David Cuzick Glaze Recipes The following are glaze recipes that I use on my work, they are fired to cone 10 in a reduction atmosphere.

Transcription

1 David Cuzick Glaze Recipes The following are glaze recipes that I use on my work, they are fired to cone 10 in a reduction atmosphere. VC20 (altered from original) semi-matt green, cone 10R, not food safe Custer spar 35 Spodumene 20 Barium Carb. 20 Whiting 2.5 Dolomite 8 Copper Carb. 2 Red Iron Oxide 2 Tin Oxide 2 BLACK TEMMOKU (Cone 9-11) Custer Feldspar 52.0% Whiting 14.0% EPK Kaolin 6.0% Silica (flint) 19.0% Red Iron Oxide 9.0% Total: 100.0% MILLRING'S RED (Cone 9-11) Custer Feldspar 12.4% Nepheline Syenite 18.0% EPK Kaolin 21.3% Silica (Flint) 15.7% Dolamite 21.4% Bone Ash 11.2% Total: 100.0% Add: Tin Oxide 6.7% Red Iron Oxide 5.6% DAVID CUZICK S BLUE (Cone 10-11) Custer Feldspar 25.7%

2 Silica (Flint) 25.7% EPK Kaolin 20.5% Dolomite 13.6% Whiting 8.6% Gerstley Borate 5.1% Kentucky Ball Clay 0.8% Total: 100.0% Add: Rutile 6.8% Red Iron Oxide 0.9% Zinc Oxide 1.7% DAVID CUZICK S RED Nepheline Syenite 26.8% Custer Feldspar 12.8% Silica (Flint) 30.2% Whiting 13.4% Gerstley Borate 11.2% EPK Kaolin 1.7% Copper Carbonate 0.4% Tin Oxide 1.6% Bentonite 1.9% Total: 100.0% JENSEN S BLUE (Cone 10-11) Custer Feldspar 22.3% Kona F4 Feldspar 31.7% Strontium Carbonate 7.0% Whiting 11.0% Colemanite 8.0% Pyrophylite 4.0% EPK Kaolin 2.0% Silica (Flint) 14.0% Total: 100.0% Add: Red Iron Oxide 2.0% Rutile 6.0%

3 COLEMAN'S RED (Cone 10-11) Silica (Flint) 35.24% Nepheline Syenite 20.00% Custer Feldspar 15.24% Whiting 15.40% Colemanite 10.57% EPK Kaolin 1.45% Tin Oxide 1.68% Copper Carbonate 0.42% Total: % CASH BLUE (Cone 10-11) Nepheline Syenite 47.3% Whiting 9.3% Silica (Flint) 27.5% Gerstley Borate 14.2% Zinc Oxide 1.7% Total: 100.0% Add: Rutile 4.0%

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5 Creating and Using a Plastic Stencil Kip O Krongly kipokrongly@gmail.com STEP ONE: CUTTING YOUR STENCIL MATERIALS (for stencil cutting) - An image you want to turn into a stencil (either a drawing or a photo) - Thin plastic (I use plastic tablecloth from Menard s make sure it is patterned on one side) - Xacto knife and extra blades (I will sometimes go through ten on a complex stencil) - Self- healing cutting mat - Tape PROCESS: Once you have chosen an image, make a photocopy so you aren t cutting up your original. Trim any excess from your image and tape the paper onto the tablecloth. (NOTE: I leave the cloth folded when I remove it from the bag, that way I cut through six layers at once and get more stencils to play with!) Once your image is secured to the plastic, begin cutting on your self- healing mat. I start with the smallest inside sections using my fingernail to firmly compress the layers when cutting areas that are close together (Image 1). Image 1 Once all the inside spaces are cut, I carefully run my blade around the exterior of the image and remove the stencils (Image 2).

