•The secret to cool bodies and glazes is a lot of testing.
•The secret to know what to test is material and chemistry knowledge.
•The secret to learning from testing is documentation.
•The place to test, do the chemistry and document is an account at https://insight-live.com
•The place to get the knowledge is https://digitalfire.com
Knowing about thixotropy will enable you to mix a glaze that stays in suspension much better. It does not drip alot when a piece is draining. It goes on evenly, of adequate thickness and does not run. It dries quickly (on porous bisque) and is just much nicer to use. The secret to all of this is not intuitive. It involves adding more water and then gelling the slurry using a flocculant (vinegar, epsom salts, calcium chloride) to reach a point at which the slurry is both creamy but also thixotropic. Being able to measure the specific gravity of the glaze slurry accurately is very important in accomplishing this.
Thixotropy refers to a decrease in the viscosity when a slurry is subjected to shearing (movement) followed by a gradual recovery to the viscous state when the movement stops. Or, in simpler terms, it is the tendency of undisturbed slip to thicken with time. A highly thixotropic slurry gels as soon as motion stops (fluid when in motion, gelled when not). Products we use every day are like this (e.g. mayonnaise, toothpaste, paints, ketchup, hair gel, these are thixotropic non-Newtonian fluids). Thixotropic measuring devices record the difference between two readings: In motion and after sitting for a fixed period.
As noted, each glaze has a rheological "sweet-spot", a slurry condition at which it is at its best. What is that condition? When motionless it gels quickly and does not settle. During use it is fluid and goes on evenly and does not drip. It does not dry too quickly on bisque. This sweet-spot has a certain specific gravity coupled with a "two-second viscosity". If I stir the glaze vigorously and pull out the stirring stick it will stop motion in two seconds (in a small 1-2 gallon bucket). And, it bounces back slightly! That bounce-back is the thixotropy, the two seconds is the viscosity. You cannot just mix water with a powder and get this behaviour. It is done by incorporating a flocculant.
First, one must discover the "specific gravity starting point": That is the specific gravity the slurry needs to have before you start adding the flocculant (you may have seen many people advise adding the flocculant, but they overlook the detail of having the right specific gravity first). First mix the powder into about 75% its weight in water (which produces a slurry that is too thick). Begin adding water (while propeller mixing) until it reaches the consistency of a thick cream, about five-second-stop viscosity. Check with a bisque tile to see how thick it goes on after a two-second dip. Likely too thick, it needs a little more water. This is the consistency at which I used to use the glazes.
Now, second, the slurry needs to be gelled (be thixotropic) so that it will stop motion in two seconds and bounce back slightly (after mixing ceases for 1-2 gallons). However at the viscosity of the last paragraph even a small amount of flocculant will turn the whole bucket into useless jelly. So water is needed (remember, I am still describing how to discover the right specific gravity that will tolerate the addition of the flocculant). How much water? It might be more than you think. Enough that about 5 capfuls (caps from my liter-sized vinegar bottle) are required to gel a gallon of the glaze (or about 5 pinches, 2-3 grams, of powderized epsom salts). When this much is required the system is not too sensitive (it is not so easy to over gel the slurry).
Now, we have a two-second slurry. What next? Using dipping tongs glaze a piece, holding it under for 2 seconds, pulling it out and turning it over at 45 degrees to drain. If it does not go on thick enough, or drips too much, more flocculant is needed. If it gels too fast (not going on evenly) it needs more water. Then more flocculant. Repeat. OK, now we have it going on perfectly, it applies in an even, thick enough layer of gelled glaze cover that dries quickly.
This next thing I say is key to this whole page: MEASURE THE SPECIFIC GRAVITY. And record it. That is what to mix it to next time before adding the flocculant.
The glaze is not working right, what do I do?
Is the specific gravity correct? You cannot do anything else until that is right!
What if I have too much water in the glaze, will the vinegar still gel it?
No. But epsom salts might. Or calcium chloride.
My glaze contains carbonates and they are reacting with the vinegar. What can I do?
Vinegar does not seem to work well for me, what can I do?
Use epsom salts or calcium chloride. See link below.
Can you give me a ball-park specific gravity?
For many raw or partially fritted glazes I target 1.43-1.45 specific gravity. However, some glazes want to be fluid at higher specific gravities, so this is not a hard-fast rule (see above on how to discover the right specific gravity).
Does the temperature of my slurry affect is thixotropy?
What about bisque temperature?
