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A Low Cost Tester of Glaze Melt Fluidity
A One-speed Lab or Studio Slurry Mixer
A Textbook Cone 6 Matte Glaze With Problems
Adjusting Glaze Expansion by Calculation to Solve Shivering
Alberta Slip, 20 Years of Substitution for Albany Slip
An Overview of Ceramic Stains
Are You in Control of Your Production Process?
Are Your Glazes Food Safe or are They Leachable?
Attack on Glass: Corrosion Attack Mechanisms
Ball Milling Glazes, Bodies, Engobes
Binders for Ceramic Bodies
Bringing Out the Big Guns in Craze Control: MgO (G1215U)
Can We Help You Fix a Specific Problem?
Ceramic Glazes Today
Ceramic Material Nomenclature
Ceramic Tile Clay Body Formulation
Changing Our View of Glazes
Chemistry vs. Matrix Blending to Create Glazes from Native Materials
Concentrate on One Good Glaze
Copper Red Glazes
Crazing and Bacteria: Is There a Hazard?
Crazing in Stoneware Glazes: Treating the Causes, Not the Symptoms
Creating a Non-Glaze Ceramic Slip or Engobe
Creating Your Own Budget Glaze
Crystal Glazes: Understanding the Process and Materials
Deflocculants: A Detailed Overview
Demonstrating Glaze Fit Issues to Students
Diagnosing a Casting Problem at a Sanitaryware Plant
Drying Ceramics Without Cracks
Duplicating Albany Slip
Duplicating AP Green Fireclay
Electric Hobby Kilns: What You Need to Know
Fighting the Glaze Dragon
Firing Clay Test Bars
Firing: What Happens to Ceramic Ware in a Firing Kiln
First You See It Then You Don't: Raku Glaze Stability

Formulating a body using clays native to your area
Formulating a Clear Glaze Compatible with Chrome-Tin Stains
Formulating a Porcelain
Formulating Ash and Native-Material Glazes
G1214M Cone 5-7 20x5 glossy transparent glaze
G1214W Cone 6 transparent glaze
G1214Z Cone 6 matte glaze
G1916M Cone 06-04 transparent glaze
Getting the Glaze Color You Want: Working With Stains
Glaze and Body Pigments and Stains in the Ceramic Tile Industry
Glaze Chemistry Basics - Formula, Analysis, Mole%, Unity
Glaze chemistry using a frit of approximate analysis
Glaze Recipes: Formulate and Make Your Own Instead
Glaze Types, Formulation and Application in the Tile Industry
Having Your Glaze Tested for Toxic Metal Release
High Gloss Glazes
Hire Us for a 3D Printing Project
How a Material Chemical Analysis is Done
How desktop INSIGHT Deals With Unity, LOI and Formula Weight
How to Find and Test Your Own Native Clays
I have always done it this way!
Inkjet Decoration of Ceramic Tiles
Is Your Fired Ware Safe?
Leaching Cone 6 Glaze Case Study
Limit Formulas and Target Formulas
Low Budget Testing of Ceramic Glazes
Make Your Own Ball Mill Stand
Making Glaze Testing Cones
Monoporosa or Single Fired Wall Tiles
Organic Matter in Clays: Detailed Overview
Outdoor Weather Resistant Ceramics
Painting Glazes Rather Than Dipping or Spraying
Particle Size Distribution of Ceramic Powders
Porcelain Tile, Vitrified Tile
Rationalizing Conflicting Opinions About Plasticity
Ravenscrag Slip is Born
Recylcing Scrap Clay
Reducing the Firing Temperature of a Glaze From Cone 10 to 6
Simple Physical Testing of Clays
Single Fire Glazing
Soluble Salts in Minerals: Detailed Overview
Some Keys to Dealing With Firing Cracks
Stoneware Casting Body Recipes
Substituting Cornwall Stone
Super-Refined Terra Sigillata
The Chemistry, Physics and Manufacturing of Glaze Frits
The Effect of Glaze Fit on Fired Ware Strength
The Four Levels on Which to View Ceramic Glazes
The Majolica Earthenware Process
The Potter's Prayer
The Right Chemistry for a Cone 6 MgO Matte
The Trials of Being the Only Technical Person in the Club
The Whining Stops Here: A Realistic Look at Clay Bodies
Those Unlabelled Bags and Buckets
Tiles and Mosaics for Potters
Toxicity of Firebricks Used in Ovens
Trafficking in Glaze Recipes
Understanding Ceramic Materials
Understanding Ceramic Oxides
Understanding Glaze Slurry Properties
Understanding the Deflocculation Process in Slip Casting
Understanding the Terra Cotta Slip Casting Recipes In North America
Understanding Thermal Expansion in Ceramic Glazes
Unwanted Crystallization in a Cone 6 Glaze
Volcanic Ash
What Determines a Glaze's Firing Temperature?
What is a Mole, Checking Out the Mole
What is the Glaze Dragon?
Where do I start in understanding glazes?
Why Textbook Glazes Are So Difficult
Working with children

Fixing a glaze that does not stay in suspension


Fixing a glaze that does not suspend


This was simple in INSIGHT.

First, it has no clay, there is no way it is going to stay in suspension. EPK is a great clay for glazes, it supplies alumina and silica. I put this glaze into INSIGHT and then duplicated it so I had two identical recipes side-by-side.

Then I killed the feldspar (it supplies silica, alumina and sodium). I then added Frit 3110 which is similar to feldspar but has almost no alumina. I tuned its amount to match the Na2O up, then I added EPK and increased it until the Al2O3 matched. Then I increased the Silica to match the SiO2 up.

This is the same process as is described in the lessons section of the INSIGHT manual. I got this. Fined tuning is still needed but you get the idea. You might try using ball clay instead of kaolin, minimum kaolin is usually about 15%. I was able to get 15% ball clay by dropping the bentonite and also using Frit 3110 to supply the K2O and Na2O instead of the feldspar. The key is that the changed recipe has the same chemistry but uses a different mix of ingredients to supply it. Try this recipe and let me know what happens.

Adjust the rutile to be the same percentage as the original and use the copper at the same percentage as well. I don't think this adds up to 100, so keep that in mind.

4.44 Whiting
5.56 Talc
29.89 Ferro Frit 3134
34.89 Silica #325
1.11 Bentonite
6.67 Rutile
17.00 Frit 3110
11.00 EP Kaolin

-------8<-- ------
Hi Tony, thanks for getting back to me, thisa is the recipe from Bill van Gilder that is settling out. I mixed a 10,000 gram batch:
Custer fekdspar 2200
Whiting 400
Talc 500
Ferro Frit 3134 2600
Silica #325 2600
Bentonite 100
Rutile 600
Copper carb 400

I mixed and seived with 80 mesh screen. After several dips it started acting strange, like it wasn't covering very heavily. It would be transparent sometimes and then in spots would be heavy enough to give abeautiful glaze. So I added about 1 1/2 teaspoons Gum solution. That helped some but I still must mix alot before using. I emailed Bill VG about this but never got an answer so I really appreciate You answering me. Restores my faith in man. I just might have to get this program of yours even if I dont understand it. If you have time I will send you the Pete Pinnell recipe also, he also didnt answer my questions, you might turn about to be the new glaze God.

Peggy Mahoney

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