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Found 182 results

  1. Hi, I am wanting to get a glaze like the image shown on this mug. Anyone know what it is and how to get it please? The middle part I assume is oxide? and the blue / pale white rings, maybe another glaze? thank you, any advice appreciated. Don
  2. Hi All, I wonder if anyone can identify this mug please? More importantly can anyone tell me what glaze this is? where to buy some more or less the same? what temp to fire at to get this look? or if not how to achieve this look. It has a real silky feel, sort of a matt satin glaze I think. Any info would be good. Thank you in advance.
  3. This is a problem I have had intermittently since I started making pottery at home in 2010, and lately it seems to be happening to more pieces each firing. 1. Are these pinholes or blisters? Sometimes they are sharp on the edges. 2. How can I correct this? Helpful (?) details: I am doing a slow bisque firing to cone 04. I hold for 10-15 minutes at peak depending how tight I've loaded the kiln. Bisque firing profile: 80/hr to 250F, 200/hr to 1000F, 100/hr to 1100F, 180/hr to 1676F, 80/hr to 1945. Glaze firing to cone 6. I do a programmed "slow" firing on Bartlett controller to 2167F and hold for 15-20 minutes depending on load. Witness cones show cone 6 achieved. Stoneware clay, made by a local manufacturer (all-purpose Goldart-based body rated cone 6 to 8. Contains 4.5% fine grog). 10 cubic foot kiln, electric Kiln is vented with a Vent-a-Kiln hood that is only 2 months old, replaced broken downdraft vent. Problem occurred with both vents. Trouble occurs sporadically with all my glazes, which I mix. The green glaze recipe in example photos: Rutile green: Talc 5, Custer Feldspar 22 Whiting 4 Silica 26 EPK Kaolin 17 Ferro Frit 3134 26 ADD Rutile (light) 6%, Copper Carb 4% Happens on all types of work: mugs, bowls, etc. I've read on the forum about correcting pinholes with a slower bisque but I feel my firing is pretty slow already. Do I need to slow it more? Why does it only happen to certain pieces? Sometimes two identical pieces glazed and fired at the same time in the same way result in one unblemished piece and one as shown above. Working from home on my own and really feeling out of my depth... and incredibly frustrated.
  4. Hey everyone! I'm in the process of creating a home studio, and I thought it would be a great idea to start making my own glazes. What are some good resources, magazines, or books that have helped you guys when it comes to introductory to advanced glaze making? Also, are there any tips or suggestions when I'm starting out! Thank you so much and any input would be greatly appreciated.
  5. Hello All I have spent the past several months reviewing various Cone 6 recipes (too many books and websites) so as to enter into making my own glazes. I reduced my list to a specific few, calculated my initial needs, and just came home with several bags of chemicals. I realize how important storage is, and now find myself ignorant as to where to get reliable containers for the various oxides, fluxes, etc.. Can anyone offer any insight as to the best places to buy various chemical containers? I have found a few sites on the internet, but would prefer to use sources that are proven reliable. Thank you for any and all insight on this subject. Thank you. Tony
  6. I fired my kiln last night same as I have been for the last 2+ years to cone 03 usually takes about 7.26 hours, half way through I went to check the kiln and the orton sentry xpress control board displayed CPLT @ 4.11 it was still at 1400 degrees F so I waited til this morning to open it and 4 shelves of beads and pendants were completely melted i mean gone! a giant blob of glass 4 shelves deep I dont understand what happened, I fired the same as always, the control bored should have gave me an error message if it got too hot, my question is could my work have melted like this not because it got too hot but because it reached temperature twice as fast as normal?? a few months back i woke up to a kiln load of glazed ware that didnt finish fring the display read HTDE Heat temperature deviation kiln shut off because relay got stuck or something, i never figured it out i refired and watched the kiln and it worked without issue until today, and one more thing to add is that if the relay was stuck bridged than i would have had to physically shut off the kiln would have still been hot but the kiln read Completed after just 4 hours also the control bored would give an error if it overheated, I cant let this happen again, paragon wants to send replacement parts but i want to know what the problem even is, they said replace the control bored and the relay but why? which is it and what happened, did my kiln furniture and jewelry all melt because it fired too fast or did my kiln get too hot and somehow bypass showing an error message? and once again as far as it appears kiln seems to be working again thanks for any help! P.s. I attached images to see what happened to my high fire kiln shelves when fired to cone 03 in 4 hours and 11min
  7. Iron