It does not matter! With my glazes dipping time is always the same (assuming ware is dry); immerse it and remove it right away. On any clay, porous or dense, bisqued or green the thickness will be right! Getting control of this concept after struggling for years has revolutionized my ability to apply glazes.
Do I still need to add bentonite to my glazes?
Any glaze that has at 10% kaolin or ball clay does not need bentonite when gelled like this (provided the clay is a good glaze suspender). Actually that is wrong, even non-clay materials will gel and suspend by flocculating (e.g. feldspar).
I mixed the glaze again, got it to the right specific gravity and it is thin as water and settling in seconds after I stop stirring. Why?
You have not added the flocculant. When you do it will turn back into the beautiful gel you had last time.
The specific gravity I have determined is different than yours. Why?
The information above is based on my water (with its electrolytes), my materials, my studio, my recipes. Yours could well be different.
It is weeks later and my glaze has gone thin. What can I do?
Put in more flocculant. It will stabilize more each you do this.
I put too much flocculant in, now my glaze is jelly. What can I do?
Add a little Darvan to thin it. If the specific gravity is a little high, surprisingly small amounts of water can rethin it. Or, you may need to add more powdered glaze mix (and water).
I used to have a lot higher specific gravity in my glazes than this, are you sure this is right?
I am not making a rule for all types of ceramics. For sanitary ware, for example, it is common to deflocculate glazes (to densify laydown), the opposite of what I am doing here (well, not quite, as you will see in a moment). With tight controls on production parameters they are able to maintain the rheology of the slurry at a state of controlled flocculation at 1.75 specific gravity (basically there is not quite enough deflocculant in the mix). In this state the slurry also gels when not in motion. With the right equipment they can spray heavy green ware achieving a dense thick lay down that dries hard and even. You would not be able to use that glaze with any of the application techniques common in a studio environment.
We slip cast ware and vessel walls are thin. At 1.43 specific gravity the glaze waterlogs the ware, it dries slow, cracks and then crawls in the firing. What can we do?
Find a way to enable quicker drying. Heat ware before immersing, bisque lower or glaze the insides first and let them dry and then the outsides. As noted in the previous point you may need to deflocculate the glaze to lower water content (perhaps to 1.5 specific gravity). Using Darvan it is still easy to make it quite watery, then you can gel it.
Couldn’t I deflocculate the glaze to enable lower water content and yet still have it runny and then add the flocculant to gel it?
Yes. Once you get better at this. But it produces a more fragile slurry theology, you will be adjusting it more often. And it is heavier so will form downward runs more easily on verticals.
Thixotropy is more of an anti-settling strategy, ideally the slip remains fluid when in use but if allowed to stand it turns to a gel in half an hour, for example. And with casting slip we obtain that thixotropy, not by adding an acid, but by deliberately adding a smaller amount of deflocculant than what would take it to the minimum viscosity possible (again, this state is called controlled flocculation).
Thixotropy is vitally important when using slips (engobes), especially when applied to vertical surfaces or leather hard clay (which is normal). Being able to gel an engobe is the foundation of being able to effectively apply it. Flocculated slips stay put. Engobes must be gelled more than glazes. When the consistency is right you will be amazed at how even and smooth the application will be. These more gelled slips (and glazes) also work better for spraying because you can apply a thicker wetter layer. Be aware also that a fresh application of slip re-wets the ware and will take hours to be able to handle (it ads a day to the drying cycle).
These are sometimes called thixotropic. This usually refers to material that is very elastic, can be pulled and twisted like taffy, and does not set until left still for a time.
Adding water actually made this white engobe run less? How?
The white slip (applied to a leather hard cup) on the left is dripping downward from the rim (even though it was held upside down for a couple of minutes!). Yet that slurry was very viscous with a 1.48 specific gravity. Why? Because it was not thixotropic. The fix? I watered it down to 1.46 (making it runny) and added pinches of powdered epsom salts (while mixing vigorously) until it thickened enough to stop motion in about 1-2 seconds on mixer shut-off. But that stop-motion is followed by a bounce-back. That is the thixotropy. It is easy overdo the epsom salts (gelling it too much), I add a drop or two of Darvan to rethin it if needed. When the engobe is right it gels after about 10 seconds of sitting, so I can stir it, dip and extract the mug, shake to drain it and then it gels and holds in place. Keep in mind, this is a pottery project. In industry they deflocculate engobes to reduce water content. But a deflocculated slurry can still be gelled (if it is runny).
Can you bisque fire at cone 02? Yes. But why? How?
