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ZNI:LUSIOWS: Painted surfaces in the dwd\3ng are teed-free. Carpets in a\1 rooms of the house contain \eti most tike\yI the forln of dust tracked fn fran the ceramics shop adjoinCng the house where lead glaze fs used. The hjghest 1eveCs: lead were found In c~tpet uhich is infrquwtty vacuuwd, tit it is reotonabie to asswe that !&hen rheb ceramics*ration uas in fu(l swfng, al\ hewy traffic aceas (especfaCly the den which is adjacent to the sha) were hi&ly;ntamfnated.
. r .
-’ -I Children & Art MaterialsBy bkhael McCann, Ph.D., andMonona Rossoi, M.S., M.F.A.Despite the concern over lead poisoning adhesives. Hazardous dusts include asbes-
in children and attempts to eliminate chil-dren’s exposure to such lead-containing
tos, dry clay, glaze ingredients’, .dye pow-ders, tmpera powders, plaster dust and
materials as wall paints and pencils, many sawdust. Other toxic *art ‘materiafs children
children are still being exposed to lead in may be exposed to include etching gases,
art classes in schools, community centen kiln gases, soldering fumes, and gases from
and even the home. One of the authors ohotographic developing.
3(M.R.1, for example, has observed situa-tions in which children were using rawlead glazes. lead frits and lead enamels.
Many people mistak&iy assume thatlead f&s are “safe,” whereas in actualitymany commercial lead frits can dissoive instomach acids. Other souices of lead in artmaterials sometimes used with children in-clude silkscreen and other printmakinginks, lead solders and stained.glass. Recentexamples oi lead poisoning in children in-clude a child swallowing stencil paintwhich upon analysis was found to containat least 30 percent lead. and a four-yearold boy developing lead poisoning afterbeing present in the kitchen where his par-ents were involved in stained glass work.One of the problems is that these materialsusually do not state that they contain leadnor do they carry warning labels.
Lead, however. isn’t the only hazardousart material being used by children. Forexample, ingestion of one tablespoon ofturpentine can be fatal to a child, and in-gestion oi two teaspoons of methyl alcohol(found in many shellacs) could have seri-ous toxic eiiects. possibly including blind-ness. Other art materials that are toxic byh’ngle or repeated ingestions of smallamounts include many solvents (paint:hinner, kerosene, lacquer thinners, etc.).*acids, alkaiis. photographic c h e m i c a l s ,dyes and many pottery glaze ingredients.
Ingestion. however, is not the oniv wayin which art materials can injure chi’!dren.Skin contact with many art materials cancause bums, irritation. ulcers and allergies.Elxamples include solvents which defat theskin, acids and alkalis which can cause se-vere bums, formaldehyde and turpentinewhich can cause skin alleqies. and potas-sium dichromate (a natural dye mordant)which can cause skin and nose ulcers. Ifthe skin hds cuts or sores, then many toxicmaterials can enter the bqdy through thesebreaks in the skin’s defenses. In additionmany solvents can be absorbed throbghthe skin into the body.
what is the risk?We believe that children under the age
of about 12 should not t>e exposed to mosthazardous materials. This conclusion isbased on both physiological and psycho-logical reasons.
Finally, inhalation of solvent vapors,dusts, aerosol spray mists and metal fumescan either injure the lungs or be absorbedthrough the lungs into the bloodstream.Common art materials containing harard-ous solvents include turpentine, paint thin-ner, paint and varnish removers,’ rubbercement, silk screen inks and solvents, lac-qlJers and their thinners, shellac, perma-nent markers, cleaning solvents, aerosolspray cans and solvent-based $ties and
First, children are at much higher riskphysiologically than adults from exposureto toxic materials. There are several rea-sons for this. Children and teenagers arestill growing and have a more rapid meta-bolism than adults. As a result they aremore likely to absorb toxic materials intotheir bodies:~With young children this canespecially affect the brain and newous sys-tem. Young children also have incomplece-ly developed lungs and body defenses, andare therefore particularly more susceptibleto inhalation hazards. Finally, children areat higher risk because of their smaller bodyweight. A certain amount of toxic materialis more concentrated in a child’s body thanit is in a larger adult body. Therefore, thesmaller the child, the greater the risk.
Second. children under the age of 12cannot be depended upon to either under-stand the need to carry out precautions orto et%ctively carry them out on a consis-tent basis. Preschool children are likely todeliberately put things in their mouth andswallow them, thus creating an even great-er hazard. Even though older childrenmight not deiiberately swallow art materi-ais, thert? have been several fatalities dueto accidentally&allowing turpentine orpaint thinner that had been carelesslystored in soda bottles, orange juice con-tainers of similar containers. In additionaccidental ingestion can occur by placingcontaminated hatids in the mouth.
For these reasons, we recommend thatchildren under the age of 12 not be al-lowed to use art materials that are hazard-ous by ingestion, skin contact or inhala-tion. Junior and senior high school stu-dents, although that are still at higher riskthan adults, are at an age where they mightnormally be expected to understand theneed for precautions and to consistentlycarry out precautions. Of course this gen-eraiiration has exceptions. particularly withretarded or rebellious students. However,
.we would still recommend that even juniorand senior high school students shouid notuse highly toxic materials. like asbestos,lead, mercury and cadmium, since evensmall exposures to these materials canh au* l p\,,..- ,;c--- -I* r--m
ART HAZARDS PROJECT
Manv art materials recommended inchildren’s art books are highlv toxic ar\c!should not be used by children. For exam-ple. one state curriculum guide ior att.inelementary schools recommends the use oibenzene and carbon tetrachloride - bothextremely toxic solvents - ior clean-up.and also contains a recipe ior J clay substl-tute that calls ior .‘thr& cups oi ground as-bestos.” The use oi these materials-is evenhazardous to the teach&
This brings up the question oi how canvou tell whi& art materiais are saie or ho\v
can children work with them saieiy? ,\\anvchildren’s ati materials have a label statingthey are “non-toxic.” Uniortunateiy thislabel can be misleading since many chii-dren’s art materials have not been testedior long term toxicitl/. including possibiecancer. iunher most art material manuiac-turers do not have toxicologists or otherpersonnel competent to evaluate the haz-ards oi the z;;aterials they are usrng. T h eonly program we know oi which has at-tempted to ensure the saiety oi children’sart materials is that oi the Crayon, Water-color and Gait Institute. Art materiais car-v i n g t h e i r Ceniiied Product (CP) o r AD-proved Product VA seal oi aoproval havebeen “ceniiied bv an authority on toxiccl-ogy. associated hith a leading universitv.to contain no materials in suiiicient quanti-ties to be toxic or injurious to the body.even ii ingesreci.”
The ioilowing are some reconmenda-tions,ior the use oi art materials \vith chil-dren:l 00 not allow chiiciren to use adult artmaterials containing toxic solvents. glues.metals. acids, alkalis. etc.l Use wafer-‘based art materlais such asivater-based inks, paints, and glues. ?J\akesure that print-making inks. paints. etc. donot contain lead, chromium, cadmium orother toxic pigments. Do not use egoxv.ins:ant glues or solvent-such as rubber cement.
,based adhesives
l Some art techniques can be used \vith
children ii haza,rdous steps are done bv ;heteacher when children are not present. Forexamples. the rnixing d clay, piaster andother powders with water. spray iixingdrawings and clean-up with hazardoussolvents should be done bv the teachers.l Clean the an area careiully so that toxicdusts such as clay. plaster, etc.. do not ac-cumulate where they can be inhaled b\children {or teacher!.l 00 not allow food or drink in the JR
/
area because oi the risk oi contaminatand make sure children wash their h 7
9careiully atier cLass. Make sure children dnot have exposed cuts or sores on theirhands.0 Venti(&e al( kiln< inrltrrfin- -I--*- -_ ..“.
Children a n d Art Yaterials - pqe t w o @ Copyright center for Occupational Hazards 1 S
C.
II Precautions For Elementary And Secondary Art Teachers
8 y Ida herma Williamsi\rt Hazards ChairmanPhiladelphia Chapter, Artists Equitf Akciatibn *
We are concerned that some art materials may be threateningthe health of elementary and secondary school chiidren. Sincechildren have a greater susceptibility t?j toxic materials thanadults, we must be very careful. Many materials with a non-toxiclabel may contain toxic materials. Products with ,fhe Caryon,Watercolor and Craft institute CP’(certified product) or AP (ap-proved product) seal are probably. safer than pioducts withoutthis seal, especially in terms of immediate poisoning.
Children can absorb toxic materials into their bddies by theinhalation oi dusts, sprays or solvent vapors. These toxic mate-rials can atiect the respiratory system causing lung cancer, asthmaor emphysema. Other ways to absorb materials are throughingestion, for example children putting colored pencils and paintbrushes in their mouth, or through cuts and infections in the skin.The art room should be kept very clean and should have goodventilation with a constant supply of fresh air. The accompanyingtable lists art materials which sHt)uld not be used with children
under 12 years old, along with possible substitutes.
Children over 12 should only be allowed to use m&e advanctechniques if the proper precautions are fakn.1. Teach the students the hazards and precautions of ai materi,2. Have good ventilation in the art room with a constant supof fresh air.3, Wear proper protective clothing, aprons, gloves, and goggi4. Clean the work area during and after use of art materials.5. Store solvents in their own containers (not in:food containor soda bottles). Label all materials carefully. .6. Do not grind toxic pigments. Use prepared paints only.7. When using power equipment, inspect cords and plugs. M;sure the equipment is properly grounded.8. Do not use lead glazes or lead frits. Many non-le?d glazesavailable.9. Fumes and gases from all kilns are dangerous. Kilns shothave proper ventilation.
This is an incomplete list. As more information is available,shall keep peopie informed with suppiementary lis:s.
Art Materials That Children Under 12 Should Not Use
I. Clay in dry form. The dry powder contains silica which iseasily inhaied and may cause siiicosis.2. Glazes or frits that contain lead.3. Solvents (e.g., turpentine, benzene, toluene, rubber cementand its thinner)4. Cold water dyes or commercial dyes.5. Permanent markers which may contain toluene or other toxicsolvents. :
6. Some instant paper maches may contain asbestos f&s orlead from pigments in colored printing inks.7. Aerosol sprays.8. Powdered tempera’ colors. (Their dusts may contain toxicpigments).9. Arsenic, cadmium, chrome, mercury, lead or manganese pig-men ts.10. Pastels that create dust.I I. All photographic-chemicals.I 2. Lead solder and stained glass.I 3. Epoxy instant glues or other solvent-based glues.14. Solvent-based silk screen and other printing inks.15. Silica sand for moulds.
Substitutes
1. Clay is safe in wet form only (wet clay cannot be inhaled).
2. Use poster paints instead of glazes.3. Use water-based paints and other materials.
4. Use vegetable dyes, onionskins, etc.5. Use only water-based markers.
6. Make paper mache from black and white newspaper arlibrary or white paste.7. Use brushes and water-based paints in splatter techniques.8. Use only liquid colors or thej:eacher can pre-mix the pigment
9. More adequate labelling is needed on art materials to knowhich colors are safe to use.10. Use crayons or era-pas which are oil-based.11. Use blueprint paper and make sun grams.12. Use colored cellophane and black paper to simulate lesd13. Use water-based white glue or library paste.14. Use paper stencils and water-based inks.IS. Use olivine sand.
.Artists’ organrzations, art schools or artists’ publications
wishing to reprint articles or data sheets should address such. requests to: Monona Rossol, Director, Art Hazards Information
Center, S Beckman Street, New York, NY 10038. .
.G~oPo7a.E 727)
.
'’ I Cent& for Safetvinthe ArG"7Xli5 Beckman Street, New York, New York 10038 Area 212/227-6220
CERAMICS * ..By Michael McCann, Ph.D, C.I.H.
Ceramic art and pottery has a wide variety of hazards.The specific hazards and precautions can be divided into fourareas: 1) working with clax 2) giazing and coloring; 3) firingin a kiln; and 4) potential leaching of finished ware.
ClayClays are minerals composed of hydrated aluminum
silicates, often containing large amounts of crystalline silicaOther impurities may include organic matter or sulfurcompounds. Sometimes, grog (ground firebrick), sand, talc,vermiculite, perlite, and small amounts of minerals such asbarium carbonate and metal oxides, are added to modify ciayproperties. Clays can be worked by hand or on the potter’swheel, or cast in a day slurry into molds.
Clay is made by mixing dry clay with water in clay mixer.Clay slip is made by adding talcs which themselves can becontaminated with fibrous asbestos or asbestos-like materials.Geographical sources of talcs are reievant, for example, NewYork State talcs are notoriously asbestos-contaminated, whiieVermont talcs are not. Pfizer has some fiber-free talcs
Hazards
1. There have been known cases of silicosis, or “potter’s rot,”from chronic inhalation of large amounts of free silica duringclay mixing. Symptoms of silicosis in&de: shortness ofbreath, dry cough emphysema, and high susceptibility to lunginfections such as tuberculosis. The disease may take yearsto develop. Siiica dust exposure is net hazardous by skincontact or ingestion. .
2. Chronic inhalation of kaohn is moderately hazardous,Aldcan result in kaoiinosis, a disease in which the lungs becomemechanically clogged.3. Asbestos is extremely toxic by inhalation and possibly byingestion. Asbestos inhalation may cause asbestosis, lungcancer, mesothelioma, stomach cancer, and intestinal cancer.
4. Sand, perlite, grog, and vermiculite contain free silica andare, therefore, highly toxic by inhalation. Vermiculite is alsofrequently contaminated with asbestos.5. There is a danger of accidents if clay or water can beadded while the mixer is in operation.
6. Ba& of clay and glaze mater& can be very heavy, andlifting can cause back probiems.
* This data sheet fs adapted porn the ceramics chapter of Dr.McCann’s 2nd edition of Adirt l3ewm
7. Hypersensitivity pneumonia, asthma, or other respiratoryproblems may occur with exposure to molds growing in wetclay that is being soured or aged in a damp place, ir_, slipsthat stand for months, or with inhalation of dry aged clay.Molds can cause or exacerbate sl5n problems and change theworkability of day.
8. Throwing on a potter5 wheel for long periods of time canresult in carpel tunnel syndrome because of the awkwardposition of the wrists Pain numbness and/or pins andneedIes in the thumb and first three fingers, are commonsymptoms. Back problems can occur from bending over thepotters wheel for long periods of time.
9. Hand contact with wet ciay tz result in abrasion anddryness of fingertips and hands.10. Moving parts of kickwheeis can cause cuts and abrasionsThis can be especially a problem with young children.
11. CIay scraps on the floor, bench and other surfaces candry and pulverize, producing an inhalation hazard due to thepresence of Eree silica Simiiariy, reconditioning ciay bypulverization and sanding finished green ware, can createvery high concentrations of hazardous silica dust.
Precautions
1. Use premixed clay to avoid exposure to large quantities ofclay dust.
2 Clay storage and mixing should take place in a separateroom. Bags of clay (and other pottery materials) should bestacked on palettes or grids off the floor for easier clean-up.
3. All ciay mixers should be equipped with local exhaustventilation to remove fine silica dust particles from the air.If the local exhaust. system is not totally effective, wear aNIOSH-approved toxic dust respirator.
4. Clay mixers should be equipped with proper machineguards so that they cannot be opened to add ciay or waterwhile the mixer blades are turning
5. Wear separate work clothes while in the studio. Choose’clothes of material and design that don’t trap dust. Washthese clothes weekiy, and separately from other laundry.
6. Do not use asbestos or asbestos-contaminated talcs
7. Avoid contact of clay with broken skin. Use amoisturizer.8. To prevent back problems, always lift withAlso, use a standup wheel (Cranbrook style tread1or elevate electric wheels to a height that doesn’t-require
. .
.
. bending over. Exercise and massage may relieve minorniuscular pain.
9. Keep wrists in unflexed position as much as possible toprevent carpel tunnel syndrome. Take frequent work breaks.10. Be carefui of the moving parts on kickwheels, and do notallow young children to use kick style potters wheels.
Il. Recondition day by cutting still-wet clay into smallpieces, letting them air-dry, and soak in water. r12. Finish green ware while still wet or damp with a finesponge instead of sanding when dry. Always wear a NIOSHapproved toxic dust respirator if sanding dry ware. Do notsand greenware containing fibrous talc.13. Wet mop floors and work surfaces daiiy to minimize dustlevels and prevent dj scraps from becoming pulverized.Hosing down is good if the studio is equipped with asuitable drainage system and clay trap. Floors should besealed or made of easy-cleaning material. Vacuum cleanersare useful only if equipped with high efficiency (HEPA)filters to prevent fine silica dust from passing through regularindustrial and household vacuum cleaners.
GlazesGlazes used to color or finish clay pieces are a mixture of
silica, fluxes and colorants. Common fluxes include lead,barium, lithium, calcium and sodium, and are used to lowerthe melting point of silica. The actual colorants, which arean assortment of metal oxides usually account for iess than5% of the glaze by weight.
Originally, soluble raw lead compounds including red lead,white lead, galena, and litharge were used as fluxes in low-fire glazes. In fact, over 400 cases of lead poisoning werereported in British potters in 1897. Lead &its and goodhousekeeping greatly lowered the number of potters that hadbeen poisoned by these highly toxic lead compounds. Fritsare made of melted minerals and metal compounds that aresintered and ground into powder form. While lead frits aresometimes assumed to be’ insoluble and nontoxic, leachingtests with acids have shown that many frits are as solubie asraw lead compounds and,.in fact, there have been cases oflead poisoning from both inhalation or ingestion of the&
High fire porcelain and stoneware techniques eliminate theneed for lead as a flux. Also, alkali earth or alkaline earthfluxes can be used for low-fire conditions instead of lead.Silica may also be removed from leadless type glazes. Thesubstitution can be based on boric oxide as the glass-former,instead of silica. Alkali earth fluxes include sodium,potassium, and lithium oxides; alkaline earth fluxes includecalcium, magnesium, barium, and strontium oxides. Mineralscontaining these fluxes include certain feldspars, nepheiine
syenite, petaiite, bone and plant ashes, whiting, and dolomite.An assortment of metal oxides or other metal compounds
produce particular colors when fired. These are added insuch s’mall amounts to the glaze, that they aren’t usually agreat hazard. Luster or metailic glazes are fired in areduction atmosphere. These glazes can contain mercury,
arsenic, highly toxic ‘solvents such as aromatic andchlorinated hydrocarbons, and oils such as lavender oil. Thecommon metals are often resinates of gold, platinum, silver,and copper. Some underglazes and overglazes use mineralspirits as the vehicle instead of water.
Glaze components are weighed, sorted and mixed withwater. These materials are often in fine powdered form, andresult in high dust exposures Glazes can be dipped,brushed, poured, or sprayed on the ceramic piece.
Hazards
1. Lead compounds are highly toxic by inhalation oringestion. Symptoms of lead poisoning include: damage tothe peripheral nervous system, brain, kidney, orgastrointestinal system, as well as anemia, chromosomaldamage, birth defects and miscarriages All lead compounds,including lead frits, are regulated by the Occupational Safetyand-Health Administration (OSHA).
2. Lead-glazed foodware can leach Iead if not fired property,or if the glaze composition is not correctly adjusted. Forexample, the addition of copper to lead fi-its renders a highersolubility of lead in the final fired ware. Acidic drinks andfoods such as tomato juice, citric juices, sodas, tea, or coffee,can increase this hazard.
3. A glaze; label marked “lead-safe”means that the finishedware, if fired properly, wiil not release lead into food ordrink The actual glaze is still hazardous to handle and fireand may contain lead. Adequate control over firingconditions is very difficult in the craft studio.
4. Other fluxes such as barium and lithium are also highlytotic by inhalation, but less so than lead.
5. Certain colorant compounds of particular metals areknown or probable human carcinogens, including: arsenic,beryllium, cadmium, chromium (VT), nickel, and uranium.
6. Antimony, barium, cobalt, Iead, lithium, manganese, andvanadium colorant compounds are highly toxic by inhalation
7. Antimony, arsenic, chromium, vanadium, and nickelcompounds are moderately toxic by skin contact.
8. Free silica occur in many of the days, plant ash, flint,quartz feidspars, talcs, etc, used in glazes. See the discussionabove for the hazards of silica and the disease silicosis.Weighing and mixing glazes can result in the inhalation ofthese toxic materials
9. Soda ash, potassium carbonate, alkaline feldspars, andfluorspar used in glazes are skin i&ants.10. Spray application of glazes is very hazardous because ofthe potential inhalation of glaze mists
il. Dipping, pouring, and brushing certain glazes may causeskin irritation and accidental ingestion due to careiesspe;onal hygiene habits.
12 Glazes containing solvents are both flammable andhazardous.
2..e. .I. xI--I-_^ -. -
. ..
IPrpcautions
1. Use lead-free glazes If the glaze does not state “lead-free” or “1eadless”on the label, assume it contains lead untilproven otherwise.
2 Lead glazes should only be used on non-foodware itemsDesign lead-glazed pieces so that they won’t be used forfood or drink Lead-glazed pottery should be labeled aslead-containing. c.
3. If possible, don’t use colorants that are known humancarcinogens and avoid probable human carcinogens. Thereis no known safe levei of exposure to carcinogens.
4. Weigh and mix powdered glazes using a movable exhausthood, or wear a NIOSE;I-approved toxic dust respirator. Wetglazes are not an inhalation hazard. Good housekeepingprocedures and cleanup of spills reduce the risk.of inhalationor ingestion of toxic dusts. Wet mop spilled powders.
5. Gloves should be worn while handling wet or dry glazes.Barrier creams may cause glazes to creep during Gring.
6. A spraybooth that exhausts to-the outside is needed forglaze spraying Solvent-based glazes require explosion-proofspraybooths. If a spraybooth is impossible, individualswearing a NIOSH-approved respirator with toxic dusts andmists filters, can work in tiont of a window exhaust fan. Arespirator alone won’t protect other workers present.
7. Good dilution ventilation or local exhaust ventilationshould be available when applying solvent-containing glazes.8. Basic personal hygiene rules should be followed includingrestricting eating, drinking, or smoking in the studio, andwearing personal protective equipment such as gloves, andseparate work clothes or coveralls. Wash hands after work
9. Leftover glazes and glaze scrapings can be homogenized,combined, tested, and used as a glaze.
KilnsElectric kilns and fuel-fired kilns are used to heat the
pottery to the desired firing temperature. The most commontype are the electric kilns.. Heating elements heat the kilnas electric current passes through the coils The temperaberises until the kiln is shut off.
