Search the Community
Showing results for tags 'Glaze'.
-
If you could imagine pottery that generates calming sounds, what kind of sounds would you find most appealing (e.g., water flow, wind chimes, birdsong)? What materials do you think would be most effective in creating sound-generating elements in pottery (e.g., clay types, glazes, additional components)? Would you be more interested in pottery that produces a constant, ambient sound or one that generates sound when interacted with (e.g., by touch or movement)?
-
Hi all, I usually spray glazes on my peices so I have to water them down a little, I am trying out new recipes from the glaze book some that contain iron spangles and I’ve noticed that it all collects at the bottom of my containers and isn’t suspended in the water/ glaze mixture. I’m wondering if I should remove a majority of the water and I could suspend everything with either deflocculant or Epsom salts. Wanted to know if anybody has encountered this before, also I have different sizes nozzles from 0.6 - 1.2 I’m sure so that particles should pass through.
-
Hi folks. I am primarily a handbuild artist, doing sculpture and some tableware. I fire in a Skutt 1027 electric kiln, and use mostly commercial glazes and some oxides. My clay bodies are all ^6-^10 stoneware. I don’t currently have any porcelain, although I do have some ^10 white clay. I have a hope of making some chopsticks. I am hoping someone can give me a clue about how to glaze fire them. thanks Caris
-
I just took a load out of the kiln and noticed a ton of pinholes (and maybe a couple of blisters) and could use some advice about what I did wrong. Using B-Mix and B-mix with grog (cone 5) I bisque slow fired to 04 I cleaned my pieces with a damp sponge or/or dipped in bucket of water before and let dry completely before glazing I used brush on glaze (Western white matte cone 5/6). I did the recommended number of coats. I also let it completely dry between coats. But what I did do that I'm concerned could have contributed to the pinholes - After the first coat of glaze was dry (overnight), I wiped away the brush strokes hard with my fingers and I think some glaze dust was left on the piece when I added the 2nd coat of glaze. Do you know if that could have created the pinholes? or maybe brush on matte glaze is just finicky. I should mention that I did not have this problem with the pieces I added to the same firing w/my Amaco brush-on Iron Lustre (however the Amaco was not a matte glaze, so maybe thats why. I don't know). Then I glaze fired slow to cone 5. Skutt 818-3 electric kiln. No formal vent. top peep always left out. I prop open the kiln with the kiln brick as Skutt recommends until it reaches 1000 and then remove brick and close lid. Test cone's indicate that it was fired properly (though a little on the hot side). I opened up the glaze kiln firing at 188 degrees F. I've got some Laguna Oatmeal dry by the pound glaze on order, so going forward, I can dip pieces instead, which will hopefully be less finnicky...fingers crossed.
-
Hi again! just got a new kiln and refired a peice that didn’t quite reach temperature sometime a couple years ago. I spray using a manual pump gun and have never encountered this problem before, although I have got very thin edges which come out white. Not intentional but I thought looked nice. This on the other hand is really not it. Any suggestions on what I can do to fix this and why it’s happened?
-
Hello glaze makers! I have a very niche issue and thought someone here maybe able to help me. I was commissioned to make a series of 8 large bespoke ceramic pitchers in a specific colour. They are to be presented as awards at a commemorative event on Dec 10. My customer selected a soft green finish from one of my existing pieces that was glazed in a traditional oribe glaze and fired in oxidation in a wood kiln ( in a group fire in Gunderoo NSW) I have a small Port-o-Kiln and assumed I could replicate the green colour by using the exact glaze (same original batch) and firing to cone 9-10 in oxidation in gas. When I opened the kiln this morning all were BLACK!! I am not sure why. Its either because I didn't go high enough - I found out the group Gunderoo wood fire went to cone 12-13. Or because it Port-O-Kilns cool quickly and when you look up oribe on Wikipedia there is a section that says Black Oribe is achieved with a rapid cool down. Either way I have to urgently refire existing pieces to cone 12-13 or remake all agin which is a ton of work. Does anyone have any understanding of the chemistry behind this? Could I refire to higher temp and the glaze continue to mature and achieve the green colour? Any advice or insight is greatly appreciated. RECIPE Potash Feldspar 60 Wood Ash 20 Whiting 10 Ball clay (clay ceram ) 10 Bentonite 1 or 2% Copper carb 7.5 -
Hi everyone, Does anyone know how to achieve this look, specifically the white glaze? These pictures might all show different techniques/types of glazes, but I’d appreciate insight on any of them. I’m guessing these examples weren’t done with commercial glazes. Thank you for any advice
-
Does anyone have a cone 6 eggshell recipe they are willing to share? My high school students have been asking for one...white(ish) with brown speckles? See attached images for reference. Many thanks.