The buff stoneware mug on the right was bisque fired at cone 02, the one on the left at cone 06. The cone 02 mug was immersed in the clear glaze for 1 second and allowed to dry. The other was glazed on the inside first, allowed to dry, then glazed on the outside with a 1 second dip. Of course, the cone 02 one took longer to dry. In spite of this, the glaze is thicker and more even on the one bisque fired to cone 02. How is the possible? The secret is the thixotropy of the glaze. When that is right, a one second dip will give the same thickness and evenness whether dry or bisque, 06 or 02. Why bisque fire to cone 02? To get a glazed surface free of pinholes on some stoneware clays.
When to use vinegar and when to use epsom salts to flocculate a slurry
Slurries with more clay (like engobes, slips) generally respond better to epsom salts. However the extra clay also makes them more likely to go moldy, so you may need to add a few drops of Dettol to kill the bacteria (if they are stored for any length of time). Vinegar works better for glaze surries, but only if they have sufficient specific gravity. Many people like to make an epsom salts solution and add that, but if you have a good mixer you may find it more intuitive to add the crystals (which you should crush to a powder) and wait 30 seconds for the viscosity to respond.
I want this engobe to gel in ten seconds. Why?
It is going to be applied to leather hard earthenware and it needs to be thixotropic (gelled when not in motion, liquid when in motion). Why? I do not want it to run down from the rims of the mugs after dipping. The process: Stir the engobe, pour-fill the mug, pour it out and push it upside down into the engobe. If I can pull it back out before the 10 second gel-time is up I get a perfectly even layer that does not move. A good test is to stir it then pull out the spatula slowly. If it hangs on in a even layer with only a few drips it is perfect. Achieving this behaviour requires very careful additions of powdered epsom salts (and thorough mixing between). As the slip approaches this 10 second threshold even a slight bit more salts will turn it into a bucket of jelly (if that happens I add a drop or two of Darvan). This process works across a range of specific gravities (about 1.45-1.6), the higher the SG the trickier it is (but the faster it dries).
White spots and blisters in a high zircon glaze at cone 6
This is also a common problem at low fire on earthenware clay (but can also appear on a buff stonewares). Those white spots you see on the beetle also cover the entire glaze surface (although not visible). They are sites of gas escaping (from particles decomposing in the body). The spots likely percolate during soaking at top temperate. Some of them, notably on the almost vertical inner walls of this bowl, having not smoothed over during cool down.
What can you do? Use the highest possible bisque temperature, even cone 02 (make the glaze thixotropic so it will hang on to the denser body, see the link below about this). Adjust the glaze chemistry to melt later after gassing has finished (more zinc, less boron). Apply a thinner glaze layer (more thixotropy and lower specific gravity will enable a more even coverage with less thickness). Instead of soaking at temperature, drop 100 degrees and soak there instead (gassing is much less and the increasing viscosity of the melt overcomes the surface tension). Use a body not having any large particles that decompose (and gas) on firing. Use cones to verify the temperature your electronic controller reports.
The same engobe. Same water content. What is the difference?
The engobe on the left, even though it has a fairly low water content, is running off the leather hard clay, dripping and drying slowly. The one on the right has been flocculated with epsom salts (powdered), giving it thixotropy (ability to gel when not in motion but flow when in motion). Now there are no drips, there are no thin or thick sections. It gels after a few seconds and can be uprighted and set on the shelf for drying.
Fundamentals of Fluid Mechanics - book
Many aspects of ceramic production relate to the control of fluids (mostly suspensions). This is also true of material production. If you want to solve problems and optimize your process this is invaluable knowledge. This book is available at amazon.com.
Feldspar applied as a glaze? Yes! The way I did it will change how you glaze.
Custer feldspar and Nepheline Syenite. The coverage is perfectly even on both. No drips. Yet no clay is present. The secret? Epsom salts. I slurried the two powders in water until the flow was like heavy cream. I added more water to thin and started adding the epsom salts (powdered). After only a pinch or two they both gelled. Then I added more water and more epsom salts until they thickened again and gelled even better. They both applied beautifully to these porcelains. The gelled consistency prevented them settling in seconds to a hard layer on the bucket bottom. Could you do this with pure silica? Yes! The lesson: If these will suspend by gelling with epsom salts then any glaze will. You never need to tolerate settling or uneven coverage again! Read the page "Thixotropy", it will change your life as a potter.