    Hi Guys, I am looking for answers everywhere........Maybe I will find it here......... I have mixed up a iron red glaze that I did not mix for a while. I used ingredients that is 10 years old and older. The end result was a flat brown instead of the rich red brown that it was before. I repeated the recipe, thinking I made a mistake, ending up with the same results. Then I thought maybe I used the wrong recipe and compared it with similar recipes getting to the conclusion that I did not make a mistake. So someone said the problem is the iron that changed over time. This was the first time I heard that in all the 36+ years I am in clay. Is that true and if so, can I fix the iron, or do I trash it? I assume that if that is true, it has to do with the oxidation process. Then someone mentioned the bone ash - artificial versus real, which raised the question with me if the bone ash may "expire", since I used the real thing. As I said: I used the exact same materials that I used on porcelain before. All these (except the silica and maybe the Custer) came from batches that I had in my studio for the best part of 15-18 years. (yes I have some valuable materials.....) The recipe is no secret, it is similar to many others available online, but the reason I want to do it again is because over time some of the plates that I glazed with it, wore off, which told me that there is maybe not enough silica in this recipe. So I want to alter it some, but first need to make sure I have the color right. Ralph’s Terracotta. Custer F. 41 Talc 9 Bone ash 13 Lith Carb. 2 Kentucky Ball clay 13 Silica 13 Add: Iron ox 9 Ideas please........... PorcelainbyAntoinette TeachinArt
  8. Hello! I have been harvesting a beautiful blue marbled clay, processing it, and then making cups. I did a test-bisque at cone 04 which turned out great, but the low-fire glaze that I applied afterward (cone 05-06 glaze) did not absorb easily and took several hours to dry. Is it worth trying to fire it anyways? And in the future: Will I run into complications if I bisque at a lower temperature (cone 05-08?) then apply glaze and fire at 05? The glaze directions say to bisque at cone 04, but I'm assuming its not necessary if the clay I'm working with is extremely low-fire? Thanks for the help! I am a beginner ceramicist working at home with access to a community kiln. I have never worked with locally harvested clay before and its amazing but difficult to figure it all out.
  9. I'm wondering if anyone has experience with using shellac or other varnish as a cold finish on a cone 6 body. I'm making some small nonfunctional work that I would ideally love to glaze clear over underglaze, but it's very 3-dimensional and trying to glaze fire it is a nightmare/logistical impossibility. I'm thinking of underglazing, firing, then using shellac but I'm not finding much info on shellac as a cold finish for pottery. I hate the idea of it deteriorating, getting sticky, etc. over the years. Thanks!
  10. This weeks question is less philosophic or ephemeral and more on the practical studio side. However, this too could be pretty deep. So JosephF asks:What is your favorite part of your most favorite glaze and why? I have been working towards a white that works on a variety of cone six clays, it comes from an older formula, but with some adjustment of opacifiers, I find that the color and surface works well for me. Originally it was a liner glaze, and I like the fact that it seems to be quite hard, contains enough clay to keep suspended, and goes on smoothly on my bisqueware. Over the years I have worked with a lot of whites, and none have pleased me as much as this one does. best, Pres
  11. Hey y'all, I've been lurking for awhile but haven't done much posting yet. I was curious about flashing slips. I have a converted gas kiln (which works very well and I got a lot of really good info from another thread in this forum -- thanks!) and am still relatively new at mixing glazes. (Slowly) Developing practical understanding! I really love the look of flashing slips and would love to incorporate them into my work. Though, being that this kiln was converted from electric and is made up of soft insulating brick, I'm a little concerned that atmospheric firings will flux down the bricks, so I haven't messed with it. The kiln's brick wasn't in the best shape to begin with, but I put some love into it and would rather not be wasteful. So I'm curious if y'all have any ideas about circumventing the notion of atmospheric firings to achieve a flashing effect? Might one spray ash on the surface of the slip? Mix more soda ash into the slip? Make a solution and simply brush it on top? Are any of these methods viable? I anticipate being advised to use saggars, which I'm not crazy about as the kiln just barely breaks through a "medium class" for top-loaders -- not a whole lot of space. Hopefully can circumvent the use of them, too. Holding my breath over here for a guru's advice! Thanks! Kevin
  12. Matte Wash

    I am trying to make a matte wash with oxide for low firing. I tried a GB wash but it became glossy when firing. Any ideas or recipes ? Just oxide with water ? Gum ?
