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Found 224 results

  1. Here is an interesting happening... I recently fired about a dozen of these "flowerpot gremlins" in a bisque/glaze firing to ^04. The dark red on the right was done with 2 coats of pure red iron oxide. The strange looking one on the left was done with 2 coats of red iron oxide and 3 coats of ^06 translucent matte glaze. Right came out pretty much as expected, but Left was a total surprise! The "matte" finished glossy and the color just blew me away. Any suggestions as to what might have happened. The clay was a ^5 B-Mix w/o grog. JohnnyK
  2. Has anybody ever had a glaze that, when applied "normally" - think slow dip/double dip, 1/16" or so - does fine, but when applied thinner - quick single dip only - shivers at the edge of cup/bowl? I've got 2 glazes that did it. Not sure if this is just a thickness issue or if my body/glaze fit is close enough to be ok thick, but shows some truth when applied thin. Oh by the way: The firing was a pretty strong cone 10 reduction. Not sure if that would change anything. Wonder if this is the kind of fit that does fine until 6 months later. Any ideas? Did thermal expansion tests with test tiles for these glazes, and they all came out fine - albeit with 3 layers of glaze on the edges though. Thanks. Pat Clay body OM4 - 22 Gladart - 22 Redart - 11 Hawthoren 40m - 43 Grog - 3 Glaze 1 Custer - 61 EPK - 20 Whiting - 18 Glaze 2 Custer - 21 EPK - 5 Whiting - 11 Silica - 40 Iron Oxide - 15 Unwashed Ash - 8
  3. Good day, I create ceramic pipes and have been having issues with the bowls / bottoms of the pipes encountering runny glaze. I fire mostly cone7to10 in my natural gas kiln and my problem has occurred most when I dip glaze for 3 seconds. I have spray glazed with greater success but it is cold outside where I spray and I want to stay warm inside. I do production so time is important which means brush glazing takes to long and should be out of the question. So do you have any tips on how to prevent my glazes from running and ruining my pipes? Less dip time? Deal with the cold? Face the long time of brushing? Or maybe dip the top half of the pipe and then the bottom half for 1second and brush the glaze in the bowl? To better understand the question and see my work you can visit ceramicsmokeware . com. Know that your time and replies are much appreciated. Thanks, James P
  4. So I recently bought a kiln and don't know a lot about how glazes work - will figure it out as I go along. Just had a question. How is the effect in the attached teapot achieved? Can I dip bisqueware in white and then paint on top of it with underglaze and then fire? How else would I be able to achieve a white base with painted pattern on top? Appreciate any advice.
  5. Hi All, First post on this forum - excited to have found it. I just tested out a batch of the Folk Art Guild White from John Brit's midfire glaze book. It's gorgeous, but at $30 lb, the tin content is a bit expensive - any thoughts on opacifying for cheaper? Does anyone use a white glaze with tin/titanium combined? I've tried some other recipes with zircopax and I much prefer the creamy white of tin over the bright bluish white of the zirc. Folk Art Guild White ^6 F-4 Feldspar 18 Spodumene 10 Silica 18 EPK 18 Dolomite 18 GB 18 Tin 13 RIO 2 Bentonite 2 -Vanessa
  6. Hi, I'm wondering is anyone can offer any advise!! I loaded my kiln about 9pm last night, and after I switched it from low to medium to high, I went to bed like normal. Today around noon I went in to going unload my stuff from the night before and to my surprise my kiln was still running!!! I turned it off right away. After letting it cool a few hours I was able to peak in the top and my trees looked like this!! They are glazed exactly the same as the other tree in the other picture though. I am wondering if maybe my kiln didn't reach temp. it should have which is why it didn't shut off and these did not fire all the way? Or if they fired to much and they are burnt?? Can anyone help me??
