marcello Posted November 1, 2015 Report Share Posted November 1, 2015 Hello, I am testing some oxblood glazes on tea bowls. I am trying to have the red where the bowls are reduced and green where they are oxidized, just like the one i am posting here. In my versions, the areas are not reduced are always transparent/colourless. Do you think it is a problem of chemistry or a firing problem? Looking at the color clay of this bowl, It seems it is fired with a light reduction. Do you agree? If I use an iron-bearing clay, it comes much darker after reduction. many thanks Marcello Link to comment Share on other sites More sharing options...
Callie Beller Diesel Posted November 2, 2015 Report Share Posted November 2, 2015 This bowl looks like the iron from the stoneware is colouring the clear part of the glaze, where the copper has burned out. That's why it's turning that greenish shade. More iron from a darker clay=more green. Link to comment Share on other sites More sharing options...
marcello Posted November 2, 2015 Author Report Share Posted November 2, 2015 in my tests using a iron bearing clay does not produce a green... but a black. the clay also becomes much darker.... Maybe the reduction should be lighter? Link to comment Share on other sites More sharing options...
Marcia Selsor Posted November 2, 2015 Report Share Posted November 2, 2015 I have gotten green and red in ^6 reduction using Panama Red from John Britt's article in CM . Will post a photo. Here are some recipes from his article. GLAZE RECIPES Cone 6 Reduction from John Britt JEFF’S RED 1 Cone 6 reduction 41.90 Potash Feldspar 26.20 Silica 8.40 Whiting 8.70 Dolomite 13.00 Ferro Frit 3134 1.70 Zinc 4.40 Barium Carbonate 0.50 Copper Carbonate 2.60 Tin Oxide 1.00 Bentonite PANAMA RED Cone 6 Reduction Can go green on Porcelain where oxidized. 45.50 Potash Feldspar 16.30 Silica 2.70 Whiting 2.70 Kaolin 8.00 Dolomite 11.00 Gerstley Borate 10.00 Ferro Ferro 3110 4.30 Strontium Carbonate 2.70 Zinc Oxide 2.70 Tin Oxide 1.80 Copper Carbonate Cone 6 Copper Red Cone 6 Reduction 43.70 Ferro 3110 21.00 Silica 15.10 Kaolin 1.00 Whiting 4.20 Dolomite 9.40 Gerstley Borate 1.90 Zinc Oxide 2.00 Tin Oxide 2.00 Copper Carbonate Selsor Copper Red Cone 6 reduction 56.25 Nepheline Syenite 12.50 Gerstley Borate 10.41 Whiting 20.83 Silica 1.5 Tin Oxide 0.8 Copper Carbonate from John Britts alteration in CM Oct. 2009 or 10 some glazes had errors and were corrected in Nov.issue. Selsor Oribe Cone 6 reduction This is a green glaze that John developed from the above red. 56.25 Nepheline Syenite 12.50 Gerstley Borate 10.41 Whiting 20.83 Silica 1.0 - 5.00 Copper Carbonate Link to comment Share on other sites More sharing options...
marcello Posted November 2, 2015 Author Report Share Posted November 2, 2015 Thank you Marcia! can I please see also the foot of your nice work? Any additional info about the firing schedule would help. I will certainly try, even if I fire at cone 10. Certainly with a lower temperature the iron bearing clay should come out lighter. I have tested some britt's oxblood at cone 10- Some of them are really good (I am posting an example) but they come colorless where copper hasn't turned red. I am thinking also what would happen adding a little iron in the glaze, How knows if it would effect the reduction? If copper burns away, maybe a little iron would keep the glaze green. It would be a celadon maybe? Link to comment Share on other sites More sharing options...
neilestrick Posted November 2, 2015 Report Share Posted November 2, 2015 That is not an area of oxidation. The area where it is not red has most likely had the copper burned out by contact with the flame in the kiln. It is going green because of the iron in the stoneware clay. Technically, the glaze there is clear, not green. Put your pots near the edge of the shelf where they are likely to contact the flame and you'll be able to get this effect. Link to comment Share on other sites More sharing options...
