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Found 224 results

  1. Morning all, I love the effect of crystal growth in glazes. I want to experiment making a glaze for electric kiln firing on stoneware to cone 8/9. Can anyone share a recipies?
  2. I am taking advanced ceramics courses at a University and need help organizing my thoughts/ideas/notes regarding glazes and glaze testing. I have searched the internet (research is NOT my strongest point) for some sort of chart/form that can help me keep detailed/thorough and consistent notes about my glaze testing. I have seen a program that will do this, but it is currently outside of my price-range Does anyone have or know where I could get something similar as a starting point. My memory stinks and have TOO MANY thoughts floating around in my head NOT TO do a detailed note-taking process. Also, I am attending college to become a teacher and would like to have something that helps my future students to keep track of recipes & results of glaze testing. Also, if there currently are not any, does anyone have ideas on the most important things to note in this chart. ​if I develop one, I will share it. thanks
  3. Okay, I have a decision to make. I've always felt that bowls for actual use are often best at displaying food if the interior of the bowl is white. On the other hand, decorating the exterior of a shallow soup bowl means that no one will see the decoration without taking the time to pick up the piece. So I've almost always decided in favor of decorated interiors. I still feel that the interiors of large shallow bowls make the best canvas for decorative surface treatments, but now I'm trying to decide if I should change my ways and make my smaller bowls with white interiors and decorated exteriors. I did a batch of these, and I'll include a couple poor photos of one of these smaller bowls, plus a pic of a big bowl decorated on the inside. So how do you feel about this decorative principle? Would you decorate these bowls on the inside, or the outside? Or both?
  4. Hi All, I'm a high-schooler taking a Ceramics II course, and I love it! I specialize in wheel throwing and I'm really interested in fusing glass on ceramic pieces. How would I do this? My teacher recommended putting marbles in my bowls to melt the glass with the glaze, but I'm curious on what others have to say! Also, where can I either get special glass, or get marbles to melt! Write me back! Thanks, Travis
  5. Hi, I am hoping that someone can help me out. I am looking for a cone 10 clear that works well in oxidation, specifically with underglazes, mason stains and color in general. In our studio we have a Laguna Clear and another that work okay in reduction but not well with the colors our students use. I know it can be difficult to have some underglazes come through at cone 10, but, I'm hoping to find a really solid clear that doesn't bubble up, cloud or burn out the color so severely. We use a commercial speedball clear sometimes but it is getting too expensive and I would love to have one clear that can be used in the various kilns. Any recipes/info would be appreciated. Thanks.
  6. Hi, I have fired black mountain clay in cone 10 reduction w/creamy glaze and love the iron speckles that come through. I see a thread of discussion last year about this w/suggestions. I am looking for any recommendations for creamy glazes (gloss or matt) that would work in electric cone 5/6 (oxidation) that might yield similar results. Any recipes or suggestions would be much appreciated. Thanks in advance!
  7. I've been noticing this glazing technique in some pottery on Pinterest ,( both modern and antique pieces ) and wondered what it was called. It seems that the lines must be done with a resist, so I tried some wax in a squeeze bottle but could not get a consistent line width. Anybody know about this technique?
  8. Morning to you all, I've just had a disastrous weekend trying to glaze items for firing. I don't have a large amount of any specific glaze so trying to make do is proving challenging to say the least. I've had to scrape down to bisque most of the items and now have to start again. How do you recover from a weekend from pottery hell? I really enjoy the final result but the prep work gets to me. I suppose I'm not yet experienced enough to go through a prep without problems. Part of the growing pains of experience! Look forward as always to your advice. Andrea
  9. Hi people, If I want to glaze the bottom of a pot do I put a disc of clay underneath so that the pot doesn't stick to the shelf?
  10. Newbie here. I've been experimenting using different colored clay bodies and even colored clays using oxides and stains. Mostly for neriage/agateware technique. So far i've been leaving the exterior unglazed to show the true colors of the clay (usually buff, with ochre, white, or bclay). I've tried to glaze my pieces using an cone 6 oxidation clear glaze and cone 10 reduction clear glaze, but i find that the clay colors gets "covered" up by the glaze. Expecially in cone 10 where most of my dark clays (with iron) turns grey. Can anyone suggest an alternative glaze or material that will show through the clay underneath? tips?
  11. From the album: Rogryphon's stuff

    Love dragons and have fun making yarn bowls. So did a dragon's egg yarn bowl. Lots of fun since it is a bit unique and creates a nice surface to play with glaze combos. Amaco salt buff under celadon sky.

