduction is normally done by removing the ware from the kiln and placing it in a container with
your combustable material. Certain situations may make it difficult to actually remove the wares from the kiln while they are hot. For
instance your piece may be too large or awkward to handle. In this case you can achieve some post firing success by shuting off the kiln,
adding your reduction material to the chamber, and closing off all open ports including the flue, peep hole, and burner ports. At best,
the chamber will be only marginally sealed and since effective reduction depends on on air tight chamber, your reduction will be only
partially successful. If your kiln is a lift off fiber type then you might try removing it and replacing it with a metal drum or can for
the reduction phase.
(17)
Do different types of reduction material give different effects?
The short answer is yes. The long answer is much more complicated! Here is a medium answer: Your reduction effects are certainly
influenced by how much carbon is in the atmosphere that surrounds your pot. In other words, how much smoke your pot is quickly subjected
to. Some materials have the potential to release more carbon than others. The condition of your material (wet, damp, dry) as well as the
particle size as in the case of wood materials (sawdust, shavings, chips) can be important. The type of wood can also affect your
results.
(18)
Must there be clouds of smoke when doing raku?
Raku doesn't require smoke at all. There are two aspects of the process that have the potential for creating smoke. If you are using
a fuel fired kiln (as opposed to an electric kiln) then it is likely that there will be at least some smoke generated during the firing.
If you are doing post firing reduction, there will be smoke created then as well. The amount of smoke is determined by the efficiency of
your reduction technique, the material you are using, and the amount of material you are using. If you are reducing in a container, the
tighter the lid fits, the less smoke will exit the container. There are other techniques of reduction that create less smoke than others.
Of course if you are not doing post firing reduction and simply cooling your ware when it comes from the kiln, then there is no smoke
created.
(19)
What is smokeless raku?
Smokeless raku is not really smokeless at all. The term was coined by Jerry Caplan who has been developing his techniques for many
years. It is a post firing reduction technique that is designed to produce minimal smoke by keeping the reduction chamber as air tight as
possible. This can be done using a combination of tight fitting lids with gaskets of wet paper or cloth. The tightest chamber is one made
by inverting your container onto a bed of sand or dirt. Arrange a ring of sand or dirt on the ground for the lid of your container to fit
onto when placed upside down. Place your reduction material within the ring. Quickly place your ware onto the material and cover it with
the container pushing the rim of the container into the sand. Bury the rim with additional sand to keep the smoke in.
(20)
What is meant by slip resist in raku?
Slip resist refers to a variety of techniques whereby a clay slip is applied to the surface of the ware. This slip is formulated to
peel away during the firing, and not permanently adhere to the surface. As the slip peels, shrinks, and separates from the surface it
exposes the ware to varying degrees of post firing reduction. When the piece is cooled, whatever slips remains on the pot is removed by
scraping and cleaning. As a further decorative process, you can scratch and draw through the slip creating designs.
Compiled 5/31/96 by Steven Branfman (sbranfpots@aol.com) Author, Raku A Practical Approach, Second Edition and The Potters
Professional Handbook.
The Potters Shop 31 Thorpe Rd. Needham MA 02494 (phone 781 449 7687)
Revised 9/02 - COPYRIGHT (C) 1996. All rights reserved. Contact the author for permission to issue a copy in any form.
The Art Collector
"Raku Glazes"
"I do NOT use LEAD in any of my current glazes". . .
( RAKU Ware is an art form and to be used for "Decorative Use Only" )
These glazes are adaptations of recipe's that are from the 1960's, 1970's and 1980's, by various POTTERS. These glazes were given to
me by Crispin Gonzalez, in my early years at Chaffey College.
Raku Slip - Dry White-Grey. Fluxes slightly under oxides
| MINERAL |
BY VOLUME |
| Kaolin |
20 |
| Gerstley Borate |
20 |
Pabst Yellow Raku - On interiors it goes to a patchy olive lustre. 7
| MINERAL |
BY VOLUME |
| Kaolin |
15 |
| Gerstley Borate |
45 |
Hamm's Raku - Bright yellow / rich copper lustre, greens, mattish yellow, if reduced. Matted olive brown (thick semi-reduced).
