Jump to content

Search the Community

Showing results for tags 'Glazes'.



More search options

  • Search By Tags

    Type tags separated by commas.
  • Search By Author

Content Type


Forums

  • Ceramic Arts Daily Forums
    • Forum FAQ & Help Topics
    • Studio Operations and Making Work
    • Clay and Glaze Chemistry
    • Equipment Use and Repair
    • Business, Marketing, and Accounting
    • Educational Approaches and Resources
    • Aesthetic Approaches and Philosophy
    • Int'l Ceramic Artists Network (ICAN) Operations and Benefits
    • Ceramic Events of Interest

Found 29 results

  1. Which Silica To Use?

    Hello, I'm making and testing glazes in my hunt for a satin matt glaze. I came across this recipe by Tony Hansen, which sounds almost exactly what I'm after, but I'm not sure which silica to use. Apologies if its a basic question but I'm still relatively new to this! The recipe is here - https://digitalfire.com/4sight/recipes/cone_10_silky_dolomite_matte_base_glaze_39.html Then I am hoping to add oxides to make a black glaze, would anyone have any ideas of which oxides and how much? Many thanks!! Lauren
  2. Week 8 New quiz folks, another hodge podge of thought raising questions. All of the Earthenware clay bodies can be lumped into 3 arbitrary groups: pure earthenware, talc, and kaolin bodies fritted, grogged, and kaolin bodies pure earthenware, fritted, and talc bodies pure earthenware, kaolin, and fritted bodies As temperature decreases, flux increases, and ________________ decreases. Feldspar kaolin ball clay quartz The thinnest, and lightest of kiln shelves are made of a ____________________composition. high alumina cordierite nitride bonded silicon carbide ____________ glazes are used in a lot of studios to avoid throwing small bits of glazes down the drain Trash Raw Commercial Ash This weeks questions come from text in Electric Studio: Making and Firing, edited by Bill Jones, c. 2016, The American Ceramic Society Note from Pres: This is one of the newer books(paperback) in my library. If for nothing else, it has a large area on the use of , repair and firing of electric kilns. This includes sections on kiln furniture, repair and upkeep. Answers: c) pure earthenware, fritted, and talc bodies Pure earthenware clay-as mined it can contain varying amounts of flux and other impurities and it fires to whatever temperature its contaminants (sodium, potassium, iron, etc.) dictate. Fritted bodies think of it as porcelain (25 kaolin, 25 ball clay, 50 non-plastics) but with much of the non-plastics being frit and the frit often containing boron. Two subsets exist; one with lots of nepheline syenite as a flux source, another with whiting (calcium carbonate), which is problematic because its firing range is narrow. There are, of course, an infinite range of mixes of frits, feldspar, and nepheline syenite in this group. Talc bodies-similar to porcelain but they have use talc (magnesium aluminum silicate mineral) as the principal flux. Again, talc, frit, nepheline syenite, and feldspar are mixed in infinite variety to make low-fire clay bodies. The clearest example is 50 talc and 50 ball clay. Talc bodies have very little silicate glass, in fact they have very little silica and consequently they can be terribly weak better for figurines than for functional ware. (d) Quartz As firing temperature decreases, flux increases and quartz decreases. Natural Earthenware clay, as mined, contains all the sodium, potassium, iron and other fluxes necessary to fire to maturity without added materials. c) nitride bonded From an image caption. . . . The relative thickness of three 18x24-inch kiln shelves composed of different materials. The thickest(left), a 1-inch cordierite/high alumina shelf weighing 21 pounds; the next is a thinner but denser 3/4:-inch silicon carbide shelf that weighing 20 pounds; and the thinnest shelf, a 3/16-inch silicon carbide nitride bonded shelf weighing only 9 1/2 pounds! (a) Trash It’s a fairly common practice in large studios to make what’s called a “trash glaze†using the remaining bits of various shop glazes to avoid throwing glaze materials down the drain.
  3. Week 5 “Raw glazes†are those that are applied to the clay at the unfired, leather hared or dry stage. When making a glaze for __________ ______ clay, we have to increase the plastic, clay content of the glaze. However, a raw glaze for dry clay needs a decrease in ___________ content. Bone dry, silica Leather hard, water bisque ware, alumina Bone dry, water Most raw glazes will need around ___-____% of clay in the recipe. 10-20 20-30 30-40 40-50 A very interesting glaze can be had by adding iron oxide into a ______ _____ and ____________ _____________base glaze. This produces a bright orange-red colour response. bone ash, lithium carbonate dolomite, barium oxide boric oxide, magnesium carbonate whiting, zinc oxide For those only doing oxidising firing at stoneware temperatures, certain colors are readily found with the additions of cobalt (blues), iron (browns), copper (greens) and opacifiers such as tin, titanium, and zircon (white). Some colours, however, are much harder to achieve and true res and bright yellows are usually only possible with help from _______________ ______________ ___________. reduction firing only second and third firing luster glaze firing commercially prepared stains This weeks questions were taken from text in Glazes Cone 6, Michael Bailey, 5th Printing 2010. University of Pennsylvania Press best, Pres Answers: 2 )Leather hard, water. . Therefore, in making a raw glaze to go on leatherhard clay, we need to increase the plastic, clay content of the glaze--this will allow the glaze to shrink in step with the clay as it dries. Or, for glazing on dry clay, we need to cut down on the water content of the glaze. 3) 30-40%. . Most raw glazes will need around 30-40% of clay in the recipe. The result is that we can end up with a lot of alumina in the glaze, which is fine if you are after satin and matt glazes, but hopeless if you want them to be transparent or crystalline. The secret to solving this problem lies in realizing that not all clays are high in alumina! 1) bone ash, lithium carbonate. . This is a very interesting glaze where the addition of red iron oxide into a high bone ash and lithium carbonate base glaze, produces a bright orange-red colour response. (Unfortunately none of the other colouring oxides seem to react in this unusual and amazing way). This interesting glaze is called Orange-red iron glazes by Bailey.(pres) 4) commercially prepared stains. . Answer and question taken directly from the text on page 22, end of paragraph 1(pres)
  4. Hello there, I'm very new into Pottery and don't know much about glazes yet, well, don't know much about a lot to do with Pottery, to be honest. I've mainly worked with clay during art school for anatomical sculpture and recently acquired a kiln from a cousin. I have never fired a kiln before, but feel comfortable with the greenware (I thiiink that's unfired clay, right?) I'm not even sure of the model yet. I have 2 questions (to start with) for you: *Can you recommend a good book or resource (video, websites, etc) to help me, an absolute and complete beginner, learn how to safely work a kiln and find more info on glaze and glazing techniques? I am most drawn to Japanese Pottery styles, if that helps filter at all. *how long will it take to get good enough to make pottery like the attached images? I'm a very fast learner and am able to dedicate a large majority of time to this. I appreciate any and all assistance, and thank you for accepting me into the community! Cheers! Vesa
  5. Hi there, I'm pretty new to glazing and looking for help. I've always been in love with Lucie ries work and have been trying to create a beautiful black glaze of hers made up of equal parts manganese dioxide and red clay. I'm not even sure you can call that a glaze which maybe why I'm having problems with running. The glaze looks beautiful but it runs! Is there anything I can do to stabilise the glaze while keeping the beautiful finish. I am firing it over earthstone original clay in an electric kiln to 1230. Up to 600 at 60/hr then at 100/hr up to 1230. Does anyone have any suggestions to help? I also wondered if anyone might know of a way of making this food safe? Can you layer a clear glaze over it? Appreciate your advice.
  6. Brush-On Stoneware Glazes

