Here are some wet glaze blends from the Armory Shop Glazes. Each test was mixed in a small 12 oz styro coffee cup and decanted from already mixed shop glazes with a plastic 60cc medical syringe. The recipes can be scaled to any amount (for each tile, I mixed about 30cc of glaze).
2 parts Tenmoku/1 Part Angel Eyes/ 1 Part No Man’s Black
2 Parts Angel Eyes/ 1 Part Tenmoku/ 1 Part Ohata Khaki
3 Parts Angel Eyes/ 1 Part No Man’s Black
4 Parts Tenmoku/1 Part Angel Eyes
4 Parts Angel Eyes/1 Part Tenmoku
4 Parts No Man’s Black/1 Part Angel Eyes
2 Parts Ohata Khaki/1 Part Angel Eyes
2 Parts No Man’s Black/1 Part Angel Eyes/1 Part Tenmoku
2 Parts Tenmoku/1 Part No Man’s Black
4 parts Angel Eyes/1 Part Redart Slip
1 Part No man’s Black/1 Part Angel Eyes/ 1 part Tenmoku
1 Part No Man’s Black/ I part Ohata Khaki/ I part Angel Eyes
So I wanted to see what all of my locally available commercial clay looked like in our Soda Kiln. I took 12 commercially available clay bodies tested in this base recipe to get an idea which were more likely to flash:
10 Nepheline Syenite, 10 200m Silica, 80 Clay
For good measure I threw in a few Shino glazes, and tried calcined EPK for the hell of it (I actually wanted to see if it deflocculated like the rest of them.. it didn’t really…)
From the 100g test batches, I then tested each slip/shino on Laguna 550 Porcelain, B-Mix, and Miller 510 Stoneware in 2 firings that were unfortunately pretty similar in atmosphere and soda introduction. First firing on top, 2nd on bottom. Tiles were scattered throughout the kiln, so some got blasted, others not so much. Standard body reduction and reduction firing to cone 9/10, heavy reduction during soda intro, and reduction cooling from 2300-1800F. I scanned the sides that were more interesting, or showed more variation. Hope this helps you narrow down what you might be looking for with soda fired clay slips!
Here was a basic triaxial blend we did in my Celadon Glaze class. Essentially you’re mixing proportions of 3 different colorants in a systematic way. I recommend mixing 3 x 300g cups of a base formula
For our class, we used the base recipe:
Cone 6 Wide Firing Clear
Kona Feldspar 38
Zinc Oxide 12
OM4 Ball Clay 15
After mixing up 3 cups of your base recipe, choose your oxide or mason stain colorants. Mix them in and sieve. Make yourself a chart, or follow this example:
Our 3 Colorants were Robin’s Egg Blue, Bermuda Green, and Cobalt Carbonate. The picture is self explanatory. (Note: We screwed up #11 either by adding in 80% C instead of B, or just dipping into cup #10 2x)
Here’s the newest round of slips for leather hard/stiff application. All but #7 will work for bone dry application. Not tested (yet) for bisque application. Fired to cone 10 flat in a hard reduction. Left side is super thick, right side is thinner. Clay body is a Hawthorn/Goldart/OM4 stoneware – nothing fancy.
The light is cheating these a little bit. #1,2, and 8 seem to be the whitest, with not much differentiating them. #1 seems to promote the best celadon blues, although timing is critical, because it cracked when applied to a bone dry tile. #2 seems to be a perfect middle ground in terms of versatility, cost, and whiteness. In my experience, the difference between a 50/50 grolleg/epk and a 100% grolleg clay body is negligible in cone 10 reduction. The case could be made that it really matters in oxidation – which is just now bringing to mind the need to test these in c6 oxidation.
Wow, getting back to the blog after a LONG hiatus. Will be changing some things around in the coming week, but seeing as how I keep procrastinating because the whole blog needs a revamp, I decided to say to hell with it all and just go ahead with some new and exciting round of glaze tests.