In The Mix

6 Steps to Stop Glaze Shivering

GLAZE DEFECTS
by Jeff Zamek
T
hough not as common as some other
glaze defects (see Eight Steps to Stop
Crazing, PMI, May/June 2006), shivering is
a severe problem that occurs when the glaze
is under too much compression during the
cooling process. When the glaze is in the liq-
uid state of the firing process, it fits the clay
body like warm honey; however, when the
glaze cools it compresses at a greater rate
than the clay body, sometimes causing shiver-
ing. Shivering looks like a paint chip and can
range from inch to more than 2 inches.
Frequently, when a glaze peels off, it does so
on the pots edges or raised areas. With any
correction, the goal should be to have the
glaze and body cool at compatible rates, with
the glaze coming under slight compression.
Shivering can happen at anytimewhen
pots are just removed from the kiln or even
years laterand can occur in any type of
kiln (large, small, gas, electric, etc.). Intro-
ducing a reduction atmosphere too early or
intensely in a fuel-fired kiln can cause an
unstable carbon bond between the clay and
glaze layer; however, shivering can also take
place in an oxidation electric kiln atmos-
phere at any temperature range. Additionally,
clay bodies containing too much free silica
can cause shivering and fireclays, as a group,
are known to have randomly high levels of
free silica. Fine grog high in silica can also be
a potential cause of shivering, especially if
burnishing has brought it to the clay surface
in the forming process. Sometimes tapping
the suspect pot on its edge can cause the
glaze to flake off. Thicker glaze applications
are more likely to encourage shivering if any
or all of the previous conditions are present.
Shivering can be corrected through adjust-
ments to the glaze formula, the clay body
formula, or a combination of the two.
12 PotteryMaking Illustrated July/August 2006
Shivering can occur anytime that the glaze is under extreme compression.
Notice how the glaze peels away exposing the underlying clay body on
this stoneware bowl fired to Cone 9.
Shivering frequently occurs on the raised areas or edges and at any tem-
perature range, as illustrated by this low-fire Cone 06 example.
Jeff Zamek started his own ceramics consulting
firm supplying technical information to potters and
the ceramic industry. He is a frequent contributor
to CM and PMI; and is the author of two books
What Every Potter Should Know and Safety in the
Ceramics Studiopublished by kp books. Please
contact Jeff for more information about this project
and many other ideas, through his website at
www.fixpots.com.
PMI_July_August_06 001_013.qxd:Layout 1 6/23/06 8:10 PM Page 12
If a commercial glaze
shivers, it is often easier
to find another glaze
that looks the same, or use a differ-
ent clay body with the expectation
that an unrelated combination of
glaze and/or clay will achieve a
better fit.
Decreasing flint in the
clay body by 5 or 10
parts flint may also cor-
rect glaze shivering.
If many different types
of glazes are shivering
on the same clay body,
correct the problem by adding 5, 10
or 15 parts feldspar (or other alkali-
bearing materials) to the clay body.
Occasionally, adding
feldspar or frit and
removing flint is neces-
sary to stop shivering. In rare
instances, the same correction must
be carried out in the clay body.
Decrease the flint in the
glaze by 5 or 10 parts.
This will adjust the clay
body/glaze fit.
July/August 2006 PotteryMaking Illustrated 13
had always used my own glaze recipes, but
Spectrum's Raku Glazes gave my work some
exciting new dimensions and they are so
convenient. - an Chung
For Details on how an made the pots, go to our website:
http://www.spectrumglazes.com
Our New Address: 94 Fenmar Dr. Phone: (800) 970-1970
Toronto, ON (416) 747-8310
Canada Fax: (416) 747-8320
M9L 1M5 Email: info@spectrumglazes.com
If only one glaze is
shivering on the clay
body, try additions of
5, 10 or 15 parts feldspar or frit,
whichever is contained in the origi-
nal glaze formula. For example, if
the glaze has 10 parts feldspar,
increase that amount to 15, 20 or
25 parts. Do not change the
amounts of other materials in the
glaze. Other alkali-bearing materi-
als, such as frits, can be used to
correct shivering, but keep in mind
that frits can lower the melting
point of a glaze. Adding too much
of any flux or glass former increas-
es the chance of the glaze becoming
glossy or running off vertical sur-
faces. The ideal fix is to put just
enough feldspar or frit into the
glaze to correct shivering without
overloading the glaze with more
flux than is needed.
STEP 2
STEP 3
STEP 4
STEP 5
STEP 6
STEP 1
Order Code: CA51 Price: $59.95 224 pages
www.ceramics.org
CERAM I CS I N THE ENVI RONM ENT
JANET M ANSFI ELD
Ornament al, archit ect ural and large-scale
ceramic works have always appeared on build-
ings and in t he landscape since t he beginnings
of ceramics in civilizat ion. This book looks at
t he vast array of ceramics being produced
t oday around t he world in t he cont ext . The
book is a f ant ast ic review of t he applicat ions of
ceramics t oday bot h on buildings and in t he
nat ural environment by many of t he worlds
most prominent ceremicist s in t he f ield.
PMI_July_August_06 001_013.qxd:Layout 1 6/23/06 8:11 PM Page 13
10 PotteryMaking Illustrated