Callie Beller Diesel Posted November 2, 2015 Report Share Posted November 2, 2015 If you're looking for copper reds, many an undergraduate student is advised to start with a celadon base glaze and add copper. Celadons were traditionally used on stoneware clay (think Koryo dynasty in Korea), not red clays. A tiny amount of iron from the clay body leaching into the glaze is the source of the green. If you start adding it to the glaze itself, it becomes too intense very rapidly. In my experience, the iron will overpower the copper. That's not to say you won't get an appealing colour of some kind, it just won't be the effect you're looking for here. Link to comment Share on other sites More sharing options...
TJR Posted November 2, 2015 Report Share Posted November 2, 2015 If you're looking for copper reds, many an undergraduate student is advised to start with a celadon base glaze and add copper. Celadons were traditionally used on stoneware clay (think Koryo dynasty in Korea), not red clays. A tiny amount of iron from the clay body leaching into the glaze is the source of the green. If you start adding it to the glaze itself, it becomes too intense very rapidly. In my experience, the iron will overpower the copper. That's not to say you won't get an appealing colour of some kind, it just won't be the effect you're looking for here. Diesel; Let me get this straight. Do you begin with a Celadon glaze that already has 2% iron in it, or do you get the iron from the clay body and the copper is added to a plain clear glaze to get the copper red? TJR. Link to comment Share on other sites More sharing options...
marcello Posted November 2, 2015 Author Report Share Posted November 2, 2015 thank you, a lot of informations for my tests! About the clay, what is your opinion on how to get a yellow clay after a reduction firing? I get this color only in oxidation, and i get a dark brown in reduction.... thanks Marcello Link to comment Share on other sites More sharing options...
bciskepottery Posted November 2, 2015 Report Share Posted November 2, 2015 Consult with the place you buy your clay from, or the manufacturer's web site . . . they often have samples of clay bodies fired in both reduction and oxidation. The look in reduction will be determined by the composition of your clay body and how the materials change as they go through that oxygen-starved firing segment called reduction. Link to comment Share on other sites More sharing options...
Marcia Selsor Posted November 2, 2015 Report Share Posted November 2, 2015 Thank you Marcia! can I please see also the foot of your nice work? Any additional info about the firing schedule would help. I will certainly try, even if I fire at cone 10. Certainly with a lower temperature the iron bearing clay should come out lighter. I have tested some britt's oxblood at cone 10- Some of them are really good (I am posting an example) but they come colorless where copper hasn't turned red. I am thinking also what would happen adding a little iron in the glaze, How knows if it would effect the reduction? If copper burns away, maybe a little iron would keep the glaze green. It would be a celadon maybe? 11219511_10206549485807305_3784303503918761558_n.jpg I apolgize for not being able to show you a photo of the foot. It is white porcelain. I am in the midst of packing for a 6 week residency and I leave at 5 am Wed. morning. It was fired at UT Brownsville when I was teaching there. I fired it in a large Olsen updraft. And Neil is correct, the green area was blasted by one of 14 burners from the along the edge of the shelf. Marcia Link to comment Share on other sites More sharing options...
Callie Beller Diesel Posted November 3, 2015 Report Share Posted November 3, 2015 If you're looking for copper reds, many an undergraduate student is advised to start with a celadon base glaze and add copper. Celadons were traditionally used on stoneware clay (think Koryo dynasty in Korea), not red clays. A tiny amount of iron from the clay body leaching into the glaze is the source of the green. If you start adding it to the glaze itself, it becomes too intense very rapidly. In my experience, the iron will overpower the copper. That's not to say you won't get an appealing colour of some kind, it just won't be the effect you're looking for here. Diesel;Let me get this straight. Do you begin with a Celadon glaze that already has 2% iron in it, or do you get the iron from the clay body and the copper is added to a plain clear glaze to get the copper red? TJR.e You take the celadon, remove the iron from the recipe and swap in some copper. Start in the neighbourhood of 2-4%. That's as specific as any of my instructors ever got. It was up to the student to figure out how much copper to add. Given the variances in recipes, this was a good thing, because they'll all respond a bit differently, and you really do have to test under your own conditions with firing, local clay bodies, etc. They are all sensitive. Celadon type glazes *tend* to borrow iron from the clay below in an aesthetically pleasing fashion, if it's stoneware or a ball clay based porcelain. Thus the greenish blue colour, under ideal conditions. I did a big 10 page paper on it once. I'd go full on nerd here, but this isn't my thread. Link to comment Share on other sites More sharing options...
marcello Posted November 3, 2015 Author Report Share Posted November 3, 2015 It would be interesting to read your 10 page paper Thanks Marcello Link to comment Share on other sites More sharing options...
