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Found 224 results

  1. John Britt has graciously allowed Tony Hansen, creator of Insight, to add the recipes from his book, "The Complete Guide To Mid-Range Glazes", into Inside-Live. It is still important to buy John's book because it offers far more than just glaze recipes. It's an outstanding book that provides a wealth knowledge about glaze chemistry. If anyone has pictures of the glazes on tiles or pots, send them to Hansen or me so that he can add them to Insight-Live. Also, include clay type and firing schedule.
  2. I've been doing a lot of photography here lately (a grim necessity if you have an Etsy shop.) One of the recommendations for the photos used in the shop is for a close-up of some detail. At first I tried to get close to the pot to take these, but then I realized that my camera has so much resolution available that it worked a lot better to just zoom into a shot of the whole pot until I found something good. In the course of this I discovered that you could see stuff in the glaze surface that wasn't obvious to the naked eye, and I became somewhat obsessed with looking at these extreme closeups. I even wrote a blog post about them a day of two ago, and it occurred to me that maybe some folks here would find the idea interesting. Here are some examples:
  3. Hello everyone, I wanted to ask why the glaze might break after cooking the piece when it`s cooling off. Thank you very much. Sofía Jacky
  4. Hello, newbie here. I want to do some experimenting with making my own wood ash glazes from local woods. I've done a fair amount of research on the subject, but I do have some questions. 1. I've decided to keep my variables simple in the first round of tests. I was thinking I'd do a simple recipe for ash glaze, which is 50 parts dry ash and 50 parts clay body. Does this sound like a reasonable place to start, or am I missing anything important? 2. I have also decided to wash all of the ash I use. I like that it will be more stable/last longer in a mixed glaze and will be less caustic. I also don't want a SUPER runny glaze, and I read that there are more fluxes in unwashed ash. I am wondering, though, what is the best way to dispose of the lye-water that I will make through the washing process? I don't want to pour it into our septic system or kill any plants or hurt the environment. 3. I'll be making plates mostly, maybe some shallow bowls. I was thinking simple, flat test tiles would be the best way to test colors and would be easiest to display later. I am a little worried about super runny glazes, though. Any suggestions for a good test tile to test glazes used on plates? 4. I am not sure what the best glaze application process would be. I don't have access to a sprayer, and it will be difficult to dip plates (especially if I don't have a LOT of glaze mixed up at a time.) Any ideas how to use either a sponge or a brush to get a fairly even coat? (I'm okay with some variation in pattern, but I want to make sure the whole surface is glossy and glazed) How thick should my glaze be when I paint it on? (Should it cover my hand completely and be like runny yogurt or should it be thinner?) 5. I've read that it's important to gather pure ash, and that ash from the fireplace doesn't always work because of the newspapers/magazines used in starting the fire. How important is it that the ash I use for glaze is absolutely 100% wood ash? Will having a little paper ash in there hurt things or make it less food safe? 6. I am thinking of adding a couple of colorants and testing those results as well. I'm going to start with copper carbonate and cobalt carbonate. I'm also thinking of trying rutile but am concerned that it contains titanium... would glazes made with rutile be food-safe? 7. I've read that ash glazes are typically high-fire glazes. I was thinking that to keep all the variables the same, I would fire all the test tiles and plates at the same temperature, probably cone 9/10. I've also read you have to go as high as 11. Thoughts? Sorry for so many questions! Like I said, I'm pretty new to ceramics and this will be my first experiment with mixing my own glazes and I'm excited but also nervous. Feel free to just answer a couple of questions, and thank all of you in advance Betsy
  5. This week I am reading about glazes with Alberta Slip. I have been looking for a clear for my brown clay and if I can get it to look like the pictures, it should work great. I am getting my info from AlbertaSlip.com. Another glaze I really want to work is Alberta Slip, lithium, and tin. The website states that to get the pictured results that part of the Alberta Slip must be ballmilled. Does not give a percentage. While reading John Britt's book, Complete Guide To Mid-Range Glazes, he mentions that this use to be the case, but is no longer necessary due to the fine quality of raw materials now available. If anyone is interested in trying any of these glazes, John does still recommend to calcine half of the Alberta Slip. I would like to know of anyone's experience with these types of glazes.
  6. Hello, I'm fairly new to ceramics and am learning quickly with the guidance of a really great teacher who encourages my creative side. I like to use underglaze on my bisque pieces to add more vibrant colors or if I want detailed decoration. My teacher and I have been experimenting with several different clear glazes both studio made and commercial but are finding that we can't quite get what we're looking for. We want a very glossy finish, but without any clouding. We fire to cone 5-6. Commercial glaze recommendations or recipes are great--thanks!
  7. I plan to mix up some SCM to try over and under several glazes. I plan to dip and pour. Does anyone have experience using this? Any advice or suggestions?
  8. Hi I am struggling to find a stoneware glaze - either a recipe or a commercial one - that would recreate the rusty terracotta seen in the picture attached. Preferably cone 6. I was wondering if anyone here could help. Many thanks.
  9. From the album: newer work