September/October 2006
E
ngobes offer the
potter an alterna-
tive method of introducing color and texture to the
ceramic surface. They can be used to mask the color
of the underlying clay body or introduce new color
variations that can interact with covering glazes.
Engobes can also respond to the kiln atmosphere in
reduction, wood-, salt- and soda-red kilns. In some
instances, engobes can be applied thickly resulting
in a raised surface that can add another dimension
to the ceramic form.
Potters have been using engobes since Neolithic
times on pottery, ceramic sculpture or structural
materials. The terms slip and engobe have been used
interchangeably. Technically, the precise term is
engobe, a coating that masks the color and texture
of the clay body imparting color or opacity, which
may or may not be covered with a glaze. An engobe
is not as glasslike as a glaze, but can be slightly
more vitreous than the clay body it covers. Engobes
contain many of the same raw materials found in
both clay bodies and glazes, but they are used in dif-
ferent ratios. Engobes can be applied to leather-hard
ENGOBES
In the Mix by Jeff Zamek
Color and Texture with Engobes
ceramic pieces, which shrink more than engobes
applied to bisqueware. In both types of engobes the
goal is to achieve a compatible t with the clay body.
In some ways, engobes can be more difcult to use
than glazes. They have to shrink at compatible rates
when applied to the clay body
and also t the covering glaze,
while glazes only have to match
the clay body.
Recipes
The Zam White Engobe and
the Easy Engobe are designed
to t leather-hard clay. They
can be red from Cone 0612
(18282383F). Both can be
used in oxidation, reduction,
salt-, soda- and wood-kiln ring
atmospheres, though colors may
vary (always test engobes [see
box] on your own clay body to
ensure a correct clay body and
glaze t). Your own clay body
can even be the basis for an
engobe, and in many situations
it will t better as it shrinks at
a similar rate to the underlying
clay body.
Blue engobe trailing on black clay body red to Cone 6.
Recommended Testing Procedure
Always test any engobe to ensure a compatible t with the un-
derlying clay body and the covering glaze. The clay body should
be free of dust and surface particles before applying the engobe.
Bisque re the test tile then spray, dip or brush the covering glaze.
Place the test tile in the kiln and re to the appropriate glaze tem-
perature. Small test kilns may not produce accurate results due to
their faster rates of heating and cooling and lower thermal mass.
Applying different colored
liquid engobes to a test piece.
Clear Cone 06 glaze covering
different colored engobes.
PMI_Sept-Oct_06_001-013.indd 10 8/14/06 10:05:57 AM
PotteryMaking Illustrated

September/October 2006 11
Easy Engobe
Custer Feldspar . . . . . . . . . . . . . . . . 20 %
Kentucky Ball Clay (OM 4) . . . . . . . . 70
Silica (Flint 200 mesh) . . . . . . . . . . . 10
100 %
Zam White Engobe
Soda Ash. . . . . . . . . . . . . . . . . . . . . 5 %
Frit 3195 (Ferro) . . . . . . . . . . . . . . . 10
Nepheline Syenite (270 mesh) . . . . . 14
EPK Kaolin. . . . . . . . . . . . . . . . . . . . 14
Grolleg Kaolin . . . . . . . . . . . . . . . . . 25
Kentucky Ball Clay (OM 4) . . . . . . . . 10
Silica (Flint 200 mesh) . . . . . . . . . . . 10
Superpax. . . . . . . . . . . . . . . . . . . . . 10
Veegum C . . . . . . . . . . . . . . . . . . . . 2
100 %
Color Variations
Yellow: Mason Stain 6404 . . . . . . . . 8 %
Blue: Spectrum Stain 2044. . . . . . . . 10 %
Pink: Spectrum Stain 2083. . . . . . . . 10 %
Black: Spectrum Stain 2004 . . . . . . . 12 %
Green: Spectrum Stain 2033 . . . . . . 10 %
Weigh the dry materials totaling
100 grams and add approximately
90 grams of water. Run the wet
mixture through an 80-mesh sieve
before applying to leather-hard
clay. The engobe must be the cor-
rect consistency for the intended
method of application. It should
be free of coarse particles and air
bubbles, be homogeneous, and
remain in suspension.
Jeff Zamek is a ceramics consul-
tant and frequent contributor to
PMI. For more information on Jeff,
visit his website www.xpots.com.
Yellow engobe on platter,
soda red to Cone 9.
PMI_Sept-Oct_06_001-013.indd 11 8/14/06 10:06:46 AM
10 PotteryMaking Illustrated

November/December 2006
CONE 6 BASE GLAZES
In the Mix by Jeff Zamek
Covering Your Bases
P
otters are often faced with a
wide array of glaze choices,
and its not uncommon for some
to use ten or twelve different
glazes in their studios. With such
an extensive collection, theres
too much information to evalu-
ate since results can be frustrating
to interpret and the relationships
between raw materials are hard to
track.
If youre getting started in
making your own glazes, a less
complex approach involves using
fewer glazes and observing how
they react when red. In this way
you can gain a base of knowledge
on a few specic materials in a
glaze, which can then be expand-
ed with simple variations.
Base glazes can provide many
of the qualities of opacity and
texture you desire, but do not
include any additives for color-
ing or suspension. Three common
bases would be a clear transparent
glossy, semi-opaque satin matt,
and an opaque matt. Another
advantage to using base glazes is
youll need to keep fewer raw ma-
terials on hand, and you can even
have large batches of your base
custom blended.
Getting Started
Before mixing any glaze, verify
that your ceramics supplier car-
ries all the raw materials youll
need. Try to purchase full bags to
get a better price per pound and,
more importantly, increase your
chances for getting an exact match
when you need to reorder because
youll have the original informa-
tion on the bag.
Weigh out a 100-gram test
batch of glaze base, add water,
and sieve the mixture through an
80-mesh screen. Apply to several
4-inch vertical test tiles with both
smooth and textured surfaces, and
place the tiles throughout the kiln.
Adjusting a Glaze
Any glaze formula can be
adjusted by several methods. A
simple and effective technique is
to increase the clay component.
Additions of 5, 10, 20 or more
parts of clay causes a gloss glaze
surface to become satin matt or
matt. Clay, being refractory, also
causes a clear glaze to become
semi-opaque or opaque. Further-
more, many glazes that drip on
vertical surfaces or pool in hori-
zontal areas can be corrected by
increasing their clay content.
Base Glazes
Zam Transparent Glossy
Cone 6
Whiting. . . . . . . . . . . . . . . . . . . . . . 20 %
Ferro Frit 3124. . . . . . . . . . . . . . . . . 20
Nepheline Syentite (270 mesh) . . . . 20
EPK Kaolin. . . . . . . . . . . . . . . . . . . . 20
Silica (325 mesh) . . . . . . . . . . . . . . . 20
100 %
Zam Semi-Opaque Satin Matt
Cone 6
Whiting. . . . . . . . . . . . . . . . . . . . . . 15 %
Nepheline Syentite (270 mesh) . . . . 40
EPK Kaolin. . . . . . . . . . . . . . . . . . . . 7
Silica (325 mesh) . . . . . . . . . . . . . . . 38
100 %
Zam Opaque Matt
Cone 6
Dolomite . . . . . . . . . . . . . . . . . . . . . 15 %
Nepheline Syentite 270x . . . . . . . . . 60
EPK Kaolin. . . . . . . . . . . . . . . . . . . . 10
Silica (325 mesh) . . . . . . . . . . . . . . . 15
100 %
Variations on a Theme
Additions to the base glaze can
yield variations in color, texture
and opacity. One half percent
coloring oxide, stain or opacier
results in a tint, 5% produces a
half tone, and 12% yields intense
color and/or opacity. This is a
general rule of thumb because
some oxides (cobalt, for instance)
are quite potent.
(Refer to the Potters Palette
in the 2007 Ceramic Arts Buyers
Guide for guidance on oxide and
stain additions. Ed.)Increasing the
Three base glazes, from left to right, Transparent gloss, Semi Opaque Satin
Matt, and Opaque Matt Glaze.
PMI_001-014.indd 10 10/17/06 3:44:04 PM
PotteryMaking Illustrated

