7.3: Glaze Application Techniques
- Page ID
- 299302
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\(\newcommand{\avec}{\mathbf a}\) \(\newcommand{\bvec}{\mathbf b}\) \(\newcommand{\cvec}{\mathbf c}\) \(\newcommand{\dvec}{\mathbf d}\) \(\newcommand{\dtil}{\widetilde{\mathbf d}}\) \(\newcommand{\evec}{\mathbf e}\) \(\newcommand{\fvec}{\mathbf f}\) \(\newcommand{\nvec}{\mathbf n}\) \(\newcommand{\pvec}{\mathbf p}\) \(\newcommand{\qvec}{\mathbf q}\) \(\newcommand{\svec}{\mathbf s}\) \(\newcommand{\tvec}{\mathbf t}\) \(\newcommand{\uvec}{\mathbf u}\) \(\newcommand{\vvec}{\mathbf v}\) \(\newcommand{\wvec}{\mathbf w}\) \(\newcommand{\xvec}{\mathbf x}\) \(\newcommand{\yvec}{\mathbf y}\) \(\newcommand{\zvec}{\mathbf z}\) \(\newcommand{\rvec}{\mathbf r}\) \(\newcommand{\mvec}{\mathbf m}\) \(\newcommand{\zerovec}{\mathbf 0}\) \(\newcommand{\onevec}{\mathbf 1}\) \(\newcommand{\real}{\mathbb R}\) \(\newcommand{\twovec}[2]{\left[\begin{array}{r}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\ctwovec}[2]{\left[\begin{array}{c}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\threevec}[3]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\cthreevec}[3]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\fourvec}[4]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\cfourvec}[4]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\fivevec}[5]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\cfivevec}[5]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\mattwo}[4]{\left[\begin{array}{rr}#1 \amp #2 \\ #3 \amp #4 \\ \end{array}\right]}\) \(\newcommand{\laspan}[1]{\text{Span}\{#1\}}\) \(\newcommand{\bcal}{\cal B}\) \(\newcommand{\ccal}{\cal C}\) \(\newcommand{\scal}{\cal S}\) \(\newcommand{\wcal}{\cal W}\) \(\newcommand{\ecal}{\cal E}\) \(\newcommand{\coords}[2]{\left\{#1\right\}_{#2}}\) \(\newcommand{\gray}[1]{\color{gray}{#1}}\) \(\newcommand{\lgray}[1]{\color{lightgray}{#1}}\) \(\newcommand{\rank}{\operatorname{rank}}\) \(\newcommand{\row}{\text{Row}}\) \(\newcommand{\col}{\text{Col}}\) \(\renewcommand{\row}{\text{Row}}\) \(\newcommand{\nul}{\text{Nul}}\) \(\newcommand{\var}{\text{Var}}\) \(\newcommand{\corr}{\text{corr}}\) \(\newcommand{\len}[1]{\left|#1\right|}\) \(\newcommand{\bbar}{\overline{\bvec}}\) \(\newcommand{\bhat}{\widehat{\bvec}}\) \(\newcommand{\bperp}{\bvec^\perp}\) \(\newcommand{\xhat}{\widehat{\xvec}}\) \(\newcommand{\vhat}{\widehat{\vvec}}\) \(\newcommand{\uhat}{\widehat{\uvec}}\) \(\newcommand{\what}{\widehat{\wvec}}\) \(\newcommand{\Sighat}{\widehat{\Sigma}}\) \(\newcommand{\lt}{<}\) \(\newcommand{\gt}{>}\) \(\newcommand{\amp}{&}\) \(\definecolor{fillinmathshade}{gray}{0.9}\)Understanding Glaze Properties and Selection
- Purpose of Glaze: Glaze adds a functional coating that makes ceramics waterproof and enhances their aesthetic appeal. It can range from glossy to matte and transparent to opaque, depending on its formulation.
- Types of Glaze: Glossy glazes reflect light for a shiny finish, matte glazes create a subdued surface, and satin glazes provide a balance between the two. Transparent glazes allow underlying designs to show through, while opaque glazes cover the surface entirely.
- Firing Compatibility: Choose glazes that match the firing temperature of your clay body. Low-fire glazes (Cone 06-04) are often brighter, while high-fire glazes (Cone 5-10) yield more subtle, earthy tones.
- Testing: Always test glazes on your specific clay body to observe interactions and ensure the desired result. Variations in firing temperature and atmosphere can significantly affect glaze outcomes.
Techniques for Applying Glazes: Dipping, Spraying, Brushing
- Dipping: Submerge the piece in a bucket of glaze for an even coat. Dipping is efficient for covering large areas but requires careful timing to avoid excessive thickness. Hold the piece by an unglazed portion or use tongs to minimize marks.
- Spraying: Use a spray gun or airbrush for controlled, even application. Spraying is ideal for layering glazes or achieving gradient effects. Protect surrounding areas with a spray booth or drop cloths.
- Brushing: Apply glazes with soft, high-quality brushes for detailed designs or smaller surfaces. Use multiple thin coats to achieve even coverage, allowing each coat to dry before applying the next.
- Sponging: Dab glaze onto the surface with a sponge to create textured or mottled effects. This technique adds depth and variety to the finish.
The Art of Layering Glazes for Multi-Dimensional Effects
- Combining Colors: Layer different glazes to create unique color interactions and visual depth. For example, a transparent glaze over a matte glaze can produce a striking contrast.
- Overlap Effects: Apply one glaze over another in overlapping strokes or dips. The overlap areas often create unexpected textures or colors as the glazes react during firing.
- Controlled Application: Use tools like brushes, sponges, or spray guns to control the placement and thickness of each glaze layer. Thin layers produce subtle transitions, while thicker layers create bold contrasts.
- Testing and Experimentation: Test glaze combinations on small test tiles to predict outcomes. Document your process to replicate successful results.
Tips for Masking and Resist Techniques in Glazing
- Wax Resist: Apply wax resist to areas you want to remain unglazed. Once dry, the wax repels glaze, creating clean, defined patterns. For example, use it to leave a foot ring unglazed.
- Stencils and Tape: Use stencils or masking tape to block off areas and create sharp, geometric designs. Remove the stencils or tape before firing to reveal clean lines.
- Natural Resists: Experiment with materials like leaves or lace as resists. Dip or spray glaze over the material, then remove it to reveal intricate patterns.
- Layering with Resists: Combine resist techniques with layering to create complex, multi-dimensional surfaces. For example, apply a resist design, glaze over it, and then add another layer of glaze after removing the resist.
Troubleshooting Common Glaze Application Issues
- Glaze Too Thick: Overly thick glaze can lead to dripping or crawling during firing. Thin the glaze with water or adjust your dipping time to prevent this issue.
- Glaze Too Thin: If the glaze appears patchy or uneven, apply additional coats or adjust the application method (e.g., longer dips or more brush strokes).
- Pinholing: Small holes in the glaze surface are caused by trapped air or gases. Ensure proper bisque firing to eliminate residual moisture and allow slow cooling during glaze firing.
- Crawling: Glaze peeling or separating can result from dirty bisqueware or incompatible glaze formulas. Clean the surface thoroughly before application and check glaze consistency.