    The glaze is the standard silky white crystalline glaze I've been using a lot lately. The center of the bowl was sprayed with a pale green crystalline glaze to define the texture of the fluted pattern carved lightly into the porcelain. For unknown reasons, this sprayed on glaze fumed the white rim of the bowl to an almost fluorescent pink, and crystallized pink flowed down and collected in the center of the bowl
  10. From the album: newer work

    This is a one-piece hanging planter, a form I made in the hundreds, back in the day. The water catcher is thrown onto the bottom of the planter as a part of the trimming process. It's planted with aloe, and is a gift to my son the chef, who sometimes collects burns in the course of working.
  11. I had a somewhat disastrous test firing yesterday. On unloading the little kiln, I found I'd gotten some pretty magnificent glazes. Unfortunately, almost all of them flowed off the pot and on to the shelf. This was a new bucket of an old glaze, which I tested on tiles before using on actual pots, and the tiles were identical to the old bucket of the same glaze, so far as I could tell. Maybe the glaze was too thick on the pots; maybe I didn't have quite enough titanium in the new glaze-- it was a 10,000 gram batch and the titanium component was 30 grams short-- I ran out while mixing, but no difference could be seen in the test tiles. So here's what I'm wondering. I have a grinding disc that fits on my wheel, and I was able to grind off most of the overflowed glaze, leaving footrings pretty much intact. I cleaned up any sharp edges with the Dremel. I'd really like to offer these pots, because they're beautiful, in my opinion. But I wonder what others think of selling pots that have had glaze ground off the foot. Bad? Okay? I know that this is standard practice for macro-crystalline potters, but that's necessity. I'll attach an image of one of the mugs, and its footring.
  12. From the album: glazed for blandy 2015

    tiny bit of Wettlaufer XS shiny white glaze sprayed over the sapphire blue fins did this wonderful watery look.
  13. The studio where I take classes has commercial glazes in 5 gallon buckets. A fair number of the pieces I've made so far are either too big to dip or too awkward to pour across and my brushwork leaves something to be desired. I have an air compressor at home and am seriously considering buying a sprayer. Any particular brands better than others? Features that are requirements? Features you don't want? Any considerations I should be aware of in using a sprayer? I have asthma so am very diligent about wearing a good mask if anything could be airborne. Thanks, Judy
  14. aarrgghhh...I typed my whole spiel and the dang thing timed out and erased it all. OK-seeking a simple starter lesson on the sequence of greenware/bisque/mature fired AND with the proper sequence of underglaze and glaze relative to the firing sequence...not clear on the fit of the cone of the body and the cone of the glaze when it comes to the variables. I have read, watched videos, read more, and read again...but something is twitching in my brain to the point that I am just not "getting it" and not retaining any simple steps of what to do when. I have zip experience with commercial glazes. I had worked with cone 10 studio-made bodies, gas-fired, and sometimes, not that often, with high-fire studio-made glazes, generally very earthy, not a color palette as with commercial products. So I have no clue about low-fire underglazes and mid-fire bodies, for example. Also wondering if I can take an unglazed piece fired to cone 9 and glaze with a cone 6 glaze and re-fire at cone 6? Please do not leave me with just "test-test-test". I absolutely cannot afford to expend my precious and limited supplies/materials experimenting just to get to a basic starting point. Thanks in advance.
  15. Hello, all. As an advanced beginner, I know a few things about clay and glazes but have not really studied the chemistry. I did do some searching before asking this question but cannot seem to find an answer so I would appreciate replies! I have a straight-forward semi-transparent glaze recipe: - china stone 20 - carb whiting 23 - kaolin 30 - quartz 27 This is a wonderful glaze that I used at La Meridiana School (in Italy), and it fired beautifully on porcelain in both reduction (1280C) and oxidation (1260C). In my studio here, I have used EPK (for raku slip resist), but we also have a bag of calcined kaolin - which I am sure that I was the one to buy it but cannot remember why! My question, then, is what exactly is calcined kaolin and what is its use, i.e. can it be used where something calls for just "kaolin"? Please forgive my ignorance , and thanks! wendy h.
  16. I'm trying to get the hang of using my Amaco hydrometer to get consistent specific gravity with my new glaze tests and also with my slip. I cant learn anything if I just keep guessing. I want consistency when it comes to "my" part and then after that the fire gets to have its say. So in glazing I get information that says glaze should be around 140 to 160 sp gr but the readings are for 1.xxx. On this scale 1.00 is even with water, nothing in it. Or on the other side it is 0-70, 0 being the reading for water. Here is a pic of what I think is the proper consistency of a Leach Temmoku glaze. It reads 1.600. I know that there are deviations depending on what type of glaze and that some need to be thicker than others but looking for a starting point really. In the Britt high fire glaze book there is no specific gravity except for some recipes that I guess are deviations from a standard? Does anyone know the standard specific gravity for this particular book? Also on the same topic when using slip for dipping and general purpose decoration like brushing what should the general specific gravity be? I seriously need to get a real drill that can mix a 5 gallon bucket of slip. Its hard doing it with a kitchen whisk ;-) Hoping the answers I get will help others along the way! Thanks everyone for your input!
  17. I have a 5 gallon bucket of Goldart sitting in my studio. I used to use it for white slip; Ball clay 33% EPK. 33% Goldart 33% Called Schiller White Slip. Not using slips any more as my glazes are very opaque. I got a glaze recipe; [Cone 10 reduction] Ash 50% Goldart 50% But it is very dry. A nice yellow ochre colour though. Any thoughts? TJR.
  18. From the album: newer work

