A glaze that employs ash from organic (e.g. paper, wood) or volcanic sources as a supplier of oxides (e.g. silica, alumina, soda, calcia). Many books deal with the preparation (washing) of organic ash batches (remember these materials are caustic) and provide example recipes. It can be difficult to separate the ash from the unburned material so it may be necessary to calcine it. The chemistry of organic ash types and batches varies a lot so the best approach is to accumulate a large batch, mix it well and then do blending experiments with kaolin, feldspar and silica to develop a good glaze. The higher the ash percentage the thicker the slurry will be and the more water it will require. It is thus best to have the most possible kaolin present to impart better rheology.
A small wood ash glazed cone 6 vase
A highly variegated cone 6 cobalt rutile ash glaze
Example of a variegated wood ash glaze at cone 6 oxidation. It contains a small amount of cobalt as well as some rutile.
Wood ash glazed cone 6 bowl
It contains no iron but does have a little cobalt. The ash is about 50%, with 20% kaolin and 25% feldspar and a little rutile. However your ash will be different so you will have to do your own development program.
How to create a wood ash glaze
It makes sense to maximize the percentage of wood ash. Since different batches and types of wood ash have drastically different chemistries how can you have a glaze have a high percentage? This glaze was the product of preparing a large ash batch and a project to develop a glaze specifically from it. This one contains a little iron to stain it brown, this brings out the variegation better. Ash generally contains low percentages of Al2O3, a critical oxide needed for stable glass development. I added kaolin (about 20%), it suspends the slurry and supplies Al2O3. Ashes contain lots of fluxing oxides, but they still may need a little help to melt a glaze at cone 6, so I added feldspar (it also supplies needed Al2O3 also). If that is not enough flux, I add a little gerstley borate or a borax frit. If crazing occurs silica is needed. In the end I got a recipe with about 50% ash.
Plainsman M332 with a wood ash glaze fired at cone 6. By Tony Hansen.
The pattern was painted using wax resist and the glaze applied by pouring.
Out Bound Links
In Bound Links