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Showing results for tags 'iron'.
Found 21 results
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Cheers! I thank you very much if anyone can consult. I don't know why in the black or red ceramic paste (which I have high temperature), my faldespatico base enamels do not cover this clay. The enamels come out with bubbles.., although in white clay they work well for me. I understand that black clays contain ox iron and manganese.. -
Notes: all test samples shown are blended at 73% clay, 12% C&C ball clay, and 15% mahavir potash as a baseline: fired in oxidation. Red body is a generic term used to describe iron bearing clays that have a red hue. There are other iron bearing clays that can present as green, grey, and black; these are exceptions, not the rule for commercial bodies. The three iron sources found in natural clay are hematite, magnetite, and iron disulfide. Iron disulfide is the common iron source in the USA and Canada; however hematite and magnetite are included because they are sourced in other countries. Hematite and magnetite are also harvested by local potters in North America. Typical iron bearing clays average between 5.0 to 8.4% of iron by weight. The tile graph below shows unglazed red bodied clays, with a locally sourced magnetite ( dark gray) sample from NY. (TY Mary) All five fire to a traditional Tera Cotta at cone 04; although there is some variance in color depth. At cone 3, enough heat is present to cause some reduction resulting in color shifts. At cone 6; iron disulfide typically turns a deep brown; magnetite is nearly black; while hematite maintains a Terra Cotta color pending alumina levels, or a deep reddish brown. The note below identifies the labels for each clay; as well as their iron source. Additional Test Note: IM (IMCO Burgundy), and RA (Red Art) contains iron disulfide as the primary iron source. Newman Red (N) is a blended material that incorporates primarily hematite. H (hematite) is a locally sourced material that is not commercially available. Magnetite (M) is also locally sourced and not available commercially. Nerd
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From the album: Clay Tests
© TJA 2020
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From the album: Clay Tests
© TJA2020
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From the album: Clay Tests
© TJA2020
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From the album: Clay Tests
© TJA2020
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From the album: Clay Tests
© TJA2020
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From the album: Clay Tests
© TJA2020
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From the album: Clay Tests
© TJA2020
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From the album: Clay Tests
© TJA2020
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From the album: Clay Tests
© TJA 2020
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Blending various blends of raw clay to set levels of titanium, iron, and calcium. The goal was to produce purple in oxidation: without the use of stains. A band of rutile was placed in the center, and Temmoku glazed over.© TJA 2017
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Hi all! The company we work with that formulates our slip is having difficulties achieving the necessary properties for casting. The issues are due to the fact that they are taking a plastic throwing body, and are trying to convert it into a casting slip. Due to the fact that we have little control of that formulation, I do not know the exact recipe for the slip. We are just curious how difficult it is to create a Mid-Range Red Casting Slip that is properly flocculated, and casts evenly with no issues. After firing, the color we are trying to achieve is a Red-Orange, preferably something that withstands thermal shock since we are creating drinking vessels. Does anyone have any recipes, or reasons why a high-iron casting slip acts weird? Thank you all for your time!
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Hi Guys, I am looking for answers everywhere........Maybe I will find it here......... I have mixed up a iron red glaze that I did not mix for a while. I used ingredients that is 10 years old and older. The end result was a flat brown instead of the rich red brown that it was before. I repeated the recipe, thinking I made a mistake, ending up with the same results. Then I thought maybe I used the wrong recipe and compared it with similar recipes getting to the conclusion that I did not make a mistake. So someone said the problem is the iron that changed over time. This was the first time I heard that in all the 36+ years I am in clay. Is that true and if so, can I fix the iron, or do I trash it? I assume that if that is true, it has to do with the oxidation process. Then someone mentioned the bone ash - artificial versus real, which raised the question with me if the bone ash may "expire", since I used the real thing. As I said: I used the exact same materials that I used on porcelain before. All these (except the silica and maybe the Custer) came from batches that I had in my studio for the best part of 15-18 years. (yes I have some valuable materials.....) The recipe is no secret, it is similar to many others available online, but the reason I want to do it again is because over time some of the plates that I glazed with it, wore off, which told me that there is maybe not enough silica in this recipe. So I want to alter it some, but first need to make sure I have the color right. Ralph’s Terracotta. Custer F. 41 Talc 9 Bone ash 13 Lith Carb. 2 Kentucky Ball clay 13 Silica 13 Add: Iron ox 9 Ideas please........... PorcelainbyAntoinette TeachinArt
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HI, I have some slightly pink clay with (iron?) rocks which generally crush up in the mixing process. I am using it to low fire 30cm flat +-5mm tiles in a sawdust firing without bisquing first. Firstly, how fine do these particles need to be? Can I get away with a 5mm mesh or will sediment this big blow up piece in firing? (given that I am only firing low and it is not functional ware?) or do I really need to get all the lumps out?? Secondly - I found a page that recommends about 1.85 specific gravity for slip casting. Any thoughts? Thirdly, does anyone have tios or useful videos of how to keep temp rising fairly slowly to reduce thermal shock. I have ref. bricks that I am making a rectangle with and using a piece of reo. bar to hold tiles vertically off base so they don't fall and break. Doesn;t matter if some break as I can put those on the base of this conceptual installation piece. Making +- 300 tiles. Fourthly - to defloc or not?? I have sodium silicate - am pouring a 1.5 sq metre area and then cutting up tiles... Yes, I am on a steep learning curve here! Assistance gratefully received. Cheers, Fiona -
Hi! I am super beginner in making pottery. I'd like to make a pot thin but hard like metal. I've found a pot in a garbage looks like this https://cookniche.com/Photo.aspx?name=MitchiburgCeramics&IDservice=11440 it seems like it has irons on the surface. Would these irons make the pot harder? or is this only for decorating the surface? could you let me know any other ways to make a pot harder? thanks! -
From the album: Ceramics Fall 2016
I made 4 similar mugs from the recycled clay and iron filings in a glaze called moonlight. I have learned that a little goes a long way for the iron filings, and next time I think I will use less. Most of the filings came through on the inside of the cup, rusting slightly but covered thinly by glaze. Does any one else have experience with using too much iron filings? Do you feel it causes any safety hazards to the average human? -
Hi guys, I am fairly new to ceramics and to this community. I wanted to ask if anyone had experiences/knowledge around sprinkling iron filings on pots with wet surfaces - right after glazing. Is it food safe? I know that there are glazes with high iron content but wanted to achieve a uneven effect with bigger speckles. This idea came about while watching and reading about a father and son potters from K. H. Wurtz. Here's a link of the video: On their website under their bio they mention the use of iron filings sprinkled on pots too. Any information about temperature, type of glazes, type of clay and their effects would be much appreciated. Regards, Jason
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I want to make a thicker iron oxide for brushing onto my pieces. First off its a complete mess when mixed with water. Second all the iron particles end up at the bottom unless you are continually stirring which still makes for an inconsistent tone and tint of the application. What is the general rule for getting suspension of particles in a water based stain / glaze / etc... a frit? I'm firing at cone 6 always and cone 04 for bisque. The application will be on bisqueware not greenware.
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I was experimenting with some Hakame and made a brush from grass broom bristles which seems to be fine as far as the tool is concerned (the synthetic broom bristles might be an interesting alternative too as you could space them out and create a "comb"). The issue that I ran into is that instead of doing it with slip I am doing it with glaze. It turned out pretty interesting but I'm not getting the flow that I want which is in the second photo. Any tips on getting that type of flow? The color pallate that I"m working with is exactly what I want and using another slip I might consider eventually but I'm trying to stick with working with minimal amount of variables at this time.
