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Submitting Glazes to the Database Via Email


Please read the following and print a copy of it to use as a template for
submitting glaze recipes to the GlazeBase database. The actual template
follows these instructions.


1. You MUST include the header for each item as shown (eg. "Recipe Name:)
including the colon. This will allow the recipes to be imported automatically
into the database. You can delete any item and header that doesn't apply, but
please try to give as much and as detailed information as possible.

2. Each new recipe MUST start with the line: "Recipe Name:" as this is how the
software will know when you've started a new recipe. This way you can submit
several recipes in one text document.

3. You can type several lines of information after most of the more
descriptive item headers if you like, as these will be grouped in the

4. DON'T GUESS! If you don't know, leave an item blank, especially with the
more technical items.

5. MAKE A COPY of the template and use it for entering your glaze recipe.
Please don't retype it all, as that may introduce typing errors.

NOTEs: * Headers are in all caps and followed by a colon (":").

* Comments & instructions are in brackets{ }

* Choices & pick-lists are in this type of brackets: [ ]

Please USE ONLY THESE CHOICES. Add more lengthy descriptions

in the Comments/ notes section.

***** INSTRUCTIONS for specific items in the template *****

RECIPE NAME: {Please use two name categories.

One would be short and descriptive of the type, surface

or color of the glaze. The other would be longer and

more historical or poetic. For example a glaze might be

called "Copper red - Joe Molinaro"}

CONE RANGE: {List ALL the cones, with each separated by commas.}
CONE SIZE: [Large, Small]
CONE TYPE: [Orton, Seger, other(specify brand name or style)]

COLOR: {Keep color to 2-3 words in length. It was suggested to use the color
system developed by the National Bureau of Standards. That would be
more available to everybody including those without color monitors, but it
would mean that everyone who wanted to define a color would have to
have the special NBS color chart. Otherwise use standard color names
like "Orange red" or "dark brown." See pick list that follows for suggested
[light yellow, medium yellow, dark yellow, yellow orange, dark yellow orange,
orange, red-orange, red, dark red, brick red, light blue, medium blue, dark
blue, blue purple, dark blue purple, purple, light purple, light red purple,
dark pink, light pink, light turquoise blue, medium turquoise blue, dark
turquoise blue, dark blue green, blue green, light blue green, green blue,
dark green blue, light gray green, yellow green, light yellow green, light
green, green, dark green, greenish brown, light brown, brown, dark brown, dark
red brown, white, light gray, medium gray, dark gray, black]}

SURFACE QUALITY: [Gloss, Semi-gloss, Waxy, Satin matt, Smooth matt,
Stony matt, Matt, Dry matt, Crater]

FIRING TYPE: [Oxidation, Reduction, Ox. or Red., Salt - Soda, Wood, Raku,

{INGREDIENT LIST - Be as specific as possible in reference to brand name, size
etc. Last item after each material name will be assumed to the be the amount -
use a space or a tab between material name and amount. The recipe need not be
in percentage format, as that will be calculated later, but should be in
decimal form (NOT pounds and ounces). List colorants last in the list, please.
Units of weight are not necessary, but be sure the units are consistent for
all ingredients (eg. don't mix pounds and grams or ounces). See the example.}

MATERIAL #1: IngredientOne AmountOne

MATERIAL #2: IngredientTwo AmountTwo

MATERIAL #3: IngredientThree AmountThree

MATERIAL #X: {Limit of 14 materials including colorants. Delete any not used
if you like.}

CLAY COLOR/TYPE: [White earthenware, Buff earthenware, Red earthenware, White
stoneware, Gray stoneware, Brown stoneware, Porcelain]

CLARITY: [Clear/transparent, Translucent/cloudy, Semi-translucent,
Semi-opaque, Opaque]

CRYSTALS: [None, Small, Medium, Large] [Clustered, Dispersed]


GLAZE FLOW: [None, Little flow, Moderate flow, Fluid, Runny]

GLAZE TYPE: {significant/predominant oxide eg. "Ca Al Matt", and/or family
eg. "copper red", "majolica", "celadon", "fritLead", "leadFree", etc.
Please keep this item short and to the point. LEAVE BLANK IF UNSURE.
We've not settled on this list and would appreciate suggestions }

MEASURED THERMAL EXPANSION: {This will be calculated by the software at the
database - ONLY ENTER measured thermal expansion.}

COMMENTS: {This is a free form text area. Users should enter any and all
information that they feel is relevant and useful. PLEASE WRITE AS MUCH AS YOU
CAN ABOUT THE GLAZE. The following are items are only suggestions.}

- What Makes This Glaze Unique: {Why is it one of your favorites?