Fuel-fired kilns are heated by burning gas (natural orpropane), oil, wood, coke, charcoal or other materials.Propane gas or natural gas is used most often. These kilnscan be either located indoors or outdoors. The fuelsproduce carbon monoxide and other combustion gases.Fuel-fired kilns are usually vented from the top through achimney. .
Firing temperatures can vary from as low as 1382’ F forraku and bisque wares, to as high as 2,372 ’ F for stoneware,and 2&2 ‘F for certain porcelains.
. The .early stages of bisque firing involves the oxidization oforganic clay matter to carbon monoxide and othercombustion gases. Sulfur breaks down later producing highlyirritating sulfur oxides. Also, nitrates and nitrogen-containingorganic matter break down to nitrogen oxides.
Galena, cornish stone, crude feldspars, low grade fire clays,fluorspar, gypsum, lepidolite and cryolite can release toxicgases and fumes during glaze firings. Carbonates, chlorides,and fluorides are broken down to releasing carbon dioxide,chlorine, and fluorine gases
At or above stoneware firing temperature, lead, antimony,cadmium, selenium and precious metals vaporize and themetal fumes can eith& escape from the kiln, or settle insidethe kiln or on ceramic ware in the kiln. Nitrogen oxidesand ozone can be generated from oxygen and nitrogen in air.
Hazards
1. Chlorine, Buorine, sulfur dioxide, nitrogen dioxide, andozone are highly toxic by inhalation. Bisque firings of high-sulfur ciay have caused the production of great amounts ofchoking sulfur dioxide. Other large acute exposures to gasesare not common. Inhalation of large amounts of these gasescan iesult in severe acute or chronic lung problems Long-term inhalation of low levels of these gases can causechronic bronchitis and emphysema, Fluorine gas can alsocause bone and teeth problems
2. Many metal fumes generated at high temperatures arehighly toxic by inhalation. Since lead vaporizes at arelatively low temperature, it is especially hazardous.
3. Carbon ‘monoxide from fuel-tied kilns or the combustionof organic matter in clays is highly toxic by inhalation andcan cause oxygen starvation. One symptom of carbonmonoxide poisoning is an intense frontal headache,unrelievable by analgesics4. Many gas kilns have small canopy hoods over the exhauston top of the kiln. These hoods are too small and oftendon’t work adequately, especially during reduction firings, inwhich where there is a deliberate d.eficiency of oxygen. Evengas kilns equipped with chimneys often do not capture allthe carbon monoxide. Kiln chimneys may be too short andallow kiln gases to enter nearby buildings.
5. There must be careful planning for additional exhaustsystems in the gas kiln area A lack of makeup air mayresult in exhaust fans actually pulling carbon monoxide-contaminated air from the gas kilns into the room. Weatherconditions also effect the efficiency of kiln draft.
6. Special effects are obtained by the addition of materials .which can generate other toxic kiln emissions.7. Hot kilns produce infrared radiation, which is hazardousto the eyes There have been reports of cataracts, fromyears of looking inside the hot kilns8. Heat generated by the kiin can cause thermal bums TheEdward Orton Jr. Ceramic Foundation reported that whena kiln was operated at 2370 ‘F, the surface temperature,was- at and above 595 l F, and the temperature one footaway from the peephole was 156 ‘F.9. Heat produced by even small electric kilns canin the presence of combustible materials orliquids This can include a wooden floor.
3 . .^--
:[O. If an electric kiln fails to shut off, the heating elementsmelt which can cause fires. Gas kilns also generate a lot ofheat, and room temperatures often exceed 100 ’ F.
11. Natural gas and propane are fire and explosion hazardsSince propane is heavier than air, it can collect at floor leveland not disperse.
Precautions ,-.1. Ventilate electric and fuei-fired kilns with local exhaustventilation, such as a canopy hood. Top-loading electrickilns may have to be enclosed with fireproof curtains sincethe canopy will be located too high from the kiln top to beeffective. Curtains should be short enough to allow entry ofmakeup air. I2. Ready-made, commercial canopy hoods that can be raisedor lowered must be tested in actual use for effectiveness
3. The Orton Foundation has a direct exhaust system, whichattaches to the bottom of octagonal kilns exhausting airinside the kilns through holes made in the top and bottomof the kilns. This qstem is only effective in relatively newkilns that don’t leak
4. Electric or fuel-fired kilns should be kept in a separateroom to reduce exess heat in the working studio. If no oneworks in the ‘kiln room, then electric kilns can be safelyvented with a window exhaust fan placed near the* kiln.
5. Adequate makeup air should be available for any exhaustsystems in the kiln area6. Chimneys should have a high enough stack to preventexhaust from re-entering the building High-velocity stackfans may be necessary.
7. Infrared goggles approved by the American NationalStandards Institute (ANSI) or hand-held welding shieldsshould be worn when looking into the operating kiln. Shadenumber from 1.7 to 3.0 is recommended, but a darker shademay be required if spots appear in front of one’s eyes afterlooking away from the kih
8. Do not use lead compounds at stoneware temperaturessince the lead will vaporize:~
‘a9. Lumber, paper, solvents, or other combustible anflammable materials should not be stored in kiln areasRaise electric kilns at feast a foot off the floor, and place atleast two feet from any wall, allowing air circulation.Wooden floors should be protected with non-asbestoscontaining fireproof materials (e.g. firebrick).
10. All electric kilns should meet local fire and electricalcodes, and should be installed by a licensed electrician.
11. Electric kilns should have two automatic shut-offs. Theprimary shut-off should be a cone-operated shut-off or apyrometer. A timer backup should also be installed toensure reliability. Abays check that the kiln has shut off.
12 A carbon monoxide alarm should be provided for thearea where indoor gas kilns arc located.
13. Gas lines should be installed by qualified personnel.
Regulators, to automatically shut off kilns if the air flowstops or if a negative pressure develops are needed.
14. If gas leaks are suspected (c-g. gas odor): shut off gas atthe source; shut off power to the kiln room at the circuitbreaker; and call the gas company. Test for leaks withnonfat, soapy water or use approved leak-detection solutions
Special ProcessesWhile most glaze firings refer to firing a glaze-coated pot
in the kiln, special processes sometimes are used. Saltglazing and raku firing are two examples.
SdtGhuirrg . .
This process involves throwing wet salt (sodium chloride)into the heated kiln while the bisque ware is being fired.Wet salt at high temperatures decomposed to sodium andchlorine. The sodium reacts with the bisque ware to forma glaze. Large amounts of hydrogen chloride gas andpossibly chlorine are also formed.
Sodium carbonate (washing soda) can also be used.Carbon dioxide is generated instead of hydrogen chloride.
Hazards
1. Hydrogen ‘chloride gas is hi~@y toxic by inhalation.Health effects are both similar and more irritating comparedwith most other kiln gases Often, local environmen taiprotection laws ban salt kilns.2 Hydrogen chloride and water vapor form hydrochloricacid, which can corrode metal fittings in the area.
Precautions
1. Substitute safer sodium carbonate for sodium chloride.
2 Sodium chloride salt glazing should only be doneoutdoors. Kilns should be equipped with canopy hoods andchimney stacks that are tall enough to disperse the hydrogenchloride safely.
3. All gas piping, and metal fixtures should be routinelychecked for corrosion.
RUkUFuing ,Raku involves first firing ware at a low temperature in a
regular gas kiln, and then removing the still hot pieces andplacing in them in sawdust, leaves or other organic materialsfor a reduction phase.
Hazards :1. See above for the hazards and safety precautions usedwith gas kilns.
2 The reduction step produces large amounts of smoke andcarbon monoxide.
3. Treated wood or other materials can yield an exposure tohighly toxic preservatives or pesticides, such aschromium compounds.
A
c /-F; recauticms’ 2
1) Raku should only be done outdoors because of smoke.E;e careful to not locate raku near air intakes or open
c windows of buildings2. Do not use materials that have been treated withpresematives or pesticides for the reduction phase.
Leaching of Finished Ceramic Ware c.Lead Leaching
There is a real concern about lead leaching into food anddrink from pottery fired with lead glazes. Both the U.S.Food and Drug Administration (FDA) and the CanadianConsumer and Corporate Affairs have regulated how much!ead can leach from foodware into food and drink. Acidicliquids are of particular concern. Similarly, continualmicrowave reheating, (e.g. a coffee mug at work) can yieldgreater leaching of lead glazes. Many cases of leadpoisoning, and even some fatalities, have occurred from theleaching of lead from lead-glazed pottery.
Ceramic ware can be tested by placing acid in the vesselfor 24 hours, and then testing the liquid to see how muchlead has leached. 1991 FDA guidelines give the maximumamount of lead that can leach from various types of ware:
flatware (e.g. plates, saucers, etc.) 3 PPmsmall hollowware (e.g. cereal bowls) 2 PPmcups and mugs o-5 PPmlarge hollowware (e.g. bowls over 1.1 liter) 1 PPmpitchers 0.5 ppm
While commercial ceramics companies routinely test theirware for lead leaching, craft potters do not have the samequality control as does the ceramics industry, and leadleaching is more of a problem.
According to United States regulation, ceramicware thatdoes not pass the lead leaching tests must have a permanentfired decal stating:
“NOTFOR FOOD USE - MAY POISON FOOD. FORDECORATIVE PURPOSES ONLY.”
As mentioned earlier, you can also drill a hole in thepottery so it cannot be used for liquids or food.
Preferably, do not use lead glazes, especially for food addrink vessels. Any foodware finished with lead glazes shouldbe tested regularly by certified laboratories. Home kits canbe used for testingiead leaching, but one shouldn’t only relyon these. Below is a list of several kits.
Lead-test Kits
1. Test for Lead in Pottery ($25) and The FRANDON LeadAlert Kit ($29.95), Frandon Enterprises, Inc., P.O. Box300321, Seattle, WA, 98103; telephone (800) 359-9000.
2. LeadCheck Swabs (%30), HybriVet Systems, Inc., P.O. Box1210, Framingham, Mass. 01701; telephone (800) 262-LEAD.3. LEADCHECK II ($25). distributed by Michigan CeramicSupplies, 4048 Seventh Street, P.O. Box 342, Wyandotte, MI.48192, telephone (313) 281-2300.
Other Leachable Metals
Other metals can leach into food and drink. Cadmium isthe single metal besides lead presently regulated in theUnited Sates and Canada. However, other possible toxicmetals in glazes can leach. Barium has been seen in sometests to leach in hazardous amounts from certain glazeformulations. If a barium glaze, or other glaze, changescolor from contact with food, do not use the vessel for food.Try and use only glazes with calcim, magnesium, potassium,and sodium fluxes and minimize the amounts of toxic metalcolorants. Routine testing for other metal leaching shouldbe done. More research needs to be done in this area.
References . .1. American Art Clay Co, Inc. (1987).. &MT& A/tMaterial Safety in the Classvom and Studio. AMACO,Indianapolis2. Fdod and Drug Administration. (1991). Getting the leadout. FDA Corzsumer July-August, 1991, 26-31.3. Lange, A. (1980). Occupational health hazards in thepotting studio/classroom. In Heaid Hazati in the Arts andGajk Pmceedings oj the SOEH Conference on HealthHazards in the Arts and Gap. Eds: Michael McCann andGail Barazani. Society for Occupational and EnvironmentalHealth, W&&&ton, DC4. Lead Industries Association. Facts About Lead Grazes forArtists, Potters and Hobbyists New York (1972)5. Rossol, h4l. (1981-82). Ceramics and Health. Compilationof articles from Ceramic Scope.6. Stopford, W. (1988). Safety ‘of lead-containing hobbyglazes North Carolina Medical Journal 49(l), 31-34.7. Vukovich, M. (1987188). Technically Speaking column:series of 8 articles on kiln safety. Edward Orton Jr.Ceramic Foundation, Westervilie, OH.8. Waller, Julian (ed.) (1987). Health and the Potter, inStudio Potter, entire June issue.
For Further InformationWritten and telephoned inquiries about hazards in the arts
will be answered by the Art Hazards Information Center ofthe Center for Safety in the Arts Send a stamped, self-addressed envelope for a list of our many publicationsPermission to reprint this data sheet may be requested inwriting from CSA. Write: Center for Safety in the Arts, 5Beekman Street, Suite 1030, New York, NY 10038.Telephone (212) 227-6220.
CSA is partially supported with public funds from theNational Endowment for the Arts, the New York StateCouncil on the Arts, the New York City Department ofCultural Affairs, and the NYS Department of LaborOccupational Safety and Health Training and EducationProgram.
(c) Copyright Center for Safety i,n the Arts 1992.
5 -___-.----. I,
k Brush-On Sealers can also ber fired underglaze colors as aplace of a fired glaze on
I cbatings that produce smooth,eswfacs They are used tom the colors and protect theks,of objects decorated withbed color products.
P
g:;-.
-$ $S 330 Super Gloss has been!!Fp *I especially formulated to produce an$: extremely lustrous, smooth and hard$‘ final finish. Because of its unique
:: focus on the glossiest possible sprayi finish, Super Gloss is not; recommended as an in-behueen sealerf& oil-based nonfired colors. SuperGloss can be used over all Duncannonfired colors, both oil-based and
,‘. water-based, as a final spray finish.
SS 331 Clear Gloss and SS 332 ClearMatte, quite apart from theirfunctions as color-brightening, hard
:. protective finishes, add dimension toi.. decorating with nonfired products byi.i.. multiplying the techniques you can.; use with the already versatile nonfired
colors and accessory products. Thesek Ceramic Spray Sealers can be used
arer, under and between all Duncannonfired colors, depending upon the
1 &sired finished results and the
One of these Ceramic Spray Sealersor Porcelain Ceramic Spray Sealer is
1::’ necessary as the in-between sealer‘is when rouging with the Oil-Basedi:: Translucents. Clear Matte a n dis Pbfcelain arc especially.: recommended as the required in-
between fixative when rouging withtranslucent colors.
: In antiquing techniques where the.bright, original colors of the acrylicbase colors are desired, spray on a
.coat of Clear Gloss or Clear Mattebefore antiquing. This intermediate
. coat will prevent the usual toningi,dc~~n of the original color whenbantiquing.
rs 333 Translucent Pearl has all the$&able characteristics of the other&ramic Spray Sealers and, while
%D %?fTranslucent Pearl can be used as anintermediate sealing coat in the samemanner as Clear Gloss, Clear Matteand Porcelain, Translucent Pearl isespecially designed to add a beautifulpearlescent sheen over nonfiredCOlOfS.
SS 334 Porcelain produces both thelook and feel of fine porcelain bisquewhen applied over a fired glaze orDuncan Prep-Coat. It can be usedbetween or above layers of nonfiredacrylic and translucent colors,depending on the decoratingtechnique used, to produce anattractive matte surface. Porcelain isespecially well suit d as a final finishover drybrushed items.
Porcelain Ceramic Spray Sealerworks very nicely with chalks to givethe softaappearance of china paints.Use a fired glaze, Prep-Coat or aBisq-Stain Opaque as the base coat.Spray with Porcelain, then graduallyadd layers of lighter or darker chalkcolors for shading, spraying betweeneach layer of chalk. Spray withPorcelain for the final protectivefinish.
SS 3.39 Super Matte produces asmooth, even, flat-matte finish onnonfired acrylic and translucentcolors. It slightly softens theunderlying colors and provides ashine-free, protective surface. Likeother Ceramic Spray Sealers, SuperMatte can also be used betweenlayers of opaque or translucent stainsfor a variety of effects. Super Matte isparticularly attractive as the finishingtouch on realistic CeramiCritteranimal figurines.
How to UseCeramic SpraySealersShake all aerosol products beforeusing.
All Ceramic Spray Sealedcontain a“marble” (agitator bail) and should beshaken for 1 full minute after marblemoes freely, and often during use.The marble acts very much like a stirstick in a conventional can of paint.In order to make sure all ingredientsare mixed well together, shake can incircular motion so that agitator isroiling around sides of can (#I).
ic Spray Sealers are final
Before spraying any object, testspray on scrap surface to get “feel” ofcan and to make sure can is sprayingproperly. St;~rt spraying to side ofobject and ~nove spray onto surface ofobject. Stop spraying only after youhave moved spray off to side oiobject. Never start or stop spravingdirectly on object. Keep can inconstant motion while spraying. A
slow, even movement is best, givingbetter coverage and preventing runsand sags caused by spraying one spotheavily when you stop moving can.
Most sprays perform best whenheld approximately 8” to 12” fromobject. However, this may vary withparticular product and climate in yourarea. Always check directions on can.Holding can too far away wiilproduce too light a coating. Holdingcan too close will cause sags or runs.Weather can affect any aerosolproduct. If weather is very cold andcans are stored outdoors, allow cansto warm at room temperature beforespraying. If weather is very hot anddry, holding can too far away (andsometimes, under extreme conditions,even distance recommended on canis too far away) can allow solvents inspray to evaporate. When this occurs,spray dries before it hits object,forming sma.ll, white particles onobject instead of a smooth, clearsurface. In this case, you must adjdistance until you can achieve a“wet” thin iiim.
3If weather is very hot and humid,
3c
Ming can too close will cause- ‘aj/y coating and could accentuate
llushing” problem (milkyjpearance) on surface of object.hzn there is extreme humidity,In-e moisture may become trappedspray film, causing milky white
jpearance. In most cases, blushingill go away within half an hour butolJld problem remain, simply waitItil a less humid, clear day andspray. This should release trappedoisture by reopening surface andtowing it to evaporate, leaying clear,insparent film.
Always try to attain wet, thin film1 surface being sprayed and alwaysIray directly head-on at object (#2).pply as many coats as necessary forzsired effect; 2 light coats are betterian 1 heavy coat. Remember to keepIn moving once spray is hittingeject. Do not stop spraying until youIV? moved spray off to side of3ject.
Spray cans perform best when heldl\where from vertical position toj-degree angle. To tilt can more thanJ degrees could cause sputtering oro spray at all. For this reason, whenlr’aying flat surface, slant object atS-degree incline and spray with caneld at 3.5degree angle also. This willtlow a straight, head-on application:3). Always start off object in upperlit-hand corner and go back and)rlh in even, side-to-side motionnding in lower right-hand corner,!tting each stroke come completelyii object and overlapping each strokeDproximately one-third (#4). Whennished, turn object 90 degrees andBpeat same procedure in bppositeirection. This will result in very.‘en, uniform coating.
.’ .
“.. Jr
. .c
When spraying back and forth,hold can at ‘same distance fromobject rather than swinging can inarc. When spraying round, sculpturalor deeply relieved objects, spray inround, circular motion instead of fromside-to-side (#5). Always spray directly(head-on) at object, and from correctdistance. Start spraying off surface ofobject and finish off surface of object.
When spraying, spray buttonshould be released from time to time,as holding button down forcontinuous .periods may reducetemperature of can, resulting in lostpressure. This can be easily remediedby letting can stand for short periodbefore continuing to spray. However,to prevent this from happening,develop habit of r leasing spray
Yvbutton occasionally hile sprayingbut remember, release only when .spray is off to side of object.
When spraying, always spreadnewspapers around to catch anyoverspray. A cardboard box with oneend removed will make an excellentspray-booth. A decorating .turntable or
banding wheel iS also very usefulwhen spraying round objects,allowing all sides to be coveredwithout touching object (#6).
Spray cans have a dip tube, verymuch like a soda straw, that runsfrom spray button down to bottom ofcan. When not used for a long periodof time, some product may seep upthis tube and become somewhathardened. When this happens,product in can is not harmed butspray button must be worked up anddown a number of times, with can -held upside down, until wofm-likeresidue is forced out. This will cleartube and permit perfect spray. Toavoid this situation, when you arethrough using spray can and beforeputting it away for any length of time,can should be turned upside downand sprayed until only clear gasescapes (#7). This procedure willclear product from tube.
To further correct spray can that isnot spraying properly, first give spraybutton a quarter turn after wiping offany residue that might haveaccumulated around spray hole. Ifspray is still faulty, twist off button(spray head) from can. Using smallknife blade, clean metering slot atbottom of spray head stem (#8).Using a straight pin, clean spray hole(#91. Reinsert spray head firmly intocan, making sure spray hole ispointed away from you. Can shouldnow spray properly..
CharacteristicsDuncan Porcelain Flowers arehandmade of white or tintedporcelain in a wide range of colors.The red roses and holly berries arehand-painted. Beautifully detailed andof the finest quality, Porcelain Flowersare Project Finishers that adddistinctive final touches to manydifferent types of ceramics and craftitems. Porcelain Flowers can beapplied as accents on home decor,such as vases, mirrors, frames, lamps,lampshades, candleholders, bath andboudoir items, and to many otherobjects, like baskets, wreaths, hatsand other personal accessories. Theyare very appealing on wedding andparty items, and on holidaydecorations and ornaments. Theymake romantic jewelry when pairedwith jewelry findings, and PorcelainFlowers are also unusually stunningon fabric.
Porcelain /Vowers can be applied toall kinds of ceramics and householditems.
ApplicationFired glaze surfaces: Use epoxy toattach Porcelain Flowers to the clean,dry piece.
Unfired glare surfa& Wipe away asmall patch of glaze wherever youwant to attach the Porcelain Flowers.Affix the Porcelain Flowers to thebisque with a mixture of equal partsof Patc:h-ATatch and the same glaze,then glaze fire the item to witnesscone 06. Tip: The smaller PorcelainFlowers work best with this technique,because the weight of the largerflowers may cause them to move inthe glaze firing. Special note: Do notiire red-painted ijow&s and hollyberries.
Add a unique personal touch towedding and anniversary decorationsand favors.
On items decorated with nonfiredcolors and craft surfaces: Forpermanent adhesion on most craft
This section’ explains and illustratessome basic application techniquesthat can be used with variousDuncan ceramic colors. For specificinfbrmation on the number of coatsneed&, recommended thinningagents and other information, referto the appropriate section of thismanual for each color family
AirbrushingAirbrushing produces realistic
eiiects on figurines and in scenicdesigns quickly and efficiently. It is
also effective for dinnerware borders,freeform design work and much more.Use a clean stir stick and a cleanplastic cup for each color beingthinned for airbrushing. Thin water-based colors with Duncan Thin ‘n Shadeand oil-based colors with DuncanAntiquing Solvent. The proper colorconsistency for airbrushing dependson the color medium being used.(Refer to specific color family sectionin this manual for recommendedairbrushing consistency.) Workingwith one mixiure at a time, stirmixture vigorously with a’glaze brush
p3907surfa
cyz py’es, use epoxy to atfix Porcelain
Flowers to the desired areas. Whenattaching the flowers to wreaths,ornaments, baskets and similar items,use a hot glue gun or siliconeadhesive.
