Colour in Glazes Technically

Returning to Subject Module, I started to explore colour in glazes on my own, to help me develop specific colour pallet for my Subject work.


Orange being the most prevalent colour in Penguin Books designs, it provides a great depth of symbolism and context associated with the cultural impact Penguin Books had in UK and other English speaking countries. It brought inexpensive fiction and non-fiction to the mass market, educating, and having impact on public debate in Britain, through its books on British culture, politics, the arts, and science.
Therefore, I’m using orange as colour of possibility for social and personal growth.
I found number of good colour pallets around orange, but one with split complementary colours: blue and purple stood out visually, and belonging in the Penguin colour scheme with dark blue representing Biography and Purple representing Essays.

I started with a search for multiple recipes of the chosen colours in EW and SW, which would give me glaze bases and colours which I could then combine and refine.

I tested 4 SW recipes with one very successful Barium based glaze producing interesting dark blues with orangey halo on White Saint Tomas, and another glossy Soto Amber with interesting double colouration, but in green and browns.

Adapting the 2 base glazes, I stained them with commercial stains, which however burned out or in case of Lilac and Rosso Red Stains just reduced in vibrancy. 20170518_111126-COLLAGE

Therefore, I started experimenting with combinations of oxides to mixed into my leftover stained batches, referencing oxide combination sheet in our glaze room.

In the Barium based glaze I used:
Vanadium + Cobalt Carbonate + Titanium Dioxide produced matter, more even, lighter blue.
Manganese Carbonate produced very dark uneven purple.
Vanadium + Rutile didn’t show up and the glaze remained white.

20170518_110437-COLLAGEIn Soto Amber I used:
YIO + Rutile + Vanadium producing just light brown with streaks of blue.
Cobalt Carbonate + Manganese Carbonate + Rutile producing dark background with interesting blue streaks.
And RIO, browning the Rosso Red stain.


 

 

 

 

 

 

 

I had more luck in the EW glazes due to the simplicity of using commercial stains.

20170329_095437.jpg


Finding another 4 different glazes, mainly Lead based, but one with Wollastonite andIMG_7803-COLLAGE Strontium carbonate as fluxes which proved as most stable on different clays, pleasant surface and gloss, not settling down and good colour response.

I was able to use colorant combinations from the other glazes to adapt the non-toxic base glaze, and experiment with other combinations, to produce a range of oranges, yellows and dark blue purples.

If I had more time I would really go for a bit more scientific/controlled way of testing the additions to perfect the colours, rather than my very quick, mostly intuitive decision making.

The fact that I opted for spraying my final work, made the glaze much brighter, but at least I’m not having brush streaks or loosing any details in texture.

IMG_7799-COLLAGE

The latest test piece glazed with my Penguin Purple, Penguin Yellow, Penguin White and Penguin Orange applied by spraying were acceptable. The one directional application even suggested sun exposure, as if sun rays sprayed the piece, giving direction to the growth.

 

 

 

 

 


NICHOLAS JOICEY; A Paperback Guide to Progress: Penguin Books 1935–c.1951. 20 Century Br Hist 1993; 4 (1): 25-56. doi: 10.1093/tcbh/4.1.25 [https://academic.oup.com/tcbh/article-abstract/4/1/25/1676590/A-Paperback-Guide-to-ProgressPenguin-Books-1935-c?redirectedFrom=PDF]

Advertisements

Colour in Slips technically

Starting with Slip technical, exploring colours in slips with Morgan alongside Field module.


20170314_142134(0)-COLLAGE

I started with a search across library books and the internet for base, white slip recipes of which we mixed 7.

We applied them on terracotta and White Saint Thomas tiles in 3 various layers fired to EW and SW temperatures, half glazed. Also fired on its own.
The blobs of slip were created by piping about 20ml of the individual slips onto plaster bat and gently smearing them. However, they proved extremely fragile after drying, some of them quickly cracking in the process of drying. Anyway, the colour was the same as 3 coats on the tiles; on the other hand, we wanted the blobs of slips for more interesting and easier presentation of our outcomes, giving us possibility to use them to create an installation piece.

IMG_7376

The experiment allowed us to see that the simple recipe used in our glaze room: 50/50 of Ball and China clay has the best result in producing white slip in EW temperature, meanwhile using Porcelain powder slip is whitest for SW temperature.

IMG_7383Morgan’s temperature test showed us the colour changes in number of oxides and staines in EW and SW temperature.
Using the chosen 50/50 slip he stained it with Red, Yellow, Purple and Synthetic Iron Oxides, as well as Coral stain and Chrome Oxide.
Half glazed, they reveal a dramatic change in colour.
This test made us stick with EW temperatures, with added bonus of reducing cost and environmental impacts, but being aware of increased fragility of EW products.

IMG_7380
To further see the colour response of each slip recipe, we added 10% of Yellow stain to each recipe, bisque fired and half glazed at EW temperature, on terracotta tiles.
Most of them look the same, except 1 weird recipe that melts on SW.

These experiments gave us really just the starting point, establishing processes and testing techniques, as well as backing up choice for base slip and temperature.
Rigorous testing of combinations of stains and oxides.

We want to be able to produce a specific colour pallet in specific shades, similar to Jin Eui Kim’s carefully mixed tonal range of his engobes, to create an illusion of curves and voids. ltvs-jineuikim-5.jpg

Statements of Intentions

Subject

Coming from the innovative furniture piece of Penguin Donkey as my catalyst object from the Ken Stradling Collection, created for the revolutionary paperback Penguin books; I want to follow the trajectory of mass production of good design for good value, available to masses, with rich context provided through the ethos of Penguin books.
I want to learn and explore the  industrial processes involved in ceramic production such as technical drawing, prototype making, lathe and whirling, slip casting, CNC, etc. Looking at pure and simple functionalism, with elements drawn from the Penguin Donkey and classical Modernist designs, features including soft curves, long legs and layered plywood.

Exploring the colour scheme dominated by warm reds and mostly orange, I want to explore social ideals and directions, as another layer to the objects. With it the repetition, and presence of body within a space, and repetition relating to identity and individuality within, and its composition/curation.

I feel I want to explore these ideas through more experimental and sculptural work as well, to guide the functional design and possibly challenge preconceptions of functionalism and the processes used. This also extends the ideas and processes I’ve been through with my Public Art Field.
As my professional practice, I’m organising structural work experience, possibly in an area of selling ceramics and its industry, or teaching and providing workshops, or museums and curation as linked to our project brief.


Technical

For my technical I want to take the opportunity of exhibiting in the new Craft Gallery of Saint Fagans, and create an educational and innovative way of looking at colour through ceramics, in particularly through slips and stains.
IMG_1286.JPG

I would join the effort with Morgan Dowdall, so we could produce more spectacular collage presenting colours in slips, in as fun and engaging way possible.
For now we would divide the colour wheel into warm and cold halves, with me exploring the warm spectrum: from warm Greens to Yellow, Reds through warm Purples. screen-shot-2016-12-06-at-02-21-09

This will contribute to my Subject project further exploring slips, its colours and colour combinations through layering.


http://www.tigercolor.com/color-lab/color-theory/color-theory-intro.htm