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atanzey

Floating Blue

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I've been in search of a floating blue that works for me.  I've tried about three variations of basically the same formula, and the most recent has produced the best results.  However, it apparently crackles.  (Ping!)  Not visibly, but audibly.  I wanted some opinions (and this is usually a great place to get them) about whether the crackle is likely a function of the movement that creates the floating effect?  I suspect that if I put this formula into Insight and manipulate it to get rid of the crackle, I might also get rid of the 'float'.  Any thoughts, anyone?

 

Alice

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While we are on this topic, what is the mechanism that creates the floating effect?

 

I can't answer your question directly but you could always "try it and see".

In the end, no matter what anyone tells you here you are going to have to try it anyway so you might as well jump in.

 

Please let us know the results,

Ben

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Weeeeellll....  I don't HAVE to try it - what I'm using works, as long as you don't mind the occasional PING!  And I only use it on the outside of funtional ware, so I don't feel like there's a sanitary issue, (and please, don't anyone jump into THAT aspect here!).

 

But realistically, I probably WILL try it.  My other three glazes I've developed in Insight have made me very happy, so I'm inclined to play some more!  I'll try to remember to post some results here, if I do.

 

Alice

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That ping is not necessarily the glaze crazing, and isn't necessarily a bad thing. Does it ping for just a few days, or forever?

 

Here's my thought on floating blue, and I don't mean to offend anyone, I'm merely trying to get you to think about your work:

Why do you want to use floating blue? If you go to just about any art fair in the country, you'll find someone using a version of floating blue. Go to just about any community studio in the country that fires to cone 6 and you'll find floating blue. And it's been that way for years and years. It's one of the most popular glazes ever formulated, and in my opinion it's been used to death. Yes, it can be a nice glaze, but there a millions of nice glazes out there that will cause less headaches, and make your work more unique. Just a thought. :)

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Now that you mention it, I think it might be just while it's cooling, but I'll have to think more on that later, when I've actually carried something into the house and put it on the counter!  So, yes, it's not like the serious crazing I was getting with some badly fitting glazes, but it IS releasing some potential energy.

 

No offense taken, here at least.  The reason is basic - I like it.  There's a look I'm going for (first attempt in my avitar) that I want for my own dinnerware, as I aquire that much skill.  After that, I may never bother, if it's a pain!  I guess a secondary reason, for me, is that it's proven to be more of a challenge than I expected, so I keep 'trying'.

 

Good thoughts though - I'm already working toward eliminating a glaze that I REALLY like, simply because it's a pain to work with.  I also have to learn some more interesting layering techniques, but I'm getting some basic colors developed that give me hope for the future!

 

Alice

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