^10 - light reduction glazes

I am assuming that the studio itself does not have glazes that you like. It would help to know what you find attractive. I would stay away from copper glazes because what you will be getting is a mix of green to gag me blood liver. Iron glazes can still work nicely but it depends on what you are looking for with them. Celedon (iron) will be tricky. Most cobalt glazes will still give you the same blue (lavender/purple) regardless of the reduction. Rutile will still do beautiful things regardless of the reduction level.

Can you tell us what glazes you like (at least what oxides are in them), what color it is that you like. Reduction is going to vary with location in the kiln. If you are allowed to help load, find out where the high reductions spots are and put your pots with glazes that require reduction in those places (I would still avoid copper glazes though). The problem with light reduction is that glazes formulated to look reduced in oxidation firings generally don't work well in reduction.

Sorry, mostly thinking out loud here.

Go to the list server

have a larger population. You can also do a search - just discovered their search link is broken so go here. came up with this one for example. "Here's a reliable Cone 10 glossy oribe that is a lovely jade green breaking to blue where thick:

FLINT 24.66% WHITING 21.83% CUSTER (POTASH) FELDSPAR 30.12% EPK 12.28% TALC 7.6% BONE ASH 1.07% COPPER OXIDE BLACK 2.44%

We get lovely color in atmospheres from neutral to light reduction (heavy reduction is not necessary).

A very reliable glaze!

Ellen Baker, Orion snipped-for-privacy@telcomplus.com "

Good luck, Donna

Donna, thanks for the "thinking out loud" comments. At the studio I used to be at, which was a community studio, we used a variety of glazes such as yellow salt, leach white, cd black, cobalt green, copper red, tomato red, green and amber celedons, coleman purple, temmoku, gold shino, a plain shino, slate blue, blue jeans, and a couple others glazes which I cannot immediately recall.

In our recent test batch (at the "new" studio), the leach white, cd black, temmoku, blue jeans, and cobalt greens turned out ok, but all the other glazes turned out rather dismal. These results were not unexpected, but we wanted to try them anyways. The studio owner put the tiles in the part(s) of the kiln where he thought there was greater amounts of reductions.

The "new" studio uses a lot of bone ash glazes and tends to airbrush/spray his glazes on his pieces. In the past, I have either dipped or on occasion painted my glazes on my pieces. I am hoping to develop my own color palette but do not have a lot of experience with glaze chemistry or glaze mixing. I recently started reading John Britt's "High-Fire Glazes," but was interested in what others experienced with glazes formulated for light-reduction. (i.e., what works well, and what does not; what to stay away from; etc....)

I guess in other words, I liked some of the brighter colors like copper red, coleman purple, blue jeans, etc..., but know that they will no longer work the same way. So...

Thanks.

Rick

5string wrote:

A lot depends on how light is their light reduction. In general, all the cobalt blues should do fine, and the rutile blues may work as well, particularly if you put them in the areas of the kiln that get the best reduction. They will be deeper, more intense in color with more reduction. Copper greens like Oribe, Ayumi,Willie Helix, can do well in light reduction, but you should do a bunch of test tiles and put them throughout the kiln to find out where they work best. The Kakis like Tomato Red should work and tenmokus may be OK in light reduction. The Mashiko type brownish reds may work as well. The celadons usually need more reduction; but I would choose a celadon that goes blue in oxidation as opposed to one that goes yellow. That way, even if it doesn't reduce you get a color that is useable and saleable. If you're lucky you might get the robins egg blue color with flashes of red. The barium yellows need good reduction to develop color, so I would probably avoid those. All whites and oatmeals and light tans should do fine. Instead of copper reds, you might want to try a chrome/tin red in the most oxidizing part of the kiln (probably the lowest part of the kiln toward the front), It might work. Again, it depends on when and how much they are reducing. Ash glazes and fake ash glazes should work as well. Some people only reduce early to get body reduction and keep the firing neutral till the end when they do a bit more reduction. So, not knowing their schedule, the best advice I can give is to make a bunch of test tiles and put them in various parts of the kiln to see if they will work for you and where they might work. You may find that the same oribe will be fine on the lower shelf, in front but may go a bit liver red in the hotter, more reducing parts of the kiln.

Regards, June

laguna clay sells turquiose matt which is some barium-bone ash thing that works well across several cones & reduction levels. it results in a corroded copper time verdigris.

i've noticed tenmoku as a base glaze with rutile red or blue over it works very well.

fire hot? find the hot spot in that kiln & try to sit your pieces there?

see ya

steve

snipped-for-privacy@aol.com wrote:

You might try introducing some silicon carbide triple fine grain to the glaze for local reduction... This stuff is very reactive and heavy.. so use only a small percent (1/4 % to 1%) and mix the glaze very well and use it immediately... Russ Andavall