Suresh Sundaram Posted January 11 Report Share Posted January 11 Hi, Has anyone developed a recipe with Fabi Talc substituted for Amtalc-c98 in Bill Kielb’s recipe for Marcia’s Matte? I’ve been looking for a cone 6 matte satin recipe to use over underglaze for a while with limited success. Today I found a link to Bill Kielb’s recipe for Marcia’s Matte glaze in another post on this forum. I was all excited after seeing the pictures on glazy! Imagine my disappointment when I discovered that the recipe uses Amtalc-c98 (which is not available anymore). I’m new to using talc for anything. My pottery store sold me fabi talc but I can’t find an analysis for fabi talc on digital fire. I did find an analysis on another post here but I’m not sure how accurate it is. In any case it’s different from Amtalc. I know I can develop tests (start with a 1:1 and go up and down) but I’m hoping to save myself the work if someone else has already done it Any other pointers are also appreciated. Thanks, Suresh Quote Link to comment Share on other sites More sharing options...
Min Posted January 12 Report Share Posted January 12 57 minutes ago, Suresh Sundaram said: I did find an analysis on another post here but I’m not sure how accurate it is. In any case it’s different from Amtalc. I updated the post in the pinned talc thread, the analysis for Fabi I posted is the same as the one from IMIFabi, company selling it. https://www.stobec.com/DATA/PRODUIT/3015~v~data.pdf There isn't going to be a huge difference in how @Bill Kielb s recipe for Marcia's Matte turns out using Fabi vs Amtalc. (I tried the recipe with Amtalc and found it very dry and unmelted on my claybody but hopefully it works for you) I ran it with Insight, swapped Amtalc for Fabi, just needed minor tweaking to get the formulas to match. Quote Link to comment Share on other sites More sharing options...
Suresh Sundaram Posted January 12 Author Report Share Posted January 12 Thanks, Min! Appreciate the super fast response and the new recipe. I’ll try it on my clay body and keep my fingers crossed. I’ve been using BMix but am in the process of switching to my own stoneware clay (basically a raku body with added feldspar and no grog). Quote Link to comment Share on other sites More sharing options...
Bill Kielb Posted January 12 Report Share Posted January 12 (edited) @Suresh Sundaram Just an fyi - this recipe was designed fairly matte. If you read through the description note just adding silica will take this toward glossy. It was created so folks could dial in their preferred level of desired matte. It has had some really good reviews over the years, but there definitely are folks who are not fans. It has worked on a decent variety of clays and the attraction as a studio glaze has been the ability to simply dial in your desired gloss as well as melt well over fairly heavy underglaze. Hope it works for you. Edited January 12 by Bill Kielb Quote Link to comment Share on other sites More sharing options...
Suresh Sundaram Posted January 12 Author Report Share Posted January 12 @Bill Kielb Thanks, Bill, for the reminder. I did read that but hadn’t fully processed it. I’m trying to create the look that’s on the cover of Robin Hopper’s Making Marks book (I don’t have the book and the library network doesn’t have it). It’s similar to the covered jar with underglaze on Glazy that you posted with the recipe. I believe it’s with a 1.38 specific gravity. Quote Link to comment Share on other sites More sharing options...
PeterH Posted January 12 Report Share Posted January 12 22 minutes ago, Suresh Sundaram said: I’m trying to create the look that’s on the cover of Robin Hopper’s Making Marks book Suresh Sundaram 1 Quote Link to comment Share on other sites More sharing options...
Bill Kielb Posted January 12 Report Share Posted January 12 (edited) 7 hours ago, Suresh Sundaram said: I’m trying to create the look that’s on the cover of Robin Hopper’s Making Marks book (I don’t have the book and the library network doesn’t have it). It’s similar to the covered jar with underglaze on Glazy that you posted with the recipe. I believe it’s with a 1.38 specific gravity. It was created and tested so studio brush artists could layer and paint as they desired so that is an ideal aspect if this glaze works for your clay. That picture looks fairly matte so its base configuration may be fine. Else you can increase silica till you get the look you like. It won’t cover crazy thick underglaze, covers fairly thick stuff though so I suggest testing your colors worst case first to find limits with your material. BTW - when over glazing, the heavily underglazed areas will be much less absorbent. I found it helpful to spray a uniform coat and dry the heavy underglaze areas before spraying another even coat. In this way one can get an even application of the overglaze making it as clear as practical and uniform thickness. Edited January 12 by Bill Kielb Quote Link to comment Share on other sites More sharing options...