  7. Hello everyone, I have set the kiln to fire at night time and it switched off in the middle of the firing because of a power cut. Can I fire that again to get to the right temperature? Will the glaze be compromised? Thank you! Tatiana
  8. Hello everyone, I have set the kiln to fire at night time and it switched off in the middle of the firing because of a power cut. Can I fire that again to get to the right temperature? Will the glaze be compromised? Thank you! Tatiana
  9. Hi glaze friends! I have been running into an issue when I try and create an ombre effect around the rim of my bowls. The bowl is first dunked in EM-1002 Alabaster White Glaze (Laguna Clay), and then the rims are airbrushed with a pigmented version of the Alabaster White Glaze using mason stains. My issue is seen in the attached images - it's as if the pigments collect in areas (as seen in the blue bowl) instead of evenly spraying for a seamless ombre. I've tried using an underglaze instead of a pigmented low fire glaze, and it results in a "cracking" look as you see in the pink bowl. The image with the purple mug is the look I am trying to achieve, and was a total fluke that I have had an impossible time trying to recreate. Does anyone have any advice on how I can create a seamless look? Thank you!!!!! Praying for a holiday miracle Jess
  10. Hi y'all! I'm about to order a couple pounds of Laguna Crystalline Glaze (Crystal Palace) and try it out. http://www.axner.com/lagunawc-561crystalpalace10glazedrysoldperlb.aspx Laguna's website says it fires from cone 5 to cone 10, but I'll be doing the first firing at cone 10 in a gas kiln. Has anyone here had prior experience with this glaze? I haven't been able to find much information other than that it is a good base for other crystalline glaze recipes (no info on what those recipes end up looking like though). I'm trying to figure out if it plays well with other glazes and what kinds, as well as different ways to tweak the recipe. Any tips would be much appreciated so I can make the most out of the once-a-month firings! Chloe
  11. Hi all. Can anyone please recommend some food safe, high fire, clear matte/satin glazes? I'll be using it over fired underglaze on slipcast mugs I'm working on. Amaco recommended their SM-10 (https://www.amaco.com/products/glaze-sm-10-clear?ref=2&taxon_id=284) to me, so I'm going to try that out. But I'd like to see what other people are using as well. They can be dippable, sprayable, brushable - anything. I just want to test some different products to find what I like best. Also, I understand that the matte/satin clears aren't entirely crystal clear in the way that gloss clears are, but how much of a difference is there? I'm relatively new to ceramics so any info will be helpful. Thanks!
  12. Hey everyone! I recently purchased a used Cress FX27P Electric Kiln, and after bisque firing the first time with the automatic kiln sitter, I noticed that the thumbwheel does not move, and appears to have some sort of malfunction. I figured out a way to bisque firing while moving the thumbwheel manually, but I haven't tried glaze firing yet. Anybody owns this kiln or a similar version of this kiln and can help with how I can glaze fire (cone 6) by moving the thumbwheel myself? For everyone that doesn't know what the purpose of the thumbwheel is, there are numbers 0 to 10 on it, and it moves gradually by itself during a firing. 0 being no power to the elements, and 10 being maximum power to the elements. Any help would be appreciated! Thanks.
  13. Has anyone tested Spectrum's new Metallic Gold Rain? I would like to try it on a sculpture but need to pay shipping to test. I assume it doesn't actually look like the promotional test tile- but I'm looking for something stunning!! Thanks!!
  14. Hello: During my recent glaze firing I had an experience that I've never seen before in that my glaze looks like it's separated from my work. However, it seems to be a little more complicated in that the glaze is all over my shelves (Ugh. I know). I've attached a picture of a piece from this firing so you can see what I mean. Some piece are worse than others. The glaze that was used is this: https://www.amaco.com/products/glaze-pc-20-blue-rutile The Clay in use is this: http://www.lagunaclay.com/clays/western/wc379.php The ware was fully bisque fired prior to the glaze firing, and the glaze firing went to cone 6. Any advice would be appreciated. Thanks!!