  13. Glaze Melding

    Hi everyone! I am am new to ceramics after moving to it from metal clay. Things are going well but there is one constant error. I have a small jewellery kiln and it fires to the correct temp and the ceramic and glaze is working fine APART from where the object touches the kiln shelf on a glaze fire. I make pendants and rings mostly and it is so upsetting to have the items ruined or stuck to the shelf!! I use low fire stoneware clay and low fire glazes. So my question is what do I fire my pieces on. I have seen metal kiln furniture, is that the way forward? I am hoping you can help me, if you need any more info from me let me know! Thank you! Emma xxx
  14. Hi guys. I've started my aquaitance with ceramics and glazes half a year ago. I still have a very basic understanding of chemistry and I have several problems I'd like to ask about. First is clear transparent glaze. I made around 10 of them taking different recipes, but all of them contain bubbles. I've tried bisque firing in various temps, from 600 to 950C and second firing slow cooling, dropping and slow cooling, but bubbles are there and their quantity is similar in all conditions. I know commercial glazes don't have such problems. Please help me to figure out what is going on. My thought is that my raw materials are the problem. I have very few materials for glazes, those are: feldspar, whiting, borax, dolomite, talc, silica and kaolin. Substituting whiting with wollastonite didn't help. The runnier the glaze the less bubbles it has, but running is provided with whiting and borax and I have white clouds coming along with bubbles. Less flux - no clouds, but still bubbles. I imagine it is kaolin that gives a lot of small bubbles. Any chances to fix that? I have stains and wish to use them in underglaze painting, so I need to make a decent covering glaze. For underglazes I bought a few frits, I don't know their formula, seller keeps it in secret, only mentioning temp range. I have 1 lead flux frit melting on 710C and other leadless on 1100C. I need to fire on 1220C, so I guess some kaolin may help to lift temp of frits melting so the stains won't burn out, but more bubbles again? If you have info how to win the fight with bubbles please share. Sorry if made any mistakes.
  15. Glaze

    Why do I get cracks in the glaze after the fire? Any suggestions Thanks nitza
  16. I am new in the pottery. I try to make glaze from raw material. It has so many recipes, which one should I start with? Please give to me some advice.
  17. The exhaust fan in the ceramic glaze spray shed has failed at my local Arts Center. The fan had an open motor and the spray had clogged up and shorted out the motor. What the old one is is a 10 inch inline duct fan. That unit is no longer being manufactured so I need to get it replaced with something comparable. I have seen some fans available on the internet but they are different and are very expensive. So, I'm checking with others on this forum for recommendations. I'll either be looking for an affordable replacement fan for the old one that failed. Or come up with some other DIY solution for exhausting ceramic glaze in a spray booth. Recommendations?
  18. Hi Y'all - I'm super stressing cause I don't know if I can reverse my mistake. The studio I work at uses a kiln that can fires to a max of cone 10, but regularly fires at cone 06 and uses EM342 whiteware clay. I somehow totally missed the memo and thought I heard them say we fire at cone 6 (!) so I went ahead and bought some really beautiful cone 5-6 glazes, covered a handful of pieces in them, and, to probably no one on this forum's surprise (but to my total dismay) they came out all kinds of wacky Is there any way I can salvage my pieces? One thought - could I fire the pieces again at cone 6? Would the clay be able to withstand that? Your ideas would be appreciated - thanks!
  19. I am asking for suggestions for matte white underglazes or engobes. I would also consider making my own engobe out of my white stoneware clay body but I don't know how. I've never done that. I need it to be able to be painted on bisque ware under my Clear Bright from Laguna. I have tried: - Duncan Concepts white underglaze. It flares up and comes through the clear glaze. Yuck. That's not going to work. - Dune White engobe from Laguna. If applied too thickly it forms micro cracks along the edges. Since this is filling in carving .... I thought I would try Amaco's Velvet White but it says it is only food safe if I use it with their clear. I have extensively experimented with the Clear Bright and my clay bodies and I am not willing to change it. I have been making a series of highly decorated pie plates with carving and slip inlay. I paint wax on a leather-hard piece and then carve through to the clay, then paint it with white stoneware slip. The problem I am having is that the two most recent pieces I've made this way have been horribly pitted, tiny air bubbles formed when I painted on the slip and they did not show up until after it was fired. I thought I had them filled with the glaze but after glaze firing about 20 pits were still open, making a high-investment piece completely unusable. I want to try just carving it plain and painting on/wiping off an underglaze or engobe after it is bisque fired. This is not the item with the issues, this is another one that I made with the same technique.