What to do when glazes dry-drip like this on the rims of ware
These are the same glazes. The one on the left had a specific gravity of 1.45 and the slurry was creamy and appeared to be good. However when this bisque porcelain mug was pulled out of the slurry (after the dip) the glaze dried so fast that it would not even out around the lip (even though I rolled it). To fix this I added water to take it to 1.43 specific gravity, they I added epsom salts to gel it back to the same creamy consistency it was. This time it went on evenly, dried more slowly and stayed even. Notice the darker color, is it still damp. Although the piece dries enough to handle in less than 30 seconds, it does take longer to dry completely.
Measuring glaze slurry specific gravity
This is the easiest way to measure the specific gravity of a glaze if it is not in a container deep enough to float a hydrometer (or if it is too thick to float it properly). Just counterbalance the empty graduated cylinder to zero, fill it to the 100cc mark and the scale reads the specific gravity (buy these at Amazon.com). Be careful on cheap plastic graduated cylinders like this, check them with water and correct the true 100cc mark if needed (using a felt pen). You could actually use any tall narrow container you have (if you mark the 100cc level). The hard way? A container that holds other than 100cc: you have to divide the slurry weight by water weight.
Specific gravity of a glaze using a scale and measuring cup
The specific gravity of a glaze slurry is simply its weight compared to water. Different glazes optimize to different specific gravities, but 1.4 to 1.5 is typical (highly fritted glaze are higher). To measure, counter-weigh a plastic measuring cup on your scale and fill it with 500 grams of water and note how high the water fills it (hopefully to the 500cc mark!). Fill the container with your glaze to the same place. Divide its weight by the number of ccs (in this case, 500) and you have the specific gravity. The more you weigh the more accurate is the test.
Four drops of Davan deflocculant fixed the problem!
This is a white engobe (L3954B) drying on two dark burning cone 6 stoneware leather-hard mugs (Plainsman M390). Those lumps are on the left cannot be screened out, they are agglomerates. That slip has excessive flocculant (powdered Epsom salts are added to gel it so that it stays put on the piece after dipping). About 4 drops of Darvan were added to one gallon of the slurry, this immediately made it smooth and a perfect consistency for application. It remains stable on ware (without runs). Engobes require tight control to have the right viscosity and thixotropy (which can be achieved over a range of specific gravities (about 1.45-1.6). When they are right they are a joy to use, when they are not ware is ruined.
Absolutely jet-black cone 6 engobe on M340
This is the L3954B engobe recipe but it has 15% Mason 6600 black body stain (instead of the normal 10% Zircopax for white). There is no cover glaze, yet it is durable and absolutely coal black (so a lesser stain % is possible). We have updated the mixing instructions at PlainsmanClays.com and Digitalfire.com pages (showing exact amounts for water, powder, Darvan) and the text on the glossary pages about thixotropy and engobes (read these again and learn to use the engobe process even better). This engobe base is designed to work on regular M340/M390 stonewares (not porcelains). This is exciting because these bodies are so much more robust in drying and much less expensive than porcelains.
Out Bound Links
Thixotropy and How to Gel a Ceramic Glaze
I will establish specific gravity first, then gel the slurry, then establish thixotropy. This will change your life! Glazes that you have never been able to suspend or apply evenly will work beautiful...
In ceramics, when we speak of deflocculation, we are almost always talking about making a casting slip. Glazes can also be deflocculated (to reduce water content and densify laydown).
Deflocculation is the process of making a clay slurry that would otherwise be very thick and gooey into a thin po...
The opposite of deflocculation. Flocculation in a slurry can be a desired or undesired property.
For the latter, a ceramic glaze or clay slurry that would otherwise be thin and runny can be made into a gel by the simple addition of a flocculant. This is typically done to improve suspension prope...
The term viscosity is used in ceramics most often to refer to the degree of fluidity of a slurry or suspension (the term 'shear' is often used when discussing viscosity, theoretically engineers understand viscosity in terms of layers particles or molecules that exhibit a friction that resists latera...
Vinegar Solution 20%
Epsom Salts - MgSO4.7H2O - Flocculant
Magnesium Sulfate, HEPTAHYDRATE, hydrous magnesium sulphate
Calcium Chloride - CaCl2.5H2O - Flocculant
In Bound Links
Rheology refers to the array of characteristics that a ceramic slurry exhibits: its density, flow, thixotropy, permeability, viscosity, stability, etc. Technicians seek to understand and control the dynamics of the slurries they use (to maintain consistency and optimize them for the product and proc...
