GLAZE WORKSHOP

Remember! Working with different clays means that different glazes will applying and fire.

For stoneware clay thicker glazes are needed. I am working with Earthenware clay. You also need to be conscious of the ingredients that are included in your recipes- for example do not use poisonous ingredients on tableware, because if someone eats or drinks out of this piece they could become poisoned and seriously unwell, so always check what ingredients are in your glazes before applying to your work. When you have mixed with troublesome ingredients, be sure to attach the correct sticker on to your jars containing your glazes in order to let people be aware of the risks.

Using Oxide pigment on your glazes allows you to create detailed drawings on your objects.

(Note: Research into honey glazing, lead based glazes and lusterware gold)

There are a few different ways in which you can actually glaze your objects. One of those techniques is called RAKU (It’s pretty cool!). This style of glazing is conduct outside where you use a gas kiln. There must always be at least two or more people present when firing RAKU, as it can be rather dangerous and difficult to conduct it alone. When the kiln has finished, you take out your items whilst they are at their peak of heat, and then you throw them into a bin that is filled with combustible materials. Put the lid on the bin. By doing this, the smoke from the materials that have burned away beside your object stain your piece. The smokes from these burns then get trapped inside your object and they give a brilliant crackled effect:

raku glaze ex

Another way to glaze your object is by smoke firing. A little similar to Raku, however the objects are burned directly rather than the smoke being trapped in cracks on your piece. Once again combustible materials are used. Using a mould, you press it until it is taught, and using a decorative slip. This techniques dates back to thousands of years (ancient) where they used a pit they made in the ground. This way of glazing causes the ceramic to have smoke stains which give a beautiful smoky affect to the glaze. (Note: research into beeswax glaze).

MIXING UP THE GLAZES: (Get yourself some tasty books out)

IMG_1695

When mixing, it is usually done with dry weight.

100ml of water equals 100g of power.

1kilo of glaze is 1L.

When mixing up the glaze and using the powders, you must always wear a dust mask. If you find yourself mixing up a lot of glazes it is probably best to invest in your own mask, with a P2 filter. Have at least 2-3 bowls, one containing 100ml of water, warmer water helps the ingredients to mix together better. On the scales, place your other bowl on there and set the weight to 0. Measure out each percentage of each ingredient separately. Once you have measured out one ingredient, place it in the water. Then move on to the next one. Once all the ingredients are in the water, you can remove your mask. There are filters made and kept in the glaze room, which you are able to use, usually using the 100 civ. Once all your ingredients are mixed and stirred well in the bowl, use two wooden sticks over the bowl to place your civ on top. Pour through your mixed glaze and use a brush to push through and excess liquids and separate the clumps. Once you have done this part your glaze is all mixed and ready to pour into clean jars with secure lids. Once you have put your glaze in the jars you MUST apply to correct labels clearly stating the correct danger hazards alongside a sticker labeling the ingredients used, name and student number, level and the date.

Once you have finished with your glazes and no longer need to use them, take them down to Matt in ceramics and he will dispose of them correctly. When using the glazes, do not put any of the mix down the drains.

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