Fabric: Fabric application requires ‘atwo-part, five-minute epoxy. To wash agarment decorated with PorcelainFlowers, simply turn the garmentinside out. Dry the inside-out garmenton the gentle cycle.
Create one-of-a-kind fashions withPorcelain Flowers.
to remove any lumps or heavyparticles. Clean brush thoroughly afterstirring each mixture. For each colorapplication, fill a clean airbrush withthinned color and test-spray on scrapgreenware or bisque beforeairbrushing your actual piece. If thecolor drips when sprgyed, theconsistency may be too thin or theairbrush may be too close to thesurface of the ware. If the colorappears grainy or will not spray, themixture is too thick. Add colorthinner as needed and retest. f 4airbrushing your actual
Jb)7piece.
17
rbrush color(s) on the ware,ending the edges of each color into
.- jacent areas or masking off areasth Mask ‘n Peel, Wax Resist orx, depending on the techniqueing used. Once airbrushing ismplete, bisque fire underglazedIre to witness cone O-Q, then finishth a clear or transparent (colored)Iire. For nonfired projects, finishth the desired Ceramic Spray orJsh-On Sealer.
brushing p&&s realistic effectsanimal figurines.
intiquing.tntiquing an item decorated with.liired colors softens and enrichesunderlying color(s). Use a soft
sh to apply 1 coat of oil-based oreer-based translucent color, or aIfired color that has been thinnedI Thin ‘n Shade (50% color, 50%n ‘n Shade) over the ware. Wipe.k with a soft cloth or facial tissue,fing some color on the ware and:reviced areas on detailed items. Ifghter finish is desired; dampen ain cloth or tissue with water or.iquing Solvent, depending on theor product being used, andltinue the wiping-back process. If a
ply antiquing color,
deep-toned antique effect is desired,repeat the antiquing steps. Refer tothe section on underglazes foranfiquing done with E-i? Strokes,Red-Strokes, Design-Coats and FiredAntiques.
‘Coritiolled-Glazing
t(
This technique consists of buttingwo or more glazes on a piece. (See3lossary for explanation of butting.)4pply the appropria.te number of;!aze coats (per glaze label) to thelesired areas. Controlled glazing isJsed for a variety of decorativedfects. Some examples are a vaseNith a textured glaze on the bodyind a smooth glaze on the neck; a‘igurine with realistic glaze colorsapplied to the various areas; a’nd flat- _,;urfaced items with design work or3atterns.
BandingTwo mett?ods are used to create
bands of color on ceramics. Warewith circular shapes such as cups,plates, vases, etc. can be centered ona banding wheel. To keep the itemcentered on the wheel, place a plasticbag inside the piece, then carefullyadd enough sand or fine gravel forweight. The wheel is then turnedslowly with one hand, while theother hand holds a brush loaded withcolor to the ware. Depending on thecolor product being used, band withslightly thinned or undiluted color.Apply 1 coat of translucentunderglaze or nonfired color, and 3coats of opaque underglaze color.While a Liner brush is often used forbanding, a Fan brush can be used toband on color(s), producing streakybands of color for effective overallcoverage. (When banding applicationis completed, caref
%ly pour out the
weighting material an remove thebag. This ensures that all material anddust is removed, and leaves the insideclean.)
Banded decoration.
EC
f
i
Controlled glazing technique.
Dots
A very easy and convenient way ofappiying color, dots can be used forhuman and animal eyes, flowercenters, dot-petal flowers, overallpatterns and on areas of clothing.Dots are also an integral part of manyfolk art brushstroke techniques.Various sizes of single dots can bemade with the wooden tip of brushhandles and the small and large endsof the Stylus tool. Dot patterns can bemade with the individual tips of theDuncan Dot Maker tools. Dots canbe made with underglazes, glazes andnonfired colors. Place a small amountdf slightly thinned translucent color orundiluted opaque underglaze color ornonfired color on a glazed tile.Spread the color shallowly on the tilewith a palette knife.. Dip the end of abrush handle, Stylus or Dot Maker tipin color and touch it to the surface ofthe ware to create dots or a dotpattern. For dots of equal size, reloadfor each application. For dotsdescending in size, continue to stamp
a trail of dots without reloading. Infolk art, where two trails ofdescending dots are placed on eachside of a large dot, reload the tool forthe second trail but touch the toolonce to a clean area of the tile beforeapplying to it to the ware, so thesecond trail will not begin with alarge dot.
Loading a Dot Maker with color.
Applying dots to the ware.
DrybrushingNamed from the way the color is
applied - dusted on very lightly, withan almost dry brush - the versatiledrybrushing technique ranges fromspectacular effects where almost everycolor is drybrushed to minimaleffects, such as drybrushing a blush oicolor on the cheeks of figurines.Because drybrushing highlights thedetails of the ware, it is extremelyimportant that the greenware be verycarefully cleaned and checked forflaws, and that the base coat color(s)be applied as smoothly as possible.Use a nonfired water-based acryliccolor as the. base coat, applying 1 or
-more coats as needed. After the base-coat application, the ware can beantiqued before drybrushing ifdesired. Dip an Opaque brush tipinto another water-based acrylic colorand brush the color back and forthmr a fiat brown paper bag, a coffeefilter or a paper towel until almost nocolor shows up on the paper. Nowdust the brush over the ware,repeating the process until the desiredeffect is achieved. Colors can bedrybtished over various parts of theware to create natural effects such asanimal fur or bird plumage, and thecolors can be applied over oneanother. Depending on the particular
drybrushing technique you are using,start with a pale base coat anddrybrush the darkest colors last, orbegin with a dark base coat anddrybrush the palest colors last.Porcelain Ceramic Spray Sealer is therecommended finish for drybrusheditems.
loading the brush for drybrushing..
Brush on brown paper bag, papertowel or coffee filter to removeexcess color.
Dust color onto the piece?;’
MajolicaThis technique involves the
application of E-Z Stroke translucentunderglazes in design over unfiredglaze. Select a nonmoving glaze such
- as- Downright White Gloss Glaze,Sand Art Glaze, a matte-finish
L&Sheen or Art Glaze, or aDimensions ltixtural Glaze, so thatthe design or pattern does notbecome distorted in the glaze firing.Typical majolica designs are .traditional fruits, flowers and leaves,abstracts or patterns. After the glazefiring, the design is a permanent partof the glaze surface. If the underlyingglaze is dinnerware safe, thecompleted ware will also be safe forfood and drink containers.
Majolica technique.
RougingRouging produces the soft ilush oi
color often seen on Austrian figurinesand in some china painting eff&ts.This method oi decoration is achievedby using small cloth pads to apply anonfired water-based or oil-basedtranslucent color, or a noniiredwater-based acrylic color thinned withThin ‘n Shatie (50% color, 50%Thin ‘n Shade) over a dry base-coatcolor. The various layers of color mustbe allowed to dry between coats, butonly the oilI-based colors require theuse of a sealer as a fixative betweeneach layer of dry color. (Clear Matteor Porcelain Ceramic Spray Sealersare recommended as the fixative.) Foreach color, fold a piece of lint-freecloth into several layers, making asmall pad over your index finger.Shake the jar of color well and useonly the color left inside the lid.the pad into the color, blot oifexcess on a paper towel, thencolors onto ihe desired areas of your /
.IW by gently rubbing with a circular_ otion. Blend the color smoothly,‘plying less color toward the edgeseach rouged area for a natural
ok. If a deeper tone is desired,peat the rouging stops.
v rouging; dip cloth pad into colorIQ’ blot on paper towel.
graffitoingThis technique is a method of
eating a design by gently scratchingrough unfired underglaze colorIDlied to the ware to reveal another)lor or the clay body beneath it.his term is sometimes confusedith incising - cutting-into theIpainted clay surface to create a2sign - since the same tool is,ed.) Because sgraffitoing is best3ne while the color is still damp,ork quickly to sketch or trace a2sign over the unfired underglazeAor. Work with one small area of)ur design at a time. Use the;raffito-Duster tool with the hollow:le of the blade down to gently:atch fine, shallow lines along the
.IFtched or traced design lines, then; over the lines a few more times,(adually deepening an4 widening2 lines. Evenly carve any wide.tsign areas down to the depth offraffitoed lines. To avoid chipping
the color, always pull the tool towardyou and, in areas where two linesintersect, pull the tool away from apoint on each side of the previouslysgraffitoed line. Use the brush end ofthe Sgraffito-Duster tool with-thehollow side of the blade down togently scratcfrfine, shallow linesalong the sketched or traced designlines, then go over the lines a few .more times, gradually deepening andwidening the lines. Evenly carve anywide design areas down to the depthof sgraffitoed lines. To avoid chippingthe color, always pull the tool towardyou and, in areas where two linesintersect, pull the tool away from apoint on each side of the previouslysgraffitoed line. Use the brush end ofthe Sgraffito-Duster tool to removeany color particles and dust from thesgraffitoed lines as you work. If thecolor becomes too dry, moisten thearea to be sgraffitoed with a s,lightlydampened sponge, being careful notto overwet the piece.
SpatteringThis is a quick-anh-easy method of
adding cololr highlights over a designor a plain base-coat color. Spatteringis particularly effective for country-styled ceramics, as it&is a traditionaltechnique, highly favored by old-time
brush with undiluted or slighilythinned color, depending on type ofcolor being used (underglaze, glazeor nonfired color). Hold the brushseveral inches above the piece andruri your fingertips through the bristlesto produce a fine spatter of color on /
the base-coated ware. More than onecolor can be spattered on the samepiece.
.
Sponging .Sometimes called sponge veiling,
sponging is a simple way to createtwo-tone or multicolor effects. it isexcellent for creating country-styledceramics, since it is an authentictechnique formerly used by factoriesand individual potters to createcrockery and kitchenware for farmingcommunities. Place a small amount ofslightly thinned translucentunderglaze color or undiluted opaqueunderglaze or nonfilred color on aglazed tile. Spread shallowly over thetile with a palette knife. Use a slightlydampened sponge to apply 1 to 3coats of color over the greenware,bisque or base-coat color (dependingon the color product being used),allowing the underlying surface toshow through here and there. One ormore colors can be sportged on thesame item.
Sponging color onto the ware.
Spot GlazingThis is a method of placing glaze
on various areas of the ware, leavingother areas unglazed. Some examplesare glazed eyes on figurines andpartial glazing on fired terra-cottaCover-Coat or stoneware bisque. Spotglazing can produce very dramaticdecorative effects and is frequentlyseen on award-winning showpieces.Another form of spot glazing isapplying different glaze colors in
random patches over an entire piece,such as a large vase. Again, therecommended number of coatsshould be applied. The result is avariegated abstract pattern, which canbe very pleasing.
StencilingA form of folk art decoration,
stenciling can be used withunderglazes or nonfired colors.Stencils work best on flat orcylindrical surfaces. The direction ofthe stencil can be reversed by turningthe stencil over and applying colorthrough the “back” side. Stencilingcan be done on greenware, bisque ora base-coat color, depending on thecolor product and technique beingused. Colors can be applied throughthe stencil with a slightly dampenedsponge or a Stencil brush, using acircular or straight stroke, or apouncing stroke (dabbing the coloron with a quick up-and-downmotion). Position the stencil on yourware, and hold it in place with tapeor the fingers of one hand. Load asponge or a Stencil brush with color,then lightly- pounce on the tile or apaper towel to remove the excesscolor. Apply I to 3 coats of color(depending on the color productbeing used) through each opening of
the stencil to create the stencileddesign. Remove the stencil whencolor is dry and, if needed,immediately clean both sides of thestencil before repositioning it onanother area of the ware.
Stippiitig ‘This is a method of applying color
by pouncing the tip of a brush loadedwith color against the ware. Use thisapplication method to create realisticfoliage, flower, grass, cloud and watereffects, and highlighting and shadingon figurines. It can be used with bothunderglazes and nonfired colors. Loadyour Deerfoot Stippler brush withcolor. Hold the brush bet-&een your ’thumb and forefinger, letting thehandle rest on your middle finger,and with the longest end of the brushhairs on top and away from you. Holdthe brush at a slight angle toward youand use a quick up-and-down motionto stipp1.e or pounce the color ontothe desired areas of your ware.
Applying color through a stencil.-. r
Pouncing on stippled color withRemoving stencil. quick u&anrjd&n mo tiort.
Duncan CeramicToolsYou’ll use ceramic tools for cleaninggreenware, drilling cutting piercedopenwork; borders, trims, -overalldesigns, lace draping, incising,sgrafitoing and more. Duncan toolsexpand your creativity to the clayitself!
The most popular tool forremoving seamlines and smallblemishes from greenware.Double-ended, with one flattriangular blade and one curvedpointed blade. 2
Double-ended, with one flat spesr-shaped blade and one curvedpointed blade.
Large Cleanup TL 403
Spear Tip Cieanup,TL 402
A bigger version of TL 401Cleanup, this tool is excellentcleaning large, heavy pieces.Double-mded, with one flat
3@triangular blade and one curv- po in ted bllade.
A^“. l.-.l ---
An excellent tool for generalcleanup-of greenware with narrow
: openings as well-4~ for recarvinglost detail on finely detailed ware.
hen TL 404
I
This tool is designed for cuttingand slicing designs in leather-hardgreenware. A double-ended tool,with one end flat and the otheroval.
uble Drill TL 405
The perfect sizes for drilling holesii7 greenware. The chisel tips andL niform spirals provide clean,precisely formed holes withrlinimum effort. One drill is 3/l6”iI7 diameter and the other is l/8”. - .
1, must for lacedraping techniques.The needle end is fine and sharpior lifting delicate lace, and theangular bent foot is perfect forDressing lace into place.
zffito-DusterTM TL 407
C>ouble-ended, with the cuttingend tapered to allow for gradualceepening and widening of lines,and the other end a soft camel hairtrush for removing dust fromjgrairitoed lines.
gzag Saw TL 408This tool is used to cut out designsin dry greenware. Use lightpressure and a sawing motion tocut in any direction.
ire Loop Sgraffito TL 409>, double-ended tool with a smallend for shallow cuts and a largeend for deepening cuts. Used forincising leather-hard or drygreenware, and for sgraffi toi ngthrough color.
ylus TL 411Excellent for tracing patterns ontogreenware, for incising work andfor stamping single dots of coloronto ware. This double-ended tooloffers two balls of differentdiameters. for fine and extra-finework.
ouble Spiral TL 412 .This double-ended brush toolc.
provides a small, straight bristlespiral and a large, tapered bristlespiral. Excellent for smoothinghard-to-get-at areas and holes.
Deep Cleanup TL 413Perfect for cleaning the insidesurfaces of deep, narrow pieces.The crescent-shaped blade issharpened on both sides for easycleanup of both side walls and thebottom of the ware.
Sponge TL 414This long-handled tool is excellentfor sponging the inside surfaces ofgreenware or bisque.
ReplacementSponge TL 415
For use withTL 414 Spongeor can be used
x alone forgeneralcleanupsponging of
. greenware orbisque.
For widening holes covered with-fired glaze and cutting bisque. Useheavy pressure and a2 sawingmotion. Wear safety glasses. /
Saber Saw TL 417
This tool is used for makingstraight cuts in dry greenware. Uselight pressure and a sawing Lmotion.
Large Zigzag Saw TL 418
This tool is used to cut out designsin heavy, thick+&d gree&are.Cut in any direction, using lightpressure and a sawing motion.
Palette Knife ’TL 420Off set PaletteKnife TL 421
For mixing andblending ofcolors onglazed tile orpalette, and forapplying colorin palette knifetechniques.Also ideal forremoving clayfrom pourholes aftercasting amold.
Mixing Tool TL 422
Designed to fit into the smallmouths of l-gallon containers ofceramic glaze and slip for thoroughmixing. Flexible blade springs- backto its original shape, once insidecontainer. Tool shaft fits all l/4’ orlarger standard electric drills.
Replacement Blades for Mixing ToolTL 423 . ;
Fiexible r&placement blades -each good for between 200-300
Dot Maker #l TL 430Dot’ Maker #2 TL 431Dot Maker #3 TL 445Dot Maker #4 TL 446
Each Dot Maker produces 12designs from 12 individual tips onsix handles. They work equaiiywell with underglazes and nonfiredcolors. With the variety of patternsand a simple applicationtechnique, these tools makecountry decorating and fabric-lookdetailing both quick and easy.
Special Additions Decal Tool TL 433
Smooths nonfired decals on piecesquickly and easily, and eliminatesair bubbles.
Greenware CleaningAccessoriesCeramiCushion Greenware CleaningMat TL 443
CERAMI~USHIONG-arr Ckmn: .!.4Aa -.%.--~.-..-..*.--r.-.-r, se_.e...* .s .d--*-..r.* .'.I..----- -. r ,,..- . . . . -.-* . . _ .--. , -_._ . . . . . . , . _.-_ .-. .
__ _.- . . . - QQd-n.,
Protects fragile greenware fromchipping and breaking duringcleaning. Made of durable,washable foam, the flat 12" x 12"surface protects the work area andthe ridged surface cushionsgreenware.
CeramiScrub Greenware CleanerTL 444
Shortcuts’YeramicToolsGreenware Seam Cleaner TL 439
Clean seam lines easily and evenly.Simply pull the steel band alongthe seam line - no digging orscratching!
Palette Knife TL 440This indispensable tool cleanseasiiy; won’t break or rust.
Gold Applicator TL 441Works like a felt pen with threeinterchangeable felt tips for BrightGold and White Gold designs.
Decal Squeegee TL 442Smooths fired decals on piecesquickly and easily, eliminates airbubbles and does not distort ortear decals.
Shortcuts CastingTooisSmall Trim Knife TL 334Large Trim Knife TL 435
Durable and flexible, yet rigidenough to get the job done! Twosizes for easy handling.
Rung Cleaner TL 436Especially designed to clean therungs and rods of your pouringtable. 2
Mold Scraper TL 437The easy way to keep the outsidesof molds clean.
Mold Thumper TL 438Perfect for releasing greenwarefrom sticky molds, quickly andsaieiy.
BrushesAll Duncan brushes are carefullydesigned for specific applications ofceramic colors. When you use theright brush, the brush does most ofthe work while you enjoy the result:You can .‘feel” the brush workingwith you, and the more you practicewith a brush, the easier it becomes.
Knowing what brushes are availableand what their purposes are is thefirst step to successful brushwork.When you look at Duncan brushes,you’ll notice how different they arein size and shape from one another.This is because each brush isdesigned for a specific application 01brushstroke.
Duncan offers different levels ofbrushes, designed to meet thevarying needs of beginning,intermediate and advanced hobbyistsbut they afi share a commoncharacteristic: they are designed forperformance, durability and value.
04
Gscovery Brushesscovery Brushes are the versatilesits, ,Srushes that let you discover2 fun of ceramics.,
yese brushes have colored handles,ded to the color of Duncanoduct labels. Thus, Discoverysderglare brushes have bluendle:; and Duncan underglazesve blue labels. Discovery glazerrsh rllandles are burnt orange, likeIncan glaze labels. Discoverynfired color brush handles’ arefender, color-matched to theenfired product labels.
you gain experience withramics, you’ll find that Discoveryushes are exceptionally versa tile.lyond the basic guidance andnvenience of color-coded brushndks, some Discovery Brushes can
v cross-used with other products.- an example, the underglazeader brushes can be used withInfked colors, and the nonfiredoduct Sabeline Shader brushes can. used with underglazes.
I. Y/O Fine Detail BR 5963. 510 Detaii BR 5822. 2/O Detail BR 5703. 2 Detail BR 520
No. 10/O Liner. BR 601
For fine de,corative linework,delicate detailing and small facialfeatures. Helps you create thedaintiest brushstrokes.
J;No. 4 Liner BR 571
No. 6 Liner BR 583
i
For fine design work, smalllettering and delicate detailing,!;uch as eyes. The brushes to usefor adding tiny finishing- touches!
For fine detailing and lettering. Aprecise brush for all wpes oflinework.
For decorative or full-flowing lines,detail and design, lettering andfeatures; also ideal for banding.Popular brushes for creatinggraceful tendrils and flourishes.
3116” Shader BR 572l/4” Sabeline Shader BR 531318” Shader BR 573112” Shader BR 584l/2” SabeIine Shader BR 532
For shading, solid-color cmrzige,lettering, ribbon effects, varying
For the sharp, fine lines and colorwasheq seen in Oriental designdone wit)! bamboo brushes.
line- widths- and banding. Each ; Enabh$-j&i: to :aeate Sumibrush offers two painting surfaces br&,%&~%itb minimum effortl
-I--- __--- _-_..
‘avc!isSl- edge for thin strokesand a flat side for broad strokes.
112” Angular Shader BR 602 tl/4” Angular Shader BR. 603
-J -
For the same brushstrokes createdwith straight Shaders, with theadded advantage that the pointreaches small areas and the pointsof squares and triangles.
No. 6 Dry Round BR 574
For drybrushing, design work andbanding. Perfect for achievingsubtle shading on floral.designs!
No. 10 Deerfoot Stippier BR 592
For use in underglaze decorationwhen pouncing or stippling ofcolor is needed.
Small Sumi BR 590
-
. .
.
l/2” Stencil BR 855No. 4 Sabeline Round BR 529
No. 6 Sabelina BR 5853/4” Stencil BR 860
No. 10 Sabelina BR 586
For loading-and-tipping techniques,such as tole painting, and forlettering, shading, banding andsolid-color coverage. These versatilebrushes will ,help you achieve awide variety of brushstrokes!
No. 1 Fan BR 540No. 3 Fan BR 575
For creating textures, patterns, Use on larger areas for the samebanding and drybrushing. Theshape of the bristles makes it easy
design purposes and glaze and
to create dramatic brushstrokes!opaque underglaze applications asthe Premium Giaze brush.
For application f color throughstencils with anhand-downpouncing motion. Especiallydesigned for the application ofunderglaze and nonfired colorsthrough Duncan Stencils.
3/4” Woodtone BR 580
For application of WoodtoneGlazes. Firm nylon bristles allowgrains in the glaze to be drawninto wood-like streaks to producerealistic wood-grain effects.
3/4” Economy Glaze BR 593
For good overall coverage forglazing and opaque underglazing,large repeated patterns and designeffects. Best for beginners.
