blackthorn

The next test will be using cling wrap fastened securely to a substantially supportive substrate. Printing then dusting that. Unfastening the cling wrap and transferring the image to one of my thrown forms, taking advantage of its incredible flexibility.

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Thank you Peter! I hope my short version matches your expectation.

Thank you Callie! Absolutely! I've been using multiple colors and have in mind to create a 3 or 4-color separation of the attached. Keeping the slab moist without blurring existing image content is the trick.

Short version here, although I'm working on a detailed How To. I'm printing on acetate, which is completely resistant to ink absorption. Dusting 50/50 Mason Stain/ Gerstley Borate or Mason Stain/Frit 3124 through a screen onto the wet ink. Tapping and blowing off the excess and applying to a semi-moist slab. Carefully burnishing by hand, occasionally lifting a corner to check progress. Repeating burnishing as necessary.

After seeing the shortcomings of Cyanotype on clay at high temperatures, I've been casting about for another (non-toxic) way to get continuous tone imagery onto the ceramic surface. I've been fiddling with dusting inkjet outputs with oxides or Mason Stain onto moister than leather hard slabs. Attached are some recent results. The process still requires more contrast in the working images than I want to end up with but it's getting close. They don't photograph particularly well since they change considerably with the viewing angle. I like the 'relic' nature of them. Sometimes l leave them out in the wild for some adventurous soul to stumble upon with delight and/or wonder ( I hope).

I was lucky enough to acquire a very decent homemade wheel and a Skutt kiln from a fellow potter who was moving and couldn't take it with him. Sadly I didn't have room enough for his homemade pug mill. I use the wheel just for trimming since my other wheel was the very opposite of free. I'm still coin hunting so I can pay for the 220 wiring for the Skutt. Soon, though.

I recall seeing this woman's extensive pursuit of additions to clay bodies. Plus I did buy her book. So, maybe this will have some useful information: https://ceramicartsnetwork.org/pottery-making-illustrated/pottery-making-illustrated-article/In-the-Studio-Supersizing-Clay-Bodies#

Peter- I agree with your suspicion that the iodine will burn out. The iron from a typical cyanotype is tenuous enough in high fire, so my expectation is for it to vaporize. Otherwise, I've been working with over exposing regular cyanotype to the point of solarization. It's an interesting look on bisque but I've yet to see how it will survive cone 10. Today's test is below, and is my commentary on the past two years.

I'm still chasing processes for imaging on clay and have come across another process. Much like standard cyanotype but uses Ferric Ammonium Oxalate instead of the Citrate form and, it subs Anhyrdrous Ferric Chloride instead of Potassium Ferricyanide. So far, still using Iron salts. However, after a lengthy exposure, it is developed with Potassium Iodide instead of plain water. The fellow who introduced me to the process says the Iodine seems to replace the Iron, which is not an encouraging outcome for my purposes in firing. I'm going to test it anyway, but meanwhile, I'm wondering if any here have ever used Iodine in any formulas. Other than medically of course. I've attached an example of my comrade's process on glass.

Been a while since I was able to squeeze one of these into a firing. Here's the latest test. Exposing the cyanotype twice is helping keep the image from fading so much. Next step is spraying a clear glaze over it to see if that will keep the image from evaporating during Cone 10 firing. Leda is just so so and the swan is fading, so I also think a less contrasty negative and a third exposure to build up the iron. We'll see.

A belated posting on this topic. Before and after of cyanotype on bisque - and re-bisqued. My next test will be reprinting and re-firing, however many times needed to get the iron to build up into a less subtle image.

From what I found in my research on slumping glass onto ceramic substrates: Fire the kiln to a temperature between 1200 to 1300°F (648.9 to 704.4°C), keeping an eye on the glass through the peephole. The glass will begin softening and turn glossy when the temperature nears 1000°F (537.7°C) and start slumping as it nears 1200°F (648.9°C). Sadly, I think this is much higher that the silver in Liquid Light can endure but have yet to confirm this. It will likely dissapate above 1000ºF. It's on my list to test but will require dedicated kiln time at the school and we're in the middle of a term with students scrambling like ferrets to have their work fired. Still, sounds interesting and I'll pursue it as time permits.

From earlier today. This will bisque to a light toasty brown. Any higher and it will dissipate completely.