Unearthing the Chemistry of Ceramic Glazes
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Ouachita Baptist University Scholarly Commons @ Ouachita Honors Theses Carl Goodson Honors Program 2016 Creating Color: Unearthing the Chemistry of Ceramic Glazes Jessica Mariah Hargis Ouachita Baptist University Follow this and additional works at: https://scholarlycommons.obu.edu/honors_theses Part of the Ceramic Arts Commons, Chemistry Commons, and the Painting Commons Recommended Citation Hargis, Jessica Mariah, "Creating Color: Unearthing the Chemistry of Ceramic Glazes" (2016). Honors Theses. 218. https://scholarlycommons.obu.edu/honors_theses/218 This Thesis is brought to you for free and open access by the Carl Goodson Honors Program at Scholarly Commons @ Ouachita. It has been accepted for inclusion in Honors Theses by an authorized administrator of Scholarly Commons @ Ouachita. For more information, please contact [email protected]. 1 Introduction There is something magical about taking lumps of cold clay and turning them into a functional form. The transformation process is what first peaked my interest in ceramics. I turned to this visual art form my junior year of college after being completely overwhelmed by my chemistry major. Not only did Ceramics 1 teach me basic hand building and surface design techniques, but it allowed me to literally pound out my stress. I've gained a strong adoration for ceramics because it relieves my stress and gives me the opportunity to express myself. After taking Ceramics 1, enrolling in Ceramics 2 was a no-brainer. The second course was all about learning how to throw on a wheel. Using the pottery wheel permitted me to make more refined and symmetrical forms. Ceramics 2 was even more enjoyable for me, because I was able to make functional kitchen ware forms like bowls, mugs, and casserole dishes. However, the part of ceramics that interested me the most was the different glazes. In the second semester, we began to mix glazes and see how they interacted with each other. I was amazed at how you can layer one glaze over another and get a completely different color. For example, Ancient Jasper (PC-53), a reddish-black glaze, over Chun Plum (PC-55), a pinky-purple glaze, combines to form a highly versatile glaze. This combination results in a Top Left: Ancient Jasper; Bottom Left: Chun Plum; Right: Ancient glaze with lots of blues, yellows, Jasper layered over Chun Plum (AMACO) 2 reds, and browns. The way the colors run together is different for each piece depending on the form's texture and thickness of glaze application. After spending a year in Ceramics 1 and 2, I knew that I had to take the third section of the class. Ceramics 3 gave me the time and practice I needed to refine my throwing skills. I got to learn new surface design techniques and focus on my craftsmanship. During this third semester of ceramics, I really began to create pieces that I was truly proud of. It might have taken me one hundred tries, but I finally made a mug that I consider to be perfect. In Ceramics 3, I had the opportunity to work with different clay bodies from stoneware to porcelain. It was intriguing to see how the clay body color affected the color of the glazes. Also, in this course, I had the opportunity to perform many glaze tests on the pieces I created. I got to use different Amaco Potter's Choice glazes and combine them to see how they would react. I tried sixteen different glaze combinations, resulting in some beautiful colors. After doing this research with manufactured glazes, I wanted to try mixing my own glaze and altering the chemical components of it. I turned to ceramics to get a break from chemistry. But little did I know, they are very intertwined. Seeing how glazes transform during firing made me wonder what causes the different color and texture variations. Ceramics led me to see that the elements, which I've spent the past four years learning about in chemistry classes, have fun and practical applications. Glaze Testing Basics Glaze testing can be performed in a variety of ways, but the most common is through the use of line blends. A lot of potters like to create new glazes to get a larger variety of colors in their work. Sometimes the combinations of oxides do not look anything 3 like what was hypothesized. Line blends allow potters to test different glazes on a smaller scale without having to chance a prized creation. Instead, experimentation is done with test tiles, small slabs of clay. This allows potters to try out different color combinations without excessive waste and without being emotionally attached The image on the left shows the front of the tile with slip-trailed dots and stamping. The right image