3/4” Premium Glaze BR 576
For better overall coverage forglazing and opaque underglazing,and for large repeated patterns anddesign effects.
1” Glaze BR 587 .
For application of glaze orunderglaze to broad areas, and thesame decorative purposes on alarger scale that are achieved withthe Premium Glaze brush. Becausethe Oval Mop holds so muchcolor, it is ideal for the applicationof opaque glazes to highly textureditems.
No. 1 Flat Opaque BR 554
No. 5 Fiat Opaque BR 556
No. 8 Flat Opaque BR 557
For coverage of large, smoothareas, dnlbrushing and shading.Ideal brushes in a range of sizesfor working on bisqueware.
No. 3 Round Opaque BR 551
No. 5 Round Opaque BR 552
No. 8 Round Opaque BR 553
For solid-coior coverage,drybrushing and design work. Therounded shape makes thesebrushes extellent companiothe Flat Opaque brushesworking on bisque.
$14” Fiat Translucent BR 545
t2” Fiat Translucent BR 559
18” Fiat Translucent. BR ‘558
For use on large, smooth areas,and for streaking, patterning andantiqued effects with translucentcolors. Three sizes toaccommodate all of yourbisqueware projects.
40. 6 Round Translucent BR 560 .
For design work and application oftranslucents. The brush to have forapplying translucent colors to smallareas.
Jo. 12 Mother-of-Pearl BR 594
E:specially designed for applying/Aother-of-Pearl Overglaze overfired glaze surfaces. The shape ofthe brush hairs makes it easy to:#wiri on Mother-of-Pearl Overglazeto a variety of ware for anopalescent finish.
luster BR 589
For removing dust from bisque ordry greenware, and dust or clayparticles from molds.
gbebut **Brushes)daut Brushes off& you-the controlEnd precision needed for finevvshwork;, and are especially -ecommended for ceramists- whovork with folk art and fole paintingbrushstrokes. Not limited- tovushwork alone, the uses of DebutIrushes extend to all types of-eramic decorating.
d(ade- with Taklon. fiber,-‘Debut I!rushes are distinguished by firmtideand shape-retentiotv that enable
the user to produce crisp. fine lines,extraordinarily con trolledbrushstrokes, and extremely smoothsolid-color coverage and glazeapplication.
You’ll recognize Debut Brushes bytheir white handles with a silver tip. .
.
No. l/O Detail TB 720-7 .A-
c . I e :!.
For small details and brushstrokes. . . the tiny final touches folkartists use to add interest to theirwork.
\No. 10/O Liner TB 725No. 1 Liner TB 727
)/Sea5;?*‘\
3 t_. /-
. .b*/-
For fine decoraG= linework liketendrils and cross-hatching, delicatedetailing and small facial features.You’ll delight in the refinementthese brushes bring to techniqueslike French Provincial and Tyroiean
I Figure Painting.
YNo. 4 Liner TB 726No. 6 Liner TB 728
For iinework and banding;excellent for comma strokes :because the point snaps back to a
fine tip. Helps y&g;ve crisp - - ‘definition to many of the basicstrokes used in almost all Americanheritage art and toie paintingtechniques.
No. 5 Round TB 730No. 7 Round TB 731 --.: r :No- 9 Round TB 732 “.i-; !=$‘-
&,.:~-;(i+&. ciLL.7-2-3 ;.-- -:-%-S--f+
For loading-and-tipping techniques,varying strokes and long strokes forfigures’ clothing; ideal for bolddesigns, such as Russian folk art.Perfect for tipping and/orsideloading with two or even threecolors for floral and fruit designs.
No. 2 Filbert TB 701No. 6 Filbert TB 702
The traditional flat-and-round brushshape for American heritage art.For loading-and-tipping techniques,varying strokes and cursive-typelettering; excellent f’or blending andshading, and solid-color coverageon small areas. Essential brushesfor the, iekated color blendingand sha$*i$g that provide painteriyresults :
No. 6 Shader TB 705No. 10 Shader TB 706
For “c” and ‘5” strokes, ribboneffects and shading with “floated”strokes; sharp chisel edges areexcellent for lettering. Thecombination thin-and-broad strokesare achieved by these brushes withtwo painting surfaces in one: achisel edge for the thin parts of thestroke, and a flat side for the broadareas.
3/8” Angular Shader TB 710112” Angular Shader TB 711
For the same brushstrokes createdwith straight Shaders, with theadded advantage that the pointreaches small areas and the pointsof squares and triangles. Sheermagic for petals and leaves w$hfanciful edges and long tails.
3/4” Glaze TB 715For all glazing, solid-colorapplications and shading; excellentfor “floated’r~strokes on large areas.Allows you. to achieve amazinglyeven coverage.
Signature BrushesSignature Brushes are the brushes toselect when you want to create thefinest ceramics possible to display inyour home, to show your abilities atclass, and to exceed competitionstandards for ceramic shows.
Signature Brushes are made of 100%pure red sable hait. Rare and costlysable is gathered from wild sableanimals in Western Siberia andNorthern China only in winter, whenthe hair is at its thickest and fullest.Natural sable hairs are longer thanother animal or man-made hairs,holding the color ithout dripping,and they have a ver fine point,5letting you create a finer, moreextended stroke.
Signature Brushes are handmade bymaster craftsmen with years ofexperience, and each brush mustpass a careful inspecton. SignatureBrushes are durable. Properly caredfor, these 700% pure sable brusheswill perform for a very long time,making them one of the mosteconomical brushes you can own.
You can identify Signature Brushesby their white handles with a goidtip, and the Duncan signature.
No. 210 Detail SB 801
For dolls and other fine features,and for small lettering, delicateshading and slender linework.Provides the means to createdistinguished detailing.
No. 1 liner SB 802
a Lange of brushstrokes fromelaborate designs to exactingdetai Is.
No. 4 Shader SB 804No. 8 Shader SB-805
. .
For shading, lettering, ribboneffects, varying line widths,banding and drybrushing. -Comman.d masterful strokes forbold designs!
No. 6 Round SB 806
For smooth, even application ofsolid color and shaded designwork; ideal for tole designs. Createdramatic flair with your brushwork!
Brush Care .
nonfired productsWash in water immediately afteruse. A g,ood cleaning in DuncanHand and Brush Cleaner shouldloosen any dried particles of pai tand remove color stain.
For full-flowing decorative lines, Brushes used with oil-based n qedlettering, detailing, features, dolls’ productseyebrow and eyelash detailing, and
*Clean irnmediateiy after use by
fine banding. Enables you to create squeezing excess stain into a paper
A7
Brushes used with underglazes andglazes
Wash in water immediately afteruse. Be sure that all color particles
- are removed from the area near themetal ferrule.
Brushes used with overglazesClean only with Duncan Essence.Any other agent may contain wateror solvents which will causeseparatiorf of the overglaze duringthe next application. Reservebrushes ior use with one overglazeonly. Do not use with otherproducts.
Brushes used with water-based
All brushes brushes ??%rel go%:: _ _._s- 727/
Do not let brushes sbnd in water.re run
back through the ferrule, which can
After cleaning, restore hairs and cause handle paint to split.)
bristles of the brushes to their originalshape, and set aside to dry on a flat
Tip: Band Stencil brushes with rubber
surface before storing. (Storing wetbands to shape.
.vel, then cleaning with DuncanIGquing Solvent. Give translucentushes a regular deep cleaningth Duncan Hand and Brusheaner.
u’re in ceramics for the of itd your dealer has a great selectiongreenware. Do you really .need toow how to cast a mold?
r most ceramists, surprisinglyough, the answer is yes. It mightsimple curiosity, the need to know
w and why things work. Or ituld be that you want to be the*al creative force behind yourramics. Perhaps ybu live in ani,sted or rural area where:t!nware is sometimes hard totilin.
g may have a practical turn ofnd and like the idea of owning theIIds for your dinnerware. If abee is broken, it’s no tragedy if youw the means to replace it. PerhapsLI want to make a treefui of.ristmas ornaments in the samerign. Or if you’re a cat collector,‘s say, you may want to decoratef same cat figurine in manyftlrent ways. You may have4oped a special “signature” gift,litchef-and-bowl set for example,rt you make for weddings an<7,:vefsaries.
YOU will be making multiplestings, compare the cost ofrchasing the greenware with theits involved in purchasing and:ting your own mold.
ntn mold, showing inside detail.
3 .I _.“.I/.._ . I -
A ceramics mold is plain on theoutside . . . all the excitement lieswithin! The inside of the molddetermines the shape of the casting. Itcan be compared to a mirror orreverse image, because the raisedareas on the casting are hollow in themold, just as the incised areas areraised.
Most molds have two halves, andevery mold has one or moreopenings, called pour holes, for the 1casting slip (liquid clay) that will bepoured into the mold. That’s whyyou’ll hear two terms used byceramists - pouring molds andcasiing molds - but they both referto the same process.
Duncan molds are designed forproduction casting and are made oftop-quality plaster. The plaster wailsof the mold absorb water from theclay slip, producing the clay shell, orcasting.
When you decide to try casting amold, the following tips will provehelpful. Be sure to read them beforeyou use the stepby-step directions tocast your mold. \
Tips on Mold CareIf a brand-new mold sticks together
Never pry or force apart, as thiscan cause the mold keys to break off.Proceed with your casting as usualand the mold should separate easilyby the time the piece of greenware isready to be removed. If this does notwork, try gently tapping the mold’sseparation points with a DuncanTL 438 Mold Thumper.
Production casting
When pouring many molds ofvarious sizes, pour the large moldsfirst, then continue filling molds,
working from large to small. Drainthe small molds when desiredthickness is achieved. Work up to thelarger.molds. Do not over cast molds.When casting in succession, you willfind it necessary to leave the slip inthe mold a little longer each time, inorder to obtain the proper thickness.Depending upon the size of the moldand the thickness of the mold wails,you can usually get from three to fourcasts before the mold harabsorbed somuch water that it must be allowed todry. Excessive casting will erode detailand considerably shorten the lifeexpectancy of a mold.
Drying damp molds
Always place mold parts togetherto dry. This will prevent warping ofthe mold. Do not force dry in anoven, or place damp molds close to akiln or any other direct heat source.Molds can be sun-dried. It isextremely important that a dampmold dries evenly irom ail sides.Drying a mold too fast can cause it topowder, chip or ware.
Storing molds
Always store molds with the pourhole to one side. This will ailow airto circulate inside the mold cavity. iithe mold is stored upright with thepour hole up, dust and debris couldget inside the mold. If the pour holeis down, air cannot get inside to drythe mold.
I.:
How to Cast a MoldWhen casting molds, there’s no
better place than the kitchen, whereplenty of water is av;ailable. Castingslip and dried clay are easily cleanedup with a damp sponge. Cmr thework area with a plastic sheet,oilcloth or newspaper. Assemble the
other materials you’ll need: castingslip (available from your dealer), alarge measuring cup or pitcher forpouring, a TL 434 Small Trim Knife orTL 435 Large Trim Knife, drainage panand cleanup sponge.
Before casting, always open themold to check the design and to becertain there is no dust or foreignparticles inside. To clean the castingarea, dust with a soft, dry brush.Never use water to clean the inside ofa mold, as this will damage thedesign. Note that cleaning the insideof any mold is especially importantbetween castings of different claybodies, such as changing from regularcasting slip to stoneware or porcelainslip. This can be done by “flashcasting”; making a thin casting withthe new, different slip to pick up anytraces of the last-used clay body.
Make sure ail mold keys arematched, then place rubber bands ora strap tightly around the mold tohold it together. This will prevent thecasting slip from seeping through theseams.
The casting slip is liquid clay andshould be the consistency of thickcream. It should be stirred well justbefore casting and strained ifnecessary. *
Follow the step-by-step directionsbelow and you’ll discover that castingyour own molds is half the fun antithrill of making ceramics.
1. Separate the mold, check for dustand foreign matter, dust ifnecessary, then put mold together,matching mold keys, and securewith rubber bands or a strap.
2. Mold ii ready to cast. Usepouring container that will holdmore than enough slip to fill themold. Pour slip into mold slowly,steadily and evenly, filling themold to the top of the pour hole.
3. The plaster mold absorbs thewater in the slip, thus forming ahard clay shell next to the mold.Keep the mold pour hole fulluntil desired thickness isobtained. Cut a notch todetermine the thickness of theclay shell, which should beapproximately I/4” thick.
Pouring slip.
4. When desired thickness isobtained, slowly drain excess slipfrom the mold. When all slip hasdrained completely from onepour hole, follow the sameprocedure with any additionalpour holes the mold may have.After draining, let the mold setuntil the slip becomes leather-hard clay. The length-of timerequired to reach this stage willvary depending upon the size ofthe mold.
Draining excess slip from mold.
5. When clay is leather-hard, removeany excess from the outside of themold and from the mold pourhole. Take a Duncan Trim Knifeand insert the blade between themold wall and the clay.
6. Trim away and remove excess clay.
7. Remove bands or strap carefully.To open mold, slowly and verycarefully lift the top half of themold straight up. Do not move itfrom side to side, as this willdamage the cast piece. If the top
stancl for a few more .minutes.
8. Do not remove the piece fromthe mold until it is firm enough(leather-hard) to support its ownweight. Handle the piece withcare when removing it from themold. It will be soft and its shaccan be distorted if not handledgently. If the greenware is hard t(remove from the mold, gently ta;around the edge of the moid witthe b4old Thumper. This willusually release it. If the piece sti.does not release, wait a iewminutes until it has pulled awayfrom the plaster mold. (Withlarge, flat pieces such as plates oashtrays, loosen the casting andallow the greenware to dry in thebottom half of the mold for fouror five hours longer to preventwarping.)
9. When the piece is loose, gentlytilt the mold forward and allowthe piece to fall into your hand. ithe piece has several parts to beattached, do this shortly arierremoving them from the moid.Attach pieces with casting slipwhen the clay is leather-hard.Carefully place the cast piece in ;safe, drv place and allow to drvbefore handling again. Fordelicate and footed items, placegreenware in a soft bed ofshredded paper to dry. _
Removing casting.
Casting anOpen-Pour Mold
Because this type of mold has nopour holes, fill each cavity to the topwith siightilythe slip fills ail theno air pockets are visible.bottle filled withthis purpos,e.
5.
a. Yes, air pressure lifts the pieceaway from the mold wall.
b. Use air after the mold hasbeen open for a period oftime.
c. Air is especially helpful for flatpieces and highly detailedpieces.
When I opened my mold, theware had collapsed. Whathappened?a. The mold‘was drained too fast.
1. If the pouring hole is small,drain more slowly.
2. Listen for a gurgling sound.If this occurs, ease up on
_the speed of draining.3. A collapsed piece is caused
by a vacuum while themold was draining. Aircould not-enter the moldcavity.
6. What causes hard spots?a. The clay was packed tightly
against the mold by the forceof pouring.
b. To eliminate:1. Pour against or over a
When you’re new to ceramics., youprobably don’t own a kiln and yourdealer does all your firing. Yourdealer, of course, knows all aboutfiring a kiln. However, you’ll saveyourself and your dealer a great dealof time and discussion if youunderstand the process of firing akiln well enough to request the
1s fbr the Home.
palette knife or pie& ofwood.
2. Pour with a circular motion.3. Pour against the sleeve of
the mold to break the fall ofthe slip.
7. How can I prevent the sinking offlat items?a. Prop leather-hard ware up on
its side, letting the piece drybetween the props. A piece ofsheet rock, another mold and.foam rubber pads make goodprops.
\
8. What causes my flat items (tilesand applique’j) to warp?a. The ware was dried too fast.
Slow down the drying time bycovering the casting with aplastic bag.
b. The drying must be done on aflat, even surface.
c. The pieces must dry uniformly,not just from the edges.
d. Place a piece of sheet rockover the ware to keep it flat.
9. Ho% can I prevent my plate from
correct bisque and glaze firings foryour ceramic projects.
Improper firing is probably the mostcommon reason for problems inceramics and, when you know whyyou need your piece fired to acertain temperature, it3 much easierto tell your dealer what you need.
warping?a. Let the plate remain in the
front side of the mold. Removethe back or footed side of themold first. The plate may needto be reteased by air pressure,then dried overnight in themold.
.
10. Many of my molds have tinypouring holes. is there an easywiy to pour these?a. Thin the slip slightly with
water.b. Do not cast as heavily.c. Drain only if necessary. Often
a tiny priece can be pouredsolid.
11. I do not have forced air and myware is sticking in the mold.What can I do?a. Let the ware dry in the mold a
little longer.b. Try using the Mold Thumper to
hit the edge of the maid. Thismay need to be repeatedseveral times.
How a Kiln WorksKilns are heating units especially
designed for firing ceramics. Thename kiln comes from the Latin wordfor kitchen, referring to ovens.Basically, ovens and kilns work in thesame manner. Cakes, cookies andmeringues are baked at differenttemperatures . . . greenware, glazesand overglazes are fired at differenttemperatures. -
The term firing comes from thefact that kilns were originally heatedwith fire. Today, most ceramists useelectric kilns to obtain truly consistentresults, just as we use electric rangesinstead of wood-burning cookstoves.
Both time and temperature play apart in the kiln firing process. Youwouldn’t expec:t good results if youbaked a cake for ten minutes at 500degrees F instead of the usual 35 to40 minutes at 350 degrees F. Insame way, greenware and ceramcolors are fired to maturity whenhave been exposed to a specific rate
i temperature increase for a certain- )ngth of time.
A kiln’s firing time varies,?pending upon the size of the kiln,le amount of warelin the firingqarnber, the thickness of the wareqd the electrical voltage variations inle area. With all these variables, aIn cannot rely on a set temperature
;a1 like the one on your kitchenden, so pyrometric (heat measuring)3nes are used instead.
hnes - What’They\re and How TheyVork
LVhen firing ceramic ware, a .?ramist does not speak in terms ofmperature but refers to a specific>ne number. For example, you’ll hear)ur dealer talk about cone 04 bisque,ard bisque) and done 06 bisqueoft bisque). There are only a few)ne numbers that will cross your3tl1 - so few, in fact, that before youww it, you’ll be talking about cones
relation to kiln firings as if you’dIne so ail your life.
Pyrometric cones are heat-easuring devices’ used when firing aIn. The most usual cone is a three-+d pyramidal form of clay andlemicals made to bend not when aecific temperature is reached insidee kiln but when it has been,posed to a specific rate of .mperature increase for a specificngth of time. Small pyrometric barse also available for use in the,.in-sitter.
rometric cone and bar.
Small cqnes are used in the kiln-e:er (a mechanical device that shutsi’ the kiln when triggered by the.iall cone) and large cones (witnessrnes) are placed on the kiln shelvesallow a check of the firing *-curacy. Usually witness cones are
placed on each shelf in a series: aguide cone (one cone cooler than thedesired cone to signal the approachof maturity), a firing cone (the coneyou wish to achieve), and a guardcone (one cone hotter than thedesired coneb‘rhe only way to besure the ware or ceramic color isproperly matured is to use the firingcone listed on your ceramic colorlabel. If more than one cone is listedon your product label, refer to thechart on the following page.
Be aware that the lo&i the conenumber, the cooler the firing, andvice versa. Thus, numbers prefaced byzero (cone 05, for example) are coolerthan numbers which stand alone(such as cone 5). Heat increases asthe cone numbers increase - cone06 is cooler than cone 05, and cone6 is hotter than cone 5.
Note: These are general guidelines.Ahays check the specific productlabel for recommencled witness cone.
Witness cones - perfect examples ofoverfiring (the guide cone), maturity(the firing cone) and underfiring (theguard cone).
Since different clays and ceramiccolors require different firingconditions to mature properly, conesare available in a series of numbers toallow for these differences. The conenumbers commonly used for ceramicarticles are shown below.
What Cone Does Your Project Need?
LargeWitness
Type of Firing Cone
BisqueFor nonfired color products 04For Crackletone Glazes 06For nonfired color roducts
9with glazed areas 04For general-purpose ware 04For Duncan Red-Strokes 03For porcelain 6For stoneware _ 6-10
GlazeLuster (Mother-of-Pearl) 020Metallic overglazes 019China paints* 019Decals* 018Hobby ceramics glazes t 06Porcelain or stoneware glazes 6
l Check manufacturer’s label for recommendedwitness cone.
t When properly fired to witness cQne 06,Duncan glazes labeled as dinnerware safe
,comply,with/bre F&d and Drug ’ ’4 Administrati&% shfety iequirements concerning
lead and cadmium release.
Witness Cones 1Your Key to Success
As you see labels,, decoratinginstructions and other references tofiring cones, you’ll notice that thewords witness cones are used.
What are witness cones and whydo we use them?
There are two major types ofcones. Kiln-sitter cones are the firsttype. These are small cones in eithera pyramid or bar shape. One of thesecones goes into the kiln-sitter, whichis the reliable device that shuts a kilnoff when the desired firingtemperature is reached.
A witness cone is a larger conethat is put on a shalf to measure theexact temperature reached on thatshelf.
To understand the importance ofwitness cones, we rnust recognize thatall kilns, regardless of who makesthem, have some internal variation intemperatures. Each kiin is differentand has its own pelronality. It’s thisvariation that results in “cold spots”and “hot spots:’
The sitter-cone will shut off thekiln when the selected temperature isreached at the spot where the sitter-cone is located. This is no guaranteethat the rest of the kiln also reachedthat cone. The only way to be sureyour piece has reac:hed the desiredcone is to have a witness cone on thesame shelf with the piece.
While most glazes and stains canhandle some Mriation in conetemperature, more extreme variationsin a kiln can occur. This is especiallytrue if the kiln-sitter needsadjustment,: a condition thatsometimes is difficult to notice. An
,extreme temperature variation thatresults in an under-fired or over-firedpiece can cause the colors to notperform properly.
To ensure that your piece is fired
adequately, ask that your dealer usewitness cones.
If you have to, offer to supply themfor your pieces. They are available atmost ceramic supply shops and are
fPq ’ inZ$Zit*&tZ2-~~es ares *very cheap insurance to make surethe piece you’ve just spent hours oncomes out fine.
long ago, Erma Duncan, the founderof Duncan Enterprises, discoveredthat the more she learned aboutceramics, the more she wanted andneeded to know.
This thirst for knowledge about theproducts and materials you use is thehallmark of creativity, a sure sign ofthe artist.
As you become more interested inceramics and want to try moredecorating techniques, you’ll benefitfrom the Product OrientationSessions offered by the DuncanEducational Services.