November/December 2006 11
EPK Kaolin (clay) component of a
transparent glossy glaze causes it to
become opaque in light transmis-
sion and matt in surface texture.
Transparent Gloss Base Glaze
Whiting. . . . . . . . . . . . . . . . . . . . . . 20 %
Ferro Frit 3124. . . . . . . . . . . . . . . . . 20
Nepheline Syenite (270 mesh) . . . . . 20
EPK Kaolin. . . . . . . . . . . . . . . . . . . . 20
Silica (325 mesh) . . . . . . . . . . . . . . . 20
100 %
Increase EPK to 35 for a semi-opaque satin matt.
Increase EPK to 50 for an opaque matt.
The enduring instrument in the
potters tool kit is a base knowl-
edge of raw materials. More than
80% of the glazes potters use might
use just ten to twelve raw materi-
als. Learning the characteristics of
how they function can be the basis
for future experimentation. One
method to achieve this type of ce-
ramics education is choosing a few
base glazes and becoming familiar
with how they function.
Jeff Zamek is a ceramics consultant and
frequent contributor. For more informa-
tion or comments, visit his website at
www.xpots.com
Weighing dry glaze materials.
Sieve the wet glaze through an 80-
mesh screen.
Soda glazing is a relatively new development in ceramic history, with excit-
ing scope for research and experimentation. It is a more popular ceramic
practice, particularly in the U.S., where it is widely taught in college ceramics
deparartments and workshops, and has attracted a high number or profess-
sional practitioners. Soda glaze surfaces typically include a thin sprayed-on
sheen or light ash, some supplementary uxing of an applied glaze, and
attempts to imitate the orange peel texture of salt glaze. This book aims to
meet the demand for more advanced technical knowledge of materials and
process and more innovative approaches to soda glazing.
Price: $34.95 Order Code: CA32
2006 Softcover 164 pages
Get it online at: www.ceramics.org/publications
N
E
W
R
E
L
E
A
S
E
PMI_001-014.indd 11 10/17/06 3:45:02 PM
PotteryMaking Illustrated

January/February 2007
UB-18 Teal Blue
C&C Clay 60 %
Ferro Frit 3134 30
Teal #6305 10
100 %
UR-28 Dot Red
C&C Clay 50 %
Wollastonite 20
Ferro Frit 3134 10
Crimson #6006 20
100 %
UBL-46 Blue Black
C&C Clay 50 %
Nepheline Syenite 10
Flint 10
Black #6616 30
100 %
UB 22-Turquoise Blue
C&C Clay 50 %
Ferro Frit 3134 10
Wollastonite 10
Zircopax 10
Turquoise #6390 20
100 %
UP-49 Hot Pink
C&C Clay 40 %
Ferro Frit 3134 40
Pink #6020 20
100 %
UP-34 Coral
C&C Clay 50 %
Frit 3134 10
Wollastonite 10
Coral #6090 30
100 %
UGR-10 Silver Gray
C&C Clay 60 %
Ferro Frit 3134 10
Flint 10
Silver #6530 20
100 %
CAUTION: Use these at your own risk. Many contain heavy metals.
No guarantee is made or implied as to performance or safety.
COne 6 engObes
In the Mix by Wayne bates
Colorful engobes
S
graffto techniques
can be a lot of fun,
especially with a large color palette of en-
gobes. Most of my colors come from com-
mercial glaze stains. Frits, fllers and retar-
dants are added, depending on the colorant
used. The following engobes are mixed with
Mason stains. See page 24 for my step-by-
step on sgraffto techniques with engobes.
UBL-45 Black
C&C Clay* 50 %
Ferro Frit 3195 20
Black #6600 30
100 %
UR-31 Crimson
C&C Clay 50 %
Ferro Frit 3134 20
Wollastonite 10
Crimson #6006 20
100 %
UG-35 French Green
C&C Clay 50 %
Ferro Frit 3134 15
Wollastonite 10
French Green #621 25
100 %
UG-41 Chartreuse
C&C Clay 50 %
Ferro Frit 3134 20
Chartreuse #6236 30
100 %
UBL-41 Light Blue Black
C&C Clay* 60 %
Nepheline Syenite 10
Wollastonite 10
Flint 10
Black #6616 10
100 %
UG -69 Turquoise Green
C&C Clay 50 %
Wollastonite 10
Ferro Frit 3134 20
Turquoise #6393 20
100 %
UBR-17 Seal Brown
C&C Clay 40 %
Nepheline Syenite 20
Wollastonite 10
Seal Brown #6153 30
100 %
UPR-32 Deep Orchid
C&C Clay 50 %
Neph Syenite 10
Deep Orchid #6303 30
Wollastonite 10
100 %
UY-38 Hot Yellow
C&C Clay 50 %
Nepheline Syenite 10
Ferro Frit 3134 10
Wollastonite 10
Yellow #6481 20
100 %
UW-1 White
C&C Clay 30 %
Nepheline Syenite 20
Ferro Frit 3134 10
Wollastonite 10
White #6700 30
100 %
UB-7 Peacock Blue
C&C Clay 40 %
Nepheline Syenite 10
Peacock Blue #6396 40
Wollastonite 10
100 %
UPR-31 Pansy Purple
C&C Clay 50 %
Nepheline Syenite 10
Wollastonite 13
Pansy Purple #6385 27
100 %
*C&C clay is a ball clay If not available an-
other ball clay may be used, but the results
may vary Although formulated for cone 6,
many of these will work at higher and lower
temperatures
Visit www.potterymaking.org
for a complete listing of engobe
and glaze recipes with variations.
PotteryMaking Illustrated