shows the back of the tile with my initials carved in. to a piece, in case the combination is not a good result. My test tiles were made by throwing a bottomless cylinder and then slicing it into sections. I carved, stamped, and slip~ trailed different designs on my tiles, as shown in the image above. Having the different variations in surfaces allowed me to see how the glaze reacts to different textures. Once the tiles have been bisque fired, a line blend can be performed. The purpose of a line blend is to take a base glaze and add varying amounts of colorants to small samples. Usually, the experiment is performed by altering the amounts of two chemical compounds and analyzing the effects. To perform a line blend, you will need around 10 plastic cups with approximately 100g ofthe base glaze in each. Make sure that each cup is labeled with the amount and type of colorant to be added. Also, label the corresponding test tile to which the glaze will be applied with red iron oxide. Carefully weigh each colorant and add it to the correct cup. Cover the cup with plastic wrap and let the colorant hydrate for at least one hour. Then, stir each cup thoroughly, making sure all clumps are dissolved. Sieve each glaze to break up any remaining Test tile with number of dips labeled. 4 chunks and remove large particles. After all the glazes are sieved, the test tiles are ready to be dipped. It is important to stir each cup before each dip to prevent settling of the heavier compounds. The first dip should be an even coat covering the entire tile except for a 1h inch gap at the base. It's imperative to leave a gap so that if the glaze runs, it will not stick to the shelf of the kiln. The second dip should cover half of the first dip. A third dip can be performed if desired. Having all your tiles dipped at the same level allows for a more accurate comparison between tiles when they are lined up. It is important to note the difference that thickness of application can have on glaze color. The color changes as layers are added; normally they become brighter. However, if the glaze is applied too thick, blistering can occur. For my research, all tiles were fired to Cone 5, approximately 2,167°F, in an electric oxidation kiln. In oxidation firings, the kiln has an adequate supply of oxygen typically resulting in bright, rich colors (Peterson, 2014). In contrast, reduction firings have a limited supply of oxygen and the atmosphere becomes filled with free carbons. These free carbons are highly reactive and can break bonds in the glaze materials to bond with oxygen. When the carbon reduces the oxygen in the glaze materials, the color and the texture of the glaze can change (Peterson, 2014). Oxidation and reduction firings can have very different results as seen in the image to the right. The same glaze in reduction (left) and oxidation (right) at cone 10. (Hansen, a) It is also important to note the use of personal protective equipment while working with dry, powdered chemicals. Most of the compounds that I worked with were toxic if inhaled or ingested. To prevent exposure to 5 these harmful materials, I wore a respirator and particulate filter 2091 P100. Gloves were also worn when working with oxides. In addition to the protective measures I took, the ceramics room at Ouachita also has an air filter to remove dust particles from the air. Floating Blue Floating Blue is a popular Cone 6 oxidation glaze because of its large amount of variegation. This glaze has a deep blue background speckled with hints of brown and lighter blues that "float" on the surface (Roeder, 1996). Describing the glaze, Cappell said, "the colors seem to float on a surface of a darker background of great depth, reminiscent of a deep pool of water (Hansen, b)." The glaze color and opacity can vary greatly with the thickness, so it highlights irregularities or designs in the surface. The lighter blue tends to appear in areas where application is the thickest. The brown hues are more visible on areas of thinner application or where the glaze "breaks" on edges and irregularities. Also, small lngredlent Amount 510, AbO> S.O, MgO cao K20 Na20 KNoO P,05 Fe,03 110, CoO Nepheline Syenite 47.3 28.71 11.02 0.05 0.33 2.18 4.64 6.82 0.05 Gerst ley Boraie 27 4 0.27 7.24 0.94 5.24 0.11 1.08 1.19 0.03 0.11 0.03 Silica 20.3 20.3 EPK 5.4 2 4 , 202 0.01 0.01 0.02 0.02 0.01 0.04 0.02 + Rutile 4 0.4 3.6 + Red iron oxide 2 1.9 + Bentonite 2 !9 04 0.04 0.02 0.02 0.06 0.08 0.07 + Cobalt Oxide 0.93 Total 109 56.66 13.71 7.24 1.04 5.6 2.32 5.78 8.1 0.04 2.56 3.65 0.93 Adjusted Total (100'1\) 56.93 13.78 7.27 1.04 5.62 2.33 5.81 8.14 0.04 2.57 3.66 0.94 black speckles can be present, resulting from unground particles of iron.