Product OrientationSessions
These one-day sessions are open tothe public, as well as to dealers andteachers, so you’re invited! Contactyour local Duncan Distributor, listedin ;our telephone directory and inmajor ceramics magazines, to register.
Each session introduces andteaches a major product line ordecorating technique. You’ll bethoroughly informed and receive thebenefit of in-depth teaching on eachexciting topic.. imagine what moreexpertise will do for your ceramicprojects! +
You’ll get a handsome certificate ofcompletion to frame and display.Proof of your accomplishment isawarded at the end of each ProductOrientation Session. &srtified DuncanTeachers earn a half plaque and a halfcredit toward their Shield Club andErma Duncan Awards.
Teacher CertificationProgram
Open to anyone interested ingaining a strong background inDuncan product knowledge orconsidering a career in ceramics
For your own personal growth aswell as for gaining valuable in-depthknowledge of ceramics, you’ll want tobenefit from attending the basicTeacher Certification Seminars. And ifyou’re tninkrng of opening a homestudio or expanding to a retail
storefront, a sounderamics education willprove a firmfoundation.
Ail Certified Duncan Teachers areeligible to wear this pin.
The Duncan Teacher CertificationProgram is made up of four two-dayseminars. Ail projects in all foursessions are practical projects thatcover using all of the basic products.In addition to sound and completeproduct knowledge, you’ll learn aboutcasting molds, cleaning greenware,kiln firing, appealing new trends andmore.
Besides the best ceramicseducation available, you’ll benefitfrom the latest in teaching methods.
You’ll be taught by the best -knowledgeable, pfofesshnal DuncanSeminar Ambassadors!
Ail project sheets, color sheets andall Duncan coiors -are provided.Registration is through your localDuncan Distributor. A list ofnecessary greenware, bisque, brushes,etc., will be available at the time oiregistration.
A test-review is given at the end ofeach session, and those who pass areawarded their all-important CertifiedDuncan Teacher Certificate.
Teachers’ SeminarsHaving fun keeping up with your
“graduate” studies is a sure way ofcontinuing to enjoy ceramics!
Once you’re a Certified DuncanTeacher, you can enroll in any or allof the valuable Teachers’ Seminarsthat emphasizle more advancedtechniques than the basic CertificationSeminars. Teachers’ Seminars areupdated yearly to keep new ideasflowing! -
Teachers’ Seminars are exclusivelyfor advanced ceramists and are openonly to Certified Duncan Teachers.
Project sheets, color sheets and allDuncan colors are provided.Registration is through your localDuncan Distributor. A list ofnecessary greenware, bisque, brushes,etc., will be available at the time ofregistration.
For each Teachers’ Seminar youcomplete, you get proof of your
_ ..I ---- -- -.“- ”
accomplishment to hang below your&-tified Duncan Teacher certificate.
Shield ClubMembership in the Shield Club is
>uromatically awarded to Certified3~ ncan Teachers who satisfactorilycomplete ten Teachers’ Senjinars. .
The handsome Shield Club Awardrepresents a truly impressiveachievement and inspires confidencein students and customers.
c -
The Erma DuncanAward
The “Ph.D.” of ceramicsknowledge! Granted to CertifiedDuncan Teachers upon satisfactorycompletion of 25 Teachers’ Seminars,the Erma Duncan Award recognizesthose who have the same devotion tothe pursuit of excellence andadvanced knowledge as Duncan’sfounder.
The proudest achievement possibletoday for ceramics professionals isrecognized with a beautiful black
enamel and ruby piin with goldlettering and rim, and a ceramicplaque personalized in fired gold . . .proof of your unique ceramics
career inceramics can change your life!
3r;lce you’ve finished your beginners’:eramics class or have made somelractice pieces, you'll be eager to flyflone. Planning a ceramics project ist/ways exciting, whether it’s yourTrst independent project or the next,nte you’re thinking about doing aftertou’ve completed the one in hand.‘hle more of yourself you put.into ajroject, the more your ceramics will*xpress your personaiify andwdtivity, so planning is important.
jelecting GreenwarePerhaps you’ve decided to make
ecorations and gifts for the holidays,canister set for your kitchen or a
.eautiful gift for a wedding. The firstiep is to find greenware that appealsJ you. Hundreds of greenwaree!;igns are always available, and)Lncan introduces between nine and5 new designs each month.ireenware designs are like clothing.3me are seasonal, some are classicyles and still others are fashionablend fun.
The easiest and most efficient way* A
to select your greenware is to consultthe latest edition of The Duncan,Vold Catalog. This big book displaysall the new and current Duncan molddesigns, conveniently separated intodifferent categories. It shows colorphotos of decorated ceramics to giveyou a better idea of how the finishedpiece will look.
For example, let’s say you want tomake a lamp for your living room. Byturning to the lamp section in thecatalog, you’ll see all the Duncanlamp designs. You’ll- also notice thatother large greenware designs, such ascookie jars and pitchers, can be madeinto lamp bases. To make your choicesimpler, the largest dimension foreach design is given along with theorder number and name. After you’veselected a lamp base, write down itsnumber and name on your project-planning sheet or shopping list totake to your ceramics dealer’s studio.
Another way of selecting greenwareis to browse through your ceramicsdealer’s greenware shelves. Thereyou’ll ham the advantages of seeingthe actual items, although it may be
more difficult to visualize how theywill look when decorated.
Greenware shelves in a ceramicsstudio ofkr a wide vakety ofbeautiful pieces
In the end, you’ll probably behappiest with a combination ofmethods. G& an idea of what youwant from The Duncan Moldthen confirm y&r selection bylooking at ‘the actu.al greenware piece.
It should be mentioned thatserendipity - the faculty of findingvaluable or agreeable things you’renot looking for - often does play abig part in greenware selection.Perhaps you’ll find an item exactlylike something your mother had whenyou wre a child or a cute teddy bearor a charming country item on yourdealets greenware shelves. instantlyyou know you have to make thatpiece. It’s just right for your home orfor a gift.
Spontaneous greenware selection ofthis type happens all the time. It’s oneof the reasons why it’s fun to visityour ceramics studio and check outwhat’s new. But, to make your happyfind match up to your vision of it,you must continue the project-planning process.
Cleaning GreenwareCareful attention to proper
greenware preparation is all importantfor finely finished ceramics.Greenware comes with seam linescreated where the halves of the moldjoin together. Preparing or cleaningthe greenware are the terms used forremoving these seam lines and othersmall imperfections from thegreenware before it is decorated orbisque fired.
Greenware box with uncleaned seamline. -
Never hurry or skimp on greenwarepreparation. Any little flaws you letslip by will seem greatly magnifiedafter your piece is glazed and fired crdecorated with nonfired colors.
Before handling greenware, be sureyour hands are free of any oil, handlotion or salt. Salt (table salt, fromcrackers, chips, peanuts, etc.) isdeadly to certain glaze colors. it willcause the color to bleach out almostcompletely and there is absolutelynothing that can be done to cdrrectthe defect. The oil and lotion can
create spots on the greenware whichwill later reject glazes.
Wait until your greenware piece isbone-dry before cleaning. Handlegreenware with care as it is veryfragile and easily broken. The flatblade of a cleanup tool can be usedto remove most of the seam line.Depending on the size and depth ofthe ware, use TL 401 Cleanup, TL 413Large Cleanup or TL 413 DeepCleanup tools. Using short, gentlestrokes, scrape diagona//y across theseam line, until it is level with thesurface of the ware. Do not cut intothe surface. Save the dust from thiscleaning in a clean ontainer for use
\in repairing some gre nwareimperfections. A piece of grit cloth ora sponge-backed sanding pad can beused for the final smoothing out ofseam lines, using a circular motionwhenever possible. Also smooth orround off any sharp edges on thepiece. For smoothing hard-to-reachareas and hidden crevices such as theinside of a cup handle, the TL 412Double Spiral tool is very helpful.
Scrape diagonally across seam line toremove. *
If there are any other castingimperfections or pin-sized holes inthe greenware, smooth out by rubbingthe surface lightly with a grit sponge.Another way to repair pinholes is tomoisten a brush in water, dip it in thecontainer of dry dust saved fromcleaning and then brush across thepinhole. Smooth all repair wrk tothe exact level of the greenwaresurface. When all smoothing is done,use BR 589 Duster brush to brushaway all clay dust from the piece.
Finally, a light damp sponging isdone over the smoothed areas.Thoroughly wet TL 415 Sponge inclean water, squeeze it as -dry aspossible and wipe over the smoothed
.̂ _ -___.-._ - -
a’reas in one direction, usuallyvertically. Do not over sponge as thismay create a rough or sandy textureon the surface of the piece or -couldcause a hard spot from over polishing.Sponge detailed areas lightly, as over-sponging can cause these areas tosmooth out and lose their sharpdetail. If a sponge is too large toreach into some of the cleaned areas,use.a small damp brush. DampenTL 414 Long-Handled Sponge and useit to sponge the inside of thegreenware. This sponge is also usefulfor cleaning the inside surfaces oflarge or deep ware. Always keep yoursponge or br’3s.h clean. Do notheavily sponge greenware if youintend to-decorate it with anantiquing wash, as the sponged markswill show up when your color isapplied. Polishing with a dampsponge tends to seal the pores of thegreenware which makes the wareresist washes and other ceramicfinishes.
Choosing the RightColors
When you look-at the currentDuncan file Color Chart or DuncanColor Selection Guide, you seeliterally hundreds of beautiful colorsand, like most artists, you want themall! How do ;r’~~ narrow down thechoice to those you need for oneproject?
The Duncan Color Selection Guidehelps in selecting colors.
Be clear about the’purpose of yourceramics project. Are you making ifor yourself or for a gift? Wtll itprimarily dec:orative or function
<both? Is it a home accent or pen aljewelry? Do you want the look of acertain type of fine collectible or areyou adding another piece to an
i5ting collection? If you’re planning- holiday project, do you want
xiitional colors or “somethingBrent”? What decorating techniquel you want to use F one that’ssically the application of color or
. e that calls for the use of specificecialty products?
By defining your project in thisInner, you automatically gain atter understanding of both the typecolor product and the actual colorsLI want.
Ii the project is for your&f, your4es are of paramount importance.,ing back to our example of aing room lamp, you may alreadyow whether you want it to echo alor or design from some otherject in the room or whether you’re:king for a new accent color to add;t to a ho hum color scheme. Trust!Jr own instincts on anything youIke for yourself. It’s your home and.‘ou want jade green accents in a)rn that’s mostly pale blue, you’ll
:? the result.
What ii you aren’t sure about thext you want? Then you can enjoy
b fun of leafing through homeIorating magazines and interiorcoration books from your publicrsry until you find something you-.
Have you ever taken a magazinexure of a hairstyle to your beautyerator and said, “I’d like to try;“? You can do the same thing with-amics. If you show a picture of a.amic piece to your dealer, he or! will be able to tell you what.les of color products and what<orating technique were used.
On the other hand, if you’re,king a gift, you’ll want to consider! personal likes and dislikes of theipient. A friend with a cozyJntry kitchen probably will notnt a sleek, Shiny black teapot. IfJr sister collects blue-and.-whitehes, make her more of the same.)ple dearly love being recognizedindividuals. When you notice theirIferred color choices and styles,tn use them for custom-made, truly-sonal gifts, they’ll appreciate your- - and you - all the more.
Decorative items can be made withI type of color product. Beauty,.ign and effectiveness are whatr’re after. A figurine can be
decorated very realistically withunderglazes; dramatically with anyone of hundreds of ceramicstechniques like antique metal ormarbleizing; or with a Duncannonfired color technique.
For practicm utility items, thefunction must be taken into account.A dinnerware set can be decoratedwith any type of underglazetechnique, from country spongewareto Oriental Sumi brushwork - orwith no underglaze design work at all- but the finishing glaze must bedinnerware safe.
What about your lamp base? It’sboth decorative and functional, butsince its purpose is to contain electriclamp parts, you can treat it as adecorative item and use either firedor nonfired colors. If you decide touse a straight glazing technique, theglaze need not be dinnerware safe.The choice of color products will notaffect your lamp’s function.
Let’s imagine that you’ve useddesigns in Bisq-Stain Opaque colorsto decorate items for an entire room.’You’ve made a pair of lamp bases andpainted the same design on thelampshades. You’ve applied the samedesign to the fabric covers of throwpillows. Now you’d like to make amatching vase. Can you do it? Thefunction of a vase is to hold water, sothe inside of the vase must bewaterproof. That calls for a glaze. Thesolution is to use a clear or coloredglaze inside the vase, and decorate itsoutside with the designs in Bisq-StainOpaques.
Then there’s anotRQr category ofdecorative and functional items thatyou’ll want to consider. Ashtrays aresubjected to heat and you’ll want tobe able to wash them. A glaze finishis the answer. Candy dnd nut dishesshould have a dinnerware-safe glazefinish on the food-contact surfaces,but you have the option of using firedor nonfired colors on the outersurfaces. It should be noted thatBisq-Stain Opaques, when properlyused and sealed, can be washed, butthey are water-resistant, notwaterproof.
If you want a certain “look” - thepale pastels of the popular Danishand Spanish collectibles, for example,you’ll want to use the correcttechnique and appropriate coloti. Inthis case, it would be light tones of_ -. _“ .̂”
GL 679 Royal Danish Glo& Glaze. Orperhaps you’re adding a newgreenware design to Fur collection ofanimal figurines airbrushed with E-ZStroke translucent underglazes. So thenew figurine will match the others,airbrush it with appropriate E-Z Strokecolors also.
Holiday items are always wonderfulgifts because everyone wants themand the traditional colors areacceptable to nearly everyone:
-However, if you know that a friendprefers pastels and takes great pride inher collection of pink Christmas treeornaments, don’t give her thingsdecorated with red and green. Giveher what she wants,, give hersomething pink. if your sister prefersplain white dishes, there’s no reasonto spend time decorating a turkeyserving bowl so realistically you canalmost hear the bird gobble. Use aclear Gloss Glaze and thrill her witha hard-tcsfind white turkey bowl!
Ceramics lets you create uniquelypersonal home deborations and gifts!
I
Each ceramics project you makehas the potential to be uniquelypersonal. You can select fromhundreds of decorating techniquesand increase them to thousands ofindividual looks with your ownapproaches to color and design.
For beginners in ceramics, the bestway to start learning decoratingtechniques is through your dealer’sstudio classes. After you becomemore knowledgeable about colorproduct usage-d decorating terms,/and more experiekeci in followingstepby-step-directions, you can workindependently fkorn projects inDuncan’s let’s Do Ceramics project-._- ~-l.l -I.-
sheets and hobby ceramicsmagazines.
Magazine projects often include alist of the color products, brushes andother items you’ll need, so colorselection may not be a concern. Forinstance, if you’re using a simulatedjade technique, you must use thespecified colors in order to obtain thejade effect. Sometimes, however, youmay find a magazine project with agreenware design and decoratingtechnique you like but with colorsthat do not suit your purposes. In thiscase, you can substitute other colorswithin the same color family. If youhave any doubts, ask your dealer’sadvice.
Duncan videos offer a great way tolearn ceramics decorating methods inthe comfort of your own home. It’slike having a very helpful and patientteacher who explains anddemonstrates aspects of thedecorating or brushwork techniquemr and over until you’ve mastered it.Duncan offers a selection of videoscovering many subjects, includingeasy eye painting, brushwork andspecific decorating techniques.
Now that we’ve reviewed some ofyour options, we can get back to theactual selection of colors. Whatevercolor medium you’ve decided to use- underglazes, glazes, overglazes ornonfired colors - you can see all theavailable colors on the currentDuncan Color Selection Guide. Thisconvenient color chart brochure fitsinto your handbag, so you can carryit with you wherever you go. Use it tomatch ceramic colors to your homecolor schemes and to check outmatching or complementary colorswhen you’re shopping for fabrics,table linens, towels, glassware andother home decor items.
While we-use the optimum state-of-the-art printing processes toreproduce the ceramic colors in thebrochure, tile samples of ceramiccolors will give you,an additionalcheckpoint. Visit your ceramics dealerand look at the real ceramic tilescontained in the Duncan Tile ColorChart. If, for any reason, you do nothave access to a tile chart, you canmake your own small fired-testsample for underglazes and glazes.Since Duncan nonfired colors drycolor-true, the color you see in the jaris the color you’ll get on yodr finishedpiece.
If you have any doubts about colorselection, by all means consult yourdealer. Studio owners are veryknowledgeable about color productsand their range of uses. If your dealeris a Certified Duncan Teacher, he orshe is thoroughly trained in theversatile uses of ceramic products andyou will receive proper help andadvice. Look for this certificate. It’syour assurance of quality instruction.
WtthCiu& 7L7/
Design-Coat VersatileUnderglazes, almost all underglazetechniques can be done on bisquewith superb results. For otherunderglaze cclors, refer to the color-family information section of thismanual for techniques that permitapplication on bisque.
Perhaps you?e decided to decorategreenware with ‘underglaze colors.When your underglaze work iscompleted, pack your fragilegreenware item carefully in a boxwith shredded newspaper and take itto your ceramics itudio for bisquefiring. Your dealer will enter *!ourname and the item in a customerfiring record book, and will tell youwhen the-fired piece will be ready iorpickup. There is a small fee for eachtype of firing service.
Studio FiringServices
Ceramics studios offer much morebeside greenware, c ors and other
%supplies. An essential art of everyceramics project is firing in a kiln.The firing process is often comparedto baking in an oven because theresult in both cases is the same. Thecake batter or the raw clay or ceramiccolor is transformed by time andtemperature into a baked or fireditem. There are several types of firing.Your ceramics studio provides acomplete range of firing services.
Bisque firing
This is the term used for firinggreenware. The cleaned piece oigreenware is placed in a kiln andfired to a very high temperaturewhich transforms the raw clay from agrey to pure white, and into a strong,durable piece of porous ceramicware.
You should be aware that, if youdo not want to clean your owngreenware or do not wish to decoratefragile greenware, you may be able toorder you-r ceramic design asbisqueware. This can also be a time-saver when you are in a hurry tofinish a project.
If you decide to decorate bisqueinstead of greenware, choose colorsand techniques that can be used onbisque.
Duncan’s nonfired color productsare especially designed for yse onbisqueware, and there are hundreds offascinating decorating techniques totry. A nonfired color project requiresonly one firing - the bisque firing.The only exception to this is if youwant part of the items, such as theinside of a Mse, to be glazed. In thiscase, your piece will need both abisque and a glaze firing before youdecorate it.
Glaze fifing
This is the next firing step. Afteryou have applied a glaze to yourunderglaze decorated or plainbisqueware, take it back to yourdealer for glaze firing. This firingmelts the various ingredients oi thegiaze and transiorms it into abeautiful, hard, glass-Ii ke sunace.
Overglaze firing
An additional firing is necessary iiyour ceramics project includes theuse oi metailic ckergiazes orMother-of-Pearl luster.
Porcelain and stoneware firings
-These clay bodies require firing toa much higher temperature than iheusual ceramic ciays. Your dealer mustfire your porcelain or stonewarepieces in a separate kiln load, andthe firing fee may reflect this specialservice. ,
Proper kiln firing is all-importantfor good results with your ceramicsprojects. Underiiring producesimmature bisque which, in turn,results in problems during the glazefiring. Some dealers post signsassuring their customers that they usewitness cones as guides for correctfiring. Be sure that your dealer is asinterested in achieving the bestpossible fired results as you are. Heragain, your best guide to reliablefiring service is to make sure th
57your dealer is a Certified DuncanTeacher, a person who knows thefiring requirements for all Duncanproducts. P-w
I. EducationalOpportunities
Al’ter you’ve been doing ceramicsor awhile, you may decide ceramicss ycur life’s work as well as youravorite hobby. If you want to expandtour knowledge of ceramics, you’llvant to learn from the best -:nowledgeable, professional Duncan;eminar Ambassadors.
The Duncan Educational Services)iters the basic Teacher Cetiification
_. _,.^ - _-i_. __ _____ -. -. - -- , -. .-~. - _ ._
. .. .e. . . *
; . _ , . ,
!et’s throw some light on how toassemble various types of lamps.!Ne’ve inciuded a few helpfuldiagrams as we/f as tips on the basics3f wiring.
feramic lamps designs are available‘n a broad selection of sizes, shapesjnd styles. Some h&e bases and lids,vxi some- have lids but no bases.Christmas trees with small coloredlights are also very popular.
The following information will helpYOU save money on the costs ofiaving a lamp shop or an electrician90 the wiring. You’ll feel veryxcomplished when you can say, “Imade it myself and did the wiring,!oo!”
Standard lamp socket
ippic~~mall threaded pipe)
mp cord & standard plug
Figurine LampTo transform a figurine into a lamp,
c:ut a 1Q”diameter hole for thethreaded pipe in the top of the@urine and a smaller hole for the
lamp cord slightly above the base.This type of wiring also works wellfor jar-style lamps with lids and noseparate bases. Attach the socketassembly to the lid, run the wirethrough the lamp and attach the lidto the lamp base with siliconeadhesive (also see diagram 3).
2 /standard lamp socket
,engththan
lJ----V-long lamp cord &I standard plug
Lamp with- Lid andBase
Assembling andWiring a StandardLamp Socket
Seminars and Product OrientationSessions through Duncan Distributors.For more information,, refer to theDuncan Educational Iservices section.
See how far ceramics can take you?Once you start pianning your ownprojects, learning more about ceramicproducts and using hobby ceramicsmagazines, you’ll gain a lot more funand satisfaction from your hobby, andyou may even be on your way to acareer in ceramics!
Feed the free end of the cord upthrough the lamp base and threadedpipe.
3
lhrea&d coupling orround brass locknut
Rubber washer
brass locknut
Separate the two strands of thelamp cord and, if necessary, use asharp craft knife to remove the plasticcovering from about I * of each strandof wire. Tie an underwriters’ knot (seediagram 3) to take the stress andstrain of pulled wires.
Unscrew the terminal screw oneach side of the socket and twist thebared wire clockwise around the shaftof the screw, making sure no wires
Remove the outer shell of thesocket (including the cardboardinsulating sleeve inside the shell) bypressing at the base and pulling it. .straight up.
Retighten the screws to secure thwires. Replace the cardboardinsulating sleeve and outer shell onthe socket..:
extend from under the screw.
4
x
How to Lengthen aThreaded Pipe
If you are wiring a very large lampor can’t find the correct length ofthreaded pipe, all you have to do isadd an extender (which is threadedon the inside) to the top of thethreaded pipe and attach a nipple.Nipples come in various lengths andone is sure to fit your lamp.
