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About Ryan_pelo

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  1. I was trying out the Alberta slip rutile blue glaze. 40% Alberta slip 40% Alberta slip calcined 20% Frit 3134 + 4% Rutile I tried a glaze with just the base, no rutile, and it turned out great, no running. Then on another column I have the glaze with the rutile and it runs like crazy, all the way down the column and it pools at the base. My ceramics teacher has another similar glaze with a different recipe that looks almost the same and uses the same rutile mechanism to produce the variegated blue, but it works just fine without running. I thought I messed up the batch so I remade it and I still got the running, It's bizarre. I don't think rutile has caused problems like this in my other glazes. Why is this happening? What would decrease running, increasing the frit or decreasing the frit?
  2. How To Start Making My Own Wood Ash Glaze

    We fire at cone 6. My ceramics class has limited glaze options so I wanted to try something new.
  3. I want to try making my own wood ash glaze, but every batch of wood ash is unique and will yield different results, so I think using an exact recipe from online would just be a waste of time. Digitalfire tells me that it takes some experimenting to find the perfect balance of chemicals that works for you, but I don't know where to start. Is there a general rule that I should follow for wood ash glazes like there is for regular glazes? My ceramics teacher has a paper from Roy and hasselberth that shows a reccomended range of concentrations for silica, fluxes, etc. Following these guidelines pretty much guarantees a stable and food safe glaze. There's also commonly known base glazes for regular glazes that are very stable and works every time, like the 5x20 base. Are there any broad/general rules that should be followed for wood ash glazes, for example something like "the concentration of wood ash should be at least 50%"? Any well known stable base glazes for wood ash glazes? Otherwise I have pretty much nothing to go off of and I would be randomly mixing chemicals with no idea of what to add. Thanks for any help you can give
  4. I found an old raku glaze in the back of my teacher's cabinet that he forgot about and said I could try it out. I don't know what its composed of since it just says, "red bronze raku" on the front. He has a kiln and a metal trash can for reduction. He has done raku's before, but not in a long time, so he can't remember how long to fire the pot for, although he guessed it could be four to five hours before you take it out of the kiln. I looked online and didn't find much right away, but one source said to start looking for the glowing orange color that signals its time to take it out after as short as one hour. I will only be in his class at certain times in the day, so I wanted to time the firing so I could be there to experience taking it out of the kiln. So, how long should a raku glaze be fired? Thanks, any help is appreciated.
  5. I am pretty new to the wheel, but I can center the clay perfectly. Sometimes when I start to open the pot/drop the hole, I notice that the inside gets off center although the outside stays just fine. I can't quite pinpoint what I'm doing wrong, other than that I might be pulling my hands off too quickly. As I keep working, I tend to get wobbly walls that frustrate me. Any tips?
  6. I'm in a high school ceramics class and I have done a little bit of experiementation in glazing myself, but I was wondering what would happen if I mixed a dry glaze with a clay body? In my head, I envision that I would mix the two and then wedge it until the mixture was uniform. My only concern would be that when I fire my piece, it might stick to the floor of the kiln. I couldn't find anything online about this subject so I was wondering if anyone knew what the outcome might look like?
  7. Finding Environmentally Safe Glazes

    Just as an update, I found a few bright pastel colors that can be made without the disallowed metals. Neodymium oxide can produce light blues in oxidation, erbium oxide can make light pinks in oxidation, and praseodymium oxide can make lime greens in oxidation. One drawback is that they are expensive, but I'm glad to have found a solution
  8. Finding Environmentally Safe Glazes

    Yes, I am in a California school district in the Bay Area. They don't want any of the metals getting into the water system. I can use yellow, red, and black iron oxide, rutile, titanium dioxide, tin oxide, and several others I can't bother to name. The disallowed metals include cobalt, copper, chromium, vanadium, Nickel, barium, zinc, and lead. This also rules out any mason stains. Is there any substitute colorant that could produce anything on the blue or green spectrum?
  9. In my high school ceramics class, CAM 17 metals are banned by my school district because it's not environmentally friendly. This limits our current glazes to just a few dull colors and white. I am experimenting with glazes right now but I have yet to find a cone 6 oxidation recipe for any purples, blues, greens, yellows, oranges, or vibrant reds. Does anyone know of any recipes that can produce those colors without using any CAM 17 metals?