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  2. Amaco sells dry "crystals" that you can add to your base glaze if you don't want to try making your own.
  3. Marcia- Found the link below for a FaceBook group. Don’t know if it is the discussion group referred to above. https://m.facebook.com/groups/653663804761760/?ref=group_header&view=group Regards, Fred
  4. Crunch time! best of luck, I can remember when Penn State was a few weeks away and 14hr days were the norm! best, Pres
  5. Callie Beller Diesel

    What’s on your workbench?

    Clotted cream is heavy cream made into a sort of pudding. Sweet, not savoury with scones! And good luck with all your trimming.
  6. Today
  7. Callie Beller Diesel

    Black and white ink spot/oil spot copycat?

    @Marcia Selsor do you have this link handy? I'm curious too.
  8. I've got a very busy week ahead of me. I currently have 101 pots under plastic that I will have to start trimming and decorating tomorrow, including 2/3 of a dinnerware set, a bunch of mugs, cups, tumblers, oil bottles, and soap pump bottles. I've got a show on Saturday, so my goal is to have it all done by lunchtime Friday so I'm ready to fire for the next show, when I'll need all of this work. Wish me luck!
  9. neilestrick

    Overglazes, lustres and onglazing

    True lustres are applied over the fired glaze, and fired at a very low temp, like cone 021. They are pure metal suspended in a fairly toxic liquid compound, and are quite expensive by volume. When using them, I highly recommend wearing a respirator that will remove fumes, in a well ventilated room. Also wear safety goggles and rubber gloves. As an alternative, like LeeU said, there are low fire and mid-fire glazes that have lustre qualities, but will not be as shiny and metallic as a true overglaze lustre.
  10. neilestrick

    Black and white ink spot/oil spot copycat?

    @potter.y Commercial glazes with the crystals in them are basically just glazes with little pieces of fired glaze in them that melt out a bit. You can brush on the glaze, and then scoop up some of the larger 'crystals' from the jar and place them on the pot where you want them. It would be a difficult thing to make on your own, since it appears the 'crystals' are pre-fired pieces of the same or very similar base glaze, not just glass or colored frit which would run a lot more.
  11. I use commercial mid-fire glazes that produce lovely lustres.(ex. dark gold, satin/pearl, silver). I start with simply following the directions and then experiment/test, experiment and test. Generally, in my electric kiln, the standard application produces what I expect. And the variations (fewer layers, more layers etc. over/under something) for some pieces have been wonderful surprises-fortunately I like surprises-I don't employ much technical control/informed chemistry.
  12. Yesterday
  13. Whether or not you need to dilute the underglaze depends on how strong you want the color. I don't know about the Duncan product you're using, but underglazes are typically matte after firing, and must be covered with a clear glaze to make them food safe. As for the glaze over it, if you like the matte surface you can leave it unglazed as long as it's not meant for food. If you prefer it glossy, or it's meant for use with food, then use a glaze over it. You can use a clear glaze, or any transparent color that will let the underglaze show through. Some satin and matte glazes will even let some underglaze colors bleed through. If you apply glaze first, then underglaze over it, you won't be able to see the glaze. Underglazes are matte and opaque. Underglaze first, then glaze. That's why they call them underglazes.
  14. Thank you! I've pouring over books and some websites trying to find an answer. I need to explore Youtube as well. This piece of the totem will sit beneath a sunflower. It does have a hole in the center so that the totem support rod can go through it. This is my very first ceramics project......perhaps I bit off more than I could chew. I'm having a great time though!
  15. You will get excellent technical advice here from people who are truly knowledgeable, but also don't forget Youtube on this. I have seen very good short videos about exactly this. I am not highly experienced, but I have to say that I always use, and love, the Amaco velvet underglazes. They have a matte texture unless you glaze over them. I usually use Amaco Sahara clear for a soft non-glossy finish. That is an interesting piece with its textured branch segment and leaves. What ill this be part of? Is there a hole through the branch?
  16. neilestrick

    What's Your Work Music?

