Chapter Five

Clay Bodies and Forms

require the intricate firing cycle,and the
Clay bodies results often resemble a matt glaze.
The preferred clay for crystalline glazes Stoneware offers more possibilities
is porcelain. Porcelain is characterised by for growing a variety of crystals than
its whiteness and translucency, and earthenware. It is also suitable for
there is a quality to porcelain not crystalline matts and aventurine glazes.
apparent in other clay bodieswhich Note however that with macrocrystals,
enhances the richness and vitality of darker stoneware may show through a
crystalline glazes. That is not to say that transparent glaze and some materials
other clays cannot be used. At lower added to stoneware such as ilmenite
temperatures (earthenware), crystals and grog may become nucleation sites.
tend to be very small and cover the Semi-porcelain and white stoneware
whole surface of the pot and their are better choices for crystalline matts,
variety is limited. Trying to grow crystals and in some cases may be used forthe
at earthenware temperaturedoesnot macrocrystallines as long as the clayis
smooth and fine. Porcelain, though,
gives a brilliance and sparkle to crystalline
glazes that other clays cannot offer.Its
colour is whiter and its particle sizeis
finer. The absence of grog or other large-
grained materials reduces scratching
during trimming. Scratches, or the
raised surface of granular material, can
provide unwelcome nucleation sitesfor
crystal formation. The smoothness of
fine porcelain provides an unrestricted
surface on which to grow crystals.
Crystalline glazes can sometimes
dissolve the surface of a clay bodyduring
the melt. Alumina from the clay body
can be absorbed by the glaze, causing
the glaze to fire matt or opaque. Also,
certain ingredients in the firedporcelain
may enhance or diminish the fluxingof

Bottle by Louise Reding (USA). Colourant6%

manganese dioxide.

32
 is
the glaze. Using a clay body that
slightlyimmature at the chosen peak
the
firing temperature helps prevent
surface of the clay body being dissolved
body is
by the glaze. An immature clay
less translucent however, but since the
walls of a crystalline-glazed pot usually
tend to be made thicker, translucency
should not be a factor.
Usually 40—50%of a porcelain clay
body is made up of non-plastic materials
—namely silica and flux —making it
somewhat difficult to work. Therefore,
various ingredients such as ball clay,
kaolin or bentonite are added to porc-
elain to increase plasticity. Allowing
porcelain to age also increases plasticity.
The porcelain clay body I use is made
up of 1.2% ball clay. The addition of ball
clay in a porcelain body reduces trans-
lucency,but when I am working with
crystalline glazes, translucency is not
something I strive for.The forms are
made a little thicker than normal to
take into account the thick application
of glaze,and translucency is not an asset
either physically or visually as far as
crystalline glazes are concerned. My
porcelainis slightlyimmature at cone
10 in oxidation firings, which means
that there is little interaction between
the glazeand the clay.Also, the addition
of ball clay makes the clay a little more
workable,thus allowing me to throw
larger pots with greater ease than the
translucent porcelains.
Beforedeciding on a clay body, run
a series of tests on several different
compositions, as some clays produce
nicer results with crystals than others.

Form
Aventurine and crystalline matt glazes
are not as fluid as crystalline glazes,
therefore,no precautions against their Bottle by Peter Frölich (Austria). Ht 68.5cm (27in.).

33
running need be taken. Sincethese glaze. A vertical form with a round body
glazes do not have a tendency to pool, and narrow foot tends to be an ideal
they can be applied to most forms. With shape for crystal glazing.
flowing crystalline glazes, more glaze Bowls and plates can also be used for
must be applied to the pot. A thicker- crystalline glazes but keep in mind that
walled pot allows better absorption and a crystalline glaze will run to the lowest
adhesion, and allows a wet glaze to dry point. On interiors, the glaze tends to
without running or peeling off the pot. pool, sometimes to a depth where it may
Strong forms with smooth flowing look rough and opaque, or resemblea
surfaces are best for crystalline glazes. puddle of glass. On plates or shallow
Pronounced throwing lines should be bowls, the outside of the piece can be
avoided because glaze gathers in the glazed with a standard production glaze,
crevices. Vases and bottles are most so no precautions for the glaze running
suitable because of their convex shapes, need be taken. Covered jars lend
vertical height and elegant outlines. themselves well for crystalline glazing.
Their vertical structure also allows the Their interior can be glazed with a
glaze to run smoothly, without pooling. traditional glaze with the crystallineglaze
The form of a piece may influence the decorating the exterior. The lid shouldbe
general pattern of crystals. On vertical relatively flat to prevent the glaze from
areas, glaze can flow down the walls of running over the edge and dripping.
the pot in an even application. It must be Surface decoration should be kept to a
kept in mind though when making minimum. The glaze itself is full of
vertical pieces that some kind of detail, and to add further decoration
allowance for the flowing of the glaze might produce a busy appearance.
must be considered. If the pot has a wide Because of the richness and eleganceof
bottom, it makes it difficult to attach a crystalline glazes, the form should also
catch basin and a much larger plate or be elegant and graceful. It's not the kind
bowl is needed to catch the overflowof of glaze to put on a coffeemug.

