dragonkiln Posted July 8, 2016 Report Share Posted July 8, 2016 I take classes where the kilns get fired to cone 10. I'm trying to find a way to get a metallic gold glaze (or underglaze?), but it seems everything I can find online is cone 6 or below. Is there something out there I can use? Link to comment Share on other sites More sharing options...
bciskepottery Posted July 9, 2016 Report Share Posted July 9, 2016 http://kazegamas.com/Golds-C10.htm Link to comment Share on other sites More sharing options...
dragonkiln Posted July 11, 2016 Author Report Share Posted July 11, 2016 Thanks! I've never made my own glazes before, but if my teacher will let me, I'll give this a try! Link to comment Share on other sites More sharing options...
Mark C. Posted July 11, 2016 Report Share Posted July 11, 2016 Those are not looking to food safe by the way so put them on a non functional piece. Link to comment Share on other sites More sharing options...
PeterH Posted July 11, 2016 Report Share Posted July 11, 2016 Takes me back to trying to emulate Hans Coper's 'bronze' effects in the 1970s. High-manganese mixtures and saturated glazes can produce some truly magnificent effects, but went out of favour when serious H&S issues were suspected. [indeed Hans Coper's neurological problem were rumoured/suspected to relate to his use of manganese.] Like many H&S issues there are few hard facts. A fairly random google gives this as a starting point. https://digitalfire....odgett_409.htm Putting something like this in a communal kiln seemed like a good idea then. Link to comment Share on other sites More sharing options...
bciskepottery Posted July 11, 2016 Report Share Posted July 11, 2016 Those glazes are not suitable for food surfaces and should only be used for exteriors/non-functional wares. Should have noted that when posting link. Link to comment Share on other sites More sharing options...
Guest JBaymore Posted July 11, 2016 Report Share Posted July 11, 2016 Airborne fumed (tiny weenie sub-micron dust particles) manganese coming from kiln firings is a reasonably well known issue. Basically matches the industrial exposures that have been studied. What is the big variable in this is the level of the fume escaping into the work-space around the kiln and the intensity, frequency, and duration of that potential exposure for the potter. A few pieces of saturated manganese glazes in a large kiln fired occasionally likely is not a big deal. Using it as the main glaze on lots and lots of work, mostly filling a large kiln, doing that repeatedly every week/month, having a poor kiln and kiln room ventilation system, and doing that for years.... I'd say that is a real concern. best, ................john Link to comment Share on other sites More sharing options...
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