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For the satin base glaze, the original formula I started with is from Anns blue (purple satin); a celadon blue in oxidation, and purple in reduction:
The satin base glaze is determined without the copper and cobalt:
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The rst titanium matte which appeared was in an attempt to produce a nickel yellow in the satin base, the formula which is:
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Shown from left to right are examples of Purple Satin, the Satin Base, and the Nickel Yellow Matte.
Another example which prompted me to think that a titanium matte might be produced came from a yellow matte using rutile, which is:
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In both of these cases, the surface was not satin at all, but instead, remarkably matte.
The base glaze used for all of the following tests is:
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The picture below shows the sample tiles produced using the idea for a titanium matte. On the left is the base glaze, followed by various colorants to the right.
The base glaze produced a nice o-white matte glaze on B-mix clay. Possibly it might go to a really nice white matte on porcelain. 1. The rst colored sample used chrome for the colorant. Ti Matte Base 100 Chrome Oxide 1 Here, the chrome turned brown and reduced the matte to a satin texture. It might be nice to try using .5 to .75 for the chrome or maybe increase the titanium by an additional 5% in order to increase the matte texture. 4
2. The second sample used cobalt carbonate for the colorant. Ti Matte Base Cobalt Carbonate 100 1
While it did turn out blue matte, it seemed to have brown overtones. Whether this was due to the use of the reclaimed clay or not, I dont know. Generally a little disappointing, but worth more tests.
3. The third used ilmenite as the colorant. Ti Matte Base 100 Ilmenite 2 Surprisingly, the color is a peachy orange, with blueish tones when thick; also it maintained the matte quality. It might be interesting to try adding up to 6 parts Ilmenite, and maybe reducing it to 1 part alternatively.
Ti Matte Base 100 Iron Chromate 2 The color in this case is a nice brown with the matte surface retained.
5. The colorant used in this sample was black Iron Oxide. Ti Matte Base Black Iron Oxide 100 1.5
Again, a nice peachy matte. The color variations may be due to the use of black iron oxide having the large particle size, but this is also used on reclaimed clay. Note: A nice orange peachy matte can likely be developed using the following formula: Ti Matte Base 100 Yellow Iron Oxide 2-6
This suggestion comes from looking at the rutile yellow satin glaze above and #s 3 and 5 of the titanium mattes above. The rutile is a tightly bound iron-titanium molecule leaning toward yellow and the looser bound iron-titanium Ilmenite produces peachy-ness closely resembling the black iron oxide matte. This suggests to me that the least bound iron (yellow iron oxide) in the high titanium matte has the best chance of producing a consistent non-blotchy peachy orange.
6. The colorant used is Copper Carbonate. Ti Matte Base Copper Carbonate 100 2
Here, the matte texture is very pleasant, but the surprise to note is that the glaze will darken to black where thick. 7. Heres an attempt to create a black matte, on a follow-up test to a question posed in an earlier set of notes: Ti Matte Base Titanium Dioxide Copper Carbonate Cobalt Carbonate Iron Chromate 100 2 3 2 1.5
Here, the matte texture is very pleasant, but the glaze produced a very dark green rather than a black.
Questions:
Would this make a better recipe for a black matte? Ti Matte Base 100 Titanium Dioxide 2 Copper Carbonate 4 Cobalt Carbonate 2 Iron Chromate 2 Would an inclusion of iron and/or nickel increase or decrease the blackness? What about other color modiers like strontium? 7