.TIPS
If your threaded pipe is too long,add a coupling just below the harp.This will give the socket addedheight. Or better yet, use a metalhacksaw and cut the extra length off.
Save, save, save! If you don’t needthe part right now, you will probablyuse it later. Save any extra parts fromold lamps . . . they’ll come in handy.
5
Finials 1Add the professional finishing
touch . . . a plain or decorative finial.The finial is attached to the top of theharp above the center metal ring ofthe lampshade and secures the shadein position.
Special note: In most cases, thelampshade should line up about l/Z”above the ceramic piece, thus hidingthe socket assembly.
Christmas TreesDuncan’s Christmas Tree (DM-144A,
166F, 174A and 1678) with holes cutin the boughs for small plasticChristmas tree lights is wired in the
cord twitch optionrb
base, and a g--long bulb is used tothrow light through the small plasticbulbs. Two.small clip lights are usedto illuminate the larger tier of boughsat the base of the tree.
Following diagram 6, drill threeevenly spaced lt2”diameter holes inthe top of base A, creating one holein the center of the base and onehole on either side of the center hole.Drill a l/Z”diameter hole for the cordabout l/2” up f’rom the bottom ofbase A. Drill one 2-l/2”-diameter holein the top center of base B. Drill twol-V2”diameter holes on oppositesides of base B. In the larger tier oiboughs, add MO l-K!“diameter holesthat align with the side holes in base B.
Follow diagram 6 to assemblebases with lamp parts.
Occasionally, the ceramist’sknowledge of what to do needs to bebacked up with an awareness ofwhat not to do. This secfion coversthe most conimon problems, their&uses and, in some cases, possiblesolutions that may let you salvagethe piece.
Practices to AvoidUsing underfired bisque
Immature or underfired bisque isthe one major cause of flaws anddefects in the fired glaze finish.Crazing, pinholes, craters, bare spotsand greying of colors are just some ofthe problems where underfired bisquecan be the. main cause or acontributing factor. For best results,
apply glazes to bisque that has beenfired to witness cone 04. Someexceptions to this rule are CrackletoneGlazes, which are applied to witnesscone 06 bisque; Red-Stroke ClearGlaze used over Red-Stroketranslucent underglazes, which areapplied to witness cone 03 bisque;and some of our nontoxic glazeswhich are applied to harder bisque(always refer to the jar label).
-Applying colors to dirty b&e
’ A dusty bisque surface can resultin problems such as bare spots,crawling and pinholing in the firedglaze finish. Because dust canaccumulate on bisque stored on openshelves, make it a habit to dampsponge your bisque for a finalcleanup before applying a glaze.
Firing glazes on greenware
Firing glazes on greenware is anunsatisfactory shortcut to a finishedobject and, more often than not, willproduce a IesS than perfect finishedpiece. Gases are released from theclay when bisque firing greenware. Ifyou applied a glaze over thegreenware, these gases would bereleased through the glaze. This couldcause imperfections in the glazedsurface. Clay bodies across thecountry differ from one another andalthough a ma&%tu~r can perfect aglaze that will perform beautifully ona greenware clay body which isavailable in his locality, there isway to guarantee that it will dosame on all clay bodies.
----_--
.
Firing greenware and glazed bisque. items together
release gases up through the glazeduring firing. It is occasionallypossible to salvage a piece bygrinding down the bubbles,, adding .another coat of glaze and refiring tothe proper cone.
~JwiD~ c%@ 72-q/immature bisque, cooling the kiln too
Moisture in a kiln will oftencc)ntaminate certain glaze colors. Forthis reason, separate firings are alwaysrecommended for greenware piecesarrd glazed bisque pieces. Moisture,jiong with the gases, is always found.n a greenware kiln firing.
rapidly, thermal shock (removingpiece from kiln too soon orsubjecting it to extreme temperaturechanges), or incompatibility of theglaze to the clay body or vice versa.When crazing is occurring, thepinging sound of the surface crackingis quite audible and continues forsome time until the object is stonecold. Crazing can take place at twodifferent stages in ceramics. Crazingat the time the object is removedfrom the kiln or shortly thereafter is -referred to as immediate crazing.Crazing that takes place days, weeksor months after the glaze firing isreferred to as delayed crazing.
fi.ring incompatible glazes together
When incompatible glazes are firedogether, fumes and sputtering fromlne glaze can cause anoth&r glaze toade in color or acquire black spots.,tith Duncan’s product labeling#ystem, it is very simple to avoidiring incompatible glazes in the same<ii n load. Copper-formula glazesvhich contain small amounts of .cpper for color are labeled COPPER-URMUfA ClAZE. There are a few)tt2er Duncan glazes that, because ofheir formulation, should not be used)r fired with copper-formula glazes,!nd these glazes are identified on theabel by DO NOT FIRE W/T/-IIOPPE R-FORMULA GLAZES. Alwaysheck the labels of the glazes you‘se.
Flow to RecognizeProblemsJoudy colored glaze
Several conditions can contribute0 this result. Be sure the brushesrsed are absolutely clean. Allow!nough.room between the glazednieces to prevent the fumes of oneilazed article from flashing to ‘anotherrnicle, thus leaving a discoloration.{void placing ware too close to the.iln elements as this, too, will cause ali:;coloration. Most importantly, makeure the proper witness cone has)een achieved for the glaze firing.
Joudy transparent glaze. .This is often due to the glaze being
pplied too heavily or not being firedret enough. Try refiring one coneletter to reduce the cloudy.ppearance.
,
3atered or bubbled glaze
Craters or broken bubbles can beeen in the fired glaze s&face. Thesere most often caused by too thick a.Iaze application, underfired glaze, orriderfired bisque, which-continues to
Cratered or bubbled glaze.
Crawled glaze
This refers to bare areas thatappear after the glaze firing where theglaze has “crawled away” from thebisque. It is often caused by tooheavy an application of underglaze,oil from the skin, accumulation ofdust on the bisque, or hard spots in ;the bisque. Hard spots are impactareas caused by pouring slip into themold too fast or sealed or polishedareas caused by oversponging thegreenware during cleaning. Sometimesapplying 3 coats of glaze to the barespots and refiring to witness cone 06will correct this condition. If refiringdoes not correct the crawledcondition, you can apply a texture-type glaze or a glaze combination foran unusual and different effect, andthereby possibly salvage your piece.
immediate crazing
This is most commonly caused byunder-fired or imm,ature bisque. Thecause of delayed crazing is the same,but to a lesser degree. The glazesused in hobby ceramics are designedto fit a clay body that has beenproperly bisque fired. Mature bisquealways contracts more on coolingthan does immature bisque. Thisallows the glaze to “fit” the warewithout being stretched. Sinceimmature bisque h.as less contraction,the ware, in effect, is larger and thisputs a stretching stress on the glaze.Because a glaze cannot tolerate beingstretched, it tears (crazes). Immediatecrazing can also be caused by coolingthe kiln too quickly. When the lid ofthe kiln is raised or even thepeephole plugs removed before the-kiln is cold, the outside surface of theobject cools much faster than theinside, which causes the glaze surfaceto shrink faster than the bisque.When the glaze surface no longer fits,it cracks. In rare cases, immediatecrazing will occur because ofincompatibility of the glaze to theclay body or vice ‘versa. Today’shobbyist will *experience this problemonly when using an inferior clay bodyand/or home-formulated glazes.
Crawled glaze.
Crazing
Of the several different defects thatcan occur in ceramic glaze work,crazing is one of the most commonproblems. Crazing is best described as )a network of fine hairline cracks that _appear i&he* gitid su;face of- a ’finished ceiainic piece. Crazing iS#usually caused by underfired or ..I/, “.%*,. .--._x..” - i.
Correction of crazing
Any object that has been glazedwith a glaze that has a firingrecommendation of witness cone 06can be refired to witness cone 05,which will add some maturity to thebisque and may remove ail crazing.However, ,the piece may craze againat a later date. Unfortunately, thereare some glazes that do not perform
properly when fired to witness coneOS or hotter. When crazing occurs onobjects that have been finished withthese glazes, the refiring will removethe crazing but may also leave a lessthan desirable surface. The bestprotection against immediate ordelayed crazing is properly firedbisque. Always bisque fire two coneshotter than you intend to glaze fife.
Grainy glaze surface
This signifies that the glaze wasapplied too thinly or badly overfired.The surest way to correct this is toheat the ware slightly (in a kitchenoven), apply a full, even coat of glazeand refire. When glazing over a firedglaze, heating the object first ensuresthat the glaze will dry and stay inplace until it is again glaze fired.
Creyed ‘or discolored glaze
These results can be caused byware being placed too close to anelement, overfiring, insufficientapplication, firing incompatible glazestogether, firing greenware with glazeditems, applying a glaze to greenware,or by insufficient ventilation duringfiring. This can be difficult to correct;sometimes just refiring to the proper
cone will work. If not, try applying aheavy coat of glaze and refiring.
Pinhoied glaze
This condition can be caused byunder-fired bisque, applying glaze togreenware, firing too rapidly, orpoorly deflocculated casting slip. It isalso possible that pin-sized holeswere left on improperly cleanedgreenware. Although this problem canalmost never be solved, sometimesrefiring to the proper cone orapplying another coat of glaze beforerefiring will correct the problem.
Pinholed glaze.
Shivering
The visible evidences of shiveringare areas where the fired glaze haschipped or peeled away, or .popped, _,
~rc%27Cw~7~~/off the ware. Shivering will occur iithe glaze or the underglaze and theclay body are incompatible with eachother, or if the bisque was overfired.In all cases, the clay shrinks morethan the glaze, making the glaze toolarge to fit the body.
- _-:
Shivered giaze.
Smooth textured glaze
If textured glazes are insuificientlvappiied, the desired texture will notbe achievec and a smooth surfacewill result. Extreme ove,rfiring can aisocause textured giazes to tiow outsmoothly. L’s ~a!!v this can be,corrected bv reapplying glaze andrefjring to tne proper cone.
E-Z Stroke Transiucen t Underglazes
Bleeding or color running.*
Fading of colors.
Glaze applied over unfired underglaze colors;glaze applied too heavily; piece was overfiredduring the glaze firing.
\Fired too cool; fired too hot; too much coveringglaze applied.
No remedy.
If fired too cool, refire to propercone.
Note: EZ 007 O/d Rose, EZ 005 Sierra Yellow, EZ 007 Royal Purple, F? 008 Ruby Red, EZ 020 /Mulberry, EZ 021 DarkOrchid and EZ 030 Rose can fade when used for airbrushing techniques if insufficiently applied. Make a small fired testbefore airbrushing your actual ware to ensure desired results. Try CL 678 Blue White Clear Brushing Gloss Glaze overthese airbrushed colors. Almost all airbrushed colors will fire lighter after the glaze is applied.
Peeling or chipping. Applied too heavily; not bisque fired beforeglazing; applying underglaze to dirty or dustysurface.
No remedy.
. - -- -- --es ~_ _ - _- _ . . -
, -.c
.
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Possible Problems by Color Family%Mw ~uc7’L7,
. Problems Causes Solutions
Cover-Coat Opaque Underglazes
C:loudy c o l o r s . , Underfiring of a clear glaze; too heavy anapplication of a clear glaze.
If underfired, refire to proper cone.
Lolor is darker or brighter. Fired too hot. No remedy.
Zolor is somewhat translucent.
Iolor running.
Zolor dull or not as bright.’
Poor (light) application; too hot a bisque firing.
Glaze applied over unfired underglaze’cblors;glaze applied too heavily.
Fired too cool in the bisque firing.
No remedy.
No remedy..
Try to refire at a hotter cone.This sometimes will work.
Ify or grainy surface. A few Cover-Coats* have a tendency to soak upglaze.
Apply an additional coat ofclear glaze and refire. _
’ CC 737 Regency Purple, CC 738 Wiiteria, CC 740 Morocco Red, CC 746 Purple, CC 753 Avocado, CC 758 Bright Green
ind CC 760 Deep Purple. For best results, use CL 678 Blue White Clear Brushing Gloss Glaze over these colors.
‘eeling or chipping. Applied too heavily; applied on dusty surface;glaze applied over unfired Cover-Coat.
led-stroke Translucent Underglazes
I;reying of color. Under-applied Red-Stroke color, underfired orRed-Stroke Glaze was not applied.
?ed-Coa t Opaque Underglazes
Iolor bleeding or pooling. Red-Coat or final glaze applied too heavilyand/or overfired.
No remedy.
No remedy.
No remedy.
1;reying of color. Underappiication of Red-Coat and/or glazeoverfi red.
IN 0 remedy.
:)esign-Coa t Versa tile Underglazes
‘Bridging” - color covers a Color not brushed firmly into crevices or dust onrease on detailed bisque but . . ware.las a space underneath. Color \y/ill “peel back” when fired,caving a bare spot.
.leeling of color. Overapplication or hard spots.
:ired Antique Antiquing Undergfazes.-
No remedy.
No remedy.
Yrawling; cracking in crevices. Applied too heavily; not wiped back enough. . No remedy.
I ntique Glazes.
ntiqued effect does not appear.
.
Glaze application too light. Apply another coat and refire.
.rt Glazes
usttous effect lacking formetallic Art Glazes.
Underapplied and/or underfired. If underfired,, refire to proper cone.
GIS
~‘Gadrletone GhzesF,G Smoky mildewed look.3’.sgCg<one Gkesa.3.Miistering
--.F
_*
i -_ Crackling.
pi”.$- Cratering on Enamelware1, _ Crystal tones.
ti ’ Lo-Sheen GlazesF! -; Ridging.
:e more matte or mc1 than normal.
Red-Stroke Glazes
Crazing.
Woo&one Glazes
Distressed and/or wormwoodeffect.
Muddy graining.
Ridges or bubbles.
Gloss GlazesGL 653 Downright White
Fired surface looks as thoughthe glaze had*“fizzed” in thefifing. .
Pitted, “orange peel” effect.
Splitting.
. .. r_-._ . .
Probllems bV Color FamilvCauses
Carbon and water trapped in clay body.
SoMom
No remedy.
Owrapplied.
Heavy concentrations of crystals caused stress onbisque. (Rare.)
Underfired bisque; uneven application.
\Unmn application; brush may have been too-small.
No remedy.
No remedy. .’
Try refiring to proper cone.
No remedy.
Overfired or underfired, depending on product. If underiired, refire to proper cone.
Applied to underfired bI;que.
Sucks not broken and pulled into streaks.
Overbrushed or glaze stirred in jar. N o r e m e d y .
Uneven application. No rerr,edy.
Fired while glaze was still wet or damp.
Application too thick; underfired.\
i
Another glaze was used on a large area of theware (for instance, Ultraclear rolled inside apiece glazed on the outside with DownrightWhite).
No remedy.
No remedy.
Future remedy: Allow glazedware to dry thoroughly beforefiring.
Future remedy: thin glaze tonormal creamy brushingconsistency with water orDuncan Thin ‘n Shade, or applya thinned scrub coat beforeapplying 3 undiluted coats.
No remedy.
Note: Splitting will not occur when used alone. Downright White will not split ware when it is used over other glaze; forornamental bands and trims, or in glaze combinations where it does-not cover extensive areas or all of the outside of apiece.
-.-..- ---. _~_._ _- -- 4---A-- __ . 1.. ___. --4.*- - - ‘. . - -_..
. .
.-.. . a,;,--’s+yo’
Answers, tips, explanations . . . information! -’ Ceramics is even more enjoyable when you
know the reasons why ceramic products work,and exactly how and when to use them.
The Duncan Product Reference Manual:tCeramics Fundamentals is a quick reference l
guide to every Duncan color family. While it is -not a decorating technique book, varioustechniques will be mentioned when theydemonstrate the versatile uses of a particularproduct.
With all this information at your fingertips, youcan become .a more independent, more creativeceramist, and the section, “Planning YourProject;’ clears up the mysteries and frees you todo what you want.
You’ll also find information on other Duncanproducts such as tools ana brushes, and helpfuloutlines of the basics of firing a kiln and ca.stinga mold.
\
The manual‘explains how to advance your* knowledge of ceramics . . . perhaps even
establish a career . .*. through the DuncanEducational Program.. .
Want more? There’s more . . . a ‘glossary thatdefines common ceramics terms, and- a helpfulI n d e x .
Reading the Product. Label . . . . . . . . . . . . . . . . . . . . I
Underglazes . . . . . . . . . . . . 2E-Z Stroke@ Translticent
Underglazes . . . . . . . . . . . . . . . 3Red-Stroke* Translucent
Underglazes . . . . . . . . . . . . . . . 4Cover-Coat? Opaque
Underglazes . . . . . . . . . . . . . . . 5Red-Coat@ Opaque Underglazes . 6Design-Coat” Versatile
Underglazes . . . . . . . . . . . . . . . 7Fired Antique Antiquing ’
Underglazes . . . . . . . . . . . . . . . 8
Glazes . . . . . . . . . . . . . . . . . . 9
Dinnerware-Safe Glazes . . . . . . . 10mGlazing Tips . . . . . . . . . . . . . . . . 10Antique Glazes . . . . . . . . . . . . . . 10Art Glazes . . . . . . . . . . . . . . . . . . 11Crackletone Glazes . . . . . . . . . . . 11Crystaltone Glazes . . . . . . . . . . . 11Glaze Crystals . . . . . . . . . . . . . . . 12Dimensions Textural Glazes . . . . 12Gallery Opaque Glazes . . . . . . . 13Lo-Sheen Glazes . . . . . . . . . . . . . 14Red-Stroke@ Glaze . . . . . . . . . . . . 14StonewashedTM Glazes . . . . . . . . . 14Woodtone Glazes . . . . . . . . . . . . . 15Gloss Glazes . . . . . . . . . . . . . . . . 15
Clear Brushing (GL 100) . . . . . 16Ultraclear@ . . . . . . . . . . . . . . . . 16Clear Brushing (GL 617) . . . . . 16Blue White Clear Brushing . . . 16Downright White . . . . . . . . . . . 16
Dip ‘n DonelM Quick-DryCeramic Finished Ware Glazes 16
Clear Dipping Gloss . . . . . . . . . . 17Special Effect Glazes . . . . . . . . . . 18
White Brocade . . . . . . . . . . . . . 18Brocade Satin Base . . . . .‘: . . . 18Snow . . . . . . . . . . . . . . . . . . . . 18White Froth . . . . . . . . . . . . . . . 18Granite Sandstone . . . . . . . . . . 19Antique Brass . . . . . . . . . . . . . . . 19Antique Bronze . . . . . . . . . . . . 19
Specialty Products . . . . . . . . . . . . . 19Patch-&Tatch@ . . . . . . . . . . . . . . 19Wax Resist . . . . . . . . . . . . . . . . 19Mask ‘n Peel@. . . . . +. . . . . . . 19
How to Use Red Glazes . . . . . . . 20How to Use the Duncan .
Color Chart . . . . . . . . . . . . . . . 21.
Overglazes . . . . . . . . . . . . . 21Metallics . . . . . . . . . . . . . . . . . . . 22lusters . . . . . . . . . . . . . . . . . . . . . 22Incompatible Glazes . . . . . . . . . . . 22Essence . . . . . . . . . . . . . . . . . . . . 22
Nonfired Products ..... 23Bisq-Stain@ Opaques . . . . . . . . . . 23Liquid Pearls . . . . . . . . . . . . . . . . 24Natural Touch@ Drybrushing
Acrylics . . . . . . . . . . . . . . . . . . 25Ultra MetallicsTM . . . . . . . . . . . . . 26Oil-Based
ernslucents . . . . . . . . 26
Water-Bas Translucents . . . . . . 28Natural Tint@ Translucents . . . . . . 29Accessory Products . . . . . . . . . . . 29
Antiquing Solvent . . . . . . . . . . 29Hand and Brush Cleaner . . . . . 29Thickener and Texturizer 29Thin ‘n Shadea . . . . . . . : : : : : 30Translucent Stain Media . . . . . . 30Prep-Coat . . . . . . . . . . . . . . . . . 31Gold Dust . . . . . . . . . . . . . . . . 31Silver Dust . . . . . . . . . . . . :. . . 31Diamond Dust . . . . . . . . . . . . . 32No-Fire Snow . . . . . . . . . . . . . . 32Thickener and Extender . . . . . . 33Sand Adhesive . . . . . . . . . . . . . 33Ceramic Accents Adhesive . . . . 33Quik-Crackle . . . . . . . . . . . . . . 34
Brush-On Sealers . . . . . . . . . . . . 34Ceramic Spray Sealers . . . . . . . . . 35How to Use Ceramic Spray
Sealers . . . . . . . . . . . . . . . . . . . 35
Porcelain Flowers ...... 37
Basic ApplicationTechniques . . . . . . . . . . . . . 37
Casting a Mold:The Basic Hows andwhys . . . . . . . . . . . . . . . . . . . .
-7)48
.Tips on Mold Care . . . . . . . . . . . 48How to Cast a Mold . . . . . . . . . . 48Casting an Open-Pour Mold 49Casting a MultiplePiece Molh‘ : : 50Add-ons . . . . . . . . . . . . . . . . . . . . 50Casting Tips . . . . . . . . . . . . . . . . 50
Firing Basics . . . . . . . . . . _ . 51-Hock a Kiln Works . . . . .: . . . . . 51Cones - What They Are and -
How They WC& . . . . .-. . . . . . 52What Cone Does Your Project
Need? . . . _ . . . . . . . . . . . . . . . 52Witness Cones - Your Key to
Success . . . . . . . . . . . . . . , . . . 52
Duncan Edu:cationaIServices SeminarProgram . . . . . . . . . . . . . . . 53Product Orientation Sessions . . 53Teacher Certification Program . . . 53Teachers’ Seminars _ . . . . . . . . . . 53Shield Club . . . 53T h e irma Duncan’ ,&aid: : : 1 : : : 5 4
Planning YourProject . . . . . . . . . . . . . . . . . . 54
Airbrushing . . . . . . . . . . . . . . . . . 37Antiquing . . . . . . . . . . . . . . . . . . 38Banding . . . . . . . . . . . . . . . . . . . 38Controlled Glazing . . . . . . . . . . . 38Dots . . . . . . . . . . . . . . . . . . . . . . 38Drybrushing . . . . . . . . . . . . . . . . 39Majolica . . . . . . . . . . . . . . . . . . . 39Rouging . . . . . . . . . . . . . . . . . . . . 39Sgraffitoing . . .Spattering
\;. 40. . . .
