Modification Date: 2019-10-15 11:46:28
|Ferro Frit 3195||25.0||26.3%|
|Ferro Frit 3134||33.0||34.7%|
|Ferro Frit 3249||10.0||10.5%|
|Ferro Frit 3110||7.0||7.4%|
This recipe improves the popular Worthington Gerstley-Borate-based low fire clear recipe. It targets cone 03 to work best on Zero3 stoneware and porcelain. However many low fire bodies are dramatically stronger when fired to cone 03 with this (or one of its thermal expansion variants L & H). And the vast majority of commercial glaze products will fire easily to this temperature. If you absolutely must fire lower, to cone 06 or 04, then use the G1216Q recipe instead.
Unlike Worthington something this does not become a bucket of jelly, does not crack on drying, does not go on unevenly or the wrong thickness, does not cloud up with boron blue or micro-bubbles when fired (because it has lower CaO) when used on the types of bodies discussed below. The major development work culminated in the Ulexite-fluxed G2931F. This recipe, G2931K, was formulated to have the same chemistry as F but use frits instead. It is crystal clear and super glassy.
Low fire bodies span a wide range of thermal expansions. While Worthington clear (an ancestor of this recipe) melts to a good clear, its thermal expansion was too far toward the low end of the range (it tended to shiver and fracture rather than craze). This recipe, G2931K, raises thermal expansion (by adding Na2O). The thermal expansion of Zero3 stoneware and porcelain are about the middle of the range, and they develop good glaze:glaze interfaces, so this recipe fits them well.
This glaze also works well on other low fire bodies. Low talc bodies (like Plainsman 215) also work well. But this glaze shivers on high-talc bodies and crazes on zero-talc porous ones. That is what we want. Why? As noted, the thermal expansions of low fire bodies span a wide range. And glazes are just not stuck on well to ones that have a porous and softer surface. Thus, GLAZE FIT IS VITAL AT LOW FIRE (to prevent crazing and shivering). Remember this: IT IS IMPOSSIBLE THAT ONE BASE GLAZE CAN FIT THEM ALL. Not even two can span the range! Commercial glazes only fit your clay body by accident. That is why this recipe has three variations, one of higher expansion than this one (G2931H) and one of lower expansion (G2931L). By testing glaze fit (using a thermal shock test like boiling water:ice water) and choosing the best recipe or blend of recipes, you can get the best fit. Make the effort and do that. All three fire crystal clear. And you can make make your own brushing versions (see link below). Keep in mind that adding zircon and stains changes expansion and requires re-testing and possibly changing the proportion of K, H and L to match your body. It is a hassle, but it is not rocket science.
Dipping ware in Zero3 Transparent is just so much easier than trying to paint on commercial, slow-drying clears. It produces a slurry with very nice suspension, fast drying and good application properties (if you tune it right). It naturally gels to a creamy consistency at around 1.53 specific gravity (in our circumstances). However it goes on too thick at that high a value, we have found the best all around performance at 1.43 with enough Epsom Salts to gel it back up to a creamy consistency (a few grams per gallon). Measure the SG by weighing (forget about fiddling with hydrometers). You will think it is too thin and watery, but it isn039;t. The Epsom salts will thicken it and make it thixotropic (which the 1.53 slurry was not). Use a little Darvan if you get it too thick.
As a clear overglaze to finish your decorated ware, this glaze has a number of other advantages over commercial clear glazes:
-It is much less expensive so it is practical to have a large pail of it so that pieces can be easily dip-glazed (using dipping tongs).
-It behaves like stoneware glazes, it suspends well and applies in an even layer that can dry to handling stage is seconds.
-It fires to a better crystal clear than most.
-Since the recipe is known, and contains no toxic materials, you can more confidently assure retailers that it is safe; all underglaze color decoration can be isolated from any contact with food or drink by this.
-It is compatible with most underglaze colors (including pinks).
Pay special attention to the drop-and-hold firing schedule, especially if your clay body is not fine-grained.
To mix up 5 Kg use about 4.5 kg of water to get 6.5 litres of glaze.
To mix up paint-on consistency (1 pint jar):
-113g Laguna Gum Solution (100 grams of gum solution has 6.5g powdered CMC Gum)
-Mix in 500g of powdered glaze, adding water if needed to get desired painting consistency (up to 325g total water). It is better to be a little thinner than too thick.
