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triolaz

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  1. Question on mixing colorant batches

    This video will help you. The method he suggests is similar to what Mark C said. Mix 200g of glaze, add a bit of your colorant, brush a stroke on the tile, add a little more colorant, brush a stroke on the tile, and so on. One thing that may be helpful is to look at other recipes to see how much of each colorant is added. For example, 5% iron oxide might not do much to the color but 5% cobalt carb would give you a metallic runny blue (<<<almost positive). Another thing that may be helpful is to add an opacifier such as tin oxide or zircopax to some of your tests to see how it changes the color. There's also the possibility of colorant combinations, many of which are documented in glaze recipes. There is also a John Britt video where he demonstrates the method you originally suggested but I think the above method is less wasteful and more efficient.
  2. Making terra cotta bricks

    I would say skip the lime. I'm thinking the recipe above was for bricks that were not fired/not ceramic and rather aggregate cemented together (like concrete). Large chunks of lime are undesirable in ceramics (I believe they absorb moisture after being fired, expand, and create holes in the fired surface - search lime pop out). I'm sorry to hear about your cracked bricks, I would try 50/50 clay and coarse sand (40 or lower mesh). I would try drying a few in direct sunlight just to see how far you can push the drying process - or you could dry them more delicately and flip them periodically.
  3. c6 glaze too soft

    In the first recipe, the zircopax may be the cause of the cutlery marking. Search zircopax on digitalfire.com and you will see more info on this. I would try a line blend of the glaze, reducing the zircopax to see how much is necessary to opacifiy your glaze. Then I would add silica in 5% increments to see how much the glaze could take before adverse effects arise. Also the first recipe that Min posted is a glaze I am testing right now. The matte surface of that glaze has an opacifying effect on its own, requiring less tin or zircopax to achieve the same opacity of your current white.
  4. Ceramic Tape Recipe? (Like Keraflex)

    http://www.alfredgrindingroom.com/raw-materials/ http://www.alfredgrindingroom.com/recipes/ ^ A wealth of information on ceramic materials and experiments. The tape casting pdf is on the first link, the same one posted by two others in this thread
  5. Terracotta & glaze compatability

    My first guess is what Marcia said. Bisque to a higher temperature than you glaze fire to. Red clay has lots of impurities/organic matter which leads to a high loss on ignition and off-gassing (matter burns out of the clay and produces gas, the gas is trapped by the glaze).
  6. Leaving glazed pieces unfired

    Chris Gustin sprays his pieces with some type of glue (regular white Elmers, I think) after glazing to protect the glaze from chipping off before firing. I think you could easily dip them if you do not have access to a sprayer. Similar to using hairspray, which I have heard of. I'm not sure if either is better than the other
  7. Making terra cotta bricks

    I think (70) redart, (20) 30-40mesh silica sand, (10) om4 ball clay
  8. Making terra cotta bricks

    Yes. You might look at some old brick making techniques to give you some ideas. My brother makes wooden molds for custom shapes of bricks, fills them with clay, then wires the excess clay from the top of the mold. The clay he uses is Redart for the color, sand as an aggregate/adds a coarse texture, and some ball clay for plasticity. I fire them to cone 04 and he uses them like regular bricks. The bricks when installed act like a crown molding/baseboard trim. It’s inefficient but it makes his home unique. Adding some type of coarse material will improve the drying properties of clay. Also, I’m not sure why you would add further detail after the clay is fired, it is easier to work with when plastic and holds detail very well.
  9. Please tell me I'm not crazy...

    Unless you have a pugmill, lots of buckets, and free time I doubt it will be financially sensible to go through with it. It can be a lot of work to reclaim clay if you don't have a good set up. To contradict myself I would probably do it depending on the circumstances. I've never heard of the clay but that doesn't mean much. You could take a small chunk of the clay, place it in a bowl made of high fire clay and fire it to cone 6 and 10, if possible. The absorption of the fired clay/just looking at it will give you an idea of what you have. Because she's insisting it's low fire it may be a talc/ball clay body but it's hard to say. Best luck to ya
  10. Others have said this but to reiterate - use Pottery Plaster #1 not Plaster of Paris
  11. Digitalfire has a few cone 6 glaze recipes, along with an explanation of why certain materials were used and how to adjust if needed. I agree with Tony Hansen when he says focus on making one glaze and adjusting to suit your needs instead of trying 10 different recipes without knowing how to adjust them. https://digitalfire.com/4sight/recipes/index.html
  12. The graphic/impression was most likely made with a wooden or metal stamp. It may be a sprig like Pres said or it ma have been stamped directly into the surface of the pot. I think it would be less work (after some trial and error) to stamp the pot directly. There are a number of companies that will make a stamp from a graphic. A quick online search will give you a number of companies and their pricing. You can also try an office supply store. If they offer customized rubber stamps, I assume that would work too. If I was trying to replicate the photo I would throw the pot, stamp it, apply underglaze or stain wash to the logo, wipe away the high areas of underglaze with a sponge, bisque it, wax the stamped area, then dip the entire pot in glaze.
  13. Sheer Thinning

    I would contact the materials guru Tony Hansen of Plainsman Clays and Digitalfire
  14. Looking For A Mentor

    I would take a class at a local community college or art center and see if any of the instructors resonate with you/have the knowledge you seek. See if they tutor on the side or would be willing to barter your time assisting them for their time teaching. I would look for anyone experienced in the field close to you and tell them what you are looking for. Even if they are not the person to teach you they might put you in touch with someone who will. I'm a big believer in seek and you will find, something like that. If you go out there and talk to potters or art teachers in your area, you will find what you are looking for.
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