.........................40
Sponging . . . . . . . . . . . . . . . . . . . 40Spot Glazing . . . . . . . . . . . . . . . . 40Stenciling . . . . . . . . . . . . . . . . . . 41Stippling . . . . . . _. . . . . . . . . . . . 41
Toois and Brushes ...... 41
Selecting Greenware . . . . . . . . . . 54Cleaning Greenware . . . . . . . . . . 55Choosing the Right Colors . . . . . 55Studio Firing Services . . . . . . . . . 57
Wiring lamps andChristmas Trees . . . . . . . . 58
Possible Problems . . . . . . 59Practices to Avoid . . _ . . . . . . . . . 59How to Recognize Problems . . . 60Possible Problems by Color
Family . . . . . . . . . . . . . . . . . . . 61
Duncan Ceramic Tools . . . . . . . . 41Greenware Cleaning Accessories . 43Shortcuts Casting Tools . . . . . . . . 43Shortcuts Ceramic Tools . . . . . . . 43Discovery Brushes . . . . . . . . . . . . 44Debut BrushesSignature Brushe;’ : : : : : : : : : : : :
4647
Brush Care . . . . . . . . . . . . . . . . . 47
School and InstitutionCeramic Supplies . . . . . . 65
Glossary of CeramicsTerms . . . . . . . . . . . . . . . . . . . 67
Index . . . . . . . . . . . . . . . . . . . . n
4i - b&
Each Duncan product label is muchmore than just a pretty front on afine product. Actually, our labels arecarefully designed to provide youwith much convenient informationabout the use of our products.
The pictures show the three;lrlrnxv categories of labels that give\oc; .tn overvie\v of this information.
Glaze Labels.\I1 labels in this group are in the
i)urn: orange color range.
1 Order Number and NameEach color has an individual order
number and name. Duncan places:-odors in color-wheel sequence on
m our color charts to make it as: onvenient as possible for you to picklust rhe right color tone, tint or shade.\ormalls, you’ll find each color$aced in numerical order on yourlealer’q shelves. After you have
selected the color you want, find itsorder number and you’ll locate iteasily.
2 Opaque, Semiopaque, Transparent(colored), Clear
All glazes fall in one of thesecategqxies. The label identifies thetransparency either in the name(Gallery Opaque Glazes) or on the label.
3 Dinnerware-Safe GlazesDuncan is proud of its glazes that,
when fired to witness cone 06, canbe used safely on ceramic pieces thatcome into contact with food anddrink. These glazes are identified withthe notation .Sr\FE FOR FOODCONTAINERS on the front of thelabel. If a glaze you have chosen doesnot contain this phrase, do not use itfor pieces that come into contact withfood and drink. (For furtherinformation, see the section onDinnerware-Safe’ Glazes). -
4 & 5 Overgiaze CompatibleThe use of an overglaze can really
enhance the quality of a finishedpiece. Because some glazes containsmall amounts of copper for color,they will not work with overglazes.Duncan glazes are all identified as towhether they will or will not workwith overglazes. Glazes that will workwith overglazes state OVERGLAZECOMPATIBLE. Glazes that do notwork with overglazes state NOTOVERGLAZE COIMPAT~BLE.
6 & 7 Copper-Formula GlazeSome glazes contarn small amounts
of copper ior color. There are a iewother Duncan glazes that, because oitheir formulation, should not be usedor fired with glazes that are labeledCOPPER-FORMULA GLAZE. Thesecolors are identified on the label byDO NOT FlRE WITHCOPPER-FC’R.MULA GLAZES.
-.-- -- _-_ -. ----__I------- -
- I--- -.----- ------_
. .
_ -_ _
DirectionsThe general directions for applying
or using the product are given oneach label. Because each glaze hasunique characteristics, you shouldread the directioni for each color;~~‘re using to be sure the product isapplied correctly. Sometimes productsin the same family will have slightlydifferent instructions- Read them42refully to ensure your projeds success.
8 & 9 Heaith Label &‘Nontoxic SealEach Duncan color product carries
either a health label or a aontoxjcsea/. These certify that our cautionsare in compliance with nationalstandards and the Art and. CraftMaterials Institute, Inc.
.
Underglaze Labels *All labels in this group are in the
blue color range.
Order Number and NameSame as for glazes.
10 Do not &e under RG seriesI+=
A few underglaze colors are notrecommended for use with Red-StrokeGlazes as they may fade. If anunderglaze label does not have thisnotation, the underglaze is highlyrecommended for use with Red-StrokeGlazes and Red-Strokes.
Directions*Same as for glazes.
Health Label & Nontoxic SealSame as for glazes.
Nonfired ProductLabels
All labels in this group are in thelavender color range.
Order Number alnd NameSame as for glazes-
DirectionsSame as for glazes.
11 DO NOT FiRE- All products that carry thisidentification on their labels should -not be fired in a kiln.
Health Label & Nontoxic SealSame as for glazes.
Many ceramists credit the fun ofdesign work with underglazes formuch of the creativity of ceramics.Underglazes have a fascinatingnumber of uses, everything fromsigning the ware on the bottom ofthe piece to the finest of brushwork.
UnderglazeCharacteristics
Underglazes are ceramic colorswhich are used under a glaze. Fourtypes of underglazes are available:translucent, opaque, antiquing andL.ersatile.
Translucent
These are underglazes used forbrushwork. They have a definite see-through quality. Normally, one color\vill show through another appliedover it.
Translucent underglaze.
Opaque
These are underglazes used forsolid-color coverage over large andsmall areas. Normally, if one color isapplied over another, the base colorwill not show through.
Antiquing underglaze.
Versa tile
These are underglazes that allowthe accomplishment of all the abovebasic applications.
Opaque underglaze.
Antiquing
These are underglazes used foradding color highlights to a detailedpiece (antiquing). Versatile undelrglare. b
bq
-work. Snow can be tinted with E-ZStrokes.
write to Duncan Ceramics, 5673 E.Shiekis Avenue, Fresno, California93727 for safety instructions.
Appiica tion
Place DP 400 Clear Dipping Glossin a container large enough to dip theware without danger of touching thesides or bottom. Do not use tin tostore the glaze in as it will rust andcontaminate the glaze. To ensure aneven coverage of glaze, stir the glaze:horoughly before using it and repeatbtirring, periodically, during use.Quickly submerge the article in andout of the glaze, and set it aside untildry. If application is too thick, merelyadjust by adding water until youreach the desired thickness. Although
v the fired results of dipping and .brushing glazes are comparable inbeauty, the two glazes should neverbe mixed together in their liquidstate. Glaze fire to witness cone 06.
Special Effect C lazesThese glazes will give you a varietyof new and different results. Thetexture, finish or color, and theunique characteristics of each glazelet you decorate ceramics thatdisplay your personal touch.
SY 543 White Brocade is a decoratingglaze used for a raised or textureddesign, and will not flatten out insubsequent firings. It can be appliedwith a brush, sponge, squeeze bottle,brocade tool, or similar tool. It canbe applied directly to greenware orwitness cone 04 bisque, or over firedor unfired underglazes, White Frothor a nonflowing glaze that moves verylittle in the glaze firing. WhiteBrocade can be tinted with undilutedE-Z Strokes straight from the jar. Addno more than 50% of the desired E-ZStroke to White Brocade.
App/ication: For design work, it isbest to thin the White Brocade with afew drops of water or Thin ‘? Shadeand build up the pattern by extraapplications. Place some Brocade ona glazed tile or palette. Thin withwater until the Brocade is theconsistency of a light cream. Use apalette knife to thoroughly blend andmix the Brocade. Very fine lines canbe accomplished by loading a Linerbrush with the thinned Brocade androlling just the tip of the brush to asharp point. Hold the brush in ai n __I _r., ./_;
White Brocade.
vertical position so that only the tip istouching the design area. Holding thebrush at a lower angle or applyingmore pressure will produce a widerline or pattern. For a different effect,Brocade can be thinned on a paletteuntil it is like a heavy cream, andthen applied with a plastic meshsponge for a mottled look. If applie$to greenware, bisque fire to witnesscone 04. Thin with water or Thin ‘nShade if needed. Glaze fire to witnessc o n e 0 6 .
Overglazes on Brocade: SeeBrocade Satin Base.
Brush and product care: Cleanbrushes with water. Wipe rim of jarand inside of lid, then close tightly.
SY 544 Brocade Satin Base by itself isa warm medium yellow glaze with asoft sheen. It was created as a base orfoundation for use under WhiteBrocade and metallic overglazes. Thiscombination gives a beautiful two-toned dull and s
!kiny three-
dimensional surfa .
Application: Shake jar and stirwell. Apply 3 even coats to witnesscone 04 bisque with a soft brush or asponge. Next, apply White Brocade inany of the methods listed above. Fireto witness cone 06. After firing, apply1 smooth coat of metallic overglaze.Fire to witness cone 019. Thin withwater or Thin ‘n Shade if needed.
Brush and product care: Cleanbrushes with water. Wipe rim of jarand inside of lid, then close tightly.
SY 546 Snow is formulated toproduce thick, fluffy white “snow” onCbristma$ items, to create fur areasand trims on animals and figurines,and to form a beautiful snowybackground for E-Z Stroke design
Fired Snow.
Application: Stir well to a smoothconsistency before applying. Do notadd water. Apply 1 or more goodcoats over unfired glaze which hasbeen applied to witness cone 04bisque. Depending on the size of thearea to be decorated, apply Snowwith a palette knife, brush, spoon,ice<ream stick, sponge or squeezebottle. For very small areas or tinypieces, a brush handle tip or atoothpick can be used. Allow to drybehveen coats. Avoid thin application.The heavier the application, theheavier the snow effect will be. Mostceramists use l/2”- to 3/4”-thickapplications on Christmas trees forthe realism of a forest snowfall. Onflat surfaces, a little less can be used.When dry, glaze fire to witness cone 06.
Brush and product care: Cleanbrushes with water. Wipe rim of jarand inside of lid, then close tightly.
SY 549 White ,Froth is a light, foamyglaze which pmduces a lava-typesurface. White Froth can be tintedwith E-Z Strokes. It is used ondecorative items and also makes anideal backgrouind for winter scenespainted with E-Z Strokes.
Application: Shake jar and stirwell. To greenware, sponge on 3 ormore co&. Fire to witness cone 06.Thin with water or Thin ‘n Shade ifneeded.
Sponge and product care: Cleansponges with bmter. Wipe rim of jarand inside of lid, then close tightly.
Underglazes are frequently thinnedlvith water or DuncanThin ‘n Shade before application, andmost decorating techniques \villspecify the consistency to which theunderglaze colors should be thinned.In ceramics, consistencies are usuallyexpressed in terms oi everyday dairyproducts. You isill find consistenciesequ,lttad Lvith thin milk, milk, lightt r(~m, crt~rn, and so on. The lone1’11 l’j)lI( )I1 IN %ssh,” a very wateryc OI~~I~ICWC \: which is a watercolorist’sft’rm.
A, you redd about Duncan ceramicproducts, please refer to the Glossar)rIn the back of this manual fordefinitions of unfamiliar terms.
Some basic application techniques,however, such as airbrushing,‘lntiquing, banding, drybrushing,\graiiitoing, spattering, sponging,\tenciling, stippling, etc., arerllubtrated and explained in a laterNtbction, as well as defined in the(llossary.
E-Z Stroke@TranslucentUnderglazesCharacteristics
E-Z Stroke translucent underglazes,~re highI\, concentrated, one-jtrol\eunderglaze colors which are normall),tpolied to greenware. They have acteiinite see-through quality, even\vhen one color is applied over,tnother. They should not be used ior\olid-color coverage, but ior designibork, simulated china paintingtechniques, plaid effects, or any othertechnique tvhere a shaded or t\vo-tow viicc-t is dcsircd. E - Z StroLrls ,lrt’,i140 Itit\ pr&rrccl un(l~rgl,l~(~ ( o l o rr:lc~clitIrii ior outlining and det;liling,I{\( I\!t!in< ~~Lw, personalizing withll,lr11t'~ ,IINI Ate>, and accenting(l~~~t~n \\orL.. E-Z Stroke translucentund~~r~l.~~~ c olor4 ,lrt’ most often useduntlrlr .I ~:1,1/1~. r.\c~o: Some E-Z Strokeculof~ hou/d nf~t h(s u~e(l u n d e r UCwries ghm. jct~ ~p~it’;~- E-Z StrokeI&c/.) After they hue txvw bisqueiired to witness cone O-1, cover the\vare with any type oi cIta,lr orir,lnsparent glaze.
Note: EZ 001 Old Rose, EZ OU.- Ro\a/I’urple, EZ 008 Ruby Red, EL 020i\ulberry, EZ 021 Dark Orchitl,
EZ 030 Rose and EZ 040 PlumBlossom may sometimes fade a littleunder CL 617 Ultraclear and to aneven lesser degree under CL 617Clear Brushing. If you experiencesuch a problem, substitute CL 618Blue White Clear Brushing, whichworks quite well over these colors.
Application
E-Z Strokes can be used in severaldifferent ways.
Brushwork
For best results, place some E-ZStroke on a glazed tile or palette andadd water or Thin ‘n TShade to reachthe desired consistenc); - wash, milk,light cream or cream - for thespecific effect you wan! to achieve.Working with color on a tile orpalette allows more complete controloi the amount and location of colorpicked up by your brush. Apply 1coat to greenware. Use as large abrush as is practical and keep it wellsaturated for smooth, evenbrushstrokes. If your brush seems todrag when applying color togreenware, this will indic ate. that thecolor is too thick and that a drop ortwo of water or Thin ‘n Shade isneeded to thin the color to the properworking consistency. For shadedbrushwork, load the brush with color,:hen tip or Gdelosd the ‘brush ll,ith asecond color.
Over other underglazes
E-Z Stroke colors are very effectivewhen applied over each other or ow’ropaque underglxes. They can beused in design over a background ofsponged or stippled color as well asover solid-color backgrounds.LVtxxthcr tht~y ,lrt* Ural ,I\ the desigtlo r ,I\ 41,xling ior othctr untlergl,lze~,keep iii mind th,lt they ‘Ire tr;lnslucenland might be altered in color by thecolor used underneath them.
The concentrated color strength ofE-Z Stroke colors is ideal for use inairbrush decoration. Thin the colorwith Duncan Thin ‘n Shade, usingfour parts of Thin ‘n Shade to onepart color. Airbrush the thinned coloronto the greenware, passing over thedesired area(s) until the intensity ofthe color on the ware is theequivalent of the color in the jar.
. .
Banding ’ /
The one-stroke E-Z Stroke c~,i(~r~
are ideal for banding on CIAOI. T/71*1the color xvith \>ater or Thin ‘7 >h,~c!~~to a mill, or light-cream c()n<l..tetl(‘.and band on 1 coat to ~re~~n\x~1r~’ ( Iiover a base-coat color.
Spa ttef ing
Thin the E-Z Stroke color ‘.xI:~water or Thin ‘n Shade to tl mil!-,consistency and use a stiii bru41 i()spatter the color onto the b+e-( r~~,:t~ior decorated greenware iTern.
Sponging
Place some E-Z Stroke Color OII ,glazed tiie, acid water or Thin ‘Y Ch,&and mix to the consistent\ ;~~YIII~ iby the technique you are L<inc :(Ir;t’:lmilk or thin cream). Spread thta c OIOIsha l low ly o\er the II/~ ktith C~ ;I,riea!lVakniie. Use a z3iightly dami!p.-iecsponge to apply 1 coat 0; ioio:directlv 10 griler‘,L\are o r o:i-7 3 i~<..~ -coat color in paiterns or 10 cre.titbackground areas. lettlno, :heunderlvrng >l;:;~ce +OLX ~:I;o~ L .- ‘. 1.’..,I .and there. ,\\ore marl one ( :J~c)- :- :.p-be sponged on a >lnyIe tter :.
Stenciling
Thin the E-Z 5t:oke color \I i-h _water or Thin ‘n Shade to ttteCOZ~lSi?!:C; 3 : :::::: c:tfcl:il -t*;;;; ‘.
coat oi the thinned color throw:!: b--t.s tenc i l ooenlngs *.~rth J kpon~e (1’brush onto g:et-‘rxvare or 01er ,Ibackground color.
Stippling
Antiquing
TO use E-Z Stroke 04 Cafe ,lllil(;.l I><medium, mix the color \x.ith \\JI~~T ;(Imake a th in waA U>e ‘I ~nl.~lI . I;:) i I.a large palette to mi\ thr I oIo:. I>*.not thin the entire jar. .+pi! tncn CO~I 1.Lvash t0 :vitnesj c o n e 04 tub jLIrusing as large a brush a3 is /jrLlr;ic ,i!.Wipe the piece down \\ ith .jdampened sponge to remc.)\t’ tl~wce41; c o l o r Iron ttits rdlvyl Irt.,iN
Clean the sponge frequently as youwork. When the piece is thoroughlydry, glaze with a clear or transparentglaze and fire to witness cone 06.
When mixing or color blending, werecommend that a small fired testsample be imade to determine theproper mixture for the desired effect.
Over a glaze ’
E-Z Stroke can be used effectivelyover unfired glazes and then fired towitness cone 06. Designs, patterns orscenes can, be painted overnonmoving glazes. The E-Z Strokecolors should be thinned with wateror Thin ‘n Shade to a consistency noheavier than light cream and appliedin 1 or 2 light coats rather than aheavy coat. Too heavy or too thick anapplication may produce a texturedeffect or blisters on the color area._Unusual effects can also be obtainedwhen E-Z Strokes are applied over .flowing glazes such as glosses. Thecolors will change somewhat in tonedepending on the choice of coloredglaze used, the shape of the bisquedpiece, and the cone to which it isfired. As the glaze flows during thefiring, the E-Z Strokes will also flow,creating one-of-a-kind effects.
Bkque appiica tion
Although E-Z Strokes are primarilydesigned for application ongreenware, E-Z Stroke colors are usedon witness cone 04 bisque when anantiqued finish is desired and can beu!;ed successfully on bisque just asyou would use them on greenware ifyou lightly dampen the bisque withclean water before applying the E-ZStroke color. Bisque is very porousand unless it is predampened, it willabsorb the moisture from the.colortoo quickly, making a smooth strokeimpossible to obtain. If E-Z Stroke isu!;ed for design on bisque, it is notnecessary to fire the piece beforeapplying a glaze, providing the E-ZSlroke is thoroughly dry and the glazeis glazed with a fully loaded brush sothe underlying colors are notdisturbed. . .
.
As a colorant
E-Z Stroke colors can be blendedor mixed together to create additionalcolor hues. They can also be used totint White Froth, White Brocade andSnow Special Effects Glazes. Theusual mixing proportions are no morethan 50% E-Z Stroke. They are alsoideally suited for coloring ceramic orporcelain casting slip because theyare strong, highly concentrated colors.
Firing
Always h sure of a proper firing,usually to witness cone 04. E-Z Strokecolors can be fired from cone 06 tocone 6. It is difficult to over-fire thecolors, but underfiring them canpresent problems. Under-fired colorsmay not be as bright as they shouldbe, or they may be streaked or have apale, mottled appearance.
On porcelain and stoneware
E-Z Strok.e colors have beendesigned to perform through a widefiring range. Most of the colors firetrue to color up to a cone 6 firing,but some colors may fade or changecolor at such a high temperature, dueto their chemical nature. Test-firing isrecommended. Thin with water or .Thin ‘n Shade to the consistencyspecified by the particular decoratingtechnique you are using and apply toporcelain or stoneware greenware.Bisque fire to the maturing conerecommended by the high-fire slipmanufacturer, witness cones 4 to 6.(See the “Color information index” inthe Duncan Color Selection Guide forhigh-fire color information.)
Brush and product care
Clean brushes with water. Wiperims of jars and insides of lids, thenclose tightly.
\
Red-Stroke@TranslucentUnderglazesCharacteristics
Make sure your bisque (witnesscone 03) is clean and dust-free. (Note:A/so apply to witness cone 03 bisquewhen using Re&Strokes with otherDuncan underglaze colors.)Red-Stroke colors can be applied witha brush, sponge or airbrush. Whenusing more than one color, allow todry between different colorapplications. Allow to dry beforeglazing. Red-Strokes do not need tobe fired before glazing.
These intensely brilliant translucentunderglazes are one-stroke Brushwork
underglazes. The Red-Strokes are usedfor fine detailing, design work andshaded effects, alone or with mostother Duncan underglazes. Theirsee-through qualities allow oneRed-Stroke color to be used overanother, and this same translucencymeans that they are not to be usedfor solid-color coverage of large areas. : Use a+~ p brustt’as is practicalWith Red-Strokes, you can decorate !;:. and keepht:well lcx~&A for smooth,with distinctively bright colors. G j::” even brus&rok& Ntily, th inn ing
Place some Red-Stroke color on aglazed tile and irk with a paletteknife to obtain a good brushingconsistency. Working with the coloron a tile also allows more completecontrol of the amount and location ofcolor picked up by your brush. Apply1 coat to witness ame 03 bisque.
Many difY+nt color products workbeautifully with Red4trokes.
Red-Strokes must be applied towitness cone 03 bisque and theymust be covered with dinnerware-safeRed-Stroke Clear before firing. This isthe only glaze iomnulated for perfectresults over Red-Stroke translucentunderglazes, except for CL 700 ClearBfushing. Do no& use any other deafof tmspafent glaze over Red-Strokes,for glaze substitution will cause the’colors to gfey out.
Application
is not needed. If your brush seems todrag as you are applying color to thebisque, add a drop or two of water orThin ‘n Shade to thin the color to theproper working consistency.
A i&rushing
Thin the color with Thin ‘n Shade,using two parts of color to one partThin ‘n Shade. Airbrush the thinned ’color onto the bisque, passing overthe desired area(s) until the intensityof the color on the ware is theequivalent of the color in the jar.
Spattering
Thin the Red-Stroke with water orThin ‘n Shade to a milk consistencyand use a stiff brush to spatter thecolor onto desired areas of witneSscone 03 bisque.
Sponging
Place some Red-Stroke color on aglazed tile and spread shallowly witha palette knife. Use a slightlydampened sponge to apply the colorto witness cone 03 bisque in patternsor to create background areas.
Antiquing
Apply full-strength Red-Stroke to adetailed piece of bisque that has beenfired to witness cone 03. Wipe thepiece down with a dampened spongeto remove excess color from theraised areas. Clean the spongefrequently as you work. Allow thepiece to dry thoroughly beforeglazing with Red-Stroke Clear orGL 100 Clear Brushing. _.