-
Tried my hand at gold luster for the first time and had a mild success. I’m covering a lot of surface area with them and ran into the issue of streaking. I applied with a brush and tried my best to do an even coat but painting on a glossy surface makes that hard. You can’t really do a second coat because it wipes off the first coat. I know I can do another coat after firing it and then fire again but am looking for some tips if anyone has them for covering large areas in an even matter. I also read that airbrushing is a bad idea. Will also be doing a yellow (for gold) and grey (for white gold) underglaze or over glaze next time. These were just on a clear coat. Using Mayco’s bright gold and white gold. Pictures on my Instagram
-
I want to have small open drilled holes in my pieces, maybe 1/8" in diameter. How can I prevent the glaze from filling the holes when firing? How big would the holes need to be to remain open during firing? Any help would be appreciated, thank you :)
-
Homemade Glazes I live in Malawi and am new to pottery. We do not have craft stores and our postal system is not reliable enough to do international on line shopping. Thus buying glazes is extremely difficult for me. As a result I need to be able to make my own glazes. They do not have to be strikingly beautiful - just functional and ,hopefully, varied in terms of basic colours. Using the various ingredients listed below, what glazes can I make suitable for my raw clay and wood fired kiln? In addition, I would love any advice from people who have faced similar issues and or suggestions as to my recipes etc. Regards, Alan Available Ingredients / Chemicals Laundry Bleach Caustic Soda Soda Ash Sodium Carbonate Anhydrous Magnesium Oxide Copper II Oxide Aluminium Oxide Ferrous Oxide Sodium Meta Silicate Sodium Silicate (Waterglass) Gypsum Powder Plaster of Paris Hydrated Lime Portland Cement Silicon Sand (Pool Filter Sand) Clay dug Locally Cat Litter (Clay) Wood Ash
-
Hello everybody! Firstly, I am not sure if I chose the correct category and way to publish this post. If not, I apologize for the inconvenience and I would be happy to learn more about the correct way. My question pertains to an anniversary gift I want to make for my partner. I have made some progress with throwing on the wheel and can now comfortably throw around 5 kgs (11 lbs) and shape the clay. I do lack some experience regarding the glazing process since I have not had plenty of access to different techniques/a kiln etc. I would like to throw a vessel, possibly a flower vase and decorate it. As of now, I have the idea to write the lyrics to a song (from Taylor Swift, his favorite singer) we listened on our first date on the vase. Even though I have a lot of ideas, I am stuck at the point at which I want to materialize them. I am not sure where to start since I don't know how large of a pot I should throw, whether my standard clay body (G&S 254) would do the job and how the specifics of writing on clay work. Apart from transparent glaze (Mayco SW-001), I have several other stoneware glazes (e.g. Mayco SW-115 Midnight Rain, SW-504 Red Gloss, SW-402 Dark Flux, SW-119 Cinnabar) available and previous firings using those have been successful. I also have underglaze ceramic pencils but I am not sure how they work exactly. I would like to ask for your creative input, previous experience and ideas! What shapes work well for flower vases? Or do you think another form (a big fruit bowl or who knows what else) would work better for this idea? Do you have any other ideas with respect to decoration/glazing? If I use the pencils, must I use transparent glaze to be able to see them after firing per se? Is there any other possibility to make the vase more interesting when I only decorate it with pencils and transparent glaze (e.g. is it an idea to use two different color clay bodies and throw a two-colored marbled pot)? I do not intend to make a white pot with some scrabbled letters and transparent glaze only. I am sorry if it is a lot and I realize the questions are plenty, however, any input regarding any part of this idea is highly appreciated! Thank you in advance and I will keep you updated throughout the process! Best and have a good day! Lucas -
I’m in need of someone who can match or come close to matching Duncan’s discontinued Courtyard “Harvest Plains” glaze. This has been my go to glaze for 10 years and i’m almost out. I live on and island and don’t have access to glaze ingredients. Any glaze mixing experts out there who can help me match it?