Callie Beller Diesel Posted November 3, 2015 Report Share Posted November 3, 2015 It was on celadon, not copper reds, but if you like, I'll see if I still have the file. Link to comment Share on other sites More sharing options...
neilestrick Posted November 3, 2015 Report Share Posted November 3, 2015 A celadon base will get you a get start to a copper red, but reds generally need a little more melt than celadons. It's a fine line between runny enough and burning out the copper. You'll often find that copper reds have very low clay content in the recipe, which make suspension and application trickier. Copper reds also need something to be the nucleus for the copper crystal, which is why they use tin oxide. Historically iron was used, but it tends to darken or muddy the glaze more than tin. Most copper reds that I have seen actually use very small amounts of copper, as low as 0.25%, but generally not more than 1.5%. Link to comment Share on other sites More sharing options...
Tim T Posted November 4, 2015 Report Share Posted November 4, 2015 A couple of points: - the copper red is just from a very thin layer in the middle of the glaze. If the glaze layer is too thin, it doesn't form, and you get a clear glaze. - If you are doing a "proper" copper red rather than a lower firing look-alike then you are at a temperature where copper is vaporising from the glaze, and this may be another cause of a copper deficit giving a clear glaze If you want more technical details, Tichane's book is probably the best I've come across - I forget the title - it is out of print but readily available 2nd hand. A friend of mine accidentally got a wonderful red with green flashes. He has gas bottles for his kiln with a manual changeover. He forgot to check the gas left in the bottle before firing, and it ran out close to top temperature. Luckily he was there and caught it, and quickly switched over to the other bottle. The pieces came out copper red with green flashes where oxygen had entered the kiln whilst there was no flame to burn it out. I've been trying to get him to try and repeat this, as the pieces were really lovely. Link to comment Share on other sites More sharing options...
marcello Posted November 14, 2015 Author Report Share Posted November 14, 2015 I have gotten green and red in ^6 reduction using Panama Red from John Britt's article in CM . Will post a photo. Here are some recipes from his article. Hello Marcia, can you please give some details about the firing? I am ready to test the panama red glaze, but it would be helpful to know if it was a strong or light reduction firing, when you started the reduction, for how long, and so on. Many thanks Marcello Link to comment Share on other sites More sharing options...
Brad325 Posted December 14, 2019 Report Share Posted December 14, 2019 Marcello, I am fairly new to all this, yet I don't think it has to do with changing your glaze formula. The clay body is the same throughout thet pot, right? Therefore, my belief is it has to be that atmosphere within the kiln. I have more questions then answers. The solid red around the pot leads me to believe you got reduction and for some reason the green patch or clear spot of glaze didn't get the same amount of reduction. Why? What was it near? Was it open there? Where was it on the kiln shelf? Where was it inside the kiln? Do you know better locations in your kiln that give you complete even reduction all around a pot? Are you keeping good notes about your firing? It might take you a while, but maybe you have already figured out a solution. Best wishes, Brad Link to comment Share on other sites More sharing options...
neilestrick Posted December 14, 2019 Report Share Posted December 14, 2019 42 minutes ago, Brad325 said: Marcello, I am fairly new to all this, yet I don't think it has to do with changing your glaze formula. The clay body is the same throughout thet pot, right? Therefore, my belief is it has to be that atmosphere within the kiln. I have more questions then answers. The solid red around the pot leads me to believe you got reduction and for some reason the green patch or clear spot of glaze didn't get the same amount of reduction. Why? What was it near? Was it open there? Where was it on the kiln shelf? Where was it inside the kiln? Do you know better locations in your kiln that give you complete even reduction all around a pot? Are you keeping good notes about your firing? It might take you a while, but maybe you have already figured out a solution. Best wishes, Brad The last post was from 2015, so if you want to hear from Marcello you might want to sent him a direct message. Link to comment Share on other sites More sharing options...
Marcia Selsor Posted June 12, 2020 Report Share Posted June 12, 2020 I haven't fired ^6 reduction for a while.My friend finished his kiln a few blocks from my home and asked me to help fire it. Here are some of my Selsor Copper Red results. these are from 2 firings in the last month. The darker reds are 1/2 cone hotter. Link to comment Share on other sites More sharing options...
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