Dremel 876 Specifications download pdf (Page 20)

Choosing a Glaze Finish

When you glaze a piece you are enhancing its utilitarian

and decorative function, not simply covering it. There is more

to consider than color; the form and function of the piece

should be considered. Choosing the wrong type of glaze

detracts from your piece; the right one enhances the form.

The glaze chosen determines the final character of the clay

shape, but the reverse is also true. A glaze may look one way

on a highly embossed shape and entirely different on a slick,

plain surface. Crystal glazes on a vertical shape smooths out

during the firing. On a plate, the crystals may pit or bubble.

Variation in the heat treatment during the firing of the kiln

can also affect the performance of a glaze. A heavily loaded

kiln, a soak period, a hotter temperature, and a refire will all

cause glazes to flow a little more than usual and could affect

the color stability. This can be a curse or a blessing depending

on the glaze used and the look that is being achieved.

Using More than One Glaze

Many times a ceramic shape suggests a finish of colors

placed side by side. Some beginners get the idea that such

color placement is limited to underglazes. You are not limited

to glaze finishes being placed side by side due to their gloss or

matte finish. The majority of Mayco's glazes, if applied

correctly, do not flow out of control when fired to shelf cone

06. Series 2000 Gloss glazes flow, but only within themselves;

they level out but do not bleed together. However, extremely

heavy applications of these glazes or prolonged or repeated

firings can cause excessive flowing.

Butting glazes is a term used to describe the method of

applying glazes side by side when no color blending is desired.

To butt glazes, you must avoid overlapping glazes. A line

drawn with an ordinary pencil on the bisque will determine the

precise placement of the glazes. While the mark will burn

away in the firing, it does nothing to control the glaze. Only

care facilitates exact application of the glaze. In butting glazes,

the brush is used like a push broom at a 45˚ angle to shove a

small ridge of glaze up to, but not over, the pencil line as the

first coat is applied. This small roll of glaze should give suffi-

cient coverage to the perimeter of the area so that special care

with successive coats is not necessary; they can be applied in

the usual manner.

Butting should be all that is needed to control the flow of

the glazes unless the glaze application is unusually heavy. On

vertical pieces added safety can be added by cutting through

the glaze while the glaze is still wet. Use a sharpened greased

based pencil, following the original pencil mark. The glaze

will flow to meet the one glaze and the grease in the pencil

provides enough of a resisting barrier to keep the glaze in

place.

Glaze combinations or the use of one glaze over another

exploits the differences and characteristics of the wide range of

glazes.

When two or more flowing (or soft) glazes are used one

over another, a blending of the two colors results. The glaze

next to the bisque will always dominate the piece because it

has a stronger footing or hold on the bisque. Usually, the

glossier the glaze is, the more it moves in the firing. Heavier

applications of these glossier glazes will produce more

dramatic intermingling of the colors. Not all glazes used in

combination need to be so free moving. A non-moving glaze

will retard the movement of a more active glaze. For example,

applying three coats of a moving glaze on the bisque, then

applying two coats of a non-moving glaze on top, the top glaze

will break up into little islands of the matte color. Using a tuffy

or chore boy sponge to apply leftover amounts of glaze will

create a look similar to crystal glazes. Base coat with a

moving glaze, apply another glaze on top of the first one, then

tuffy sponge the third glaze on top of the previous two.

Antiquing with glazes can be a lot of fun.

• It hides flaws in the bisque.

•The transparency of the glaze adds dimension to the piece.

•Great effects are achieved by antiquing with a matte glaze

under a gloss glaze, as well as the reverse.

•Use a highly embossed piece to allow the glaze to fill in

the crevices.

•One of the glazes used should be non-moving for best

antiquing results.

To antique a piece with glazes, apply one flowing coat to

the entire surface and let it dry. Using a damp sponge, wipe off

the highlights on the piece. Apply two coats of the top glaze

over the entire piece while concentrating the last coat on the

higher points of the embellishments.

Majolica is accomplished by applying a non-moving

glaze to the entire surface, then doing design work on top of

the unfired glaze with other glazes. This technique makes the

design look less rigid and the colors are usually lighter.

There are a number of things to consider when choosing

colors for a majolica technique. Consider the transparency of

the colors. Lighter colors lose their distinctness over darker

colors. Also consider the intensity of the colors being applied

over one another. The thickness of all the colors combined

onto the surface should be taken into the decision. How the

glaze moves during firing should be noted. The shape of the

piece can influence the final outcome as well; a flat piece

versus a vertical piece could dramatically affect the outcome.

Food Safety

With the fun of doing ceramics, comes the responsibility

of making pieces that could be used for holding food or drink

"food safe." While you may not plan on a piece being used

for food or drink, it should be finished in a food safe manner

if the shape is such, that it could someday be used for food or

drink. Knowledge of who or how the piece will be used in

the future is lost once it is out of your sight.

The condition, shape, glaze finish and firing procedure

should all be considered if a piece is food safe. Whether it is

cast ware or hand formed, there should be no areas where

food bacteria can build up and be difficult to clean, like open

hollow handles or undercuts inside the bottom of an object.

Areas left intentionally unglazed, whether covered with an

acrylic stain or some other covering, make it unsanitary and

not food safe. The glaze and bisque firing come back into

play to make a piece food safe. Improper firing of either the

bisque or glaze could result in crazed glaze, which is unsafe

Glazes

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Dremel 876 Specifications Page 20

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