Glazes

Glazes are glass. What separates them from other glass is the addition of Alumina
(Aluminum Oxide, Al2O3), which stiffens and stabilizes the glass.
The primary glass former in glazes is Silica (Silicon Dioxide, SiO2). Silica has a melting
point of over 3100F degrees, much hotter than our kilns can fire, so we add other
materials to the silica to bring down the melting point. We call these materials fluxes.
Fluxes consist of the following:
K2O- Potassium Oxide
Na2O- Sodium Oxide
CaO- Calcium Oxide
MgO- Magnesium Oxide
Li2O- Lithium Oxide
BaO- Barium Oxide
PbO- Lead Oxide
ZnO- Zinc Oxide
SrO- Strontium Oxide
Boron Oxide (Boric Acid, B2O3) is also commonly used in cone 6 glazes. It functions
both as a flux and a glass former.
On the next page is a list of the glaze materials used at Neil Estrick Gallery. I keep a
very small inventory of glaze materials, however it is enough to make a wide variety of
glazes. There are dozens of other materials that are commonly used in glaze recipes,
and hundreds more available beyond that. Some glaze material databases contain
close to 2,000 materials. Many of those are simply different brands of the same
essential material, but you get the idea of the numerous choices available when
making glazes.
Whenever possible and practical, I buy glaze materials in 50 pound bags, the largest
bag size available from most suppliers. Buying in full bag amounts will get you the best
price per pound. Metallic oxides and other materials that are used in smaller amounts
are only purchased in small batches, anywhere from 2 to 10 pounds. For example, a 50
pound bag (22,700 grams) of cobalt carbonate would last a lifetime, since most glazes
do not use more than 45 grams in a 5 gallon bucket of glaze. And at $16 per pound or
more, it would be cost prohibitive.
Glaze materials should be stored in plastic containers with lids. This prevents them from
getting wet in case of plumbing or roofing leaks, and helps to keep dust to a minimum
when opening and closing the container. The paper bags that most materials are
packaged in are notoriously dusty. Label all containers and lids so as not to
contaminate materials by putting the wrong lid on a container.

Aluminum Oxide - Al2O3 (Alumina.) A neutral or intermediate oxide which stabilizes

fluxes and acids. A calcined form of Alumina Hydrate. Primarily responsible for stiffness
(fluidity) of a glaze. Not usually introduced in a pure form but rather in the form of
kaolin. I do not usually keep this material in stock, but rather use Alumina Hydrate.
Aluminum Hydrate - Al2O3 3H2O. The non-calcined form of alumina, and therefore less
expensive. Used as a source of Alumina when clay is not adequate. It is rarely used in
glazes, however is a common ingredient in kiln wash, or added to wax to prevent lids
from sticking during firing. Extremely refractory.
Bentonite - A volcanic ash clay of extreme plasticity. Used as a plasticizer in clays and
as a suspending agent in glazes, 12 percent. Dry mix well with other ingredients
before adding water to prevent clumping.
Bone Ash (synthetic) - Ca3(PO4)2 - Tricalcium phosphate is a calcium salt of
phosphoric acid. It is also known as tribasic calcium phosphate and bone phosphate
of lime. Calcium phosphate is one of the main combustion products of bone.
Synthetic bone ash is processed to a much finer particle size than real bone ash. Real
bone ash tends to have an odor when it gets wet, so synthetic is preferred, and is more
consistent in formula.
CMC Gum - Carboxymethylcellulose Gum. An organic cellulose gum used to thicken
and suspend glazes, plus prevent powdering of applied glaze. Should be used wet. To
make gum solution, mix 12 tablespoons per gallon of water and let stand for 24 hours.
Mix well. Use approximately 1 pint gum solution to 2 pints water for glazes to improve
brushability. Use lesser amount for pouring, dipping or spraying glazes.
Custer Feldspar - A potash feldspar from South Dakota. Commonly used in both clay
and glazes.
K2O 10.00%
Na2O 3.00%
CaO 0.30%
Al2O3 17.00%
SiO2 69.00%
Fe2O3 0.15%
Oxide Weight 621.98 Formula Weight 623.85
Dolomite - CaMg(CO3)2. A dolomitic limestone. Used to introduce calcium and
magnesia. Dolomite is a high temperature flux. Can produce a matt-surfaced,
sometimes buttery glaze finish.
E.P.K. - Edgar Plastic Koalin - A semi-plastic white kaolin from Florida. It is the most
common kaolin used in glazes, and is a good default kaolin when a specific brand is
not called for.