6 Image 2 Kip O Krongly kipokrongly@gmail.com Now it s time to play with your cutout! STEP TWO: APPLYING YOUR STENCIL MATERIALS (for stencil application): - A stencil! - A leatherhard piece - Slips of your choice - Soft brushes to apply slip - Fine brush for tacking down stencil - Clean water for applying stencil - Tweezers PROCESS: Place a stencil on your leatherhard piece. Once you have found a position you like, tack the stencil down using a small brush and clean water (image 3). Gently rub the stencil into the surface of the clay to remove any air bubbles - check the edges to ensure they have adhered well to the surface. This first layer of stencils will remain the color of the red clay continue to add stencils to areas of the piece that you want to keep the clay color (see the three plane stencils in image 4). After all the stencils are set, do one last check to make sure they re all adhered and then you re ready to add a contrasting slip to the surface!

7 Kip O Krongly kipokrongly@gmail.com Image 3 With your first layer of stencils set, use a soft brush to apply your first layer of slip (Image 4). Work quickly, as you don t want your stencils to begin to release from the clay surface! Image 4 After laying down your first layer of slip, you can add more stencils and slip if you like. In this piece, I decided to add a stencil of the crop duster dust along with some small birds on top of the dust. I also added some areas of sgraffito (the corn drawing in image 5). Once all

8 Kip O Krongly kipokrongly@gmail.com of your layers are complete, it s time for the best part: removing your stencils! I typically use tweezers to get under an edge and then gently peel the plastic away from the surface. Sometimes, the resulting image will need a little clean up, but if all goes well you ll have a crisp clean image (Image 5). Image 5 STEP THREE: CLEANING YOUR STENCIL MATERIALS (for cleaning): - A piece of plexiglass (I use a cheap Ikea frame) - Sponge - Towel - Clean water - Spray bottle PROCESS: Once you ve removed your stencils, place them on the plexiglass and spray with water. Sponge off the slip and dry with a towel. The cleaned stencils will adhere slightly to the plexiglass as they dry so you can store them there for future use. HAPPY STENCILING!!!

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11 Kip O Krongly kipokrongly@gmail.com Making and Applying Terra Sigillata 1. In a glass jar mix together 2800 ml distilled water and 6.5 ml Sodium Silicate. Blunge these together with a stick blender. 2. Next sift in 1200 grams clay (I use C- Red or Redart) and blunge with the stick blender for 45 seconds, or until well mixed. 3. Let the glass jar sit undisturbed for 72 hours. You should start to see layers separating out after a day or so. I typically only get two really distinct layers and then a thin film of clear water on the surface. 4. Siphon off everything above the sludge layer on the bottom of the glass jar. 5. Simmer the siphoned layer on the stovetop until you reach a specific gravity of between 1.15 and This means that 100ml of terra sig will weigh between 115 and 118 grams. I have a plastic graduated cylinder that I bring home with me when I simmer my sig and periodically weigh out 100 ml. This can take a long time (2 hours or so) and usually means you end up with about 1/3 of a gallon of sig in the end. But, the trade off is that you get a sig that requires no burnishing, which is a gift! 6. Apply terra sig to bone dry clay for the best results. For an especially shiny surface, ensure the clay surface you apply to is as smooth as possible. Apply three coats, but be careful not to go too thick I ve had sig get fine cracks if I apply too much. Sig seems more likely to crack over paper clay patch jobs, so use extra care over repairs. For more info on mixing terra sig, see my video on YouTube! Check it out at:

12 Theo Uliano theouliano.com My Materials & Recipes: Pilchers White Slip (cone 06-10) Ball Clay 2.5 EPK 2.5 Flint 2.5 Cornwall 1.25 Neph Sy 1.25 Zircopax.5 Frit Commercial Materials: Standard Ceramics #104 Red Eathenware with grog & fireclay (handbuilding/ large throwing) Standard Ceramics #103 Red Eathenware WITHOUT grog Production wheel throwing Or Laguna #20 Red Earthenware without grog Laguna Glossy Clear Glaze cone 1-3 THIN IT DOWN Specific gravity of 1.4 to 1.55 Speedball Underglazes ^04 -^10 Amaco velvet underglaze velour black Amaco Black/blue underglaze pencils ^04 - ^10 Duncan ceramic lusters bright gold, gold, platinum, white gold ^018-^019 Ceramic Decals - varying cone temps (custom) Littlechairprinting.com (Hope Revalto) Phila PA. littlechairprinting.com Ying Zhou Brushes - Hand made brushes, I use the finest tips she makes. Yingzart.com