| MINERAL |
BY VOLUME |
| Kaolin |
7 |
| Gerstley Borate |
21 |
| Antimony |
4 |
| Copper |
0.5 |
Hank's Raku - White slightly transparent
| MINERAL |
BY PERCENT |
| Gerstley Borate |
55 % |
| Lowfire Ball Clay |
20 % |
| Lithium |
15 % |
| EPK |
5 % |
| T1 |
5 % |
Hank's Raku Slip.
| MINERAL |
BY VOLUME |
| Low Fire Body |
80 |
| Zircopax |
5 |
| Gerstley Borate |
5 |
Benny's Egyptian Paste - BlueGreen, breaking to CopperReds.
| MINERAL |
BY VOLUME |
| Soda Feldspar |
39.0 |
| Silica |
39.0 |
| Ball Clay |
12.0 |
| Soda Ash |
6.0 |
| Bicarbonate of Soda |
6.0 |
| Copper Carbonate |
30.0 |
Benny's Raku Slip.
| MINERAL |
BY VOLUME |
| Delmont Spar (Feldspar) |
50.0 |
| Silica |
50.0 |
| Ball Clay |
10.0 |
| Soda Ash |
20.0 |
| Bicarbonate of Soda |
6.0 |
| Copper Carbonate |
30.0 |
Burnt Red Raku - Over fired, burnt yellow.
| MINERAL |
BY VOLUME |
| White Lead |
164 |
| Whiting |
24.5 |
| Kaolin |
38.5 |
| Zinc Oxide |
9.5 |
| Silica |
100 |
| Tin Oxide |
20.2 |
| Red Iron Oxide |
13.5 |
Forrest Green Glossy Raku
| MINERAL |
BY VOLUME |
| Whiting |
47.5 |
| Borax |
103 |
| Soda Ash |
4.0 |
| White Lead |
77 |
| Potash Feldspar |
107.5 |
| Silica |
51 |
| Kaolin |
2.0 |
| Tin Oxide |
37 |
| Copper Carbonate |
13.7 |
Raku White
| MINERAL |
BY VOLUME |
| Soda Ash |
50 |
| Delmonte Feldspar |
50 |
Raku RM #2 - cone^08 - ^06 (D Nichols)
| MINERAL |
BY VOLUME |
| White Lead |
305 |
| Frit 3304 |
90 |
| Silica |
105 |
| Tin |
25 |
Raku RM #3 cone ^08 - ^06 (D Nichols)
| MINERAL |
BY VOLUME |
| White Lead |
66 |
| Silica |
30 |
| Kaolin |
4 |
Raku RM #4 - (Nichols) cone^08 - ^06.
| MINERAL |
BY VOLUME |
| BoroSilica Frit |
50 |
| Ball Clay |
10 |
| Silica |
10 |
| Zircopax |
5 |
Raku RM #5 - (Nichols) - cone ^08 - ^06.
| MINERAL |
BY VOLUME |
| White lead |
55 |
| Silica |
25 |
| Spar |
10 |
| Ball |
5 |
| Whiting |
5 |
Raku RM #6 - (Nichols) cone ^08 - ^06.
| MINERAL |
BY VOLUME |
| Copper Carbonate |
4.5 |
| White Lead |
38 |
| Frit |
50 |
| Silica |
7.5 |
Raku RM #7 Grape Purple - (Nichols) cone ^08 - ^06.
| MINERAL |
BY VOLUME |
| Manganese Oxide |
8 |
| White Lead |
42 |
| Frit |
42 |
| Silica |
2 |
Raku RM #8 Bright Iron Red - (Nichols) cone ^08 - ^06.
| MINERAL |
BY VOLUME |
| Red Iron Oxide |
20 |
| White Lead |
20 |
| Frit |
60 |
Raku RM # 9 Yellow (for bright Yellow, add 5% iron oxide or lead chromate - (Nichols) cone ^08 -^06.
| MINERAL |
BY VOLUME |
| White lead |
30 |
| Antimony Oxide |
8 |
| Frit |
46 |
| Silica |
16 |
Raku RM # 10 Black fragments under Green - (Nichols) - cone ^08 - ^06.
| MINERAL |
BY VOLUME |
| Manganese Oxide |
70 |
| Cobalt Oxide |
10 |
| Silica |
20 |
Raku RM # 11 - (Nichols) - cone ^08 - ^06.
| MINERAL |
BY VOLUME |
| White Lead |
50 |
| Silica |
39 |
| Calcinated Borax |
11 |
Raku RM # 12 - (Nichols) - cone ^08 - ^06.