Feldspar - A natural frit or glaze at high temperatures. Contain alkaline oxides (K2O,
Na2O, Li2O), alumina and silica, typically in a 1:1:6 ratio (theoretical). I keep Custer
Feldspar and Nepheline Syenite in my studio.
Flint - SiO2. Silica. The basic glass former. In clays it increases whiteness, hardness, and
thermal expansion. In glaze, it is highly refractory. Available in 200 or 325 mesh. 325 is
preferred for glazes, as it goes into melt easier.
Gerstley Borate - 2CaO 3B2O2 5H2O. Useful as a means of introducing boric oxide,
however it is very inconsistent. It is recommended that you use an identical Frit as a
substitute, such as Gillespie Borate. Gerstley functions both as a glass former and a flux
in glazes, as it contains Calcium (flux) and Boron (flux and glass former).
Kaolin - A very pure type of clay, very refractory. Also known as China Clay, primarily in
England. It is used in glazes as a source of Alumina and Silica. It is preferable to other
types of clays because its whiteness does not affect the color of the glaze. It is one of
the only ingredients in glazes that does not tend to settle out to the bottom of the
bucket, so try to get at least 10% into a glaze to aid with suspension. Kaolin is the
primary clay ingredient in porcelain bodies. The whitest, best porcelain bodies use a
kaolin called grolleg, from England. It is one of the least plastic types of clay, which is
why porcelain can be difficult to work with. I keep Edgar Plastic Kaolin (EPK) in my
studio.
Magnesium Carbonate - MgCO3 - Crushed ore source of magnesium oxide in glazes. It
has the highest shrinkage rate of our glaze materials. Increases glaze hardness. Good
for making durable matte glazes.
Nepheline Syenite - A soda feldspar, good for introducing sodium. Useful substitute for
normal feldspars in clay and glazes because it lowers the melting point and has a
broader melting range than potash spars like Custer.
K2O 4.60%
Na2O 9.80%
CaO 0.70%
MgO 0.10%
Al2O3 23.30%
SiO2 60.70%
Fe2O3 0.10%
Oxide Weight 434.70
Formula Weight 437.77
Sodium Carbonate - Na2CO3. Sodium Carbonate, also known as Soda Ash, is
an active flux and a chief source of sodium. Water soluble. Used with sodium silicate as
a deflocculant for casting slips, and in carbon trapping Shino type glazes.

Spodumene - a silicate mineral often referred to as lithium feldspar. Its mineral form is
characterized by hard needle-like grains of brilliant white color. It is used in ceramics as
a source of lithia. Lithia is a very powerful flux, especially when used in conjunction with
potash and soda feldspars. As one of only a few natural lithium source materials,
spodumene is a valuable component in glass and ceramic/enamel glazes. Li2O
reduces thermal expansion, melting temperature and viscosity of the glaze melt.
Li2O 8.01%
Al2O3 27.41%
SiO2 64.59%
Talc - 3MgO 4SiO2 H2O. Also known as magnesium silicate, French chalk, soapstone,
and steatite. Source of magnesium in glazes. Mainly used in low fire and earthenware
clays. Used in stoneware bodies to increase resistance to thermal shock, especially in
Raku bodies, flame bodies, and cordierite bodies.
Whiting - Calcium Carbonate - CaCO3. A source of Calcium. High temperature flux,
adds hardness to a glaze.
Wollastonite - CaSiO3. Calcium silicate. Source of Calcium and Silica.
Zinc Oxide - ZnO. Auxiliary flux for oxidation glazes. Gives more opacity and
encourages crystal growth if present in large amounts. Increases range of maturation
and can increase brightness of colors. I do not usually keep Wollastonite in my studio
since I already stock Whiting and Flint, which have the same chemical makeup when
used together.