What distinguishes it from other glazes of a similar type? Etc.}

- Firing data: {Heating ramp, soaking time, cooling ramp, times and

extent of reduction (give oxygen probe data if available)}

- Surface quality variations: {The effect of temperature,

atmosphere, firing rate on glaze surface.}

- Kiln size, manufacturer and type:

- Effects of firing to different cones:

- Reliability of glaze:

- Coloring oxides, stains and opacifiers tested: {Results.}

- Known glaze flaws: {include suggestions for avoiding them}

- Apparent viscosity for pouring and dipping:

- Application thickness: [Thin, Average, Thick]

- Effects on different clay bodies:

- Interactive effect with other glazes:

- Specific gravity of glaze for pouring and dipping:

- Water pH: {This seems easy to quantify and useful for

understanding the rheological properties of some mixes. It also

might have some effect on the tendency of some materials to


- Calculated unity formula and/or weight percentage analysis: {This

will also be calculated after the glaze is submitted to the

database. Enter it only if known.}

CONTRIBUTOR: {Copyright ownership if held. Please include your address, as a
signed copyright clearance form may be required before glazes are published.
This is still unclear. Addresses given will NOT be published.}


TEST SITE: {Where has this glaze be actually used or tested?}

SOURCE FOR THE ORIGINAL RECIPE: {The lineage of the recipe if known. List
names and addresses if known. Addresses will NOT be published.}

****** EXAMPLE RECIPE ***** (this is a working recipe - try it) ***

(Don't feel like you need to write this extensive of documentation,

but it would be good if you can. Don't include the ">>" before each line.)

>>Recipe Name: Midrange Majolica
>>Cone Range: 4,5,6
>>Cone Size: Large
>>Cone Type: Orton
>>Color: white
>>Surface Quality: Gloss
>>Firing Type:Oxidation
>>Material #1: Pemco Frit P-54 26.91
>>Material #2: Nepheline Syenite 4.05
>>Material #3: EPK 19.65
>>Material #5: Whiting 19.48
>>Material #6: Flint 29.91
>>Material #7: Zircopax 20.00
>>Clay Color/Type: White earthenware or Porcelain
>>Clarity: Opaque
>>Crystals: None
>>Bubbles Within Glaze: No
>>Glaze Flow: None
>>Glaze Type: Ca B Majolica
>>MEASURED Thermal Expansion:
>>Comments: This is a very stable glaze that works well with most colorants
and stains. It is non-toxic, barium-free, and fits most stoneware bodies. Good
as a majolica-like opaque white glaze with oxides and stains brushed over it.
Ferro Frit 3134 can be substituted for Pemco Frit P-54.
Tested on Aardvark stoneware clays: (listed best to worst for smooth surface)
Porcelain, Hopkins White 60, Joe Soldate 60, Rio Red (the last two may have a
fairly gritty surface, even at cone 6). Doesn't craze on cone 10 porcelain
fired to cone 6 - test on cone 6 body.
Reliability of glaze: excellent
Fired primarily in oxidation, but should work in reduction firings with more
limited color palette. Fired to cone 6 it starts to move a little and is not
quite as completely opaque over dark clays or slips. At cone 4 it is still
fairly glossy and much more stable and opaque.
Kiln size, manufacture and type: Alpine glowbar kiln
Possible Glaze Flaws: This glaze is fairly powdery without any binder. It
will crawl slightly if applied too thickly followed by a wash of color on the
raw glaze. Crawling is possible without the addition of CMC or other additives
- use enough to harden the raw glaze surface to your liking. Substituting ball
clay for part of the EPK might also help the surface qualities for painting.
YOU MUST add CMC to glaze batch to harden the raw surface of this glaze. Use
about one tablespoon of CMC powder (soaked in a pint of hot water overnight)
per 3000 gram batch - or more.
Color possibilities: Use mason stains mixed 50/50 with Pemco frit P-25 or Ferro
Frit 3124, or use 70 stain/30 gerstley borate in a watery mix for colors over
glaze or some combination of gerstley borate and frit. Using too much gerstley
borate may make the stain change color or become pastel. Purple stains may
need to have more flux added up to 3 parts flux to 1 part stain. If you use
all frit, add liquid starch or CMC to colors for easier brushing and to
minimize smearing before they're fired. A small amount of bentonite may also
help to keep the all-frit mixture from settling out. These binders are not as
necessary with the gerstley borate. Use these Duncan EZ-stroke transparent
underglazes as overglaze wash for color: EZ003, EZ004, EZ007, EZ012, EZ014,
EZ019, EZ020, EZ021, EZ024, EZ025, EZ027, EZ028, EZ030, EZ032, EZ161. Almost
all the other EZstrokes will work, especially if thinned slightly. The darker
blues and the Sierra Yellow EZstrokes will wrinkle and get rough if applied
too thickly. CoverCoat CC 154 should work as well. Most other CoverCoat colors
will work when thinly applied, but may be dry if thick. Try adding a
teaspoonful of frit or gerstley borate to a jar of CC underglaze for glossier
color. Other color possibilities include washes of the common colorants (mix
chrome and rutile 50/50 with gerstley borate or frit).
A thin red iron or red earthenware slip or possibly a red terra sigillata on
the foot or other exposed clay areas makes a nice contrast if used on a white
clay body. Yet more color possibilities: A nice dark blue green with: 2% cobalt
carb + 3% chrome oxide + 2% black iron oxide added to the glaze.
>>Apparent viscosity for pouring and dipping: thick cream consistency. Also
applies well with a brush or by other methods.
>>Application thickness: average
>>Glaze Contributor: Richard Burkett, Art Department, San Diego State
University, San Diego, CA 92182
>>Date of Submission: 12/22/93
>>Test Site: SDSU
>>Source for the Original Recipe: Richard Burkett

**** END OF GlazeBase Text Template INSTRUCTIONS ****


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