-To make colored versions add stains as needed (if stains cause micro-bubbling or orange peel surface include 2-3% zircopax).
Decorate ware with the underglazes at the leather hard stage, dry and bisque fire it and then dip-glaze in a transparent that you make yourself (and thus control). These mugs are fired at cone 03. All have the same transparent glaze (G2931K), all were decorated with the same underglazes. Notice how bright the colors are compared to middle or high temperature. On the left is a porous talc/stoneware blend (Plainsman L212), rear is a fritted Zero3 stoneware and right is Zero3 fritted porcelain. When mixed properly you can dip ware in this glaze and it covers evenly, does not drip and dries enough to handle in seconds! Follow the Zero3 firing schedule and you will have ware of amazing quality.
This is an all-fritted version of G2931F Zero3 transparent glaze. I formulated this glaze by calculating what mix of frits must be employed to supply the same chemistry of the G2931F recipe. The mug is made from the Zero3 porcelain body (fired at cone 03) with this glaze. This glaze fits both the porcelain and the Zero3 terra cotta stoneware. The clarity, gloss, fit and durability of this glaze are outstanding.
The white engobe was applied by pouring at leather hard stage. The underglazes were also painted on at leather hard. The mugs were then dried, cleaned, bisque fired, dipping in clear glaze and final fired to cone 03. The clay and engobe have frit additions to make them vitrify at low temperatures.
One way to fast-fire is to fire a lot lower. This is Zero3 porcelain made using Dragonite Halloysite (instead of New Zealand Halloysite). It is the L2934C recipe. It was fired to cone 03 and glazed with G2931K clear glaze (which has fired crystal clear and flawless). I fired at 1200F/hr to 1950F, held it for 15 minutes, cooled at 999F/hr to 1850F and held it for 30 minutes, then dropped as fast as the kiln would do. It has some translucency and fires with a purplish hue (the NZ burns blue-white and is more translucent).
Want to make this incredible porcelain and glaze yourself? Read on. The mug on the left is a cone 10R (2350F/1290C) porcelain (#6 Tile kaolin and Nepheline Syenite) with G1947U clear glaze. The other is a fritted cone 03 (1950F or 1065C) porcelain (NZ Kaolin, Ferro Frit 3110) with G2931K clear glaze. We call the body/glaze/firing system "Zero3" (google it or use the links here). The Zero3 porcelain is blue-white instead of grey, the glaze is crystal clear, underglaze colors are so much more vibrant. The Zero3 mug was fired in 3 hours (cold-to-cold). It also withstands thermal shock better, it is as strong or stronger and much more translucent. How is this possible? The magic of the frit, it melts so much better than nepheline. The recipes and method are linked here. It is the most expensive body you will ever make. But from it you will create the highest quality ware you have ever made using the most plastic body you have ever thrown! Follow the instructions carefully.
On the left is G2931J, a zinc alkali fluxed and high Si:Al ratio glaze. Those look like micro-bubbles but they are much more likely to be micro-crystals. High-zinc and high-silica is the mechanism for crystalline glazes, so it appears that is what they are. G2931K on the right has much more boron, double the Al2O3, less SiO2 and is magnesia-alkali instead of zinc-alkali. It is the product of dozens of tests to find an ultra-clear having a glassy smooth surface. This particular chemistry, although having only a 6:1 SiO2:Al2O3 ratio is ultra-gloss. In addition is has low expansion, will fast fire and the boron is not high enough to compromise the hardness.
It runs downward during firing and the thicker sections have micro-bubbles that clouds the otherwise crystal-clear glass.
On Zero3 porcelain. Between 10 and 15% stain with 2-3% zircon added (to prevent bubbling). The firing schedule approached cone 03 (1950F) at 100F/hr for the final 100 degrees, held for 5 minutes, dropped to 1800 and held for 30 minutes.
This is a clear glaze (G2931K) with 10% purple stain (Mason 6385). The mugs are cone 03 porcelain (Zero3). The mug on the left was dipped (at the bisque stage) into a slurry of the glaze (having an appropriate specific gravity and thixotropy). The glaze dried in seconds. The one on the right was painted on (two layers). Like any paint-on glaze, it contains 1% CMC Gum. Each layer required several minutes of application time and fifteen minutes of drying time.