  15. Hi everyone! I just recently bought a used Cress FX27P electric kiln so I can start firing work at home. So I just recently started my first bisque firing yesterday at 4pm. It was more of a test fire, so I didn't put a lot of work in there, about 15 wheel thrown pieces. There were a couple pieces in there that were not fully bone dry so I set the firing speed at E, the slowest speed. I also put a pyrometric cone (04) in the sitter, 1 peep hole open, and set the thumb wheel to 1, and I set the timer to 16 hours so it can shut off at that time in case anything goes wrong. Throughout the day and night I checked periodically, and the kiln did get red hot, so the elements seemed fine to me, but I didn't take a look at the thumbwheel. So this morning I went to go check on the kiln, and it fired the full 16 hours! and the kiln sitter didn't go off, so the the kiln didn't reach cone 04 temp. Also, the thumbwheel stayed at 1! It didn't move! So I'm thinking the thumbwheel is broken or needs repair, I didn't put the cone in right, or something is wrong with the elements. And even 16 plus hours later the kiln was still showing orange to red heat signatures inside the peep hole. So I talked to my friend who has experience firing kilns, and he said to just fire the thing until the kiln sitter shuts off and set the thumbwheel to 10 max temp as soon as possible so the kiln doesn't have to reheat back to 1000 for the sake of energy efficiency. If anyone has any ideas, input, advice, or suggestions I'd greatly appreciate it! I'm hoping to bisque fire and glaze fire using this kiln in the near future, I already bought a couple pints of cone 6 glazes to test out. Thanks!
  16. Hi folks. I've been using a Silhouette Cameo cutter to create vinyl decals I put on my bisque before dipping in glaze to create a negative space design. (it's ain't easy creating a signature look and standing out in an art town) It's challenging (sometimes flat crazy making) because if you pull the decals too soon, glaze runs into the area you want to keep clean and too late, it flakes and chunks come off with the decal and I end up doing a lot of clean up or touch up. Add to that my unnatural love of gooey, reactive, unpredictable and persnickety glazes and it can be a real PITA, especially when doing runs of 200+ pieces. My cutter just broke and I won't be able to afford a new one any time soon. Once I was done stressing out and having a mini meltdown, I decided to try to create something new, different and cooler. I was thinking about carving stamps of my more popular designs and then using crayons as wax resist (I have no love for liquid wax resist and a very complicated history with it) Crayons are crazy cheap at the dollar store and easy to control. Bonus, I can leave some small bits unwaxed to add shadow/more texture... I've only made one stamp, I carved into some craft plaster of paris advertised as “carvableâ€, then pushed wet clay into the carving and bisque fired to create a stamp. So here are my questions…. Has anyone ever used crayons as wax resist? And did they work well for you? What is your favorite carving material for making stamps? I've added a couple of photos of what I've been doing to provide a visual… Thanks in advance
  17. So I pulled this out a bowl this morning and found a 1" crack. I did not see it after bisque - and I looked. How / why did this happen, any ideas? Can I grind it out and reglaze maybe? I don't see it on the back but when I fill it with water it slowly dampens the surrounding area. Thanks
  18. Nube here. Might someone speculate on the process best suited to achieve a surface like the attached image of an ancient tile (Sumerian?)? Right now I have two greenware tiles made of clay that fires white. I'm planning to paint black underglaze on the greenware and draw into that (exposing white). Then fire to the max temp of the clay? Then apply a matte glaze for a second firing? Any thoughts for me? Appropriate articles?
  19. i all, I've recently set up a raku kiln and have been experimenting with different clay bodies. Someone requested on this forum that I try Laguna's B-mix with grog. I was looking for a nice creamy white clay to glaze with a clear.. I like the clay, but have had a few - not all - pieces came out with a few hairline cracks that were happening during reduction. I've attached a few photos. This past weekend, I fired around 10 different pieces with varying thicknesses, and had only about 3 cracks, so I'm not thinking it's the clay. Could I be doing something wrong in the reduction? The pieces were also bisque fired at cone 04. For the frit - I used 90% Ferro frit + 10% kaolin (another suggestion from the forum), but had a really difficult time brushing it on. I watered it down thinking it was just too thick, but it was still brushing on really thick, and impossible to brush on a second coat. I've used a frit before, and know they are not the easiest to brush on. The previous teacher I had used a Frit + kaolin at the same percentages, but I don't remember it being so difficult to apply. I tried smoothing out the bumps, but when my pieces came out you could really see the uneven brush strokes, making the surface bumpy. As you can see I got some nice crackles, but some pieces gave me hardly any crackles and a lot of black dots. Any advice on frit application? Marcia are you around?? I'm still new to doing this on my own, and am trying to self teach myself as I go along. This forum is a great help! I appreciate any help!! Thanks!!!!!
