Underglazes....
Cheryl L Litman
After all the uproar about checking books first, I've been afraid to ask
this question, but here goes - why use underglazes rather than glazes
(lowfire). What do they give in terms of application and color that you
don't get from glazes?
Thanks,
Cheryl Litman
Somerset, NJ
email: cheryl...@juno.com
On Sun, 4 Oct 1998 15:26:59 EDT Hank Ray <Hel...@aol.com> writes:
>----------------------------Original
>message----------------------------
>Hello
>
>i have been meaning to post some thoughts about underglazes at high
>temps for
>awhile....
>
>w/the recent post regarding underglazes fired to cone 5, i thought it
>might be
>interesting for some clayarters out there....
>
>underglazes are usually used at cone 04 or 06 - in low fire
>aplications...
>but, we have been using them at cone 10 reduction with very
>interesting
>results: ...the colors change quite a bit.....
>
>THIS IS WHAT WE DID:... we took bisqued stoneare cylinders and
>painted
>stripes from top to bottom with various underglazes.... then we clear
>glazed
>the bottom half of the cylinder... this enabled us to see the result
>of the
>underglaze under a clear cone 10 glaze and at cone 10 w/out a glaze...
>
>THE RESULTS WERE: ... many colors and effects that can be painted on
>bisque
>for high firing and then clear glazed....and, many underglazes by
>themselves
>produced interesting effects.. some actually looked like glossy-ish
>glazes and
>some looking like soft pale matt glazes.... some remained their
>original
>colors and some changed dramatically...
>
>i had a visiting artist from czech interested in my test results...
>she
>decided to use the underglazes on some sculptural pieces w/out an
>overlaze and
>did some wonderful things with them.....
>
>i haven't seen many people play with this... and some potters who
>don't even
>know what they (underglazes) are...
>
>pete..... just sharing...
>
>peter coates..... city art center..oklahoma city ok.....
>hel...@aol.com
>www.cityartscenter.com
>
>P.S. used them on greenware before bisque with no difference in
>effect...
>also works well (if not better) on porcelain.........
>
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Greg Lamont
>----------------------------Original message----------------------------
>After all the uproar about checking books first, I've been afraid to ask
>this question, but here goes - why use underglazes rather than glazes
>(lowfire). What do they give in terms of application and color that you
>don't get from glazes?
>
>Thanks,
>Cheryl Litman
>Somerset, NJ
>email: cheryl...@juno.com
>
>On Sun, 4 Oct 1998 15:26:59 EDT Hank Ray <Hel...@aol.com> writes:
>>----------------------------Original
>>message----------------------------
>>Hello
>>
>>i have been meaning to post some thoughts about underglazes at high
>>temps for
>>awhile....
>>
(rest snipped for brevity)
Hi Cheryl,
I can answer this as the experience applies to me. Last year I had the
valuable experience of doing research for the underglazes that were used by
Ingrid Lilligren, Prof. of Ceramics here at Iowa State U., on a large
ceramic mural she was commissioned to make for the new Extended Learning
Facility at the Armstrong Research Farm near Atlantic, Iowa. We concocted
a recipe using equal percentages of Frit 3110, EPK, and Mason Stains, with
liquid laundry starch as the vehicle. This gave a consistency almost like
paint that allowed a long working time. Much longer than would generally
be the case with glaze. We were able to blend colors and achieve truly
"painterly" effects. Also, like paints, the after-fired color of the
stains tends to remain pretty much as it was at the time of
application--unlike glazes colored with raw oxides, which generally look
vastly different after firing. The color is uniform, opaque, and flat.
We then used a very transparent cone 04 gloss clear glaze over the top.
I'm still doing color research on these underglazes. I'd be happy to tell
you more about it, if you're interested.
Regards,
Greg Lamont
3011 Northwood Dr.
Ames, Iowa 50010-4750
515/233-3442
gdla...@iastate.edu
tmartens
Cheryl, underglazes can give you an incredibly wide selection of
colour and can also produce a water colour look I have not been able to
manage with glazes. You can get very fine detail and it is not as
picky as onglaze in that you don't need many firings to produce a
multi coloured layered look.
They are very versatile and if you know your colours, you can still
get good strong colour at ^8
If you make a mistake with the
painting on bisque, you can wash it off which is a plus, but it does
save time to paint greenware and thus avoid doing two bisques.
For myself, I must admit that I pefer the traditional glazes, but a
lot of my customers want the work I do with underglaze and money is
not so thick on the ground that I feel I can give it up just yet : (
Toni,
( I will not tell you about the heat in Durban today, it would
upset sensitive readers!)