The body is Plainsman L215 (bisque fired at cone 06). The glaze is G2931K. There is good reason to glaze fire to cone 03 instead of 04. Although these commercial underglazes work the same the clay fired at cone 03 is stronger and a deeper red color. But best of all, the glaze is more transparent (because it has fewer micro-bubbles suspended in the glass). Cone 03 is also more tolerant of getting the glaze on too thick, at 04 it will turn completely milky.
These mugs are fired at cone 03. The outside glazes are G2931K transparent with added stain plus 3% Zircopax. The left one contains 10% Mason 6021 red. The right one has 15% Cerdec 297497 red stain. The latter is an older product, obviously not as potent. Encapsulated stains are a revolution in ceramics but test the ones available. You could save money and get better color at the same time.
Glaze fit. The left-most clay mug contains no talc (Plainsman Buffstone), the centre one about 25% talc (L212) and the right one is about 45% talc (L213). Talc raises thermal expansion. The centre glaze is G2931K, it is middle-of-the-road thermal expansion (Insight-live reports it as 7.4) and fits the low-talc bodies (and Zero3 porcelain and stoneware). But it crazes on Buffstone and shivers on L213. The lesson is: Forget about expecting one clear or base glaze to fit all low fire bodies. But there is a solution. I adjusted it to reduce its expansion to work on zero-talc porous bodies and raise it to work on high talc bodies. How? By decreasing and increasing the KNaO (in relation to other fluxes). The three fire crystal clear and work the best in a drop-and-hold firing.
To get the needed chemistry to avoid boron blue clouding (calcium borate crystals). The one on the right clouds, the other does not. Why? Differences in the chemistry (as seen in my account at insight-live.com). G2931K, on the left, has greater Al2O3 (which impedes the growth of crystals), lower CaO (starves their growth) and more boron (for better melting). There is actually no practical way to adjust the recipe on the right (by supplying MgO with talc and fiddling with frit percentages) to achieve this. Frit 3124 lacks Na2O and B2O3. 3134 has excessive CaO and almost zero Al2O3. Talc does not melt well enough. But Frit 3249 supplies the needed MgO and has lots of B2O3 and low CaO. And Frit 3110 has low CaO and supplies the needed Na2O.
When clear-glazing terra cotta ware (Plainsman L215 here) an important issue is glaze thickness. The mug on the left was double-dipped (so suspended bubbles are present in the handle recess, thumb-hold and along its edges). The glaze needs to be thick enough so that it feels glassy smooth but thin enough to avoid the bubbles. Normally, if applied the thickness of the one on the left, it would be completely milky, filled with micro-bubble clouds. Why has it not done so here? Because it is fired at cone 03 (using G2931K glaze and the C03DRH firing schedule). An added benefit is that the body is so much stronger than it would be if fired at cone 06 or 04. And the underglazes work fine.
Out Bound Links
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.
A cone 04-02 clear glaze developed from Worthington Clear. The latter was based on Gerstley Borate, this one employs Ulexite as the melter an is easier to use.- 2015-10-19
In Bound Links
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
It is better to understand and have control of one good base glaze than be at the mercy of dozens of imported recipes that do not work. There is a lot more to being a good glaze than fired appearance.
A cone 04-02 clear glaze developed from Worthington Clear. This employs Ulexite instead of Gerstley Borate and has a lower thermal expansion.- 2016-10-11
A base glaze is one having no opacifiers, variegators or colorants. Thus it should be transparent if glossy and translucent if matte. Developing or adapting a base glaze for your ware is a very important first step in developing a manufacturing process that produces good quality. In fact, from a qua...
A fully transparent glaze is simply one that does not have opacity. But there are degrees of transparency. For example, if a glaze is matte it will show the color of underlying body and decoration, but these will be muted (so it is actually translucent). Completely transparent glazes look like a gla...
How to make strong, durable functional ware from red terra cotta odies based on the traditional of majolica.
The term "Zero3" was coined by Tony Hansen. It refers to recipes he developed at Plainsman Clays that enable a potter to create red burning stoneware and blue-white porcelain at cone 03 (links to recipes at the bottom of this page). He arrived at cone 03 after a long testing program that attempted t...
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By Tony Hansen