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claybandit

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  1. claybandit

    transparent glaze crazing over underglaze

    Thanks for the advice Min. Unfortunately I'm putting up a display in an artist's open house starting this weekend as part of a local festival (Brighton Festival UK), so I'm pushed for time to get some new work done. I know I shouldn't test glazes on actual work, but I'm so hard pressed for time at the moment that I'm taking risks where otherwise I wouldn't. I'm hopeful I'll have something OK to display/sell.
  2. claybandit

    transparent glaze crazing over underglaze

    Hi Rae, I'm trying out a new glaze right now. I have been firing bisque to 1000 or 1040 previously. I don't think that at that temperature the clay had shrunk to its max, so I'm now trying 1150 bisque which I hope will mean that that the clay body has matured enough. When I said in my previous reply to you that the surface went 'squiffy' (nice technical language) when I fired a higher bisque, I meant the bisque surface. I didn't bother glazing them as they were ruined. I've just finished firing some work to 1150 bisque (see photo in previous answer) , and I've used my old glaze on half, and the rest with a different new transparent glaze, firing right now to 1040. We shall see. Cross your fingers for me! And yes, I'd love a little test kiln. Andrea
  3. claybandit

    transparent glaze crazing over underglaze

    I have actually tried this. I used a spray gun so as not to disturb the surface, and fired once to the glaze maturity (1040). Sadly the crazing was still there. All that effort .... grrrrr. I've just opened a bisque firing at 1150 and they're looking good (see photo) Now for the glaze. Maybe maturing the clay at a higher temperature will help. I've tried this before but the surface went squiffy. I didn't write down what temperature I fired to previously, but it looks like1150 isn't too high.
  4. claybandit

    transparent glaze crazing over underglaze

    Hi Rae, I'm applying the underglaze to leather-hard, then a bisque firing. Applying the underglaze after bisque doesn't work with my designs as I scrape back some of the surface to reveal raised lines, and need absolute precision. I'm trying a new firing today, 1150 bisque, then 1040 glaze to see if it makes a difference
  5. claybandit

    Jet black smooth nerikomi clay or velvets?

    Oh my goodness thank you! I have just clicked on your link and I am in awe of not just your skills, but your generosity in sharing your techniques with everyone. You are really kind to do this and I've learnt a lot and have been inspired by your suggestions. Thank you so much!
  6. claybandit

    transparent glaze crazing over underglaze

    Thank you all for some interesting and good advice. Unfortunately I can't fire these designs to a high temperature successfully. I have tried, but my kiln, although brand new, struggles to get there (it's supposed to go to 1300) but anyway, the designs don't suit the high temp. I do have to use a transparent glaze over the underglazes, even if they vitrify because of their usage. Being against the skin and being handled a lot, they pick up dirt and can get oily marks on them. Also a glaze makes them smoother and more tactile. I am buying a couple of different new brush-on transparents tomorrow and will do some testing on them. I have to say that I find this site so helpful. When I was in business years ago, the internet just wasn't there at all, so help was hard to find.
  7. claybandit

    transparent glaze crazing over underglaze

    Hi Johnny. I've just started making again after a fifteen year break. All new kiln, clay, glazes etc. I didn't use underglazes like this before, and I've only been making for about two months. All my current firings have a little bit of delayed crazing. Driving me crazy too!
  8. Hi, I make ceramic jewellery, using white earthenware and I'm having issues with crazing. I use three coats of underglaze (Contem and Amaco) on my pieces to get an opaque finish. I fire to 1000 or 1040, then I glaze to 1040 using a brush-on Transparent glaze (Duncan Envision IN1001) The crazing appears in the days after the glaze firing and ruins the piece because it is already small and precise. The crazing isn't only of the underglazed areas, it's occasionally on the clean areas too. This is happening with about 30% of my pieces which is far too high for me. Also, as I sell online and to shops, I don't want my customers' orders developing crazing after they've bought a perfect piece. You can see the type of things I make from my profile pic and my homepage banner. I have tried not opening the kiln until it is under 100, putting the glaze on thinner, and different temperature combinations, but to no avail. Could it be the glaze? Or is it due to the complicated surface of my pieces causing the delayed stress? Thank you.
  9. claybandit

    Jet black smooth nerikomi clay or velvets?

    Thank you Min. I've read the thread you suggested. Staining sounds like quite a long process, but as I only use a small amount of black anyway, it could be a solution as I can store it in small airtight containers.
  10. claybandit

    Jet black smooth nerikomi clay or velvets?

    Thank you Yappy. I'm doing lots of experiments at the moment, so I'll give your method a go. I have bought two types of 'black' clay, but both turned out brown. As for the porcelain, I would be painting it on to white earthenware and firing it to 1000 bisque and 1060 glaze, so I'm not sure it would fit. But you know what? I'm going to give it a go. It will certainly have the smoothness I'm looking for, and hopefully the colour, possibly not after 1000 bisque, but maybe after glaze, so that's two boxes out of three ticked. Good suggestion, thanks!
  11. I've recently got back into ceramics after a fifteen year break to find out that a lot of my favourite products are no longer made. A good example of this is a fine black clay, made by Dorothy Fiebleman, sold in very small quantities for nerikomi work. I make ceramic jewellery amongst other things, and I used this black clay as a paint-on slip which I then partly scraped off to reveal crisp edges or underlying raised lines. I'm currently using velvets instead; Amaco Jet Black and Contem One Coat Black. The Amaco lifted and crumbled at the edges after bisque to 1,000, or it peeled back during firing, but I'm having better luck (so far!) with the Contem. Using velvets is not ideal for me as I require an opaque finish, so they need three coats. This is probably why they're lifting, and although I can reapply after bisque and prior to glaze firing, the quick hardness of velvets on leather-hard greenware, doesn't lend itself to scraping back. What I really want is my old Dorothy Fiebleman clay but oh well. Would anyone know of a jet black smooth clay alternative? Or can I colour my clay jet black but super smooth? It has to be extremely fine and the jettest of Jet black, not dark brown. Or if anyone has any old stock of Dorothy Fiebleman black clay? I can only dream.
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