A white or colored slip applied to clay as a coating. The term "slip" is often used interchangeably with this, but we think of slip more as a decorative, paint-on material/process. The tile industry uses the largest volumes of engobe by far, these are employed as opaque barriers between less-than-wh...
RHEO - Rheology of a Ceramic Slurry
Powdering, Cracking and Settling Glazes
Powdering and dusting glazes are difficult and a dust hazard. Shrinking and cracking glazes fall off and crawl. The cause is the wrong amount or type ...
Uneven Glaze Coverage
The secret to getting event glaze coverage lies in understanding how to make thixotropy, specific gravity and viscosity work for you
A comparison of the weights of equal volumes of a given liquid and water. Water has a specific gravity of 1.0. A ceramic slurry with a specific gravity of 1.8 is thus 1.8 times heavier than water. The best way to measure specific gravity is to weigh a container and record its weight, then weigh the ...
Colloidal particles are so small and light that they do not settle in water. Milk is colloidal. In true colloidal suspensions the movement of water molecules is enough to keep them from settling. Bentonite contains colloidal particles, but it also contains larger ones which also stay in suspension. ...
How to Apply a White Slip to Terracotta Ware
The slip is L3685U. I specially formulated it to fire as a stoneware at cone 03 (it contains lots of frit). It works as a slip or as a body and I made a matching red (based on Redart) that also works ...
G3806C - Cone 6 Clear Fluid-Melt Clear Base Glaze
A base fluid-melt glaze recipe developed by Tony Hansen. With colorant additions it forms reactive melts that variegate and run. It is more resistant to crazing than others.
2015-09-30 - This is a test to publish Insight-live data here. Many more recipes coming soon.
Where Do I Start?
Break your addiction to online recipes that don't work. Get control. Learn why glazes fire as they do. Why each material is used. Some chemistry. How to create perfect dipping and drying properties. Be empowered. Adjust recipes with issues rather than sta
In traditional ceramics, glazes are suspensions, not solutions. They are mixes of insoluble mineral, frit and/or stain particles that have been added to water to form a liquid useful in the ceramic process. That suspension is what confronts us in the bucket or tank, learning how to assess and contro...
In hobby ceramics (at low temperatures), layering of glazes for decorative effects has been commonplace for many decades. Potters have traditionally used dipping and pouring techniques, but in recent years they have increasingly adopted commercial prepared brush-on glazes for their stoneware pottery...
In the production of smaller bisque fired ceramics it is almost always possible to dip-glaze ware. However, this is seldom an option for single-fire ware (especially if large). This is the case in the sanitary ware industry, for example. Spraying is the only option, and it is a very effective one if...
How to Liner-Glaze a Mug
A step-by-step process to put a liner glaze in a mug that meets in a perfect line with the outside glaze at the rim.
G1916Q - Low Fire Frit 3195 Glossy Transparent
An expansion-adjustable cone 04-02 transparent glaze made using three common Ferro frits (low and high expansion) and a suspension strategy that produces an easy-to-use slurry.
2014-09-30 - This recipe contains a very high percentage of frit and thus has the potential to produce a super-transparent surface of high quality. It also has goo...
EP Kaolin - Plastic White Firing Kaolin
EPK, Edgar Plastic Kaolin, EPK Kaolin
G2934 - Matte Glaze Base for Cone 6
A base MgO matte glaze recipe fires to a hard utilitarian surface and has very good working properties. Blend in the glossy if it is too matte.
2014-03-26 - A cone 6 boron-fluxed MgO matte developed at Plainsman Clays by Tony Hansen (a link below will take you to its page there). This page contains technic...
GR6-M - Ravenscrag Cone 6 Floating Blue
Plainsman Cone 6 Ravenscrag Slip based version of the popular floating blue recipe. It can be found among others at http://ravenscrag.com.
2013-09-04 - David Shaner's cone 6 floating blue has been used for many years by thousands of potters. However the base (the clear to which the colorants are added...
G2926B - Cone 6 Whiteware/Porcelain Transparent Base Glaze
A base transparent glaze recipe created by Tony Hansen for Plainsman Clays, it fires high gloss and ultra clear with low melt mobility.
2014-02-06 - A cone 6 transparent general purpose base recipe developed at Plainsman Clays by Tony Hansen (see link to go there below, it contains technical and mi...
The raku process is an economical way of firing ware in reduction to achieve metallic and carbon effects. Normally ware is heated in a kiln until the glaze is melted to the desired degree then it is removed with tongs and put into a container of organic material (i.e. sawdust) where it is cooled. Th...
By Tony Hansen