Studio Diary

Speckled glaze study

Feb 7, 2025Elisabetta Lombardo

My goal was to understand the difference between coarse red iron oxide and ilmenite in the way they form speckles.  Ilmenite is a mineral which contains iron and titanium. When used coarse and when not ground into the glaze or clay body, it will create speckles. Coarse red iron oxide has a similar effect. When a glaze is not properly mixed, red iron oxide will create speckles, but in this case it was intentional. The key to making a speckled glaze is to only the sieve the glaze before the speckles are added.  How the study was conducted In this study, I tested adding quantities of coarse red iron oxide and ilmenite to a white glaze base. I started by mixing 1000g of white dry ingredients and added them to 1000g of water. I then divided them into 9 containers of 200g each. This study only shows results from 3 buckets, but I intend to use the rest for other tests at a later date. I used one of the buckets to test 3 speckle colors together at different amounts.  Click on the image below to see it larger.  Results Ilmenite produces speckles already at low quantity. The speckles look much more defined and "sit" on top of the glaze. See close up below, showing white with 2% ilmenite.  On the other hand, coarse red iron oxide produces speckles that are a lot more subtle and blend into the glaze. You can also see how, red iron oxide already alters the color of the glaze at lower amounts. The photo below shows white with 2% coarse ROI and the one below shows white with 5% ilmenite.  5% ilmenite is a little too much speckles, although some interesting results can be obtained. See the same glaze on a bigger piece (porcelain).

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Speckled glaze study

A study in pink: study on tin chrome pink glazes

Jan 31, 2025Elisabetta Lombardo

If you have ever tried to make just the right shade of pink glaze, you know how tricky it can be.  In the past couple of months, I have been testing out a variety of recipes and variations and while I eventually got close to my goal, I wanted to run a little study on the mix of tin and chrome in glazes. My goal with the initial recipe was to create a pink variation of my icy blue glaze: a soft, pastel, transparent-looking pink that I can use on delicate porcelain pieces with embossed details. To make this kind of pink you really don't need a lot of chrome, so my study focuses on very small chrome quantities, which is something I find very valuable. To reproduce this work you will need a high precision scale that can measure down to at least 0,01g.  Methodology The test is designed as a biaxial blend: I mixed 1000g of dry ingredients, added 1000g of water and then divided up the batch in 9 separate 200g glaze batches in smaller buckets. I only ended up using 7 for this test but you can continue if you so wish. Each of the 7 buckets got an increasing amount of tin. The first has 0,5%, the second 2% and so on. Then I treated each small bucket as the starting point for a line blend test. I added increasing amount of chrome: I started with 0,01%, dipped a test tile, added 0,04%, dipped a test tile and so on. I designed the increments to be small. All tests were fired at cone 6 (1240C). Clay body is Limoges Porcelain. Conclusions With the right base chemistry, there is a point where, between 3% and 5% tin, the chrome additions will result in a pink glaze (as opposed to green). After that, increasing chrome will make the glaze increasingly more purple.  When it comes to the base chemistry, the base glaze needs to contain high levels of calcium, which in this case are given by the wollastonite.  Base Recipe The base recipe is a pre-existing Blush Pink glaze found on Glazy. I chose it because it had a good amount of calcium.  

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A study in pink: study on tin chrome pink glazes