    © gryphonwyck 2015

  12. Hello I have made a beautiful gold flecked glaze but it is too runny! How can i fix it? Carol
  13. Hi I am busy working on some ballerina figures and would like to make a flesh-like shiny brown glaze for them-but with some variegated effects in the glaze, and need quite a thick, smooth finish. have tried a few recipes unsuccessfully Can anyone help please? Carol
  14. I have a laser which I have been using to engrave designs into big store bought ceramic tiles. Up to this point I have been color filling them with rub-n-buff or I have painted them and engraved off all the paint except the design itself. Sometimes I mask the tiles and laser thru the mask and then paint and remove the mask after painting. I also have a sand blaster which I sometimes use to etch the tiles deeper than the laser can do. I have a kiln ordered that will fire cone 10. I would like to color the engravings and fire them in the kiln so the completed tiles can be set using sanded grout. i.e. more durability than with the process I now use. Being brand new to this adventure with a kiln, I could use all the advice and recommendations you may wish to provide. The laser takes the factory glaze off and leaves a so I am unclear as to which type glaze I should use and would china paints and/or india ink work? The picture attached is close up of one of the tiles that has been engraved with the laser.
  15. I'm not sure why some cone 6 glazes change color rather drastically when refired to a lower temperature, but maybe someone can explain. Specifically, Coyote Ice Blue glaze fired to cone 6 turned out the usual beautiful multi-hued blue, brownish at the breaks. Then I decided to put some low fire clear glaze on the bottom and refired the piece at cone 06. The result was an awful, mottled green and brown camouflage-like color. Yeechhh!! So I refired back up to cone 6 again hoping to recover the blues. The piece now looks much better - the greens are gone - but the subtler blues are also gone and there is more and deeper brown. As it happens, I did the same thing to several other pieces with different commercial glazes on them. All of them suffered significant color degradation after the 06 low fire, and recovered only a portion of their original color in the second cone 6 fire. With one exception: a bowl with a combination of Amaco Textured Turquoise and Amaco Iron Lustre looked pretty bad after the low fire but almost completely recovered its original color after being refired to cone 6. I thought it was safe to refire pieces at a lower temperature, but I am obviously mistaken. Any insights on this phenomenon would be appreciated.
  16. I've seen an ultra suede dry matte glaze used on earthenware. Is it a custome recipe? Done in colors too. Is it possible to get the same effect using other clays? See attached image. Thanks in advance for any information on the topic. MJ
  17. I have a couple of buckets of unknown glaze materials. When I test fired them I got a very dry underfired result. Then I set about adding various materials, looking for what would make it fusible, something like a glaze. Testing systematically, I have added every material I have at hand and in combinations, such as, silica, feldspar, talc, whiting, gerstley borate, china clay, alumina, nepheline syenite, borax, rutile, and so on, at various quantities 10, 20 %. I can not get much of a change, and it has got me beat. Surely something has to give. Of course maybe if I added something at 50 to 100% I would get a change but this would be counter productive, adding a lot of material and just creating a double lot of some unknown recycled glaze, and not making primary use of this quantity of waste unknown material. At that rate I might as well discard the waste glaze. But to actually find a solution, adding something in the order of 10 or 20 %, does anyone have any insights? I am quite amazed that I have not found any addition that works. I have tested at cone 1, 3, and 6. Of course it could be it needs a higher temperature, but that's not the point, because even a higher temperature glaze can be modified. The obvious additions just don't seem to be working. Let me put it this way. How can a mix of glaze material not be a glaze? For materials which generally are a glaze, which ones when added together will not act like a glaze? A strange question? Any thoughts?
  18. From the album: Ceramic Boxes

    My newest box. I wanted to see how much control I could maintain over my glazes so l drew stripes of varying thicknesses on the box then glazed each a different color. I then used some of my laser transfer designs and each color of stripe got a different pattern. The ribbon I rolled a scrolled pattern into while still wet then twisted and attached it so that it could be used as a handle. With all the color on the outside I went with a simple white interior glaze.

    © Terry Buffington

  19. From the album: Ceramic Boxes

    This was an experiment to see if I could fire a diamond shaped box with the glaze going around all sides. I did it! The stand is separate from the box but the way I designed the triangle base makes the box fit really snuggle into it. This is also the first time I used a mason stain wash instead of underglaze for the gold background on the box. The modern flowers are an underglaze transfer. The base is a simple RIO wash.