| MINERAL |
BY VOLUME |
| White Lead |
40 |
| Frit |
45 |
| Silica |
8 |
| Copper Carbonate |
3 |
Deanna's White Opaque Raku (for Black Opaque add 3% iron oxide, 2% cobalt oxide & 2% copper oxide.
| MINERAL |
BY VOLUME |
| Frit 3304 |
800 |
| Borax |
100 |
| EPK |
50 |
| Gerstley Borate |
50 |
| Tin Oxide |
8 |
Deanna's Clear Glossy Raku (add 1 1/2 % Bentonite to formula)
| MINERAL |
BY PERCENT |
| White Lead |
68 |
| Silica |
20 |
| EPK |
10 |
| Soda Ash |
2 |
Bonnie's Raku - (plastic vitrox - local low fire clay)
| MINERAL |
BY VOLUME |
| Lead |
60 |
| Gerstley Borate |
20 |
| Plastic Vitrox (P.U.) |
20 |
| Antimony |
4 |
| Copper |
0.5 |
Blueish Raku (also smoky blue with copper wash and heavy reduction).
| MINERAL |
BY PERCENT |
| Gerstley Borate |
80 |
| Neph. Seyenite |
20 |
Ralph's Yellow Raku
| MINERAL |
BY PERCENT |
| White Lead |
80 |
| Zircopax |
10 |
| Kaolin |
10 |
White Matt Raku (deJarnette)
| MINERAL |
BY VOLUME |
| White Lead |
52.4 |
| Zinc Oxide |
4 |
| Feldspar |
31.8 |
| Kaolin |
4.9 |
| Ball Clay |
4.5 |
| Silica |
2.4 |
| Tin Oxide |
10 |
No. Six Raku Orange (you can increase Selenium to 2 or 2.5)
| MINERAL |
BY VOLUME |
| Westwood Frit G 625 |
50 |
| Westwood E 421 (Selenium) |
1.5 |
| Westwood E 436 (Cadnium Yellow) |
1.5 |
No. Four Red Raku
| MINERAL |
BY VOLUME |
| S. Paul Ward Ferro Frit # 5301 |
50 |
| S.P.W. C810 Cadnium Red |
2.5 |
No. Five Richer Red Marroon Raku
| MINERAL |
BY VOLUME |
| S.P.W. 5301 Frit |
50 |
| Westwood E 4211 Selenium |
2 |
Some RAKU glazes by Gary Ferguson
Alligator - Copper Matte
| MINERAL |
BY VOLUME |
| Gerstley Borate |
8 units |
| Bone Ash |
2 units |
| Copper Carbonate |
1/2 unit |
| Cobalt Oxide |
1/4 unit |
| Optional: Cobalt Carbonate |
2% |
Alligator II - Copper Matte
| MINERAL |
BY VOLUME |
| Gerstley Borate |
4 units |
| Bone Ash |
2 units |
| Copper Carbonate |
1 unit |
| Nepheline Syenite |
1 unit |
Alkaline Blue - Torquoise where thick, Yellow where thin
| MINERAL |
BY VOLUME |
| Frit 3110 |
70 units |
| Gerstley Borate |
5 units |
| Silica |
10 units |
| Soda Ash |
10 unit |
| EPK |
5 unit |
| Copper Carbonate |
3 units |
Alkaline Blue II
| MINERAL |
BY VOLUME |
| Frit 3134 |
60 units |
| Soda Ash |
30 units |
| Whiting |
5 units |
| EPK |
5 units |
| Copper Carbonate |
3 units |
Barium White
| MINERAL |
BY VOLUME |
| Gerstley Borate |
99 units |
| G-200 |
20 units |
| Silica |
19 unit |
| Ball Clay (OM-4) |
10 units |
| Barium Carbonate |
10 units |
Barium White Crackle - ^08
| MINERAL |
BY VOLUME |
| Gerstley Borate |
60 units |
| K-200 |
50 units |
| Barium Carbonate |
22 units |
| Silica |
16 units |
Basic White Crackle - Apply thick to get bright opaque white
| MINERAL |
BY VOLUME |
| Gerstley Borate |
65 units |
| Tennesee Ball Clay |
5 units |
| Nepheline Syenite |
15 unit |
| Tin Oxide |
10 units |
| Silica |
5 units |
Beads - Matte
| MINERAL |
BY VOLUME |
| Gerstley Borate |
31.25 units |
| Borax |
25 units |