-
Hello everybody! Today I had a surprise when I opened the kiln and need help to figure out what went wrong. I made some dinner plates with this clay: Sibelco WMS2502 (stoneware clay). I used a △6 glaze that I found on glazy. I made some test tiles with the clay & glaze combo in a small oven in my studio and they looked perfect. When I fired the plates the first time it was a disaster. Basically the whole oven was underfired and the plates came out looking really matte and not finished. Also all other pieces with this particular glaze looked weird, some crawled and some clay completely couldn't handle this glaze. My studio fires to △6, but it seems like the oven is quite old and because it's so big it fires really unevenly and doesn't reach the right temperature. Some pieces came out okay that were on the top. So I thought I will fire the plates again to see if its the oven, but in a medium sized one, that seems to fire a little bit hotter . I fired a small underfired piece (little bowl) a second time and it came out perfectly. When I fired the plates the second time - △7 - they all came out broken, except one! -.- (See pictures) Now my problem is, that I have no idea where I went wrong. Is it the glaze/clay combination? Is it the the second firing? Is it because I only glaze them on one side? Could it be because some of it is recycled clay? Is the application too thick? I really appreciate any hints, as I'm a bit lost...
-
Hello all, I am experiencing some small blistering on glaze ware that were on the top shelf. I put 3 cones bottom, medium, and top shelves in the kiln. It turns out that my top shelf was firing at a slightly lower temperature, and the pots on the top shelf were the only ones with blistering. I was recommended to put a hold at the top temp of my Skutt kiln to try to level out the glaze. One person told me to put a hold at top temp for 10-12 minutes and another said 1-2 minutes. Which hold time is better? My initial question was that the longer I hold at top temp, I may run a chance of overheating? I am using Opulence Glazes from Mid-South ceramics. Thanks for any advice, Caroline -
I am a Ceramics Arts Network subscriber, but for some reason I cannot post as a member, so I am posting as a guest for now. I mixed a clear glaze for a community clay space from a recipe I found on Glazy.org. It is called Transparent 24 and includes only three ingredients. Ferro Frit 3134 (45%) EPK (35%) and Silica (25%). After testing the Specific Gravity, I landed on 130 to use this glaze for dipping. The problem I have is that someone unfamiliar with self-mixed glazes (non-commercially available), re-sieved the 3-gallons of glaze and threw away the material caught by the sieve that had settled out of the mixture. I tested the glaze on a few pieces. It fires to a dull, clear glaze that looks and feels underfired. I am far from a glaze chemist. Besides throwing out the 3-gallons of glaze and remixing a new batch of glaze, is there any way to determine what raw material is left in the glaze? Neil Fallon
-
Good day, I am new at pottery and have a huge problem finding suitable transparent/clear glaze and underglaze for my body of clay. I use 254 and 240 from georg & schneider. I always get crazing and pottery keeps on cracking for days. Any suggestins what should I use in terms of glaze and underglaze? -
Good morning all, I am having consistent issues with Mayco SW colours; I love them but I can't seem to fire them right. I have been using them on white stoneware (firing temp 1240ºC-1300ºC). I have applied one, two and three coats for testing and fired up to 1250 slowly and with a 30 min period at the end. I have an electric Kiln (rohde ecotop) that seems to work just perfectly. I know I am doing somthing wrong but can't guess what; all my test tiles and pieces turn brown, I am not able to make the colours pop The colors on the tiles are stoned denim and lavender, and the castle is tyger's eye If anyone has any advice it would be very much appreciated, I am totally lost! thank ou all for your time,
-
I have been searching for a bubble free glaze on and off for many years. There's an old thread here - A lot of the time I can't even understand what I am trying to say in my old posts (and I wrote them xD) but if you want some context it might be worth a read. I would like to thank everyone for being so patient with me over the years, slowly stumbling about in the dark trying to understand ceramics. I very much appreciate it For the "Too Long Didn't Read" the old thread tried - Removing as many ingredients with loss on ignition as possible. Glazing an already vitrified clay body. Using holds and drop holds. Changing fluxes, silica and alumina amounts. In the end nothing really seemed to produce satisfactory results except