January/February 2007
The following glaze recipes can
be used over the engobes, but they
can also be tinted with stains.
For stain recommendations, go to
www.potterymaking.org.
R-1030 Satin Matt*
Cone 5
Barium Carbonate 11 %
Wollastonite 15
Ferro Frit 3134 19
Nepheline Syenite 33
EPK Kaolin 16
Flint 6
100 %
Similar to R-1015 but lower temperature Will go
shiny if fred higher Top of my kiln
R-1012 Satin Matt*
Cone 5
Barium Carbonate 11 %
Whiting 12
Ferro Frit 3134 17
Nepheline Syenite 44
EPK Kaolin 7
Flint 9
100 %
Similar to R-1015 but lower temperature Middle of
my kiln
R-1015 Satin Matt*
Cone 6
Barium Carbonate 16 %
Wollastonite 15
Ferro Frit 3134 13
Nepheline Syenite 33
EPK Kaolin 14
Flint 9
100 %
G-19 Shiny Clear
Cone 6
Wollastonite 30 %
Ferro Frit 3195 30
EPK Kaolin 20
Flint 20
100 %
Color friendly base, will produce shiny versions of
most of the Mason stain colors Can be used as a
liner glaze, unlikely to produce leaching
Frosty Matt
Cone 6
Barium Carbonate 22%
Lithium Carbonate 5
Nepheline Syenite 60
EPK Kaolin 8
Flint 5
100 %
High alkaline, distinct color characteristics, crystalline
sugar like surface, turns copper turquoise, brightens
most colors
*Contains barium Can produce leaching when used
with heavy metals No claims made for success or
safety
glaze Recipes
10 PotteryMaking Illustrated

March/April 2007
Body defects
In the Mix by Jeff Zamek
Lime Pops
M
any potters have experienced
a semi-elliptical J- to -inch
crack in their bisque or fred ware.
Upon peeling back the defect, a
conical hole reveals either a black
or white nodule at the bottom. Lime
pops occur when moisture in the air
comes into contact with a carbon-
ized lime nodule, causing it to
expand in an unyielding fred clay
body. Unfortunately, this defect can
occur shortly after removing glazed
or unglazed work from the kiln,
or years later as lime expands in
the form of calcium hydroxide. In
some types of building brick, lime
pops can be observed near the clay
surface due to the same expansion
reaction when in contact with moisture.
Interestingly, if lime is present in the clay body as
a powder, the forces of expansion are not suffcient
to crack the clay. In low-fre white clay bodies, pow-
dered limestone (usually in the form of whiting or
dolomite) is often added to prevent glaze crazing.
1

When used in earthenware glazes, large percentages
of limestone can cause crystal growth. In high-tem-
perature glazes, powdered limestone acts as a fux
bringing other glaze materials into a melt.
2
Wedging tables and Bats
Limestone contamination in moist clay comes
most frequently from the plaster found in wedg-
ing tables and throwing bats. Plaster is comprised
of lime, gypsum and water, and if the correct ratio
of plaster to water is not used, the plaster cannot
achieve its maximum strength when setting up. Soft or
brittle plaster nodules of greater than mm can enter
the clay body in wedging or the reprocessing of scrap
clay. Eventually, any plaster will degrade causing the
adhesive action of the moist clay to grab particles
from the weakened plaster surface. To counter this
type of mishap, staple a canvas cloth on top of the
plaster wedging board. Bats should also be carefully
inspected for any soft spots or concave areas, which
could indicate past introduction of plaster chips into
the moist clay.
Raw clay
Raw clay can also be a potential source of lime
particles. Some clays form next to strata of limestone
sedimentary rock and shells. If the mining operation
does not carefully excavate the clay during removal,
contamination can occur. As the material is excavated,
limestone rocks can accompany the clay to the milling
operation. Contamination can also be introduced into
clay as limestone is frequently used in roadbeds where
trucks bring the clay for stockpiling and processing.
Air-foated clays, where the clay has been separated
by a stream of air into different particle sizes, can
prevent this type of
tramp material, but not
all clays are processed
by this method. Oc-
casionally, air-foated
clays are still fawed due
1. Dark area of fred
lime at the bottom of
a tapering hole. Mois-
ture expansion of lime
caused the glaze surface
to crack.
2. White lime nodule
(approximately 2 mm in
diameter) at the bot-
tom of a conical hole in
bisque surface.
3. Cross section of fred
clay body showing voids
containing white par-
ticles of limestone.
Cover a plaster wedging
table with canvas to prevent
plaster chips from entering
clay during reprocessing or
wedging operations.
1
2
3
PotteryMaking Illustrated