With E-Z Strokes
The Red-Stroke colors can be usedin design with most E-Z Stroketranslucent underglazes. You can loada brush with a Red-Stroke color andtip it in a contrasting E-Z Stroke colorfor shaded brushstrokes. A designpainted with Red-Strokes can beaccented with E-Z Stroke colors. Inthe same manner, an E-Z Strokedesign can be accented withRed-Strokes. Remember, however, touse the E-Z Strokes on bisque or, ifyou ‘prefer to use E-Z Strokes ongreemvare, bisque fire to witness cone03 before accenting with Red-Strokes.(Note: Witness cones for best firedresults with each product are giventhroughout this manual. Certainproducts, like Red-Strokes, are so.
exceptional that their witness conerequirements take precedence overthose of any other color productsused with them.) Always useRed-Stroke Clear or GL 100 ClearBrushing over any ware decoratedwith a combination of Red-Strokesand E-Z?.Strokes.
Over other Red-Strokes and overCover-Coats, Red-Coats andDesign-&a ts
Red-Strokes are very effective _applied over one another and arebeautiful over most fired Cover-Coatopaque underglazes and Design-Coatversatile underglazes, and over unfiredRed-Coat opaque underglazes. (Note:The Cover-Coats should be bisquefired to witness cone 03, and theRed-Coats and Design-Coats appliedto witness cone 03 bisque. See noteon firing in ‘With E-Z Strokes” above.)The Red-Strokes can be used indesign over a background of spongedor stippled color as well as over:solid-color backgrounds. Whetherthey are used for design or as shadingfor other underglazes, keep in mindthat the Red-Strokes are translucentand rnight be altered in appearanceby thje underlying color. When indoubt, make a small fired test piece.
Not for porcelain and stoneware
Due to their formulation, theRed-Strokes are not recommended foruse on porcelain and stoneware.These colors do not worf; at high-firetemp(eratures.
Brush and product care
Clean brushes with water. Wiperims of jars and insides of lids, thenclose tightly.
Cover-Coat@ OpaqueUnderglazesChar’acteristics
Cover-Coats are opaqueunderglazes. These opaque colors areto be used when areas of solid-colorcoverage are desired. When one coloris properly applied over another, thesecond color will totally block outthe fi,rst color. Cover-Coats are applieddirectly to greenware and then bisquefired to witness cone 04. The coloractually becomes a part of the *ceramic object. A glaze finish is
required to seal the porous surfaceand to brighten the underglaze colors,although the fired colors can be leftunglazed for decorating effects likethe terra-cotta look or polishedCover-Coat. For most Cover-Coats, anytransparent glaze can be used. (Note:Some Cover-Coat colors should notbe used under KC series glazes. Seespecific Cover-Coat label.) On anynonutility item, a nonfired CeramicSpray or Brush-On Sealer can be usedas a finishing coat. Cover-Coat colorswill have a rnore pastel’ quality whennoniired sealers or matte-finish glazesare applied than when they arefinished with a iired Gloss Glaze.
Note: CC 737 Regency Purple,CC 138 Wiyeria, CC 739 Orchid,CC 140 Morocco Red, CC 746 Purple,CC 757 Rose, CC 760 Deep Purpleand CC 772 Plum Blossom maysometimes hzde a little under Cl. 617Ultraclear and to an even lesserdegree under CL 677 Clear Brushing.If *fou exper.;e.xe jUCh a problem,:substitute CL 678 Blue White ClearBrushing, which works quite well ,over these CD~G:S.
Application
Shake jar and stir well beforeusing. Cover-Coat should be theconsistency of heavy cream and canbe thinned with water or Thin ‘n Shadeii it is too :L;ick it can be applied inseveral different ways.
Cover-Coats produce smoothcoverage with very little trouble;only 3-0~ t.s.
Brushing appiica tion &7U’
ADDI~ 3 smooth, even coats togreekre in one direction, wheneverthe piece permits.
_--
--T------*--v ., , __. .
. -
. Sponging application finish is water resistant, but not
Dip a slightly dampened spongeinto the color and sponge on 3 evencoats, using an up-and-down
waterproof.) Polished Cover-Coat isexcellent as a background for spotglazing.
pouncing motion. One coat ofanother color can be sponged here Firing
and there over the first to give a On a law-fire clay body,multicolored effect. Cover-Coats should be fired to
e p& witness c:one 04.
On. porcdain and stoneware
using one @I% Thin”‘ri’Shade& td”ti When thinned with water orparts color, Airbrush the thinned color Thin ‘n Shade to a thin-milkonto the greenware, passjng over the consistency, many Cover-Coat colorsdesired area(s) until the intensit$of canthe color o n the.ware$s:$%@; :--\
be applied to porcelain and
equitilent of the c?~q~t$ij& j&theni
stoneware, and fired to the maturing
airbrush the same areas a+secb$z’cone recommended by the high-fire
. Sgra ffitoing
Apply the color by brushing orsponging, then sketch on the design.While the color is still damp, use theSgraffito-Duster tool with the hollowside of the blade down to gentlyscratch fine shallow lines along thedesign lines, then go over the lines afew more times to gradually deepenand widen the lines. Use the brushend of the Sgraffito-Duster tool toremove dust and clay particles fromthe sgraffitoed lines. Bisque fire theware to witness cone 04 and applythe desired glaze.
slip manufacturer, witness cones 4 to6. At these temperatures, mostCover-Coats will undergo a colorchange. Test-firing is recommended.The surface finish may also change.Some Cover-Coat colors becomehighly glossy, some attain a slightsheen, and some fire to a completelymatte finish. All the Cover-Coats bondfirmly toI the ware and create somevery beautiful effects. Apply thinnedCover-Coat to porcelain or stonewaregreenware as directed for low-fire claybodies. Bisque fire to the maturingcone recommended by the high-fireslip manufacturer, witness cones 4 to6. (See the “Color Information Index”in the Duncan Color Selection Guideior high-fire color descriptions.)
Thickened Cover-Coat
A few drops of vinegar added toCover-Coat will thicken it so that itcan be used to create raised designs.Apply the thickened color pith abrush or sponge. (Note: This does notwork for all Cover-Coats, so alwaystest before planning a project.)
P o l i s h e d f i n i s h *
This nonglazed finish is used onnonutility items. Apply the color asdirected tinder Brushing or spongingapplication, then apply- another coatof color thinned half and half withwater to a small area of the ‘greenwareat a time. When the wet lookdisappears from the newly paintedarea, polish it briskly with a soft clothuntil a *sheen is obtained. OGeriap theareas slightly so that no unpolishedspots will remain. When the entiresurface of the ware is polished,bisque fire it to witness cone 04. Noadditional finish is required. (This’
Brush and product care
Clean brushes with water. Wiperims of jars and insides of lids, thenclose tightly.
Red-Coat@ OpiqueUnderglazesCharacteristics -
Thesle opaque underglazes arethree-coat underglazes. They areespecially formulated to produceintense, brilliant colors, and are usedfor solid-color coverage, trims, andextra touches of color on ail kinds ofdecorative items and dinnerware.
Application
Red-Coat colors should be usedonly on bisque that has been fired towitness1 cone 04, unless they are usedwith Red-Strokes on witness cone 03bisque. WE! do not recommend them
for use on greenware, as the colormay turn dirty looking and developblack spots. Shake jar and stir wellbefore using.
Brushing application
Apply 3 flowing coats with a softbrush. Three full coats are necessaryto avoid greying of color, especiallyon sharp edges. For best results, applyno more than 3 coats, as Red-Coatcolors may run slightly in the firing ifthey are applied too heav;iy. When _Red-Coat application is completed,set ware aside to dry thoroughlybefore glazing.
Sponging application
Dip a slightly dampened spongeinto the color and sponge on 3 evencoats to witness cone 04 bisque,using an up-and-down pouncingmotion.
Airbrushing
Thin the color with Thin ‘n Shade,using one part Thin ‘n Shade to twoparts color. Airbrush the thinned coloronto the bisque, gassing over thedesired area(s) until the intensity oithe color on the ware is theequivalent of the color in the jar.
With Red-Stroke transfucen tunderglazes
When Red-Coats and Red-Strokesare used on the same witness cone03 bisqueware, the item must beglazed with Red-Stroke Clear orGL 100 Clear Elrushing and fired towitness cone 06. (See Red-Strokes andRed-Stroke Glaze for additionalinformation.)
With E-Z Stroke translucentunderglazes
After the E-Z Stroke-decorated warehas been bisque fired to witness cone04, Red-Coat areas can be added tothe bisqued item. Be careful not toapply the Red-Coat over the E-ZStrokes as the opaque Red-Coat colorswill block them out. While E-Z Strokedetailing and accents can be addedover Red-Coats applied to witnesscone 04 bisque, remember that theE-Z Strokes are translucent and maybe altered in appearance by theunderlying color. Making a smalltest-piece is recommended beforedecorating your actual piece.
_. .
With Cover-Coat opaque underglazes
Greenware items partiallydecorated with Cover-Coats andbisque fired to witness cone 04 canbe completed with areas of Red-Coatcolors. If Red-Stroke accents orshading will also be used, thegreenware decorated with Cover-Coatcolors should be bisque fired towitness cone 03. When Red-Coats areused on an item decorated withCover-Coats, any appropriate glazecan be used, but if Red-Stroke colorsare added to the item, it must beglazed with Red-Stroke Clear orGL 100 Clear Brushing.
With Design-Coats versa tileunderglazes
Because the Design-Coats can beapplied to bisque as well as togreenware, they are ideal for use indesign with the Red-Coats. For solid-color areas, apply 3 flowing coats ofeither the Design-Coat or Red-Coatcolor. Do not overlap the colors,because both these colors are opaquewhen 3 undiluted coats are applied.The Design-Coats can be thinnedwith water or Thin ‘n Shade and usedto create designs, detailing andshading over the dry Red-Coatcolor(s). Note that thinnedDesign-Coat colors are transparent,and so their appearance can bealtered by the Red-Coat colorunderneath. When in doubt, make asmall ‘fired test piece.
Not for porcelain and stoneware
Due to their formulation, theRed-Coats are not recommended foruse on porcelain and stoneware.These colors do not work at high-firetemperatures.
Brush and product care
Clean brushes with water. Wiperims of jars and insides of lids, thenclose tightly.
Design-CoatTMVersatileUnderglazesCharacteristics
Design-Coats are excellent for bothopaque coverage and translucentdesign work. They can be applied togreenware or witness cone 04 bisque.
Design-Coats can be left unglazed fora very matte appearance (the bisquelook) or glazed to obtain a smooth,glossy finish. These colors can bemixed to create custom colors.Experirnent to find the exact colormixture you want, then mix enoughcolor to complete your project.
A ppiica tion
Design-Coats can be brushed orsponged on, or used as an antiquingagent.
Opaque coverage on greenware
Darnp sponge greenware, then thinthe Design-Coat wiqThin ‘n Shade(approximately one teaspoon Thin ‘nShade to one 2-0~. jar). Apply 3coats, brushing each coat in the samedirection. Allow to dry between coats.
Solid-color coverage.
Translucent design work ongreenware
Thin with Thin ‘n Shade to thedesired consistency and apply.
Opaque coverage on bisque
Damp sponge bisque w&h water toremlove surface residues, slightlydampening ware, and apply 3 coatsof Design-Coat, brushing each coat insame direction. Allow to dry betweencoats.
Translucent design work on bisque
Thin with Thin ‘n Shade to thedesired consistency and apply.
Antiquing on bisque
Thin with Thin ‘n Shade to a washconsistency, apply one coat, thenwipe away excess with a dampsponge.
Firing
Greekvam When Design-Coatsare applied tci greenware, fire ware towitness cone 04. You may choose toleave the ceramic piece as ‘is, after thefirst firing, or to apply an appropriateGloss Glaze and refire to witnesscone 06. -
Bisque: When Design-Coats areapplied to witness cone 04 bisque,apply the desired glaze directly overthe dry unfired Design-Coat, then fireto witness-cone 06.
Decorative applica Cons
Specific instructions are givenunder each application mentionedbelow. Thin with water or Thin ‘nShade if needed.
One-stroke design work
Brushwork designs can be createdwith Design-Coats on greenware,bisque, or on a Design-Coatbackground oi contrasting color. Loadyour brush with color straight fromthe jar, or place a small amount ofcolor on a glazed tile for greatercontrol of amount of color picked tipby the brush. To achieve extra-finelinework or brushstrokes, moistenbrush with Thin ‘n Shade andsqueeze out excess, then load brush
with color. Shaded brushstrokes can- be obtained by loading one side of
the brush with one color, and theother side or the tip of the brush witha second color. For more translucentbrushwork, thin the Design-Coatcolors with water or Thin ‘n Shade.
Bisque-look techniques
The versatile Design-Coats producea beautiful, matte texture when theyare not glazed. This characteristic letsyou create many fascinating specialeffects. I
8isque look with stripes of glaze.
Airbrushing
Thin the color with Thin ‘n Shade,Jsing one part Thin ‘n Shade to oneoart color. Airbrush the thinned coloronto the greenware or bisque item,passing over the desired area(s) untilthe intensity of the color on the wareis the equivalent of the color in the jar.
Antiquing.
Antiquingqp9c7cwg. p-7/
On porcelain, Design-Coats yield
Mix equal parts of a Design-Coat .color with water or Thin ‘n Shadeand flow on 1 coat to incised ordetailed bisqueware. Wipe back witha slightly dampened sponge.
Banding ‘?
Thin with water or Thin ‘n Shade ifnecessary. Use a brush to band on 3flowing cola& of Design-Coat color.
either a dull satin or a-dull gloss. Afinal coating of a clear Gloss Glazeproduces a high-gloss version of thecolor used. One-stroke designs withDesign-Coat colors on porcelainproduce “china painting” effects.Apply milk-consistency Design-Coatto porcelain greenware or to witnesscone 04 porcelain bisque, then fire tothe maturing cone recommended bythe high-fire slip manufacturer;witness cones 4 to 6.
Spattering
Load a stiff brush heavily withDesign-Coat color. Hold the brushseveral inches above the ware and runyour fingertip through the bristles toproduce a fine spray of color. Two ormore colors can be spattered on thesame piece.
On stoneware, Design-Coats -produce either a dull satin or a dullgloss. The use of a finishing glaze isnot recommended, because the grogin the stoneware body may react withthe glaze. Appiication is the same asfor porcelain. Fire to the maturingcone recommended by the high-fireslip manufacturer; witness cones 4 to
Sponging 6.
Spread a small amount ofDesign-Coat color on a glazed tile.Load a slightly dampened spongewith color and sponge 1 good coatover contrasting Design-Coatbackground. If desired, two or threecolors can be sponged on the samepiece. Note that different effects canbe achieved depending on the fine orcoarse texture of the sponge.
Tips
Stenciling
Spread the desired Design-Coatcolor on a glazed tile. Use a Stencilbrush to apply 3 coats of colorthrough the stencil. Alternatemethods: sponge or stipple 3 coats.Because Design-Coats are opaque,stencil designs can be overtapped anda contrasting co@ will blot out theoverlapped part of the design.
Note: Lo-Sheen Glazes are notrecommended ior use withDesign-Coats, due ro a tendency r0discolor the Design-Coat color.
Stippling
Load your Deerfoot Stippler brushwith a Design-Coat color, blot excesscolor on a paper towel, then stipplecolor onto a contrasting Design-Coatbackground with a quick ugand-down pouncing motion.
Brush and product care:
Clean brushes with water. Wiperims of jars and insides of lids, thenclose tightly.
On porcelain and stonewareFired .Antique
Design-Coats can be high firedwhen applied to porcelain orstoneware Run a comprehensive test,as some colors change at witnesscone 6. (See the “Color informationIndex” in the Duncan Color SelectionGuide for high-fire color descriptions.)
AntiquingUnderglazesCharacteristics
Designed for antiquing embossedor incised witness cone 04 bisque, 0
these underglazes can also be usedfor design work, for shading or over
The cleaner :he bisque, the betterthe results. Aiways sponge bisquewith water prior to Design-Coatapplication.Keep hands clean; especiallv ireeof grease.Care should be taken not to allowcolor to gather in crevices. Use abrush to remove excessDesign-Coat from recessed areas.Red-Strokes with Design-Coats:Apply Design-Coats only togreenware, fire to witness cone 03,apply Red-Strokes, then glaze withRed-Stroke Clear or GL 100 ClearBrushing and fire to witness cone 06.
r$c. ..s .
* other unfired underglazes on bisque.(Note: Some Fired Antique colors
should not be used under RC seriesglazes. See specific fired Antique
f $bel.)
&&cation
Shake jar and stir well before-; using. Add water or Thin ‘n Shade to
maintain consistency of thin milk.Fired Antiques can be used in severaldifferent ways.
Antiquing
Thin with water or Thin ‘n Shadeto a thin-milk consistency. Apply towitness cone 04 bisque with a softbrush, making sure color penetratesall crevices. Wipe down with a clean,
; damp sponge, cleaning the sponge
frequently as you work, until thedesired effect is obtained.
Design work or shading on bisque
Place a small amount of the FiredAntique color on a glazed tile orpalette toI control the amount andlocation of color picked up by thebrush. Consistency of the colorshould never be heavier than lightcream. Apply 1 coat to witness cone04 bisque. Since the color maythicken on the tile as you work, add adrop of water or Thin .‘n Shadeoccasionally to maintain thisconsistency. Allow to dry thoroughlybefore glazing.
On porcelain and ston?are
Most Fired Antique colors perform
well through witness cone 6, butsome colors may fade or changecolor at such a Ihigh temperature, dueto their formulation. Test-firing isrecommended. Thin with water ‘orThin ‘n Shade to the consistencyspecified by the particular decoratingtechnique you are using and apply towitness cone W porcelain orstoneware bisque Fire to the maturingcone recommended by the high-fireslip manufacturer, witness cones 4 to6. (See the “Color Information Index”in the Duncan Color Selection Guidefor high-fire color descriptions.)
Brush and product care
Clean brushes with water. Wiperims of jars-and insides of lids, thenclose tightly.
, Much of the beauty and mystery of.t ceramics comes from the pure magic
of glazes. From the shining, glass-like. brilliance of a clear Gloss Glaze to. the surprising realism of Woodfone
Glazes, the wonderful transformationwe see after the glaze firing is thereason for the eternal fascination ofceramics.
detailed bisqueware. Generally,underglakzes are not used with opaqueglazes because only the very darkestcolors will show through the glaze.
GlazeCharacteristics
Because ceramic glazes are,lvailable in A wide variety of colors,lnd..surface textures, and since theiired finish is so dramatically differentin ‘lppearance from the liquid glaze,it is helpful to understand thech‘lrxteristics of each glaze.
GLlzes are commonly defined byhow much color and transparencythey have. Each glaze will fall intoone of the following four categories.
With opaque glaze.Opaque
Glazes that fall under this categoryare generally used for solid-color
- Scoverage on smooth or slightly-
Semiopaque
These glazes are best used forsolid-collar coverage over detailed
bisqueware . Some daik underglazeswill show under semiopaque glazes;however, testing is recommended. Ifused on smooth bisqueware, extracare in application must be used toavoid streaking.
With semiopaque ghze.
Transparent (colored)
These glazes are ideal overunderglazes to highlight and add anaccent of color. Dark glazes may alterthe underglaze color while light-colored glazes will not. Transparentcolors are also recommended forsingle-color application over highlydetailed bisqueware as the color willtend to be intense in the crevices(self-antiquing).
With transparent glaze.
Cleat
These are truly clear glazes thatcontain no color and produce a cleanwhite finish when applied to straightbisque. (Some may contain specks asaccents.) Underglazes show up withno color distortion.
With clear glare. *
Dinnerware-SafeGlazes.
Whenever you select a glaze forapplication to food and drinkcontainers, check the jar label for thestatement: SAFE FOR FOODCONIYINERS. Duncan glazes withlabels which carry this statement are
dinnerware safe when properly firedto witness cone 06 and comply withthe Food and Drug Administration’ssafety requirements concerning leadand cadmium release. These glazesmay contain some lead and/orcadmium, but in a form and quantitywhich produces a safe glazed surfacewhen used according to directions onthe label.
Duncan glazes conform to thestringent standards set down by theInternational Organization forStandardization, World HealthOrganization, United Nations. Theseglazes are submitted for regulartesting by an independent testinglaboratory.
We recommend that all utility-typegreenware items be bisque fired towitness cone 04 and that the glazebe fired to witness cone 06. This willgive a good, durable surface with lessdanger of any delayed crazing ofthermal sl?ock.
Ali Duncan glazes can be used onany surface that does not come indirect contact with any food or drink.Furthermore, you can use any glazeon the outside of a container as longas the inside surface where food ordrink contacts it is one of the glazeson the approved list, and the glazeschosen are compatible with eachother.
A// Duncan underglazes areperfectly safe to use on dinnerwareunder any acceptable glaze.
In summary, Duncan glazes aresafe to use on dinnerware and cupsto contain food nd beverages when
agthe proper glazes re chosen andwhen they are applied and firedcorrect I y.
Note: .Dinnerware-safe glazes,when mi)red together or applied overone another, combine chemically andmay produce a finish which is notsafe to use on surfaces that come indirect contact with any food or drink.
Glazing TipsWhen using glazes, these are themajor points to remember:
1. Start with a good hard bisquepiece that has been fired to atleast witness cone 04.
2. To relmove dust, dampsponge thebisque for a final cleanup..
Make sure your work area isclean and that your hands arefree of any oil, hand lotion andsalt.Follow recommended applicationon glaze label.
6.
7.
8.
9.
10.
in.-wtiBm.
c-2,
Be sure that all the glazes you firein a kiln load are compatible.Keep pieces at least l/2” apart toprevent contamination of fumesfrom another glaze. .Vent properly and fire to -recommended cone temperature.Avoid a long or extended firingcycle or a short, fast firing. Glazesdo best when fired under anormal and consistenttemperature range.Keep jars tightly closed when notin use.
Antique blazesChafacferistks
Beautiful frosted finishes, ranging fromtwo to three shades of color. Veryeffective when applied to a verysmooth-surfaced article and extremelyhandsome on detailed. pieces,provided the detail is not very fineand shallow.
Antique Glaze.
Application
Apply 3 heavy coats to witnesscone 04 bisque These glazes musthave a heavy application of glaze toproduce the antique frosted look.Allow to dry, then fire to witnesscone 06. Thin with water orThin ‘n Shade if needed.