Suresh Sundaram Posted January 12 Author Report Share Posted January 12 Thanks for the tip, Bill. I’ll play around with the glaze (I’m looking for a more satiny finish). I use a combination of underglaze and colored (casting) slips, it’ll take me a while to get the hang of it. Quote Link to comment Share on other sites More sharing options...
PeterH Posted January 12 Report Share Posted January 12 Can anybody explain the apparently white areas around the red line and dots Quote Link to comment Share on other sites More sharing options...
Bill Kielb Posted January 13 Report Share Posted January 13 (edited) @PeterH Looks like masking and looks like the shadowing may have been airbrushed underglaze. That’s what strikes me Edited January 13 by Bill Kielb PeterH and Hulk 2 Quote Link to comment Share on other sites More sharing options...
Hulk Posted January 13 Report Share Posted January 13 Bein' curious, and settled down for a late afternoon snooze*, taking a minute to look for that... ...found a scanned version of Hopper's book. The piece is "Trifoot Plate - Southwest Series." Searching that string, found on Hopper's blog the same/similar image, captioned thus: "RH - TRIFOOT PLATE - SOUTHWEST SERIES. THIS EXAMPLE SHOWS CONTROLLED LOCALIZED FUMING OF CHROMIUM RED GLAZE ON TOP OF TIN-OPACIFIED TERRA SIGILLATA" Here: PHOENIX: BRUSHSTUFF #1 (rhrising.blogspot.com) Sorry about the all caps, that's a direct copy/past (quotes added, of quote!). *Had appointment this a.m. (6:30 !!) with the specialist for a root canal. Yep, time for a nap! Bill Kielb, PeterH and Min 3 Quote Link to comment Share on other sites More sharing options...
Suresh Sundaram Posted January 13 Author Report Share Posted January 13 Almost looks like when he puts the colored slip or underglaze on the platter, it repels what's underneath. My library said they can order the book from a broader network. I will post if I find the technique on there. Meanwhile, there is this video (see from 2:45m on) but it's not mocha diffusion, I don't think. Quote Link to comment Share on other sites More sharing options...
neilestrick Posted January 13 Report Share Posted January 13 14 hours ago, Bill Kielb said: Looks like masking and looks like the shadowing may have been airbrushed underglaze. That’s what strikes me Robin didn't do anything that fussy. It's probably just solubles creating halos. Callie Beller Diesel 1 Quote Link to comment Share on other sites More sharing options...
Min Posted January 13 Report Share Posted January 13 (edited) 3 hours ago, neilestrick said: Robin didn't do anything that fussy. It's probably just solubles creating halos. Yup. @Suresh Sundaram, your video clip is showing mocha diffusion. If you go to the link @Hulk posted Hopper explains the process he is using. Quote below from it. Note that Hopper used a lowfire chrome red lead glaze for the red, chrome is well know to be volitive in the kiln. To recreate that look a cadmium inclusion stain could be used in a glaze or slip to get a similar colour instead of lead and chrome but probably wouldn't get the halos. "IN THE SOUTHWEST SERIES, THE DRY GREENWARE FORMS ARE SPRAYED WITH WHITE TERRA SIGILLATA, POLISHED WITH A SOFT CLOTH AND BRUSH DECORATED WITH A VARIETY OF BRUSHES USING BLACK-BRONZE PIGMENT. THIS IS THEN FIRED TO CONE 9 IN OXIDATION. THIS IS FOLLOWED BY PAINTING AND TRAILING WITH A CHROME RED LEAD GLAZE AND RE-FIRED TO CONE 010. ALL FIRING WITH THIS SERIES IS DONE IN AN ELECTRIC KILN IN OXIDATION. SOUTHWEST SERIES PIECES ARE PURELY DECORATIVE AND NOT FOR FUNCTIONAL USE." Edited January 13 by Min Hulk 1 Quote Link to comment Share on other sites More sharing options...
Suresh Sundaram Posted January 13 Author Report Share Posted January 13 (edited) @Min Got it. I also checked out the blog post from @Hulk. Thanks for all the help, guys. I’m going to go out and enjoy the 59 degree (F) sunny day here in Boston on January 13! Edited January 14 by Suresh Sundaram Hulk 1 Quote Link to comment Share on other sites More sharing options...
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