March/April 2007 11
to ineffective processing methods
at the mining site. Additionally, if
other materials such as limestone
are crushed or milled in the same
machines as clay, contamination
can occur.
Pay attention to any white
specks in dry or moist clay, as
these may be limestone particles.
In many instances, however, the
clay has not been screened or wet
mixed suffciently, and these white
specks may just be nodules of clay,
fint, talc or feldspar. If only a few
hard white nodules are found,
remove them to prevent a potential
lime pop. Some ceramics suppliers
screen clays to catch tramp mate-
rial before it enters the mixing pro-
cess. There is an additional charge
for this procedure, but it more
than pays for itself by decreasing
defects. While lime pops are fairly
rare, they are imperfections that
easily ruin any pottery.
Jeff Zamek is a ceramics consul-
tant and frequent contributor. For
more information, visit his website at
www.fxpots.com. Special thanks to Eric
Nedreberg of Resco Products Inc. for
information used in the article.
1
Ian J. McColm, Dictionary of Ceramic
Science and Engineering, Second Edition,
Plenum Press, 1994.
2
Frank and Janet Hamer, The Potters Dic-
tionary of Materials and Techniques, A&C
Black, University Press 1986.
Plaster bats should be kept in good
condition as a damaged section of
a plaster bat can deposit chips into
moist clay.
We all enjoy making pottery and using it to serve food to our families and friends.
Its especially fun when an inventive serving dish design really suits the food it
contains (think chip and dip, sushi plate or olive boat). Wed like to challenge our
readers to think outside the bowl and create well-designed pots that enhance the
presentationboth ergonomically and aestheticallyof their favorite food.
Be creative! Pay special attention to form and function!
Now for the best part:
Winning entries will be published in the November/December 2007 issue of PMI.
Cash awards will also be presented:
1st Prize: $500
2nd Prize $250
3rd Prize $100
1st Annual
PMI Reader Contest
W
i
n

u
p

t
o

$
5
0
0
!
All entries will be judged by the PMI staff on function, form, craftsmanship and originality.
Submission Guidelines
Deadline for entries is July 1, 2007.
All works must be functional and handmade using
traditional wheel- and hand-forming techniques.
All entries must be the sole work of the entrant.
Winning entries will be published in the Novem-
ber/December issue of PMI.
No entries will be accepted after the arrival
deadline of July 1, 2007.
Only one item per entry is permitted although
you may enter more than once.
To be considered, submit three high-quality
digital images on CD (emailed images will not
be accepted) plus a color print of each image.
Include 2 views of the piece and 1 image show-
ing the item in use.
The images should be 300ppi resolution with a
minimum print size of 5 inches wide.
Include a 50-100-word description of what the
piece is used for and an explanation of how the
design enhances its function.
Include dimensions, forming techniques and r-
ing temperature of the piece.
Submit entries to:
THINKING OUTSIDE THE BOWL CONTEST
Pottery Making Illustrated
735 Ceramic Pl., Suite 100
Westerville, OH 43081
thinking OUTSIDE
THE
bowl
10 PotteryMaking Illustrated

July/August 2007
EPK kaolin. Superpax
can be purchased in
3-pound increments.
Some metallic coloring
oxides and stains are
more expensive, but
they can be ordered in
-pound increments.
For small tests, use a
300 gram batch, which
is suitable for several
vertical test tiles.
A base glaze formula
(one thats clear, semi-
opaque or opaque in
light transmission, and
glossy, satin matt or
matt in surface texture)
is the foundation for
any addition of metallic
coloring oxides, stains
or opacity produc-
ing agents. It offers
a known constant to
judge the effects of col-
or and opacity. In the
raku temperature range
(cone 010cone 04 or
16571945F), any
frit can be considered
a glaze by itself since it
contains a combination
of fux oxides, alumina
and silica needed to
form a low-fre glaze.
Additions of clay can
increase opacity and
matt surface texture
while the Superpax fur-
ther aids in opacity.
Any of the metal-
lic oxides (iron oxide,
cobalt oxide, copper
oxide, chrome oxide,
nickel oxide, iron
chromate, manganese
dioxide, rutile) or their
carbonate forms (copper carbonate, cobalt carbonate,
manganese carbonate or nickel carbonate) adds color
to a glaze. Adding approximately
1
8 percent yields a
A
simple approach to
color development
and opacity in glazes,
coupled with the fast-fring raku process, can greatly
aid in learning about the effects of adding metallic
coloring oxides, stains and opacity-producing agents
to a base glaze. Since you can easily mature glazes
in a raku fring in 2030 minutes, you dont have to
wait long to fnd out what happens when you add
copper, chrome, cobalt or any number of other col-
oring oxides or stains to a glaze. The pot is removed
red hot and either oxidized (left in the air to cool) or
reduced in a combustible material. When reduced,
the burning materials pull oxygen from the metallic
oxides in the glaze resulting in color variations.
The raku technique is fast and dramatic, and the
speed of the process compresses the time between
the cause and effect of adding and subtracting vari-
ous glaze materials. In addition, the results learned
from these glaze tests can be applied to other tem-
perature ranges.
Raku Glaze Requirements
Raku glazes are appreciated for their ability to of-
fer various colors and textural variations, however,
there are several requirements for an effective glaze.
For safety reasons, lead or lead-based frits are
not recommended for raku glazes even though reci-
pes appear in many older texts.
Raw materials should be readily available.
Soluble glaze materials such as Gerstley borate,
colemanite, borax, pearl ash, soda ash and boric
acid can be used; however, they can leach into the
glaze water resulting in unpredictable glaze effects.
In some instances, the results can be aesthetically in-
teresting, but soluble glaze materials can also cause
blistering, running and dry areas in some glazes.
The glaze should stay in suspension for a reason-
able length of time to allow for glaze application.
Raku glazes must be able to mature over a wide
range of temperatures because not all kilns fre
evenly or accurately.
Raku glazes must be able to withstand variations
in reduction atmospheres.
Getting Started
Just a few raw materials are needed to produce a
glaze with different colors and surface textures. For
example, you can make 1 gallons of a base glaze
with 8 pounds of Ferro frit 3110 and 2 pounds of
Raku GlazeS
In the Mix by Jeff zamek
Raku Color and Opacity
Top, raku base glaze with 10%
Mason stain 6308 Vivid Blue;
middle, raku base glaze with
10% Superpax; bottom, raku
base glaze plus 10% Mason
stain 6271 Mint Green.
PotteryMaking Illustrated