Round pot by Ric Pierce (Australia).

34
 Clay Recipes
Porcelain throwing clay body
recipes
The following porcelain clay body
recipes are given as parts by weight:

Diane Creber's Porcelain, cone 10

Made by TuckersPottery Supplies (Canada).
Edgar plastic kaolin
Silica 350
G 200 feldspar 250
Bell ball clay 200
Bentonite 25
Epsom salts 2

10-80 Porcelain, cone 10

Made by TuckersPottery Supplies (Canada).
G 200 feldspar 250
Silica 200
Tile #6 kaolin 200
Edgar plastic kaolin 300
Bell ball clay 150
Bentonite 25
Epsom salts 2

David Leach (England), cone 10

Grollegchina clay 500
Potash feldspar
Silica
250
200
h/
Bentonite 50

David Snair (USA),cone 10

Edgarplastic kaolin 400
Tennesseeball clay #4 89 Bottle by Ron Evans (USA). Ht: 42cm (16 1/2in.)
Silica
177 Colourant 2% nickel oxide. Photographby Susan
Nepheline syenite
316 Smith Evans.
Bentonite
22
Griffith Porcelain Body, cone Bevan Norkin (USA), cone 11
8—10 Grollegporcelain 160
Edgar plastic kaolin
Edgar plastic kaolin 150
Silica
250 Tennessee ball clay #10 280
Custerspar
250 Silica (silco sil 200 mesh) 210
Bentonite
30 G 200 feldspar 210
Macaloid
20 Whiting 40

35
 Susan Bunzl (Germany), cone
English china clay
11
Potash feldspar 550
Silica 200
Bentonite 300
Macaloid 20
10
Harlan House (Canada), cone 12
Grollegkaolin
530
G 200 feldspar
230
Silica 400s mesh 240
Ferro bentonite 30
Harlan mixes his clay with rainwater,adds
4 litres of vinegar to each 113.4kg (2501b)
of dry material and ages the claywell.

Casting clay body recipes

Bevan Norkin (USA), cone 10
Grolleg kaolin 300
Tennessee ball clay #10 150
Silica 200
G 200 feldspar 350
Add K brand deflocculant, 2 50cc per
90.7kg (2001b) dry wt. Add 4.5 litres(7.9
pints) water to 9.1kg (201b) dry wt. of clay.
.0
Harlan House (Canada), cone 12 530
Grollegkaolin
230
G 200 feldspar
240
Silica400 mesh
his
Harlan uses the same formula as (bent-
i. throwing body minus the bentonitea gel).
into
onite will turn the casting slip (rain-
Start with 36.3kg (801b)of water of
(12%oz)
water), and add to that 350g addthe
Darvan #7. Blunge this mixture,
feld-
slurry, then add the
kaolin until it is blungingfor
spar and then the silica. After
allow the slipto sit
about half an hour again an
Blunge it should
for a couple of days. gh. It
slip to wei
take out 80cc of the
(6.30%). If the slip weighs
weigh 180g sni
Tall bottle with stopper by Kestutis Mikenas (6.30z) add water in 180g
under 180g weighs
(USA). Brushed with red engobe after being amounts until the test batch with age,
thrown. Glazed with white crystalline base glaze. (6.30z). This slip will improve

36
 Chapter Six

Ingredients in a Crystalline Glaze

A macrocrystalline glaze recipe is lead in the correct ratio to silica, for

usuallymade up of approximately 50 specific temperatures. This process
parts frit, (assuming one is using a frit supposedlyrenders the lead non-leachable
rather than the raw ingredients), 25 and safe to use for commercial applica-
parts zinc oxide, and 20 parts silica. tion. However,correct firing temperatures
Other materials, in lesser proportions, must be reached to insure no leaching
may be added to alter the character occurs and this is difficult to predict.
of the finished glaze. Knowing glaze Also, additionsof other materials to a
ingredientsand how they react to each frit may alter the chemistry and prevent
other is essential for understanding
crystalline glazes.

