Glazed Ceramics

Universidad Autnoma del Estado de Hidalgo

Instituto de Ciencias Bsicas e Ingeniera
rea Acadmica de Ciencias de la Tierra y
Materiales
Cermicos y Materiales Compuestos II
Dr. Alberto Arenas Flores
Enero-Junio 2015

Contenido
What is a Glazed ceramics?......................................................................................... 2
The control factors in the glaze ceramic.......................................................................2
Formulation of glaze.............................................................................................. 2
Frit.................................................................................................................... 3
Glaze Application.................................................................................................. 4
Glazed Maturation................................................................................................. 4
Problem whit the lead utilization............................................................................... 5
Glazes without lead................................................................................................ 5

Image reference.
image 1: Example of Seger formula....................................................................3
image 2: Graphical representation of the unity formula for a glaze....................3

Pablo Csar Reyes Amador

What is a Glazed ceramics?

Ceramic glaze is an impervious layer or coating of a vitreous substance which has been fused to a ceramic
body through firing. Glaze can serve to color, decorate or waterproof an item.
Glazing renders earthenware vessels suitable for holding liquids, sealing the inherent porosity of the clay.
Glaze is also used on stoneware and porcelain. In addition to their functional aspect, glazes can form a variety
of surface finishes, including degrees of glossy or matte finish and color. Glazes may also enhance the
underlying design or texture either unmodified or inscribed, carved or painted.
Glaze is used to weatherproof brick or tile building materials.

The control factors in the glaze ceramic

a) The raw materials should be insoluble for made the frit. The frit should be foundry
for a sticky glass, in the low possible temperature.
b) Next to foundry process, the glaze should be homogenous.
c) When past was drying, the past need mature.
d) The expansion coefficient between the past and glaze must be compatible.
e) The glaze composition must be adjustable for the chemicals, mechanics and
optics individual properties

Formulation of glaze.
Raw materials of ceramic glazes generally include silica, which will be the main glass former. Various metal
oxides, such as sodium, potassiumand calcium, act as a flux to lower the melting temperature. Alumina, often
derived from clay, stiffens the molten glaze to prevent it from running off the piece. Colorants, such as iron
oxide, copper carbonate or cobalt carbonate, and sometimes opacifiers such as tin oxide or zirconium oxide,
are used to modify the visual appearance of the fired glaze. Glaze for Lead-glazed earthenware is transparent
and glossy after firing.
The ceramics industries usually have a recipe for owns their materials, but exist a method for do a
formulation about ceramics, past and glaze. The name of this method is attributing to Seger.
The method consists in give and orders the raw materials, usually oxides, in acid order, in this way the alkalis
oxides, anfothereos, and acids.

A unity formula is a method of setting out in lists the chemical formula of a glaze or raw material's constituent
oxides. Using this method the balance of flux, stabiliser and glass-former oxides can be quickly assessed even
though the composition may be complex. Unity formulae assists the comparison of one glaze with another for
the purposes of predicting effects and making adjustments.
Whatever materials are used to produce a glaze, the result is a combination of oxides. These oxides can be
placed in three groups according to their "role" in a glaze melt (flux, stabiliser, glass-former).
The unity formula uses these groupings and brings the total of molecules in the flux group to unity. It then
expresses the other two groups (stabiliser and glass-former) in ratio to the flux group.
The unity formula is usually set out either in three columns:

image 1: Example of Seger formula.

The unity formula expresses ratios between numbers of molecules. The actual number of molecules involved
in a glaze is millions of millions. These vast numbers are conveniently scaled down in the unity formula. As a
result the unity formula invariably includes some theoretical fractions of molecules.

image 2: Graphical representation of the unity formula for a glaze.

Frit

Frit is the name gives for the mixture the raw materials for the glaze, this is a sticky a flux, stabilizer and
glass-former mixture. All the compounds of the frit are insoluble in the carrier liquid. Previously the frit was
melted and ground, to get in solution; this solution is that which will be applied to the ceramic piece for do the
glazed. Commonly the carrier liquid is whater.