    These have no actual granite in them, but the glaze has a granite-like quality, with green specks on a blue background, a smooth matte surface, and a micaceous sparkle in the sun.
  19. Okay, I just opened a test firing in my tiny kiln, mostly testing a new glaze with various slips and double dipped other glazes. I had a couple pieces come out with pink flashing on this glaze. I'm familiar with the problem caused by chrome and tin, but there is no tin in this glaze, and no strong source of chrome in any of the other glazes (small amounts of chrome in some glaze stains, used in very small amounts, resulting in very pale blue-green glazes. Also, no tin in the other glazes. There were a couple pieces with glazes carrying 2 percent cobalt carbonate. But that's the only strong colorant in the batch. The glaze in question is a fairly simple glaze, designed to be active and pick up color from underlying slips. It has 10 percent gerstley borate, 6 percent titania, and 6 percent lithium carb. My best guess is that something is reacting with the titania. The problem (actually I like the effect and would like to figure out a way to reliably produce it) is obviously from something fuming off a nearby piece, because of the way the affected pieces were only colored pink on one side. It's not from underlying slips, as the piece I'll post a pic of was not decorated with slip. Anyway, I'd appreciate any insights or observations regarding this.
  20. I know people hate this and I know I should be taking the time to test test test multiple glazes but truth is I don't have the time. I had a dear friend ask me to make a run of mugs for her and glaze them purple (long story behind the request that I'm sure no one is interested in but, it is a heartfelt gift that she is giving a group of friends to honor a friend that passed away). I don't have a purple glaze and this is going to be a one shot deal, so I am asking for a tried and true cone 6 oxidation glaze for white stoneware. Shade of purple isn't important but it would be nice if it was food safe so I wouldn't need to use a liner glaze (which I do have if I must). So if you have a good purple glaze I would appreciate the share so I can do this project for my friend in a timely fashion. I dip and spray my glazes and usually mix my own but if it is necessary I would try a commercial glaze to get this project done.
  21. From the album: Some work

    Cone 10 Blue Green matte glaze.
  22. Cone 6 Ceramic Glaze Testing Workshop with John Britt March 13-15, 2015 in Sarasota Florida. (where it is warm!) This is a three day Cone 6 glaze testing workshop designed to show participants how to test a base recipe to get strength and blend of colors. It will also be a general overview of ceramic glazes, clays, slips, cones, kilns, firing dynamics and principles. More information: mariooch.com/JohnBrittWorkshop.pdf or call Nancy Morris 941 228-4045 JohnBrittWorkshop.pdf JohnBrittWorkshop.pdf
  23. A few quick questions for the glaze experts out there. Background: I'm very excited to be creating my first base glazes - a simple cone 6 clear for a white (talc free) clay body. I also have a dark red clay body with obviously a high iron content. And then after that I will be going for a cream color glaze and then a temmoku. I have no real interest at the moment in bright glossy colors. I have 2 different options for silica - sand (white) and flint (270M) - Which is the best starting point or should I just get some of both? I want to give myself the most possibilities for testing and using in secondary glaze recipes. For the base white recipe I want to use it calls for Tin Oxide Tin Oxide vs Zircopax - Tin Oxide is REALLY expensive and I am reading a lot that Zircopax although it can be substituted at around 2:1 for Tin Oxide, it tends to kill the colors that oxides produce a bit. Not too big a problem for me I wouldn't think at the moment and none of the Temmoku I want to test calls for it. Does Zircopax work in a wide range of recipes and does it have any caveats to watch out for? Thanks much! Very excited to get going and will post results as I go.
  24. Hey guys what ceramic supply websites do you prefer? Which have the most reasonable prices and what were your experiences with them?
  25. I have been mixing a Cone 6 clear gloss glaze that is very stable and consistent. It's a Glossy Clear Liner recipe (see below). However, the super shiny surface makes my pieces look "plasticy". It also changes the clay body color dramatically. I have two questions: 1) Does anyone know how to modify this recipe so it's less glossy? I don't want a matte finish. I would like something between satin and semi-gloss. 2) Will changing the sheen effect the clay body color somewhat? Thanks! GLOSSY CLEAR LINER 100G G-200 FELDSPAR 20 FERRO FRIT 3134 20 WOLLASTONITE 15 EPK KAOLIN 20 TALC 6 SILICA 19 TOTAL 100
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