This thesis maintains that glazes may be colored or textured by the addition of common substances such as metal filings, gravels, sands, or local clays. Three basic glazes were chosen: one transparent, one mat, and one semi-mat. To these basic glazes more than fifty inorganic materials were added in separate test batches. A diversity of results was produced ranging from a glossy, sand-speckled glaze to a rough glaze made with aluminum shavings; from a white, iridescent glaze made with gypsum to a dull gun-metal black glaze made with brass shavings; from a transparent colorless glaze made with aspirin tablets to a dark green translucent glaze made with copper filings. This study can be used as the basis for a unit on glazes in a secondary school classroom; its purpose is to serve as an introduction to glazes, while teaching the students an appreciation of some of the earth’s abundant raw materials and how they can be used in ceramic glazes.

No description available.

This thesis endeavors to bring a brief history of salt glaze to the reader, following its genesis in Germany to England and the American colonies and its continuation to the present day. In order to conduct research on color in salt glaze, a kiln had to be built for this purpose, meeting all the requirements that this technique demands. Studies were made on clay bodies to determine their throwing qualities as well as their ability to take a salt glaze. Finally, research was carried out in many series of tests studying the reactions of' various engobes and other coloring materials when fired in the salt glaze kiln.

Digitized by Kansas Correctional Industries

The problem is to test how the copper red color will turn out depending on the recipes of the glazes and the firing methods. Sixteen different copper red glazes are tested for the reduction and the oxidation firing. Through the repeated firings some glazes are recommended for its consistency and color. It is also learned that the unpredictability is the biggest problem in the reduction firing. Unlike the reduction firing, the result from the oxidation firing is quite consistent, but none of the glazes has the successful local reduction in the oxidation firing.

Thesis (B.S.)--University of Missouri, School of Mines and Metallurgy, 1936. / The entire thesis text is included in file. Typescript. Illustrated by author. Title from title screen of thesis/dissertation PDF file (viewed June 9, 2010) Includes bibliographical references (p. 21) and abstracts (p. 22-23).

Thesis (B.S.)--University of Missouri, School of Mines and Metallurgy, 1933. / The entire thesis text is included in file. Typescript. Title from title screen of thesis/dissertation PDF file (viewed July 21, 2010) Includes bibliographical references (p. 26).

There are two aims in this thesis: the first is to ascertain something of the physical and chemical properties of clay and glazes and how to handle and control them. A project such as the development of a clay body and glaze formulae serves to isolate the various functions of the materials and give a clear understanding as to their use and potentials. This enables one to visualize and manipulate materials creatively with a reliable prediction as to their behavior. Spencer Moseley in Art Education supports this, saying: “The quality of a man’s production depends upon (1) the idea, the ability to think through all the processes in relation to the object planned and the materials used; and (2) his ability then, to fashion these materials with skill.”¹ The second aim is to examine the application of a study of clay bodies to a high school or junior college teaching level. Although the complexity of working out a clay body and the time involvement in doing it would not readily lend themselves to these teaching levels, the goal is to present a simplified teaching presentation of the technical data and to develop an attitude which will integrate the project. ¹Spenser Moseley, “Design as a Common Denominator of the Crafts,” Art Education XVII (Nov. 1964), 8-13.

No description available.

The problem being investigated here is the development of earthenware clay bodies and Egyptian paste formulae which can be combined in the production of decorative ceramic forms, and the development of some forms using these materials. Information presented in this report was obtained through laboratory experiments in which the formulae were developed, tested, and evaluated. Application techniques used are presented in detail, and a range of earthenware and Egyptian paste color formulae are included for the production of this ware. Physical and aesthetic compatibility of the materials is discussed. This highly textural, decorative ceramic ware matures and glazes in a single low-temperature firing, application techniques are simple, and the materials required for its production are found in all well stocked ceramic studios.