July/August 2007 11
tint of color, 5% provides color with medium inten-
sity and 10% imparts intense color to the glaze. The
advantage of using just one base glaze aside from the
simplicity of understanding cause and effect when us-
ing ceramic materials is that glaze color variations can
be overlapped with a good chance of compatibility.
And testing glazes on vertical test tiles will provide
valuable information on how runny the glaze is.
Raku Base Glaze
adjusting the Base
You can adjust the glaze by adding 5, 10 or 20
parts kaolin to the base for a stiffer glaze. Con-
versely, deleting 5, 10 or 20 parts of kaolin from
the base makes the glaze more fuid. The spacing
of the crackle lines (a fne network in the glaze due
to tension over the clay body) depends on the ft of
the clay body and glaze upon cooling. The rate of
contraction varies with different frits causing craze
lines in the glaze to enlarge or shrink. The rate of
contraction in the clay body also affects the craze
line pattern. Selecting a different frit with a different
chemical composition may alter the colors obtained
from metallic oxides or stains.
Jeff Zamek is a ceramics consultant and frequent contributor.
For comments, visit his website at www.fxpots.com.
Clear Gloss Crackle
Ferro Frit 3110 80 %
EPK Kaolin 20
100 %
Add: Bentonite 2 %
White Opaque Gloss
Superpax 15 %
Blue Variation
Mason stain 6306 Vivid Blue 10 %
Green Variation
Mason stain 6271 Mint Green 10 %
Ferro frit #3110 provides the fux you need in the glaze
for it to melt In fact, at the raku temperature range, frits
are complete glazes by themselves
EPK kaolin, which is a clay containing alumina and
silica, prevents a molten glaze from running down verti-
cal surfaces
Stains provide color to the base glaze
Superpax is an opacifer that makes the clear, gloss,
transparent base glaze an opaque, gloss white
10 PotteryMaking Illustrated

September/October 2007
I
started using ash
glazes because I liked
the idea of utilizing a
material that many would consider waste: wood
ash from a freplace. My original ash glaze was
derived from a slip glaze that Leon Kula gave
me, which was 60 parts Redart clay and 40 parts
whiting. Although this was a very simple glaze, I
wanted to use some ash.
While living in Miami after Hurricane Andrew in
1992, there was an abundance of wood for fres on
cool nights, so I now had a source of ash and made
glazes using 50 parts Redart and 50 parts ash. After
moving to Rising Fawn, Georgia, the wood changed
from mahogany to mostly hickory and oak, plus
pine, walnut and the occasional unknown dead tree.
From experimenting with different types of trees,
I discovered that the clay made more of a differ-
ence than the type of ash being used. Through this
experimentation, I also learned to use sprayers for
applying an ash glaze.
To begin, prepare ashes by running them through
a four sifter to remove unburned wood, charcoal
and big chunks of debris, then run the dry ash
through a 40-mesh screen. I usually process a 5-gal-
lon bucket of ash at one time. (Caution: Wood ash
is caustic, so work in a well-ventilated area with a
respirator, and wear safety goggles and chemical
resistant gloves.)
The next step is to weigh equal amounts of ash and
Redart clay. I only mix up what Ill use in one fring
Ash GlAzes
(1000 grams of each) since the ash glaze does not store
well. After mixing with water, run the glaze through a
40-mesh screen then through an 80-mesh screen to get
it to the right consistency for spraying. Use a thinner
glaze than you would for dipping or pouring.
Due to space limitations, I spray outside, but if you
spray inside, youll need a spray booth with proper
ventilation. I use a portable sprayer and set the com-
pressor at 40 psi. I use a really heavy turntable that
A variety of spray guns and air-
brushes are available. I typically use
a variety of sprayers with different
capabilitiessome fll in big areas
and others do thin lines.
This vase shows how ash glazes run when applied thick-
er toward the top of a piece. If applied too thick near the
base, ash glazes may run onto kiln shelves.
1 2 3
C
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: A
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p
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r
s
!
Start at the top and work your way
down, then return to the top area
again to build up glaze. Apply a
thicker coat of glaze only at the top
because ash glazes run.
Using a small airbrush sprayers allows
you to do small bands and detail
work. Note that the piece is sitting on
top of an empty cat food can.
In the Mix by Mark Issenberg
Out of the Fireplace
P
h
o
t
o
s
:

N
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M
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PotteryMaking Illustrated

September/October 2007 11
Recipes
Blue Ash
Cone 10
Ash 50 %
Plastic Vitrox (PV Clay) 50
100 %
Add: Cobalt Carbonate 2 %
Light Green Ash
Cone 10
Ash 50 %
Plastic Vitrox (PV Clay) 50
100 %
Add: Copper Carbonate 3 %
Angel Eyes
Cone 10
Whiting 200 %
Custer Feldspar 400
EPK Kaolin 100
Silica 300
1000 %
Add: Red Iron Oxide 40 %
Rutile 45 %
This glaze is originally from Jack Troy and does
not run
Oatmeal
Cone 10
Dolomite 207 %
Whiting 43
Custer Feldspar 533
EPK Kaolin 217
1000 %
Add: Zircopax 87 %
Tin Oxide 43 %
Yellow Ochre 22 %
Though not an ash glaze, this glaze does not run but
works well when used in combination
turns easily partly because I spray
the shaft with lubricant each time
I start the glazing process. Youll
also need a gallon bucket with a
small sponge for cleaning areas
where you dont want glaze, and a
towel to keep your hands dry.
With all bisqueware prepared
and four to fve sprayers ready
to go, you can begin the glazing
process. Start turning the turntable
just before you start spraying. With
bowls and platters, start with the
bottom and glaze the footring frst,
then the outside body. Work with
the spray gun about 512 inches
from the surface and use steady
even strokes to avoid getting excess
glaze in any one spot where it can
drip. Use a sponge to clean the
footring. I dont use wax on bowls
because the glaze builds up and
runs off the wax, but I do wax fat
bottoms. I then fip the bowl and
spray the inside using a couple of
different glazes. When fred, ash
glazes run but some of the other
glazes dont run at all. Testing de-
termines how certain combinations
will behave.
One of the most important
steps to spraying is cleaning up
the sprayers after use. Run lots
of water through the parts of the
sprayers, then set them on a metal
rack to drip dry. Also drain the
water out of the air compressor
before storing it.