reducing silica in the recipe. There seemed to be a link between silica joining the melt and bubbles being produced. Recently I have found a few more papers on this subject and wanted to share my findings. The first was in Transactions of the American Ceramic Society Volume II, Blisters in Glaze - Stanley G. Burt. https://archive.org/details/transactionsofam02colu/page/138/mode/2up Back then they seem to have a lot more issues with sulphates coming from the fuel but Burt seems to find the same thing with silica kicking out gasses dissolved into the glaze. It seems to be confirming that the more silica you have in a glaze the less dissolved acids/gas it can hold which ends up coming out of solution. After a bit more searching I managed to find the Seger paper in question in The Collected Writing of Hermann Seger Volume II, The Defects of Glazes and Their Causes - IV The Operation of Sulphates in the Glaze. https://archive.org/details/gri_33125001394697/page/582/mode/2up Again he comes to the conclusion that silica is the main offender for producing bubbles. In a previously bubble free glaze remelted onto an already fired body it will take up silica from the body and produce bubbles in the glaze. Back in Burt's paper in the discussion at the end he talks about a few ideas to remedy the problem. One is to have a glaze higher in silica which is the opposite to what I have found. His reasoning seems to be that the glaze would have less action on the body so reducing any silica coming from the body into the melt. His second idea is to fire the bisque in reduction to volatilise the acid removing it from the body before the glaze firing. Seger also seems to find reduction is one remedy to the problem but does it in the glaze firing. The Collected Writing of Hermann Seger Volume II, The Influence of Sulphuric Acid on Glazes and Bodies. https://archive.org/details/gri_33125001394697/page/644/mode/2up Some interesting things to think about, especially trying to do a reduction bisque firing and seeing if that produces any different results in the glaze. I am not sure I agree with Burt that a glaze higher in silica will produce less bubbles but maybe that combined with a reduction firing could produce results. Now I just need come up with some tests and see what happens.
-
Hello I have been looking for a transparent/translucent matte glaze for stoneware cone 6 firing. I have seen people use it, but trying to figure out a brand or recipe has been though. I hope someone on her has a good tip or even wants to share a recipe. Will be forever grateful! Will attach some links with photo references. https://www.instagram.com/p/Cn05awejeRT/ https://www.instagram.com/p/CmLskrcoHd-/ https://www.instagram.com/p/CYbdZz3omj5/ makers are Denise Aimee Rijnen, Julia Saldana and Annemieke Boots Best wishes -
Hi all- tripped a breaker during a ^6 glaze fire which resulted in my clear glaze coming up a bit cloudy/ opaque. There’s a slight shine but is still relatively dull. Once I realized the breaker tripped, I assumed the load couldn’t be saved since the glaze started to turn. In my frustration, recklessly unloaded everything while the internal temp was about 320*F. This obviously lead to quite a bit of crazing. my question is- will refiring at a slightly lower temp (^4/^5) fix the crazing and help the glaze reach maturity, or are the pieces too far gone at this point? Also, what are some precautions and potential mishaps if I go forward with said firing? thanks so much everyone!
-
Sorry if a variation of this question has been asked but I wasn’t able to find what I was looking for when searching. Is it possible to get this sort of result from commercial glazes? This is the look I really want to achieve but don’t know if it’s possible with a commercial glaze, or even with an electric kiln. I’d really appreciate any advice. Thank you!
-
what can one earn (or loose )bye using Portland cement in glaze ? dose anyone ever try ? as "Portland cement clinker is a hydraulic material which shall consist of at least two-thirds by mass of calcium silicates, (3 CaO·SiO2, and 2 CaO·SiO2), the remainder consisting of aluminium- and iron-containing clinker phases and other compounds. The ratio of CaO to SiO2 shall not be less than 2.0. The magnesium oxide content (MgO) shall not exceed 5.0% by mass." thanks
-
I'm looking for a white/off white glaze recipe that has a good amount of movement. Similar to Amaco's Honey Flux or Spectrum's Soft White. I've tried searching in Glazy, guess I didn't know the right search terms.. any help is appreciated!
-
I have a 50lb bag of rice husks that I want to burn down for use in creating a Nuka glaze. What’s the proper way / best way to burn it to create the ash for the glaze?
.thumb.jpg.49fac83df649274995408097d7f2d50c.jpg)
