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Tin Oxide


Mermoose

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I am thinking of using Tin Oxide to make my carving stand out on dark brown (#266) clay. My teacher says he has never heard of it used this way. My hope is that the Tin oxide will make the flower petals turn out white after bisque firing so I could then wax resist prior to glazing. Anyone out there care to comment? Would love to hear from more experienced people  :rolleyes:

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Tin Oxide is expensive and you could do this in other ways.

Heres a few to try before bisquing-

Make the pedals out of white clay would work well.

Use a white clay slip on pedals

use kiln wash -this works all by it's self or you can add flux if you like-this works well

You can brush on a white glaze as well

Make up some tests and see what you like best.

Mark

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post-2190-0-83752300-1423409618_thumb.jpg

 

I've used both white underglaze and a white slip to accent marks on 266. The picture shows the use of a wash to highlight texture on the vase in the foreground. The small white dots are feldspar that I added to the 266. The vase in the background is Laguna's Dark Brown, wood fired.

 

The white slip recipe I use is attributed to Cynthia Bringle. I've used the slips in electric, gas, salt, and wood fires, both cones 6 and 10. They can be applied to leatherhard or bisque (need to be thinned). They can be applied over glaze (thin to watercolor consistency). And, the slip recipe is more akin to a glaze in terms of composition.

 

Bringle Slip

EPK, 20

Ball clay, 20

Neph Sy, 25

Silica, 30

Gerstley Borate/Borax, 5

Total base, 100

 

White --

Tin Oxide, 7

Borax, 5

Bentonite, 2

Total, 114

 

or

 

 

Zircopax, 7.5

Bentonite, 2

Total, 109.5

post-2190-0-83752300-1423409618_thumb.jpg

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Thanks for the comments and recipes. I did not think to apply the slip before the platter dried. Thats why I was thinking of Oxides...I don't have many chemicals available and don't happen to have a white underglaze. For some reason I do have a small amount of dry Gerstley borate. I only have a small amount of tin that was mixed with water for experimentation. ( also other oxides. red iron, cobalt,ochre, chrome...)

As to slips, all that I have made up is light slip composed of Phoenix clay and water and dark slip from the 266. I am not educated in art at all. This is all on the job training for me...

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slip will work on a dry platter if you use it carefully and not too thickly at one time. slip is clay so adding it is simply thickening the clay you already have. 

 

trying to add slip to a bisque piece would involve much more luck than skill and probably will not result in what you want to do.   

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slip will work on a dry platter if you use it carefully and not too thickly at one time. slip is clay so adding it is simply thickening the clay you already have. 

 

trying to add slip to a bisque piece would involve much more luck than skill and probably will not result in what you want to do.

 

It's not luck at all. Glaze is a glorified slip, with different proportions of flux, silica and alumina.

Try

Fish Sauce (ACAD shop slip)

43.7 Grolleg

23.5 soda feldspar (kona)

15.6 Silica

9.4 Bentonite

7.8 pyrophylite

 

It stays pretty dry at all temps, and takes colourants well. The pyrophylite helps it not spall off the pot. It works, I swear.

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http://digitalfire.com/4sight/material/pyrophyllite_1167.html

 

The good folks at digital fire have the long version above. The summary for the rest of us is that It's a mineral that is a refractory (not very melty or plastic) source of both alumina and silica, and it has low thermal expansion. If you substitute some of it in for feldspar or other flux, you make your slip less vitreous, but because it doesn't shrink and expand drastically when you heat or cool it, in this instance it helps the slip stay on the pot.

 

It usually gets used in a clay body to reduce thermal expansion/improve glaze fit, and improve fired strength.

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