G2934 Cone 6 Matte Base Glaze G2926B Cone 6 Clear Glossy Base Glaze GA6-B Alberta Slip Cone 6 Base GR6-A Ravenscrag Cone 6 Base L3954B Mid Temperature Engobe G1916Q Transparent Base Glaze G1947U Transparent Base - Cone 10R G2571A MgO Matte Base - Cone 10R GR10-A Ravenscrag Slip as-a-glaze - Cone 10R L3954N/J Cone 10 Engobe Base
G2926B Cone 6 Clear Glossy Base Glaze
For Plainsman Cone 6 Bodies
It has the lower thermal expansion necessary to fit (without crazing). It sources boron from a frit instead of troublesome Gerstley Borate (you need to see and use this side-by-side with a Gerstley Borate based glaze to appreciate how much better this is). This recipe has good suspension and very good application properties (if it is mixed to the correct consistency). There is more information on this at the Digitalfire.com page on G2926B.
G2926B Whiteware transparent with various stain additions on a porcelain body, M370 (bright colors do not work on dark burning bodies unless you underlay them with an engobe). This does not work well for chrome-tin stains (e.g. 6006). Mason 6020 is a body stain, it does not work in glazes (as you can see here).
It is standard practice to fire cone 6 using a hold (or soak) at top temperature schedule (e.g. for 30 minutes) to produce a defect-free glaze. However we recommend a drop-and-hold firing schedule (like PLC6DS). Both require manual programming of your kiln (because none of the built-in programs do any kind of hold). If you have not manually programmed your kiln, this is a barrier is worth crossing to produce more defect-free glaze surfaces. For the best possible surface consider a slow cool (like C6DHSC).
The body is Plainsman M390. These are commonly used base glazes. The top one is an MgO matte, the next is a calcium matte. They behave very differently to these additions. Notice also that thickly applied titanium dioxide is very different. Tin oxide fires whiter than zircon (e.g. Zircopax).
When mixed with water to create a thixotropic slurry, this will perform was as a dipping glaze. It will apply evenly to bisque, produce minimal dripping and dry within seconds. It will be adequately durable for handling. If bisque walls are thin, it will be necessary to glaze the inside and outside of pieces as separate operations (with a drying time between).
If you are glaze layering (using this as a dipping glaze and painting a commercial gummed brushing glaze over it) there is a risk of crawling. It may be necessary to add some gum to this, converting it from a dipping glaze to a base-coat dipping glaze.
The recipe of this glaze is open-source. We developed it and sell it premixed but you can batch it (or even adjust it) yourself. For detailed technical information its page at the Digitalfire Reference Library by clicking the following: G2926B.
Adding the Stains and Opacifiers: Simply multiply the weight of the amount of powder you want to use and divide by 100. For example, if you have 2000 grams of glaze powder and want to add 6% stain: 2000*6/100=120 grams of stain. Or, 10% zircopax: 2000*10/100=200 grams of zircopax (stain %'s are suggestions, for some colors you may need more, testing is needed). Bright colors and whites will be muted on dark-burning bodies.
If you just want to mix it the traditional way, start with about 85 water to 100 powder (by weight) and mix well using a propeller mixer. Add more water until it is creamy, try it, adjust, etc. To learn more visit the G2926B page at the Digitalfire Reference Library.
If you want better application properties (as a one-coat dipping glaze) we recommend targeting a specific gravity of 1.44 and gelling the slurry to make it thixotropic. Water weight: Same as powder weight. Yield is about 1.4 litres per kg of dry powder.
To prepare for use as a single layer dipping glaze, add the powder to 90% of the water and mix until it flows well. Then add water to get the right specific gravity. Sieve through 80 mesh to break up agglomerates (or mix by-the-liter in a kitchen blender). Although this procedure produces a workable glaze, the best results come with a thixotropic slurry, one that gels and holds itself in place after dipping. This "rheological state" can change on storage so be ready to adjust it later.
L3954B white engobe on M340 and M390. The engobe has been applied to the inside and wrapped over the rim to midway down the outside. The clear liner glaze is G2926B Whiteware transparent. The outside glaze on the right is that same clear with 4% added iron oxide. The outside glaze on the left mug is GA6-A Alberta Slip clear using Ferro Frit 3195 as the flux.
These Coffee clay mugs have been white L3954B engobed at leather hard stage on the insides (the center one partway down the outside). After bisque the left and right ones were white-glazed on the inside (using G2926B+10 Zircopax). The one on the right has GA6-A (Frit 3195 version) on the outside (the center mug inside and out). The GA6-A over the black clay produces a very deep, rich ultra-gloss surface. The mug on the left has Ravenscrag floating blue (GR6-E) on the outside (producing a very right color over the Coffee clay).
This is how we test each new production batch of glaze. The amount of flow compared to a control provides assurance of consistency.
Safety Data SheetClick here for web view.
|Plainsman Clays Ltd.|
702 Wood Street, Medicine Hat, Alberta T1A 1E9
Phone: 403-527-8535 FAX:403-527-7508