----------------------------Original message----------------------------
After all the uproar about checking books first, I've been afraid to ask
this question, but here goes - why use underglazes rather than glazes
(lowfire). What do they give in terms of application and color that you
don't get from glazes?
Thanks,
Cheryl Litman
Somerset, NJ
email: cheryl...@juno.com
On Sun, 4 Oct 1998 15:26:59 EDT Hank Ray <Hel...@aol.com> writes:
>----------------------------Original
>message----------------------------
>Hello
>
>i have been meaning to post some thoughts about underglazes at high
>temps for
>awhile....
>
Vince Pitelka
>After all the uproar about checking books first, I've been afraid to ask
>this question, but here goes - why use underglazes rather than glazes
>(lowfire). What do they give in terms of application and color that you
>don't get from glazes?
Cheryl -
Commercial underglazes are basically just engobes - clay-slip mixtures with
added fluxes and non-plastics to make them "fit" a bone-dry or bisque-fired
wares. Since they are mostly clay, they are much more refractory than a
glaze, so they tend to stay in place, even if a clear glaze over them shifts
or runs a bit. In contrast, if the designwork is done with glazes, or with
overglaze colors, if the glaze shifts the design work moves with it.
As was mentioned in an earlier post, many low-fire underglazes can be used
at high fire, but some will start to flux out as a glaze. They should still
be more stable than your average high-fire gloss glaze, and therefore should
work well by themselves or in the normal underglaze application. One must
keep in mind however, that many clear glazes will erode into the underglaze
surface quite a bit, so a thicker than normal coat may be required if one
wants dense, solid color.
Good luck -
- Vince
Vince Pitelka - vpit...@DeKalb.net
Home 615/597-5376, work 615/597-6801, fax 615/597-6803
Appalachian Center for Crafts
Tennessee Technological University
1560 Craft Center Drive, Smithville TN 37166
Timothy Dean Malm
greetings: Having used underglazes since 1975 when Patti Warashina
introduced me to them while working on a BFA with her. To me their
greatest benifit isthat they can go on greenware or biscuit.plus their
stationary nature. If you want a hard as glass edge underglazes is the
way to go. Cheers, Tim Malm
Richard Ramirez
Dear Greg:
I have a few questions you might answer for me if you wish, about the
underglazes you described to us on Clayart.
1. Are they applied on bisque or green-ware? 2. What brand of liquid starch
did you use? 3. Did you say it was equal percentage of each material, 3110,
EPK, and mason stains? TIA. R12...@aol.com Richard Ramirez 'The Clay Stalker"
Toni Hall
Greg Lamont wrote:
> Hi Cheryl,
>
> I can answer this as the experience applies to me. Last year I had the
> valuable experience of doing research for the underglazes that were used by
> Ingrid Lilligren, Prof. of Ceramics here at Iowa State U., on a large
> ceramic mural she was commissioned to make for the new Extended Learning
> Facility at the Armstrong Research Farm near Atlantic, Iowa. We concocted
> a recipe using equal percentages of Frit 3110, EPK, and Mason Stains, with
> liquid laundry starch as the vehicle. This gave a consistency almost like
> paint that allowed a long working time. Much longer than would generally
> be the case with glaze. We were able to blend colors and achieve truly
> "painterly" effects. Also, like paints, the after-fired color of the
> stains tends to remain pretty much as it was at the time of
> application--unlike glazes colored with raw oxides, which generally look
> vastly different after firing. The color is uniform, opaque, and flat.
> We then used a very transparent cone 04 gloss clear glaze over the top.
> I'm still doing color research on these underglazes. I'd be happy to tell
> you more about it, if you're interested.
>
I would like to hear more. For example, what cone were you firing to?
What
kind of clay were you using? What kind of glaze were you using?
I have tried several types of clays, glazes ( clears, and as overglaze
on
white majollica), and color mixtures (Velvet underglazes, oxides, and Mason
stains). Overall, the results have been disappointing, but I usually try to
fire to cone 6 and I know that mid to high fire can be a problem. I have
actually had some luck with Duncan EZ strokes as overglazes on majollica,
fired to cone 6. But overall, I am still not where I want to be and I am
still looking. So I would like to hear more about your work. Thanks, Toni
D. McDysan
I thought that only Amaco Velvet Underglazes can go on both greenware and
bisque and all other underglazes work on greenware only. It seems to me I
tried applying other underglazes a long time ago to bisque and they cracked
and flaked off. What's the consensus?