    © Terry Buffington

  20. From the album: Ceramic Boxes

    What's better than a gift wrapped box? Why an OPEN gift wrapped box!

    © Terry Buffington

  21. This 2-day workshop will explore an array of leatherhard and bisqueware decorative options to enhance your pottery surface. Demonstrations are divided into two sections: pre and post firing. Initial explorations will begin in the green-ware stage to include the use of slip, slip trailing, sprigging, as well as trimming. In the bisqueware portion, glaze strategies will be investigated with trailing and waxing techniques demonstrated. Upon the completion of this workshop you will be armed with a variety of skills to apply towards your future pottery practice. Participants will have the opportunity to employ these ideas through their own work during both days. Please bring a sketchbook, personal potting tools, assorted brushes and any reference material you would like to incorporate in your work (photos, drawings, etc.) Bio Ryan J. Greenheck received his Master of Fine Arts degree from SUNY College of Ceramics at Alfred University in 2004. He earned a Bachelor of Fine Arts degree as well as a Bachelor of Science degree from The University of Wisconsin-Stout in 2002. He has participated in numerous national juried exhibitions and shows since 2000. His work is represented in many galleries throughout the country. Ryan currently is a practicing studio potter and Lecturer at the University of Pennsylvania. WS01 – Saturday & Sunday, 10-4pm, January 16 & 17, 2016 Fee: $200 members; $225 non-members Contact Mary Cloonan at mary.cloonan@baltimoreclayworks.org for more information. Baltimore Clayworks 5707 Smith Avenue Baltimore, MD 21209 www.baltimoreclayworks.org
  22. Hello! Could anyone please give me hints on where to go next best to figure out where the following problem comes from? Here are three examples of first tests made by me and my friend with glazes we found in recepy books and online, all for cone 6. We are using an electric kiln at one workshop where we can only program a ramp with three steps and so we tried the following firing programme, while skipping the step 1 and the last one (so we had no hold on cooling and just had the kiln switch off after the 15min hold on the top temperature). here the original firing programme: http://digitalfire.com/4sight/firingschedule/plainsman_cone_6_electric_standard_firing_schedule_114.html I suspect we need a slower cooling. We can program the kiln to cool down with a constant temperature, but we can't add any hold into the programme. Any idea what would be a good temperature then? We now also try to apply some of the glazes thinner. Several texts I have read on the troubleshooting issues mention to lengthen the firing programme, but give no specifics about which step and how much to lengthen. Some say to use higher temperature, but doesn't give a hint in terms of how much higher etc. Any advices would be highly appreciated! Best wishes, Martin
  23. Hi all, Looking for some help. Firing my kiln today, doing something new. Doing a programmed ramp and cool down. After 250 degrees I am ramping at 500 degrees an hour to 1978 degrees (farenhieght). My kiln vent is on and appears to be working properly. The only other difference is the kiln is loaded with three new glazes. I have thoroughly tested the glazes, just never done a load of just the new glazes. Firing to a top temp of 2225. Using a cone 6 red clay, same as usual. The problem, the studio smells, really strongly. It is a normal firing smell as in my previous place I fired in an open garage. I pulled out my respirator and am wearing it to check the kiln. Luckily the smell isn't penetrating to the rest of the house. Any ideas? My only thought is I am using glazes made with Alberta Slip. Could it be possible it has a lot of organics in it? Thanks for any help. Chantay
  24. Hi! My previous studio had a beautiful cone 6 glaze called Blue Hares, I'm trying to purchase it since my new studio doesn't have it but all I'm finding is how to mix it yourself. Anyone know if it's possible to buy it online and if so where? Thanks!
  25. Hey everybody, been doing some testing and went through my first gas firing. (click my sig link if you are interested in the firing) I thought it was a disaster but others tell me not so much. Expectations will absolutely RUIN your happiness. Anyways, I have 2 glazes that I really kinda dig. The first glaze is a leach white which is nice and I'm still doing some tuning on that. Below is an example of the leach 4-3-2-1 glaze that went through the gas firing with too much reduction and made it to cone 9. I put a sprinkling of FE203 Red Iron Oxide and a sprinkling of Rutile as well just to see what each would do. The second glaze is what I'm curious about. It's Malloy Clear. Its not really clear, its opacity is created by billions of bubbles trapped in the glaze which is actually quite cool. It gives it a warmer color and I'm quite smitten. Being that there are bubbles in this, and they do not affect the surface of the piece would these be in any way compromised in strength / durabiltiy / foodsafenes etc?
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