Mark Issenberg has been a potter since

1965 and operates a pottery in north
Georgia. For comments, contact Mark at
ashpots@aol.com.
10 PotteryMaking Illustrated

May/June 2007
age of several bars results in more accurate results.
The bars should be free of cracks, indentations or
surface blemishes as they would trap water when the
fred clay surface has been dried. The bars should have
round edges to prevent chipping as any small change
in weight from imperfections can result in a signifcant
error in the fnal calculation. To ensure accuracy, fre
the bars separated in the same kiln, using the identical
kiln fring cycle and stacking arrangement as intended
for outdoor ceramic projects.
Equipment
For this testing procedure you will need the follow-
ing equipment and supplies:
Gram scale
Container to boil water
Calculator
Damp, lint-free towel
Metal pin stilt
tEsting Clay
in the Mix by Jeff Zamek
surviving the Cold
C
eramic forms, whether glazed or unglazed,
can fracture and chip (spall) when allowed to
freeze and thaw outside. What factors cause pieces
to self destruct and how can they be eliminated?
Most materials contract when cooled, but water
begins expanding at around 39F, and continues to
increase in volume (about 9% altogether) until ice
crystals form at 32F. Since the open-pore structure
of fred clay traps atmospheric moisture (rain, snow,
humidity, etc.) through capillary action, this freez-
ing water expands in the unyielding and contracting
pore structure of the clay causing damage.
absorbency/Porosity
Any discussion about freezing and thawing in-
volves two termsabsorbency and porositythat
are frequently used interchangeably, but actually
describe different conditions. Absorbency is the
ability of liquid to penetrate and be distributed
throughout a material, and specifcally relates to the
wicking action of a dry clay surface when in con-
tact with water. Porosity is the quantity of pores or
voids in a clay body and there are two types: open
porosity and closed porosity. When a piece of fred
clay is soaked in water, water is absorbed into the
open pores. When the same piece is boiled in water,
water is absorbed into the closed pores. It is partly
this network of closed pores that allows fred work
to survive freezing and thawing as the closed pores
provide a place for the water to expand. The rela-
tionship between these two rates of absorbency can
provide you with an indication of whether your clay
can withstand freeze/thaw cycles. Here is a method
that allows you to fnd this saturation coeffcient.
testing Preparation
You can test your clay to determine whether or
not it will survive freezing conditions. Getting accu-
rate test results requires following testing procedures
consistently. If youre working in a group situation,
have one person do the testing since the repetition
of their technique helps reduce the variables and
lessens experimental error. To double check your
results and ensure accuracy, repeat the test with the
same clay body samples.
Make at least fve test bars measuring K

5
inches from the same clay you plan to use for out-
door ceramic projects. Taking the average percent-
Earthenware fower pot cracked and chipped by
freeze/thaw conditions.
Weigh tiles using a gram scale when dry, after soaking
and after boiling.
PotteryMaking Illustrated

May/June 2007 11
Calculate the absorption of the soaked tiles and
the boiled tiles as follows:
Calculate saturation coeffcient by dividing the
soaked absorption rate by the boiled absorption
rate. This number should be less than .78 for
your work to resist freeze/thaw cycles.
Conclusion
The importance of accurately calculating the
absorption component of any clay body that will
be used in freeze/thaw conditions becomes appar-
ent when looking at fower pots that have been left
outside during the winter months. Whether you
are making functional pottery or sculpture, a little
time spent doing the tests presented here will save
many hours making forms that might fail.
Jeff Zamek is a ceramics consultant and frequent contribu-
tor. For comments, visit his website at www.fxpots.com.
Thanks to Dr. Licio Pennisi, Assistant Director, Center for
Advanced Ceramic Technology, Alfred University, who was
instrumental in offering technical information for the article.
Absorption calculation and descriptions supplied by Digitalfre
Corp., Box 432, Cornwall PE COA 1 HO, Canada; telephone
406 662 0136; www.digitalfre.com.
% absorption after 24 hr. soak
% absorption after 5 hr. boil
Example using results above:
=
saturation coeffcient
(should be less than .78)
.03
.04
=
.75
test Procedure
This test measures the percentage of water absorbed
by a fred clay body when its soaked and when its
boiled in water. In the soaking part of the test, open
pores in the body take on water, and in the boiling
portion additional water is absorbed in the closed
pores. The difference between these two amounts
indicates whether your clay will be able to withstand
freeze/thaw cycles.
Weigh the dry tiles and write down the weight of
each tile.
Soak the tiles by placing them on a rack or pins
in a pan, cover with distilled water. Allow them
to soak for 24 hours, then pat dry, weigh each tile
and write down its weight.
Place the damp tiles back into the pan and
now boil them for 5 hours. Make sure they are
raised off the bottom of the pan and that they
are not touching each other. Pat dry, weigh each
tile and write down their weights.
After weighing the dry tile, place it on pins so that dis-
tilled water can circulate around it.
Before weighing a wet tile, blot off all water with a
damp, lint-free cloth.
1.
2.
3.
(soaked weight)(dry weight)
(dry weight)
5.
4.
=
% absorption after
24 hour soak
Example of test tile:

