Interactions between a glaze and an inlay

The inlay glaze, iron_8_R_C10_13PSi is a glossy purple aventurine with a dusting of silvery particles.

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glaze iron_8_R_C10_13PSi

Neither the metallic glitter, nor the purple color are visible in either the inlay or the interface of
the inlay with the matrix glaze satIron_ZG_1S_1Munge_3MMg_0.

The background glaze apparently flowed over and assimilated the inlay glaze in its entirety,
generating in the process an entirely new and distinct confection.

The design is created by adhering a mask and then applying the main glaze. After drying, the entire pot is
coated in wax, then the mask is removed and the open area filled in with a second glaze.



Image of the glaze satIron_ZG_1S_1Munge_3MMg_0 with inlay iron_8_R_C10_13PSi

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mug is 4.5 inches in high



Close-up Images of the interaction region

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oxidation firing to cone 10 in an electric kiln

Firing profiles

Up Fire profile

150 deg F an hour to 250 deg F

400 deg F an hour to 1800 deg F

300 deg F an hour to 2050 deg F

120 deg F an hour to 2310 deg F with a hold of 20 minutes at 2310 deg F

Down Fire Profile

300 deg F an hour to 1750 deg F then a half hour hold at 1750 deg F

300 deg F an hour to 1700 deg F then a Three hour hold at 1700 deg F

25 deg F an hour to 1650 deg F then a one hour hold at 1650 deg F

Clay body is a grolleg porcelain from Tacoma Clay Art Center.



Glaze Composition

Background glaze

Empirical Formula satIron_ZG_1S_1Munge_3MMg_0 :

K2O        0.20
Na2O        0.43
Li2O        0.20
CaO        0.16
MgO        0.01

Al2O3        0.51
Fe2O3        0.19

SiO2        2.97
P2O5        0.17

molecular percent Silica 61.5%



Inlay Glaze

Empirical Formula iron_8_R_C10_13PSi :

K2O        0.11
Na2O        0.45
Li2O        0.25
CaO        0.17
MgO        0.02

Al2O3        0.56
Fe2O3        0.28

SiO2        3.12

molecular percent Silica 63%



Remarks

The mask for the inlay was a narrow band not more than a quarter inch in width. The inlay glaze is fluid,
liquid like water, while the matrix glaze viscous with high surface tension. What is seen is the effect of the inlay
glaze consumed by the matrix glaze as the inlay glaze flowed into the edge of the viscous matrix glaze.

Vapor-like wisps of bluish green demarcate parts of the boundary of the inlay. The inlay itself is comprised of swirls
of pale yellow, orange, and deep rust red with flecks of gold. This is the result of non-uniform chaotic mixing and
chemical reacting of liquids.

The proportioned blends of two glazes that are applied to the tiles of a line blend are thoroughly mixed before melting.
Here the glazes set down next to each other, melt independently, then diffuse and react. In the interface, we see
more distinct colors and textures than we would expect to see in a line blend.

The cracks seen in the pictures are crazing.

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