| Magnesium Carbonate |
31.25 unit |
| Silica |
6.25 units |
| Zircopax |
6.25 units |
Black Gloss
| MINERAL |
BY VOLUME |
| Borax |
10 units |
| Gersley Borate |
40 units |
| Soda Ash |
20 units |
| Nepheline Syenite |
10 units |
| Barnard Clay |
10 units |
| Cobalt Carbonate |
4 units |
| Copper Carbonate |
2 units |
Black Raku
| MINERAL |
BY VOLUME |
| Soda Ash |
21 1\2 units |
| Gerstley Borate |
43 1\8 units |
| Nepheline Syenite |
10 3\4 units |
| Barnarde Clay |
18 5\8 units |
| Cobalt Carbonate |
3 7\8 units |
| Copper Carbonate |
2 units |
Blue Black Purple
| MINERAL |
BY VOLUME |
| Gerstley Borate |
50 units |
| Nepheline Syenite |
50 units |
| Rutile |
50 units |
| Cobalt Corbonate |
4 units |
| Copper Carbonate |
2 units |
Blue Crackle - Gloss, Dark Blue, small crackle
| MINERAL |
BY VOLUME |
| Gerstley Borate |
80 units |
| Cornwall Stone |
20 units |
| Cobalt Carbonate |
6 units |
Blue Velvet
| MINERAL |
BY VOLUME |
| Gerstley Borate |
30 units |
| Nepheline Syenite |
10 units |
| Aluminia Oxide |
20 units |
| Cobalt Carbonate |
20 units |
| Rutile |
20 units |
Bob's Copper Red
| MINERAL |
BY VOLUME |
| G-200 Feldspar |
25 1\2 units |
| Gerstley Borate |
59 1\4 units |
| Frit 3110 |
8 1\5 units |
| Black Copper Carbonate |
6 3\4 units |
Candy Luster Glaze - ^06
| MINERAL |
BY VOLUME |
| Gerstley Borate |
70 units |
| Cornwall Stone |
30 units |
| Tin Oxide |
1\2 unit |
| Cobalt Carbonate |
1\4 unit |
| Copper Carbonate |
1 1\2 units |
Carbon
| MINERAL |
BY VOLUME |
| Gerstley Borate |
24 1\4 units |
| Magnesium Carbonate |
12 1\8 units |
| Borax |
32 3\8 unit |
| Rutile |
12 1\8 units |
| Red Iron Oxide |
16 1\8 units |
| Cobalt Oxide |
2 7\8 units |
Clear Crackle - Basic Crackle
| MINERAL |
BY VOLUME |
| Gerstley Borate |
65 units |
| Nepheline Syenite |
20 units |
| EPK (Kaolin) |
5 units |
| Silica |
10 units |
Copper Blue
| MINERAL |
BY VOLUME |
| Frit 3110 |
70 units |
| Gerstley Borate |
7 units |
| Silica(Silica) |
10 units |
| Soda Ash |
10 unit |
| EPK (Kaolin) |
5 unit |
| Copper Carbonate |
3 units |
Copper Blue / Bronze Raku
| MINERAL |
BY VOLUME |
| Borax |
3 units |
| Gerstley Borate |
41 1\4 units |
| Nepheline Syenite |
41 1\4 units |
| Kona F-4 Feldspar |
14 3\8 units |
| Copper Carbonate |
3 units |
Copper Crush
| MINERAL |
BY VOLUME |
| Gerstley Borate |
30 units |
| Potash Feldspar |
20 units |
| Nepheline Syenite |
50 units |
| Nickle Oxide |
1 unit |
| Copper Carbonate |
10 units |
Copper Luster - Apply Thin. Dark Cranberry
| MINERAL |
BY VOLUME |
| Gerstley Borate |
80 units |
| Nepheline Syenite |
20 units |
| Cobalt Oxide |
1 unit |
| Copper Oxide |
2 units |
| Yellow Ocher |
7 3\4 units |
Copper Luste II - Reduce in sawdust
| MINERAL |
BY VOLUME |
| Gerstley Borate |
80 units |
| Cornwall Stone |
20 units |
| Copper Carbonate |
3 units |
| Red Iron Oxide |
1 unit |
Copper Stain - Apply, wipe off with sponge leaving stain in crevice. Coat with Piepenburg clear.