    I listen to a wide variety of music while working at the wheel. Lately it's been a lot of First Aid Kit. But when I just need to crank out a bunch of pots for an hour, nothing beats Paul Simon's Graceland. It's old school, and it's the prefect energy level for throwing.
  17. Filled an Amaco wedging table years in the past, 3 inch side board with double wire cutters mounted to side and center posts. Lasted for 20 years when we refilled it. posts were the only area where plaster cracked as they got knocked from student abuse. I would say 3" is nominal with a good base. best, Pres
  18. I've always hated that name 'clotted cream'. I don't want to eat anything that's clotted. Sour cream, however, sounds delicious! Go figure.
  19. I'm new to this forum and ceramics. I'm currently building a totem. All of my pieces have impressions in them through use of found objects, stamps or carving. I'm using underglazes and glazes to bring out the texture in each piece, in part through a staining process. This is where I become confused. I'm in an open studio (low-fire only) with a busy instructor who isn't always available. I tend to get instruction on the run which doesn't seem to be working for me. I'm hoping the good folks on this forum can help me fill in the gaps. In my small glaze inventory, I have Duncan Envision Glazes and Duncan Concepts underglazes. Through test tiles on my Duncan Concepts, I've learned that they really do not behave as true underglazes and have a glossy appearance after firing (on greenware). I have a few jars of Mayco fundamentals underglaze which delivered the expected results...a collection I need to add to. My glazing/staining for texture question is which of these two methods should I use? Keeping in mind that by underglaze, I mean the Duncan concepts "underglaze" (which is all I have at the moment). I'm also working on bisqueware. 1. Using glaze (colored, glossy) should I apply it so that it falls into the recessed areas. Then, sponge off with a clean sponge. Then, apply an underglaze over the entire thing and leave on. Or........ 2. Using Duncan concepts underglaze should I apply it so that it falls into the recessed areas. Then, sponge off with a clean sponge. Then, apply glaze (colored, glossy) over the entire thing and leave on. With either method, should I be diluting either the glaze or "underglaze." Of course, I'm open to other methods.....keeping in mind that I'm a newbie. : P.S. I've already put Duncan Envisions (1037) glaze on this piece (below) and have sponged off. I had planned to add Duncan Concepts 512 green apple, but I'm not confident about the end results. Thank so much for your help!
  20. neilestrick

    glazes or underglaze ?

    I think it's glaze, probably a chrome-tin pink. All of the pink plates could be the same glaze, applied in different thicknesses.
  21. neilestrick

    Engobe for decorative use on bisque

    This would be a great place to use commercial underglazes. They're cheap, work very well, and are easy to use. Just paint them on and cover with a clear glaze. If you plan to make your own engobes, then I would definitely add some CMC Gum to the mix, to help with brushing and as a hardener that will keep them from smearing when applying the clear glaze over them.
  22. If this is paint, add calcium carbonate (whiting) and use a UV whitener additive to take off the yellow edge. Glaze—zirconia products? for a whitener, they’re pretty cheap. But as Neil says, glaze is cheap.
  23. karenkstudio

    Humidity and Raku Results?

    Johnny, My system for raku firing is the same each time. Can and materials are the same each time for reduction. I've used this system 50+ times, of course with varying results when using the copper glaze, and plan to check humidity % during summer months when firing. I enjoy Raku because of the many surprises the process creates. If I don't like the results I just reglaze.
  24. Magnolia Mud Research

    What should i mix in tio2 for cost reduction?

    A Whitewash Story: Once upon a time when working with a very dark clay body I needed to write on the pieces with black ceramic ink. To increase the contrast between the inked text and the background a white ink was concocted from a mixture of pure titanium oxide, a very small amount of EPK, and a pinch of soda ash, all mixed into a water slurry to a consistency between whole milk and buttermilk. The white ink was used on both green ware and bisque ware. When fired to cone 10 (reduction) the matte 'white rectangle' with black ink text was crisp, fully adhered to the surface as though it were a matte glaze. At another time (years later) a quickie white ink was made with pure titanium oxide, water, and liquid hand soap to write on the bottoms of extra dark clay bisque ware. The ink was fused to the ware and the text was a matte white; fired cone 10 reduction. I still occasionally use from the small jar of white ink. The recipe, as I remember, was two-three teaspoons of pure Titanium oxide, less than 1/4th teaspoon each of EPK and soda ash, and water. My reasoning was to use the EPK as a suspending agent and the soda ash and or soap was to lower the surface tensions and improve the wetting of the solid particles when mixed with water. These ingredients were chosen because they were readily available in the storage room at the time the ink was needed to finish time critical projects, i.e., the white ink was an improvisation under time constraints. Pure Titanium oxide is very white, reasonably refractory, and readily available (there was a big jar sitting on the bench). LT
  25. Linda A

    How much propane will I use

    Great. Thanks
  26. High Bridge Pottery

    How much propane will I use

    3-6 firings a tank seems a good ball park figure. Somewhere there ish
  27. High Bridge Pottery

    DIY Refractory on Pyrometer Thermocouple?

    How and when is it stalling exactly? Could be the thermocouple could be the kiln. If it is hitting the right temperature when the cone bends then it doesn't sound too bad or off.
  28. Liz Hamann

    Engobe for decorative use on bisque

    Also, is it better to apply the clear glaze first, then the engobe design, or design then clear? Just wondering about smearing of the design ... Thanks
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