Frit
A frit is a manufactured compound that
has been fired to a molten state, cooled,
then ground to a powder. Using a frit in
a glazesimplifiesglaze preparation. One
single,convenient material is added,
rather than having to weigh out and
add several ingredients.
A frit, when used in a crystalline glaze
recipe,lowers the overall melting temp-
erature of the glaze ingredients. It is also
used to convert water-soluble glaze
ingredientsinto insoluble complex
silicates.Using a frit ensures that a
homogeneousglaze coating remains
on the surface of the
clay body, not in
the water,and that
no soluble material
is absorbedby the
clay body where it
could act as a flux.
When using lead compounds, com-
mercialfrits are
formulated to balance
Yawning
Vaseby Ginny Conrow (USA), 28 x 15 x
5cm (I I x 6 x
2in.). Photograph by Roger Schreiber
Bottle by Diane Creber (Canada).Ht 24cm Vase by Mark Walford (Wales).
(9/2 in.). Glaze contains rutile.

the locking in of all the leachable immediately and should not be stored.
elements. When using a frit in a glaze Certainly some potters still chooseto
recipe that contains lead, do not use it make their own frits. An explanationof
in the interior of a vesselthat may be how it is done follows.
used to contain food. None of the frits A crucible (smelting pot) is made from
I suggest using for crystalline glazes high-alumina fireclay and firedto cone
contain lead in their composition,but 10. Ingredients to be fritted are weighed
I still suggest that these glazes are not out, dry mixed, sieved through an 80s
designed as food items either ascetically mesh screen, then placed in the crucible
or for practical purposes. A crystalline in the kiln. The kiln is heated to where
glaze on the interior of a pot can pool the materials melt, and the red-hot
and be rough —not the desired surface liquid is either poured into a tank of
liquid
for a food container. water or a plug is removed and the
with
Before frits were commercially flows into the tank. On contact and
available, potters either used unfritted water, the materials quickly freeze
material or made their own frits. Certain shatter into glass fragments. Thisin a
frits may have been difficult to obtain, material is strained, then ground an
were not available commercially, or ball mill until it can pass through
perhaps the potter wished to make all 80s mesh screen. proce-
aspects of the glaze. A crystalline glaze These potentially dangerousextra
made without a frit usually must be used dures in making frits demand

38
safetyprecautions, including wearing in composition for copyright reasons),
protectiveclothing and safety goggles. but sell it under their company name
Unless your studio has the facilities and with a different number. Bayer J-239-P,
you have experience with the process, Ferro 3293, O. Hommell K-3 and Gloster
the safety precautions and extra work GF-106 are all frits that can be substi-
required to make a frit renders this tuted for Pemco 283, and have the same
procedure impractical. Also, an extreme- empherical formula except for a very
ly long grinding time in a ball mill is slight alteration, too miniscule to make
required to pulverise the frit to a suitable any differencein a glaze.
fineness.Becauseof all the problems Let me give another example. One of
with making your own frit, most potters the most popular frits used in crystalline
rely on the many commercial frits that glazes is Ferro 3110. I have used it for
are available on the market today. years but now it is difficult to obtain
Many glaze-manufacturing companies where I live, and my ceramic supplier
make the same kinds of frit, but call it by is selling me Fusion-75 to replace it. Out
a differentname. It is a challenge to keep of habit I still ask for Ferro 3110, and
track of what frit a manufacturer makes fortunately my supplierknows and
and what name it goes by, so a potter substitutesFusion-75. In other areas of
should know the empirical formula of the world, it could go by another name.
the frit he/she is using and ask for a Having a knowledgeable ceramic
chemical analysis from either the manu- supplieryou can dependon certainly
facturer or your ceramic supplier. For makes ordering supplies easier.
example, a very popular frit used for Listed below are the compositions
many years and still being used in of frits most commonlyused with
crystalline glazes is Pemco frit 283. crystalline glazes. I am using the names
However,Pemco has been out of business most commonly associated with these
for over 30 years. Some clay suppliers frits, but it must be understood that in
bought up large quantities of the pro- your part of the world they could be
duct and may still be selling it as Pemco called by another name, and made by
283. Other companies are also manu- another company.
facturing it (with a very slight change

FERRO FERRO FERRO PEMCO* DEGUSSA POTCLAYS

FRIT# 3110 3124 283 90208m 2275
1<20
2.30 0.70 17.35
Na20 15.30 6.30 10.30 16.60 29.00 17.46
CaO
6.30 14.10 20.10 0.30 5.32

