AndreaB Posted December 13, 2015 Report Share Posted December 13, 2015 Hi everyone, Can I get suggestions for purposely making glaze run so that it forms drips like the pic attached Link to comment Share on other sites More sharing options...
Guest JBaymore Posted December 13, 2015 Report Share Posted December 13, 2015 After you have applied the glaze (in general) to the top part of the form, go back using a small brush to really thicken up the glaze layer at the bottom area of the end of the previously applied glaze in the spots that you want the runs to happen. Also "break" the linear ending line of the glaze layer slightly downward (couple of mm will work) in the spot the run should happen with a bit of the glaze. "Happy accidents" are not always accidents. EDIT: See here at bottom of form... those are not "happenstance": best, .......john Link to comment Share on other sites More sharing options...
alabama Posted December 13, 2015 Report Share Posted December 13, 2015 Hey, I could think of a few ways of controlling glaze runs. First look at the form of the example. The cup starts wide, then narrows to speed up the glaze flow. The body is expanded creating a shoulder to slow down the glaze flow. The decorative grooves are actually "speed bumps" to keep the glaze under control before reaching the kiln shelf. 1. Use John's method and add extra glaze after dipping 2. Apply extra glaze before dipping, and dip over it. 3. Dip the first coat just below the handle, sponge off top half and allow to dry. Then glaze again. That puts a single coat on top and a double glaze on the lower half. I'd probably go with number three, simply because its a little more work. And you'd wind up with a two tone color like the example. But it would stop me from making up 10 to 20 exact bisqued copies and experimenting. I prefer swirled glaze runs (like on my cistern), which I glaze, then hold at a 45 degree angle and add runs with a turkey baster. Make a list of all the possibilities you can think of, then experiment. Have fun!!! Alabama Post script: the base of the vessel needs to be as wide as the neck of the cup and I'd define it with a small lip as extra insurance against glaze to shelf contact.. Link to comment Share on other sites More sharing options...
Tyler Miller Posted December 13, 2015 Report Share Posted December 13, 2015 I agree with John that random results are not really desirable. Runny glazes scare me for that reason. You can get good glaze run effects just by using a stiff glaze with the right surface tension. Apply the drips during dipping (either through a deliberately sloppy dipping technique or with a slip trailer or whatever). You don't get some of the effects of a properly runny glaze, but the effects are along the same lines. Applying a runny glaze over the stiff one can help get variegated effects and breaks. The runny glaze will tend to run along the drips from dipping and the stiff glaze will help to keep the drips from moving too far. I don't know how orthodox a technique this is, but I've had good success messing with it and I feel it's safer than just letting it run. Link to comment Share on other sites More sharing options...
MatthewV Posted December 13, 2015 Report Share Posted December 13, 2015 The thought process in glazing shouldn't always be working out how to get something like this. See what you get and try to accentuate the aspects you like. There are many variables to guess at when looking at a picture. Five factors to consider: There are sets of two stable glazes that when applied together will be more fluid. Applying a thick layer of glaze may cause runs. A low-alumina glaze will flow more. So will one with more flux (feldspar). The other -huge- factor is the firing schedule. Longer soak times give more time at the lowest viscosity. Use catchers to prevent damage! Link to comment Share on other sites More sharing options...
High Bridge Pottery Posted December 13, 2015 Report Share Posted December 13, 2015 That's a very nice glaze I hear reduction copper reds and crystal glazes come the most fluid. If I was going to develop a runny glaze that is where I would start with the chemistry and see what makes them flow. Link to comment Share on other sites More sharing options...
Guest JBaymore Posted December 13, 2015 Report Share Posted December 13, 2015 .............that is where I would start with the chemistry and see what makes them flow. Drop the # of mols of alumina.... that will make them run given some time at the peak temps or a slow profile to get there. best, .................john Link to comment Share on other sites More sharing options...
AndreaB Posted December 14, 2015 Author Report Share Posted December 14, 2015 Thank you all for your advise. I'm glazing today so if I get it right I'll post a pic. Have a good week Link to comment Share on other sites More sharing options...
rayaldridge Posted December 14, 2015 Report Share Posted December 14, 2015 All good advice above. I would only add that if you want the effects of a runny glaze, sometimes you have to take a risk that the run will make it to the bottom of the pot. If you set the piece on a little tray of kaolin, it will be easier to deal with any glaze that makes it past the foot. I love the look of a runny glaze, personally. To me it is tangible evidence of the kiln's heat... that turns powder into glass and raw clay into something that can survive a thousand years unchanged. Link to comment Share on other sites More sharing options...
Joseph Fireborn Posted December 14, 2015 Report Share Posted December 14, 2015 I am going to give this a shot to on some of my forms. I love leaving the bare clay showing on the bottom parts of a mug or jar, but I dont really like the linear effect it gives, since my forms are so rusty looking. Thanks for the advice John. Link to comment Share on other sites More sharing options...
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