Glaze Application
Glaze may be applied by dry dusting a dry mixture over the surface of the clay body or by inserting salt or
soda into the kiln at high temperatures to create an atmosphere rich in sodium vapor that interacts with the
aluminium and silica oxides in the body to form and deposit glass, producing what is known as salt glaze
pottery. Most commonly, glazes in aqueous suspension of various powdered minerals and metal oxides are
applied by dipping pieces directly into the glaze. Other techniques include pouring the glaze over the piece,
spraying it onto the piece with an airbrush or similar tool, or applying it directly with a brush or other tool.
To prevent the glazed article from sticking to the kiln during firing either a small part of the item is left un
glazed, or supported on small refractory supports called kiln spurs which are removed and discarded after the
firing. Small marks left by these spurs are sometimes visible on finished ware.
Decoration applied under the glaze on pottery is generally referred to as underglaze. Underglazes are applied
to the surface of the pottery, which can be either raw, "greenware", or "biscuit" fired (an initial firing of some
articles before the glazing and re-firing). A wet glazeusually transparentis applied over the decoration.
The pigment fuses with the glaze, and appears to be underneath a layer of clear glaze. An example of
underglaze decoration is the well-known "blue and white" porcelain famously produced in England, The
Netherlands, China and Japan. The striking blue color is achieved by using cobalt in the form of either cobalt
oxide or cobalt carbonate, both of which are still commonly used.
Decoration applied on top of a layer of glaze is referred to as overglaze. Overglaze methods include applying
one or more layers or coats of glaze on a piece of pottery or by applying a non-glaze substance such
as enamel or metals (i.e., gold leaf) over the glaze.
Overglaze colors are low-temperature glazes that give ceramics a more decorative, glassy look. A piece is
fired first, overglaze is applied, and it is fired again. Once the piece is fired and comes out of the kiln, its
texture becomes smoother because of the glaze.

Glazed Maturation
Acording to ASTM in the F 79-69 Standard specification for type 101 sealing glaze, and the ASTM F 105-72
the glaze must be corrosion, thermal shock, and acids resist.

The resistance is achieved to the maturation of the glaze.

Mellor (M51) say about the relation between frit and mill charge must be about the glaze complete their
action on the past, in the same time achieved the optimal brightness.
Sortwell (S151) discovers that the alkaline glaze is made in two different ways, the result is variable.
Steger (S178) Discovers that frit have a low fusion point, the frit will have best reaction opportunities.

Problem whit the lead utilization

The Lead is a toxic element, even in low amounts, and is a very soluble element.
The principal problem is the texture, brightness, and hardness, because is almost unmatched without this.
Other problem is the resistance for the littles irregular preparation conditions for the not contains us.
The simplest form to avoid the lead use is the integration of elements that down the solubility like slica,
alumina, and barium oxide or compounds whit similar effect in the glazed, like alzalis, grup II and IV oxides,
and sodium bisulfite.

Glazes without lead

The principal objective is not only taken out the lead contents, but also the others disadvantages, like the
reducing gases sensibility.
Generally the normal frit use kaolin, gres clays, bentonite, in the mill addition, when the objective is a
transparent. The colloid properties are very important.

Bibliografa
1 - Arcilla y vidriado para el ceramista, Daniel Rhodes. Editorial CEAC, 1990
2 - A handbook of pottery glazes, David Green. Watson-Guptill Publications, 2008
3 - Introduccin a la tecnologa de la cermica, Paul Rado. Editorial Omega, 1990
4 - Formulario y prcticas de cermica, J. LLorens Artigas. Editorial Gustavo Gili, 1961
5 - Stoneware Glazes. A systematic approach, Ian Currie. Bootstrap Press, 1986
6 - Manual del ceramista, Bernard leach. Editorial Blume, 1981
7 - Vidriados cermicos, Wolf E. Matthes. Editorial Omega, 1990
8 - http://stonewareglazes.currie.to/
9 - http://ceramica.name/tecnologia_ceramica/Vidriados/Vidriados.html
10 - Tecnologa de los materiales cermicos, Juan Morale Geto: Daz de santos, 2005
11 Annual book of ASTM standards, ASTM international. 2008.
12 Singer, F., Singer, S. 1979. Ceramica industrial, Tomo 10: Editrorial Urmo.