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Found 230 results

  1. Hi all, I'm very new to ceramics and need help with underglaze and clear glaze compatibility. I use Duncan covercoat on bisque with a Colorobbia CLA3 non toxic clear glaze over it. The problem is, the color just doesn't come out right when I use this glaze. I have tried firing at higher temperatures, I have tried putting the covercoat on leather hard clay, firing, then dipping in clear glaze and firing again- nothing seems to work. The color doesn't come out. I have contacted both Duncan and Colorobbia, both seem to say that the two products should work just fine together. When I tried a different clear glaze (lead based) it seemed to work perfectly fine, the color comes out just right. The problem is I do not want to be using a lead based glaze as my pots are for dinnerware! Any suggestions or ideas would be greatly appreciated! Thanks!!
  2. Hi guys, I am fairly new to ceramics and to this community. I wanted to ask if anyone had experiences/knowledge around sprinkling iron filings on pots with wet surfaces - right after glazing. Is it food safe? I know that there are glazes with high iron content but wanted to achieve a uneven effect with bigger speckles. This idea came about while watching and reading about a father and son potters from K. H. Wurtz. Here's a link of the video: On their website under their bio they mention the use of iron filings sprinkled on pots too. Any information about temperature, type of glazes, type of clay and their effects would be much appreciated. Regards, Jason
  3. I am new to glazing. I purchased a bucket of clear glaze. It was advertised as cone 6. I fired a few pieces (I know - should have done a test fire) and got blistering all over the pieces - some popped. In looking closer at the fine print, it is a cone 06 glaze. Can I retire and save these pieces? Or any help anyone can give. I know I should be chastised. Be easy on me. Thanks!
  4. http://ledondufel.com/fr/stage/la-terre-sigillee-de-la-fabrication-a-la-cuisson/
  5. Morning all, I recently ordered a glaze which was available in matt and glossy. I unfortunately did not specify the glossy code and the supplier did not check with me regarding the two options. I ordered 5kg and I really don't want to purchase another 5kg, as I had already made it up. Can anyone suggest what I can add to this to make it glossy. Thanks in advance Andrea
  6. I know that high fire stone ware is oven safe and dishwasher safe, but is it microwave safe?
  7. Hi everyone, I have seen this pot and do not how to make it. can u help me to identify it .
  8. Deborah Bedwell Workshop Surface Academy: Velvet Underglazes, Classroom Engobes and More! WS04 – Saturday, 10-4pm, May 21, 2016 Fee: $100 member/$115 non-member Scribble, doodle and dot! This 1-day workshop will introduce students to the colorful world of velvet underglazes, engobe slips and more. Participants will explore application techniques underneath glaze and on top of the glaze surface in this class. This class will encourage you to utilize line and color on your ceramic pieces while you learn how to bring a casual, playful, graphic sensibility to pottery making. Participants are encouraged to bring both leatherhard and bisque, either porcelain or stoneware, and experiment with the classroom materials. Open to all levels of artists with curious minds, previous clay experience is recommended, potters or hand-builders welcome. DEBORAH BEDWELL is one of the founding artists of Baltimore Clayworks and led the organization as the founding Executive Director from 1980-2011. Beginning in 2012 Deborah was elected NCECA President Elect. She holds a bachelor’s degree from Berea College (KY), a master’s degree from Towson State University (MD), and studied arts management at U. Mass. Amherst. She has received much acclaim for her success in creating Clayworks’ community arts programs, which has made the arts accessible to underserved individuals throughout Baltimore and the region. Her extensive knowledge of contemporary ceramics has taken her throughout the US and abroad where she has served as a panelist, curator, lecturer and workshop presenter. In addition she is an accomplished potter who continues to exhibit her clay work both locally and nationally. In the 1st quarter of 2013 she worked as artist-in-residence at Tainan National University for the Arts in Tainan, Taiwan ROC. WS04 – Saturday, 10-4pm, May 21 Fee: $100 Members; $115 Non-members Contact Matt Hyleck at matt.hyleck@baltimoreclayworks.org or Mary Cloonan at mary.cloonan@baltimoreclayworks.org for more information. Baltimore Clayworks 5707 Smith Avenue Baltimore, MD 21209 www.baltimoreclayworks.org
  9. I've bought about a dozen different Terracolor glazes, which are supposed to have "built in effects", looking very much like Raku... Two of the more solid color glazes look and work as they do on their product images, and one of the effect glazes also works beautifully and looks exactly like their product image. However, all others I've tried are complete disasters compared to the product images, and I've tried to vary water content, bisque firing temps, application thickness, firing temps... the lot! I don't want general tips, because even Terracolor themselves can't give me good pointers as to what I'm doing wrong. My question is this: Has anyone here used Terracolor, and what are your experiences?
  10. Hi, I have an unfired pot (cone 5/6 clay) that has had raw Cone 6 glaze (Coyote Alabaster Satin) applied to the inside. Can I fire this raw pot at bisque temp, leaving the applied glaze inside and then fire again at Cone 6 later? I was going to once fire this pot... but thinking now it would be a better plan to bisque at least a little first since it has some fairly fragile embellishments. Hope this makes sense Thanks!
  11. 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?
  12. 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
  13. 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?
  14. 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
  15. 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.
  16. 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!
  17. 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?
  18. 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
  19. 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?
  20. 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?
  21. 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

  22. Hello I have made a beautiful gold flecked glaze but it is too runny! How can i fix it? Carol
  23. 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
  24. 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.
  25. 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.
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