96 (soaked weight) 93 (dry weight)
93 (dry weight)
=
.03 or 3%
(boiled weight)(dry weight)
(dry weight)
=
% absorption after
5 hour boil
Example of boiled test tile:

97 (boiled weight)93 (dry weight)
93 (dry weight)
=
.04 or 4%
10 PotteryMaking Illustrated

January/February 2008
C
olor and texture in
cone 6 glazes are the
result of three variables: First, selecting proper glazes;
second, learning how to layer and combine different
glazes by pouring, dipping and spraying; and third,
using a controlled cooling cycle to further enhance the
color and texture. This slow cooling not only creates
a visual dialog in thick and thin areas of glaze applica-
tion, but also helps with the crystallization of certain
materials, which adds depth and interest to the glaze.
Glaze Selection
With so many cone 6 glazes, how do you know
which glazes will work for you? Its impossible to
look at a written glaze formula and know how it
will look when its fred and cooled. However, there
are some things to look for that may provide some
insight as to the surface texture. I like to use glazes
that have a strong presence of calcium, provided by
whiting and wollastonite in the formula. Dolomite,
which is a combination in equal parts of both cal-
cium and magnesium is also very helpful. These ma-
terials, when included in any glaze along with other
ceramic materials, form small, suspended crystals in
the glaze when cooled in a controlled manner.
Glaze Application
I spray or dip glazes over each other. My experience
is that no single glaze can provide a visually interesting
surface in an electric kiln, although there may cer-
tainly be exceptions. My layering technique allows the
cone 6 GlAzeS
In the Mix by Jonathan Kaplan
electric Kiln Success
many differing glaze materials to combine and melt in
unique ways providing a visually interesting surface with
depth. All of this is caused by the interactions of multiple
materials applied over each other. Applying glazes over
textures in the clay allows the melted glaze to pool. A
thicker concentration of glaze materials in these areas
yields different areas of color.
When mixing and testing glazes for future use on your
pottery, it is useful to try different methods of combin-
ing glazes. For example, if you mix up a few small test
batches of different glazes, try dipping one glaze over the
other on the top rim of your test tile. Then reverse the
order. For instance, if you dip glaze A over glaze B, then
do another tile with glaze B dipped over glaze A.
Firing
Most glazes have a range of several cones. I fre my
cone 6 glazes to cone 7 using a programmable con-
troller with the following heating and cooling cycle:
1st segment 50F/hour to 220F
2nd segment 250F/hour to 2167F
3rd segment 150F/hour to 1500F
I have found that this provides a better melt and al-
lows a good mingling of the many layers of glaze. Its
necessary to experiment and test your glazes to deter-
mine their range. Kiln wash or stilts under your ware is
a necessity!
It is fne to program a hold into the end of the
second segment if you have a single zone kiln and wish
to try to even out the fring from top to bottom. With
the introduction of multiple zone controls on many of
the new kilns, a soak at the end is not really necessary.
If you dont have a computer-controlled kiln, use the
infnite switches to fre down the kiln. With the ad-
dition of a pyrometer and a decent thermocouple, you
Left: Disk Vase, 18
inches in height, with
Blue/Green/Purple
variation of VC Glaze
with PV Black sprayed
over. The detail shows
the cooling crystals
that developed during
a controlled
slow cooling.
Right: Vase with Circular At-
tributes and Stand 15 inches in
height, with Edgy Green glaze.
This glaze contains barium,
which helps in the formation of
small suspended crystals giving
it a satin matt fnish.
PotteryMaking Illustrated

January/February 2008 11
VC Glaze
cone 6
Whiting 69 %
Gerstley Borate 116
Titanium Dioxide 69
Nepheline Syenite 468
Kaolin 139
Silica 139
100.0 %
Blue/Green/Purple variation
Add: Cobalt Oxide 11 %
An excellent base glaze to spray or dip other glazes
on top
Edgy Green
cone 6
Barium Carbonate 156 %
Gerstley Borate 104
Wollastonite 156
Nepheline Syenite 397
Kaolin 104
Silica 83
100.0 %
Add: Black Copper Oxide 31 %
can achieve a reasonable controlled
cooling cycle.
Record Keeping
Its important to keep accurate
records so when you get results
that are pleasing, you can repeat
them. In an electric kiln, repeatable
results are easier to achieve than
in a fuel-burning kiln, especially if
your electric kiln is equipped with
a programmable controller. There
is no substitute for experiment-
ing. It takes time and persistence
to achieve the surfaces that are
pleasing to you. No one glaze or
method will work. It is a combina-
tion of glazes and applications,
followed by the proper fring with
a controlled cooling cycle.

Jonathan Kaplan has been working in ce-

ramics for more than 30 years as an artist,
potter, ceramic designer and educator.
He currently resides in Denver Colorado,
and curates Plinth Gallery.
See www.jonathankaplanceramics.com
and www.plinthgallery.com.
PV Base
cone 6
Gerstley Borate 30 %
Whiting 10
PV Clay 15
Custer Feldspar 35
Silica 10
100 %
Black liner glaze:
Add: Mason 6600 6 %
An excellent gloss base Spray or dip over Blue/
Green/Purple This glaze is very receptive to com-
mercial stains Again, with encapsulated stains,
an opacifier is not necessary If a more opaque
surface is desired, add between 610% opacifier
such as Zircopax
Always test new
glazes before com-
mitting them to your
nished work!
Recipes
losIed by loIIers Counc|| &
The SI. leIersburg C|ay Company, www.sIpeIec|ay.com

Sponsored |n parI by
l|ghwaIer C|ays, www.h|ghwaIerc|ays.com
www.poIIerscounc||.org
Potters Council Regional Workshop
SI. leIersburg, l|or|da lebruary 15-17, 200
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