  20. From the album: Ceramics Fall 2016

    I made 4 similar mugs from the recycled clay and iron filings in a glaze called moonlight. I have learned that a little goes a long way for the iron filings, and next time I think I will use less. Most of the filings came through on the inside of the cup, rusting slightly but covered thinly by glaze. Does any one else have experience with using too much iron filings? Do you feel it causes any safety hazards to the average human?
  21. Hello! This is my first post after reading so much fabulous and useful advice on these forums the last couple of years. I'm still a bit of a newbie potter and I've been selling for just over a year. So far I've been really pleased and no complaints or negative comments (exception: why don't you make in blue?) LOL. So I sent off a pair of mugs (Etsy sale) and the new owner is really happy with them, except that he just tried to microwave one to reheat his beverage, and he heard some "pinging" noises. He was alarmed and took the mug out and didn't try again; he's just wondering if I know what is going on. The details: I use Tuckers Pottery 6-50 cone 6 porcelain clay. I fire to cone 6 based on witness cones. (I use cone 7 in the kiln sitter to get there). Glaze: I am making my own glazes. The liner glaze in these mugs was an Assad Opalescent (basic high percentage frit based glaze with no added oxides). Outside was a floating blue glaze (from John Britt's book of Cone 6 glazes: Floating Blue #2) I've used both of these before and have been very happy, and I've personally have had no problems with anything in my home. Unfortunately, I have sold everything at this moment that has this exact glaze combo. Also not sure if a mug done the same isn't necessarily going to be a perfect "test" as glaze thicknesses, exact kiln position, exact top temp, etc may be slightly different? Any advice would be really appreciated! Mostly I'd like to know if in *your* opinion I should tell this buyer not to try to nuke these mugs? I know I've been a bit "reckless" in claiming my things are microwave safe and I'm sorry now I did without being more sure. I've read the forums about the astm standards and I plan to at least test more carefully than just a few things I have at home. Thanks in advance! Cheers, Lorraine.
  22. From the album: Ceramics Fall 2016

    Turquoise stone and white matte ^6 ox on calico dark red clay. A couple very wonky vases that developed decent sized cracks from uneven drying, this was one of the first things I made after taking a hiatus of 3 years from clay, be gentle! I needed to keep a few unsatisfactory pieces to try my experiments. I am totally head over heals in love with the color combo, but am very sad all the pieces developed pin holes on them... I talked to the professor and she is going to go over how to avoid that next time and keep my work together as to have a more consistent firing.
  23. From the album: Ceramics Fall 2016

    Turquoise stone and white matte ^6 ox on bone white clay. A very wonky vase, this was one of the first three things I made after taking a hiatus of 3 years from clay, be gentle! I needed to keep a few unsatisfactory pieces to try my experiments. I am totally head over heals in love with the color combo, but am very sad all the pieces developed pin holes on them... I talked to the professor and she is going to go over how to avoid that next time and keep my work together as to have a more consistent firing.
  24. From the album: Ceramics Fall 2016

    Turquoise stone and white matte ^6 ox on bone white clay. A very wonky bowl, this was one of the first three things I made after taking a hiatus of 3 years from clay, be gentle! I needed to keep a few unsatisfactory pieces to try my experiments. Ended up loving the combo, but am very sad all the pieces developed pin holes on them... I talked to the professor and she is going to go over how to avoid that next time and keep my work together as to have a more consistent firing.
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