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Min last won the day on September 19

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  1. 1 - magnesia 2 - mattness 3 - kaki 4 - shino Wondering if one of the questions is one of the oops don’t answer to quickly type ones. Would microcrystalline glazes count as a matt glaze or a crystal glaze? Anyhow my best guesses, good questions again, gets me thinking.
  2. I've used lots of different brands, blues, reds, greens and neons in purple, aqua and orange and have never had a problem with it not burning out completely. I've also used Crayola liquid paint for kids (blue) and it works like a flocculant plus colouring and also burned out cleanly.
  3. Hump and Slump Molds

    Can also use bisqued clay for slump and humps. Or unfired dryish clay in a pinch.
  4. I still think you have 2 things going on. 1 is the bubbles and 2 is the crawling. Bubbles are not a big deal if you rub them over when the glaze is dry. You can spritz alcohol or hairspray into the glaze slurry before dipping if there are a lot of them in the bucket. The bare spots where the glaze has pulled back looks like crawling to me. My guess for why you are having it is putting on the glaze too thickly. Either the glaze is mixed with too little water or the plates are building up too thick a layer by being in the bucket too long. This is why I suggested measuring the specific gravity of the glaze. Like Denice said clear glazes can often go on quite thinly. I always try test tiles with 1, 2 and 3 thickness of glaze. How did you determine how much water to add to the dipping glaze and / or adjust it?
  5. Since your other glazes are not crawling my guess would be too thick a layer of glaze like Tyler said. I would measure the specific gravity of the glazes that don’t crawl and compare those figures with the sg of this clear. Does Amaco give a sg for this glaze? Are they in the bucket for too long? Are these the only pieces you dip and are they thin slipcase pieces? When you do the next tests I would scratch thru the dried glaze to see the thickness of it on one piece, then fire the other piece(s) and keep the unfired piece for reference of glaze thickness. Re bubbles, are there bubbles in the glaze slurry after you mix it up? If that’s the case then I think stirring rather than the mixer might be better. If there is a bubbly froth on top of the glaze a few spritzes of hairspray or alcohol into the slurry will pop them. If there isn't froth or bubbles on the surface of the glaze slurry then it sounds like you just need to give them a good rub with your finger as they would be from minuscule air pockets escaping through the drying glaze. Did you smooth out the popped bubbles with your finger prior to firing? I’m assuming the bubbled areas are not the areas with crawling like in your picture? Is your bisque fire hotter than your glaze fire?
  6. Glaze Gel Fix

    Might be an idea to measure the specific gravity of the glaze then add the water. A very rough ball park figure for specific gravity is 1 point 5. It only takes a few minutes to do and if you are new to mixing glazes it’s probably a good idea. Doing a sg weight will get you to approximately how much water is needed for this glaze. Don't really think you need to defloc a glaze with just this small amount of GB but get the specific gravity into the 1 point 4 to 1 point 5 range then see if it still feels too gelled and go from there. Definitely sieve the glaze. Different ways to measure sg, one method using a scale and measuring cup here.
  7. Thank you Joseph! Could these instructions be posted or pinned to the "Forum FAQ & Help Topics" so if this thread gets buried in the future it will be easier to find?
  8. Nope, I really wouldn't lift it by the rim. I don't use batt pins so am able to just give the foam topped batt the platter is on a nudge to get it centered. Do you use batt pins? If you do then I would put a thick ring or pancake of clay on your wheel, deep enough to cover the pins then place your batt on that. You would be able to nudge it into center then.
  9. No support under the rim. Just attach the foam covered batt in your usual manner to the wheelhead. If it touches the wheelhead just build up a chum (tall flat topped cone of clay) and stick your foam batt to that. My platters are too large to fit inside my splashpan so I remove it and put a large piece of plastic film on the floor to the right of the wheel where the trimmings fly off. I bundle up the trimmings in the plastic when done and dump them in the reclaim. Best of luck!
  10. My routine for drying platters is to throw on day 1, in the morning preferably then leave them alone until the end of the day then covered loosely with plastic overnight. I use plaster batts now but have used wood ones in the past. For wiring off pots with a thick base using a heavy cutoff wire seemed to work better than a thin one, I would wire off right after throwing the pots. (no wiring off with plaster batts needed) Day 2 I put a foam batt on the platter, it’s just big enough to fit on the flat inner surface, not the rim, and I flip the platters over. Upholstery foam is glued onto a batt so it’s rigid underneath but soft on the inside so it doesn't get dinged up. Upside down platter goes on a support (like a bunch of other odd batts) so the rim doesn’t get messed up by hitting a shelf, and left alone for the rest of the day. During day 2 the plaster will pop off the platters, I remove it and leave the upside platter alone for the rest of the day and loosely cover with plastic overnight. You don't want the walls to dry out much more than the base, I like getting the batts off and platters upside down as soon as possible. Day 3 I trim then leave the platters right side up and cover the rims only with long wide strips of plastic, basically just leaving the middle of the platter exposed. In my climate they take about a week to fully dry after trimming. I would suggest making the base and wall thickness as even as possible, having too thick a base can cause drying cracks from uneven shrinkage and/or dunting. Heavy and robust is fine, just keep all the areas as even as possible.
  11. Using Albany slip

    ^6 oxidation test tiles with white clay here using 10, 15 and 20% additions of 3134 to Albany. Nice to see you back Rebekah
  12. Just as an aside, smooth red earthenware is strong if it’s fired to its maturity. An interesting read from Pete Pinnell on his experiences with strength tests of different claybodies here. Not talking bodies for outdoor use here, just strength.
  13. Try sculpture clay, low fired clay? Do you have to fire them all the way to cone 6? Would low fire glazes or a cold finish be okay?
  14. Glaze aftertaste

    Having an underfired clay isn't going to help but a lot of earthenwares have high porosity and don't develop a bad taste in foods because the glazes are fired to maturity. Agree on using cone 6 clay not 6 thru 10. Really would use cones and check what you are firing to also.
  15. Glaze aftertaste

    My first guess would be the kiln didn’t fire hot enough. Really do need to use witness cones to verify the firings. Others will have other suggestions but this is what I would do if they were my pots. First off I would suggest to stop using the mugs. Get some witness cones, for cone 6 you will need cones 5,6 and 7, make some cone packs up and let them dry or use self supporting cones. I would refire the mugs but put them on some thin scraps of rolled out clay (wasters) just in case the glaze runs and drips since it could be more fluid with the second firing. You don't need to bisque the wasters. There is the distinct possibility that if the mugs are under fired then they will be somewhat porous and have soaked up some water. Place the cone packs (dry) in front of the spy holes in such a way as you can see them. Program in a hold at around 180 for a few hours to drive off any water that might have gotten into the clay then continue with the firing. Towards the end of the firing check the cones, wearing eye protection. Extend the time and or temperature of the firing until you see the middle cone with it’s tip touching the cone pack (or close to it). I would refire anything else that you use for food from the same loads also. Re your comment about it being really discouraging…. working with ceramics can be like that no matter how many years you’ve been doing it for. There is always something that can come along and smack you in the face. Just gotta learn from it, move on and hopefully don’t repeat the same mistake too many more times.