A1203
0.70
3.70 9.90 5.90 9.50 5.69
13203
2.60 13.70 23.10 3.88
Si02
69.80 55.30 46.50 76.50 62.00 50.30
TEMPS OF
1400 1600 1450 1420-1670 1634 1472
TEMPS oc
760 871 787 771-910 890 700-800
*Ferrofrit 3292, O.Hommel
K-3, Gloster GF-1()6 and Bayer J-2 39-P can all be substituted for Pemco 283

39
 011'.PI'hepurpose of calcining is to
Silica shrinkage by burning off organic reduce
Silica, also known as [lint, is called soluble salts.
quartz in its pure crystalline state. When Zinc oxide can comprise about
250/
melted and cooled, it readily forms a of a glaze recipe and it has a high
glass. In a crystalline glaze recipe, silica shrinkage rate. If glaze peels off the
pot
combines with zinc oxide to form crystals. as it dries, or crawling occurs, calcining
It also enriches the colour of glazes. is recommended.
Because silica melts at an extremely high Put dry-sieved material to be calcined
temperature (1715 0C/3120 0F), it must in an unglazed bisque-firedbowl,and
be used in combination with fluxes. take it to bisque temperature. The
temperature is not critical (960—10300C/
1760—18850F). Substitute the calcined
Zinc oxide zinc oxide for the zinc oxide in the glaze
Zinc oxide, at the middle and high temper- recipe. To calculate for weight loss by
atures, is an.active flux. When used to calcining, pre-weigh the material.Weigh
excess in a glaze low in alumina, and then after calcining and calculate the differ-
cooled slowly,zinc will produce crystals. ence. This gives a percentage weight loss
Zinc and silica have an affinity for each and determines the amount to be
other and will readily combine to form compensated for.
zinc silicate (Zn2Si04).In its natural state,
this ingredient is known as willemite.
Increasingthe zinc content increases the Alumina
number of crystals. However, too much Alumina is added to a glaze recipeto
zinc in a glaze recipe produces too many give viscosity, making the glaze less likely
crystals, resulting in a matt glaze. to run off the pot when melted. Usedin
Most zinc oxide sold today is calcined. very small amounts, it helps the finished
But check with your supplier to be sure. glaze adhere to the pot in a uniform
Zinc oxide absorbs moisture from the air, thickness. Alumina levels in a crystalline
so this ingredient must be stored in a glaze should be kept very low as alumina
sealed plastic bag or other airtight con- has a tendency to produce many crystals,
tainer. Over time, atmospheric moisture resulting in a matt texture. Aluminain
causes zinc oxide to change and become glaze is usually introduced as kaolin.
zinc hydroxide (Zn(OH)2).Weights given
in glaze recipes are given for calcined zinc
oxide, which weighs less than uncalcined. Titanium dioxide and rutile
If using uncalcined zinc oxide,you may
Titanium dioxide, used in amounts up to
not only be adding too little of the
5%, encourages crystal growth. It also
ingredient, but the glaze will also have
acts as a colour modifier, producing
a tendency to peel off the pot. of
brilliance and purity. If the percentage
titanium dioxide is increased beyond 5%,
Calcining the glaze becomes matt. Rutile is an
Calcining is where a glaze ingredient is impure oxideof titanium and contains
small amounts of iron. It is sometimes
heated to the temperature at which
chemically combined moisture is driven substituted for titanium dioxide to
promote crystal growth.
Plate by Ilene Mahler (USA). Photographby R]. Phil.
Colourants
Other oxides Metals, which act as colouring agents,
may be added to glaze recipes in small
• Sodium,lithium and potassium oxides amounts. The colour may be absorbed by
are active fluxes, which dissolve other the crystal, the base glaze, or both to
oxidesand contribute fluidityto the produce contrasts of colour. One, or a
glaze. combination of two or more colouring
• Calcium,barium and magnesium oxides, can be used in the glaze. Cobalt
oxidesare sometimes added to carbonate, coppercarbonate and
crystalline glazes. They give lustre manganese dioxide are the three
and elasticity. colourants I use most often. Oxidesof
• Boron reacts like alumina, impeding these elements produce too strong a
the growth of large, isolated crystals. colour. The carbonates are more subtle.
All of these oxides can be added Rutile and the oxides of iron, chrome,
directly to a glaze. More often, they nickel and uranium also provide interest-
are added to the base glaze in the ing results. Some colourants seem to
form of a frit. concentrate more in the crystal than the
background. Generally,as the amount of
colourant is increased, the background
colour will become more intense.

41