  20. When a manufacturer states that a specific line of glazes is 100% mixable, and that each of these glazes is food safe on its own, can I assume that means that if I layer or mix colors in the same line the glaze is still food safe? Applied and fired according to their instructions of course. I'm really agonizing over glaze safety and no, I don't want to make my own glaze. The prevailing wisdom, and what the manufacturer's say, seems to be that once different food safe glazes come in contact with eachother, all bets are off as to the food safety of that glaze. This makes sense to me, but I'm seeing all sorts of combining going on in utilitarian ware. Beautiful combining. I don't think everyone is sending their stuff off to the lab for testing. Or maybe I'm wrong. At this point I'm using single glazes anywhere food touches. I'd appreciate any guidance and suggestions. Thanks Irene, trying hard not to contaminate anyone or make any enemies
  21. I finally made the commitment to making a large batch of my standard white glaze in order to move beyond the size limitations of a 5 gallon bucket and the nuisance/mess of transferring glaze from said 5 gallon bucket to shallow bins for plates. I was hoping to find a 15 gallon bucket with an available bucket dolly, but no such bucket appears to be on the market. I ended up going with a standard 20 gallon Brute garbage barrel. I mixed up three 10kg batches of my glaze, which amounts to about 12 liquid gallons. It fills to just above the halfway line of the barrel (the barrel tapers out toward the top). In addition to sitting low in the bucket, there is an annoying trough around the perimeter of the barrel's floor where the barrel dolly locks into place from the underside. I anticipate this trough will make stirring up the glaze adequately a challenge. So I'd like to make the 20 gallon barrel act more like a 15 gallon barrel with a flat bottom. My idea is to pour concrete into the bottom of the barrel to fill the trough and raise the floor of the barrel up by a few inches. I've never worked with concrete before, so in doing some research I learned that it is porous. So my question is: Will the porosity of the concrete matter? Will the concrete absorb one or more of the glaze ingredients in higher concentration than others... will the presence of the concrete throw off the chemistry by trapping one ingredient disproportionately? Will the concrete break down over time? If it is not safe to have the glaze in direct contact with the concrete, my plan B is to cut sheet PVC to the exact shape and size of the concrete slab and seal it in the barrel on top of the concrete. Thoughts, recommendations, warnings and alternative ideas will be appreciated. PS I know the easiest answer is to make up another 10kg batch or two of the glaze, but it's and expensive recipe and I'm out of materials.
  22. Hi. I was looking for a nice white liner glaze and I came upon Turners White in a CAD article. It said it was good with cone 6 and cone 10 and mixes well with Mason stains. Sounds perfect to me, The glaze called for soda ash which I was out of. I called my local pottery shop and he had Minspar 200 which he said should work well as a sub. So I tested it at Cone 6 and it came out very underfired looking. It was dry and cracked This is the recipe I made Dolomite 10 Whiting 9 Minespar 200 25 Custer Felspar 20 EPK 18 Talc 6 Silica 12 BEntonite 2 Zircopax 8 (I used Zircopax plus) Is Minspar 200 a good Soda Felspar? Could it have been Zircopax Plus instead of just Zircopax? What can I do to fix this glaze for cone 6 firing. Thanks
  23. Hi, I am new to ceramic glazing. Are there any methods that can duplicate fire-based glazing on ceramics? I work at home, so i do not have access to kiln. I have read there are oven-based glazes and non-fire based glaze. How effective are they in terms of the glaze (will it be similar to fire glazed plate)? Thank You.
  24. Does this simply mean a glaze speckled by the clay body? I've Wikipedia'd "Shino" and the best I can figure out it's an old Japanese technique using a white glaze which speckles over a red clay body, originally on tea bowls as part of rustic pottery aesthetic. Wikipedia branches off into a lot of info about shino that seems to spiral around getting more ever more complicated, at least to my beginner's ears. However I've heard the term "Shino" glaze bandied about seemingly loosely with modern glazes while watching youtube videos. They didn't look much like the ancient Japanese utensil ware referenced. The glaze wasn't always white, and there was no clue as to what they meant. I don't even think it was speckled. The nearest pottery shop has "Shino" glazes for sale not all of which are white. Of course I asked them what shino was and got an eyeroll. I'd like to learn once and for all what it means.
  25. This might be a very stupid question, so bear with me. Recently one of my pieces has split at the bottom (I made it too thick). I have both pieces and I know that when glazes are fired they connect with anything they touch. Is it possible to reattach the pieces just by glazing the sides that are detached?
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