Frits

Frits are pre-fused, ground glasses which are made by a process called smelting. A
batch of glaze materials is mixed, fired and melted. The batch is poured into cold
water to fracture the molten glass, then cooled, crushed and ground into a powder.
The purpose is to render soluble materials insoluble for workability and stability in glaze
and clay formulas. Many frits may be used by themselves, however they are typically
developed into glazes. They are useful and versatile. Quality control during frit
production produces consistent results. There is no variation from batch to batch.
Below are the three Frits I use in my studio. There are others that are commonly used in
glazes, but these seem to fit my needs:
Ferro 3134 - a high soda-calcium, low potash borate frit with a low silica content.
Composition:
10.3%
Na2O
Soda
20.1%
CaO
Calcium
23.1%
B2O3
Borate
46.5%
SiO2
Silica Oxide
Fusion Temperature: 1450o F
Ferro 3110 - a high soda-silica frit containing a very low percentage of borate.
Composition:
2.3%
K2O
Potash
15.3%
Na2O
Soda
6.3%
CaO
Calcium
3.7%
AL2O3
Aluminate
2.6%
B2O3
Borate
69.8%
SiO2
Silica Oxide
Fusion Temperature: 1490o F
Ferro 3124 - a soda-calcium-borate frit with a higher melting point. Composition:
.7%
K 2O
Potash
6.3%
Na2O
Soda
14.1%
CaO
Calcium
9.9%
AL2O3
Alumina
13.7%
B2O3
Borate
55.3%
SiO2
Silica Oxide
Fusion Temperature: 1600o F

Coloring Oxides

Metallic oxides have varying degrees of toxicity in their raw form, since they are heavy
metals, but all are toxic to some degree. Even small amounts, if ingested or inhaled,
could cause health problems. General common sense handling precautions should
be taken, such as always wearing the proper mask and good cleanup and hand
washing procedures. Do not be afraid, but be smart!
When a coloring oxide is available in both oxide and carbonate form, the oxide form is
stronger and therefore more expensive. Recipes more often call for the carbonate
form, so those are what I stock in my studio.
Chromium Oxide
Cr2O3. The only stable oxide of the metal chromium. Gives the color green known as
chrome green which is not a single hue but a range.
Cobalt Carbonate
CoCO3. A weaker form of the oxide by nearly half, and less expensive. 1/2 of 1% will
give a good blue in most glazes. Can also help to make high iron glazes more black
rather than dark brown.
Cobalt Oxide
Co3O4. Compound of cobalt and oxygen. An extremely strong blue coloring agent
used for 2000 years. Can be modified with irons and manganese for softer blues.
Copper Carbonate
CuCO3. Weaker than the oxide by 1-1/2 times but easier to use. Sources of light greens
and occasionally copper reds in reduction.
Copper Oxide, Black
CuO. Cupric oxide. Two percent produces greens 5 percent produces metallic
blacks. Under reduction condition can produce copper red. Amounts greater than 5%
can leach out of the glaze.
Iron Oxide, Black
FeO. The reduced form of iron oxide.
Iron Oxide, Red
Fe2O3. The most common of colorants giving yellows, browns, blacks, reds, blues,
greens and grays. By far the most versatile of all ceramic colorants.
Iron Oxide, Yellow
2Fe2O33H2O. Concentrated form of yellow ochre. Hydrated form of iron oxide.

Manganese Dioxide
MnO2. This oxide gives blacks, browns, purples, as well as coffee colors with added tin.
In coarse form, gives coffee colored speckles at approximately 1900 F. Available in
powdered or granular form. This is what creates the speckles in our speckled brown
clay body. Generally considered to be one of the most toxic oxides we use, in its raw
form, so handle with respect.
Nickel Carbonate, Green
NiCO3. Green. Essentially a weaker form of the oxide. Gives browns, blues, grays.
Not very interesting by itself but used more as a modifier of other stronger oxides such
as cobalt and chrome.
Nickel Oxide, Black
NiO. The normal additions are from 2% to 5%. It develops yellow, brown, blue or pink,
depending upon the composition of your glaze formula. It is rarely used in low
temperature glazes due to its refractory nature.
Rutile
TiO2. Natural titanium dioxide with a small amount of iron which gives a tan yellow
color. Bright creams, yellow and oranges when used with tin oxide, cobalt and iron.
Available in powdered or granular form.
Yellow Ochre
Basically a diluted form of yellow iron stabilizes itself as red iron oxide in oxidation
firing.

Opacifiers

Superpax or Zircopax
ZrO4 SiO2. Superpax is a zirconium opacifier which is good for controlling texture,
crazing, and color stability. It also does not react with chrome as does Tin (pink
flashings). Up to twice the amount of Superpax may be required if substituting for Tin.
Tin Oxide
SnO2. Most expensive but probably the best opacifier. Five to ten percent is normal,
although 15 percent needed for some glazes. Over 8 percent can produce a
noticeable anti-fluxing effect sometimes causing pinholing, crawling and matteness.