Dremel 876 Specifications download pdf (Page 18)

Ceramic glaze is a glass covering that provides a

protective finish for a porous clay object. Over-simplified,

it is a combination of raw materials that reacts to heat to

produce a glass coating on ceramic pieces. Colored and

textured glazes have minerals and additives that produce

exciting colors and effects. While the unfired glaze may

look dull, drab, uninteresting and a totally different color

than before it is subjected to the intense heat of the kiln, it

transforms itself like a butterfly. Some glazes may contain

dyes that are used to better see where they have been

applied and burn out during the firing. Glazes make

ceramics leak-proof, easy to clean, and beautiful. Glazes

come in various colors, surface textures and can be used

alone or in combination with others. Glazes provide one

strokes and opaque underglazes with the protective coating

that brings life to the underlying colors.

Satisfactory glaze finishes result from proper glazing

techniques which are proofed in the kiln. The kiln is the

second largest factor in determining the final outcome of the

glazed pieces. Glaze is not a paint, but is a combination of

chemicals and raw materials. For this reason, mixing two or

more glazes or varying the thickness of application will not

always give dependable results. Mixing a blue and red glaze

does not produce a purple colored glaze. Sometimes the

mixing of two matte glazes may not produce another matte,

but a gloss glaze. Similarly the mixing of two dinnerware

safe glazes does not make a dinnerware safe glaze.

Glazes are sometimes referred to as being "soft" and

"hard." These terms refer to the amount of movement

during the firing and to the final surface of the glaze. One

would think that all fired glazes would be considered hard,

but some may be easily cut with a knife on a dinner plate,

while others withstand repeated use. Other types of glazes

produce special effects like snow, raised designs or metallic

looking finishes. Just remember that if you are experi-

menting with combinations of glazes that you may be

creating surfaces and textures that behave quite differently

than when you first started.

Applying Glazes

Before discussing the unlimited choices of glazes,

glaze combinations, glazing techniques, and potential

glazing problems and solutions, we should establish the

procedure of applying an all over coverage of glaze. There

are several methods of applying glaze, but the most

common method used is brushing.

Choosing the right brush ensures the job will have a

better finish. The hair of a good glaze brush should feel soft

to the touch when dry. Don't be mislead by the starch the

brush manufacturer puts in the brush for display. The brush

should have uniform hair texture regardless of the type of

bristles. Stiff bristled brushes or ones with a mixture of stiff

and soft hair can detrimentally affect the final glaze surface.

When wet, the brush should be resilient enough to return to

its original shape after pressure has been applied. Stiff fan

brushes, bamboo and stain brushes should not be used for

general glazing of a piece. The brush should be sized for the

task that it is being used for; a small brush used to cover a

large area will give unsatisfactory results. Do not use

brushes previously used with stains. Glaze can be

discolored by remaining traces of stains held in the brush.

Condition of the raw glaze is as important as even appli-

cation and the choice of brush. Usually a few shakes of the

jar is all that is needed to condition the glaze fully. However,

there are times when a jar of glaze is too full; at times glaze

may need to be removed from the jar to help mix the glaze.

Never thin a glaze prior to vigorously shaking it. If a glaze

should require thinning, use small amounts of distilled water

or Media. For brush application, the product should be the

consistency of ketchup. If the glaze is so thin that it runs out

of the brush before applying it to the ware, the addition of

one or more coats may be needed to get the equivalent of one

coat. Wipe the rim and lid of the jar after use to alleviate

dried glaze from accumulating in the jar. The glaze should

be strained prior to use if this occurs.

The first loading of the brush is the most important step

in glaze application. Dampen the brush and remove the

excess water. This will ensure the glaze brush is completely

clean and will allow the brush to accept the glaze, making it

easier to flow the glaze onto the ware. The brush can be

dipped into the glaze, then pressed against the side of the jar

lid or tile to spread the hair and cause them to accept the

glaze. Jiggle the brush up and down a few times to the ferrule

in order to fully load the reservoir. The brush should look

considerably larger and fluffier than it did before. Do not

empty the brush by wiping the glaze out again on the rim of

the jar. If it is necessary to prevent a drip, barely touch the

rim of the jar. It is important to approach the piece with a

fully loaded brush.

The brush should always be well loaded and saturated so

that the glaze flows onto the bisque with sufficient thickness.

Hold the piece and the brush so the color flows down the hair

of the brush. Stay up on the end of the brush, especially on

detailed embossed articles, so that you can "squiggle" the

glaze into the recessed areas. If too much pressure is applied

to the brush and bends the hairs, you will be removing more

glaze than you are applying. The glaze should ease into

place. Do not scrub, but flow the color onto the piece.

When the brush is properly loaded, start flowing on three

or four strokes, going in one direction only. Now, your brush

is empty. There is still glaze in it, but the reservoir is going

dry. While the brush is nearly empty and the glaze is still

damp, look at what you have done. If there are any ridges or

glaze pile-ups in the embossed areas, use the brush to pick

them up, without taking away too much glaze. Reload the

brush and continue to glaze until the piece is completed.

Each coat of glaze should be allowed to completely dry

before applying each successive coat. Wet ware does not

accept glaze as readily as dry ware. A glaze is dry when it

feels dry, not necessarily when the shiny wet look is gone.

This is Going to Come Out Green?

Glazes

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Dremel 876 Specifications Page 18

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