Debbie McDysan
Kelley Webb Randel
Dear Greg,
I'm very interested in your under glaze applications! Should I email you or
will you post them? Thank you for all your information and sharing.
Kelley Webb Randel
Raku gd...@aol.com
Pamela & Evan Kohler-Camp
>So Greg,
If you had shared the formulas, I missed them. (I'm still new!) Could
youplease post them? I have a project on the back burner until after the
Christmas rush. But I still keep experimenting! It would be a great help to
share your experiance and knowledge. TIA
Pamela in Atlanta,Ga,USA
Greg wrote to Cheryl:
>I can answer this as the experience applies to me. Last year I had the
>valuable experience of doing research for the underglazes that were used by
>Ingrid Lilligren, Prof. of Ceramics here at Iowa State U., on a large
>ceramic mural she was commissioned to make for the new Extended Learning
>Facility at the Armstrong Research Farm near Atlantic, Iowa. We concocted
>a recipe using equal percentages of Frit 3110, EPK, and Mason Stains, with
>liquid laundry starch as the vehicle. This gave a consistency almost like
>paint that allowed a long working time. Much longer than would generally
>be the case with glaze. We were able to blend colors and achieve truly
>"painterly" effects. Also, like paints, the after-fired color of the
>stains tends to remain pretty much as it was at the time of
>application--unlike glazes colored with raw oxides, which generally look
>vastly different after firing. The color is uniform, opaque, and flat.
>We then used a very transparent cone 04 gloss clear glaze over the top.
>I'm still doing color research on these underglazes. I'd be happy to tell
>you more about it, if you're interested.
>
Greg Lamont
Richard,
In reply to your questions:
1.) I've only applied them to bisque, but I dont see why they couldn't be
applied to greenware. Sounds like some testing is in order. 2.) I used
Sta-Flo brand. 3.) Yes. 33.3% Frit 3110, 33.3% EPK, 33.3% Mason
Stain--or 16.65% each of 2 different stains. When I mixed up the 100g.
tests, I used a "coffee measure" scoop
to measure out the laundry starch. Three scoops gave a consistency of thin
yogurt. Sorry I cant tell you how much the coffee measure scoop held.
Greg
Greg Lamont
At 09:05 AM 10/7/98 EDT, you wrote:
>----------------------------Original message----------------------------
>> Hi Cheryl,
>>
>> valuable experience of doing research for the underglazes that were used by
>> Ingrid Lilligren, Prof. of Ceramics here at Iowa State U., on a large
>> ceramic mural she was commissioned to make for the new Extended Learning
>> Facility at the Armstrong Research Farm near Atlantic, Iowa. We concocted
>> a recipe using equal percentages of Frit 3110, EPK, and Mason Stains, with
>> liquid laundry starch as the vehicle. This gave a consistency almost like
>> paint that allowed a long working time. Much longer than would generally
>> be the case with glaze. We were able to blend colors and achieve truly
>> "painterly" effects. Also, like paints, the after-fired color of the
>> stains tends to remain pretty much as it was at the time of
>> application--unlike glazes colored with raw oxides, which generally look
>> vastly different after firing. The color is uniform, opaque, and flat.
>> We then used a very transparent cone 04 gloss clear glaze over the top.
>> I'm still doing color research on these underglazes. I'd be happy to tell
>> you more about it, if you're interested.
>>
> I would like to hear more. For example, what cone were you firing
to? What
>kind of clay were you using? What kind of glaze were you using?
> I have tried several types of clays, glazes ( clears, and as
overglaze on
>white majollica), and color mixtures (Velvet underglazes, oxides, and Mason
>stains). Overall, the results have been disappointing, but I usually try to
>fire to cone 6 and I know that mid to high fire can be a problem. I have
>actually had some luck with Duncan EZ strokes as overglazes on majollica,
>fired to cone 6. But overall, I am still not where I want to be and I am
>still looking. So I would like to hear more about your work. Thanks, Toni
>
Not sure how well this formula would work at cone 6. Some stains are prone
to burning out or changing color at high temps. The underglaze was fired
to cone 04 on an earthenware body:
65% Redart Clay
20% Hawthorne Bond fireclay (use 50 mesh to avoid white specks)
5% Ball Clay
10% Talc
add:
1% Bentonite (Mix with water first before adding other ingredients to
ensure proper
dispersal. Use a drill or Jiffy mixer.)
1/2 cup Barium Carb. per 100 lbs dry ingredients to prevent scumming.
The clear overglaze:
45% Frit 3124
25% Gerstley Borate
25% Nepeline Syenite
5% Silica
See other post today on Clayart to Richard Ramirez for more info.
Regards,