| MINERAL |
BY VOLUME |
| Frit 3110 (Ferro) |
10 units |
| Copper Carbonate |
90 units |
Crusty Lusty
| MINERAL |
BY VOLUME |
| Gerstley Borate |
8 units |
| Bone Ash |
2 units |
| Copper Carbonate |
1\2 unit |
| Cobalt Oxide |
1\4 unit |
Del Favero Luster - Gloss, Turquoise, turns copper penny luster under strong redction.
| MINERAL |
BY VOLUME |
| Gerstley Borate |
80 units |
| Cornwall Stone |
20 units |
| Copper Carbonate |
2 units |
Dragon Fly
| MINERAL |
BY VOLUME |
| Frit 3134 |
45 units |
| Gerstley Borate |
40 units |
| EPK |
8 units |
| Silica |
7 units |
| Copper Carbonate |
6 units |
Dry Alligator -Matte
| MINERAL |
BY VOLUME |
| Gerstley Borate |
44 1\4 units |
| Nepheline Borate |
10 units |
| Bone Ash |
19 3\4 units |
| Copper Carbonate |
10 units |
Egg Shell Blue - Mottled blue to gold orange peel.
| MINERAL |
BY VOLUME |
| Granular Borax |
960 units |
| Gerstley Borate |
960 units |
| Red Iron Oxide |
10 units |
| Copper Carbonate |
20 units |
| Cobalt Carbonate |
30 units |
Ferguson Blue
| MINERAL |
BY VOLUME |
| Gerstley Borate |
5 units |
| Frit 3110 |
70 units |
| Silica |
10 units |
| Soda Ash |
10 units |
| Kaolin |
5 units |
| Copper Carbonate |
3 units |
Low Fire ^08 to ^06 Glaze Recipes
These glazes are adaptations of recipe's that are from the1960's, 1970's and 1980's, and were given to me by Crispin Gonzalez in my
early years at Chaffey College. Thus many of these glazes are "Lead Based", and should only be used for non functional ware and for
decoration only....( non-leaded frits should be substituted when glazing functional ware ).
^06 Base Glaze & Colour - by Ray Bub
^06 Glossy Clear Base Glaze
| MINERAL |
BY PERCENT |
| Frit 3124 (Ferro) |
85 % |
| Edgar Plastic Kaolin |
15 % |
Opaque White
| MINERAL |
BY PERCENT |
| Glossy Clear Base Glaze |
100% |
| Zircopax |
16% |
Opaque Pink
| MINERAL |
BY PERCENT |
| Glossy Clear Base Glaze |
100% |
| Zircopax |
11% |
| Mason Stain 6001 |
6 % |
Opaque Purple
| MINERAL |
BY PERCENT |
| Glossy Clear Base Glaze |
100% |
| Zircopax |
11% |
| Mason stain 6331 |
5% |
Opaque Red-rimson
| MINERAL |
BY PERCENT |
| Glossy Clear Base Glaze |
100% |
| Zircopax |
11% |
| Mason stain 6003 |
5% |
Opaque Yellow
| MINERAL |
BY PERCENT |
| Glossy Clear Base Glaze |
100% |
| Zircopax |
11% |
| Mason stain 6450 |
5% |
Translucent Orange-Mustard
| MINERAL |
BY PERCENT |
| Glossy Clear Base Glaze |
100% |
| Lite Tone Rutile |
10% |
| Mason stain 6450 |
5% |
Opaque Lite Green
| MINERAL |
BY PERCENT |
| Glossy Clear Base Glaze |
100% |
| Zircopax |
11% |
| Mason stain 6271 |
1% |
Translucent Lite Green
| MINERAL |
BY PERCENT |
| Glossy Clear Base Glaze |
100% |
| Mason Stain 6271 |
2% |
| Black Mason Stain 6600 |
0.5% |
Opaque Pale Blue
| MINERAL |
BY PERCENT |
| Glossy Clear Base Glaze |
100% |
| Zircopax |
11% |
| Mason stain 6364 |
3% |
Opaque Medium Blue
| MINERAL |
BY PERCENT |
| Glossy Clear Base Glaze |
100% |
| Zircopax |
11% |
| Mason stain 6313 |
1% |
Translucent Dark Blue
| MINERAL |
BY PERCENT |
| Glossy Clear Base Glaze |
100% |
| Mason Stain 6386 |
1% |
Translucent Brown
| MINERAL |
BY PERCENT |
| Glossy Clear Base Glaze |