    Hello! This may be a question that's a little silly, but I can't seem to find the answer anywhere. I've taken a liking to brushing on glazes on a banding wheel, as I've used earthenware clay/glazes for the majority of my time making pottery, and just recently decided to try a few different clay bodies and still intend to use brush-ons as much as I can. My question comes from the level of difficulty brushing 3 coats onto Cone 6 stoneware or porcelain (that has been fired and matured to Cone 6) brings, as It's not porous and takes a while for each coat to fully dry. As I've been looking at some different company glazes/glaze combinations and techniques (specifically Mayco), a lot of them have said to bisque fire to Cone 04, and then glaze fire to Cone 6 and it makes sense to me, but I still can't find it written anywhere definitively that that is the way to go about brushing on stoneware glazes. Is bisque firing stoneware or cone 6 porcelain to Cone 04 and then glaze firing to 6 a common practice when brushing on glazes or even dipping? Any information regarding this topic is greatly appreciated or any tips etc. about brush on stoneware glazes are also welcome! Thank you in advance!! Caden.
  7. UNDERSTANDING GLAZE CHEMISTRY WORKSHOP (CER074SA) Sharon Campus of New Hampshire Institute of Art Nov 12 (Saturday), 10am – 3pm Professor John Baymore $129 This one-day seminar workshop will provide participants with a basic understanding of the core concepts that can impact the creation, use, and evaluation of ceramic glazes for studio use. The use of the popular Insight ceramic chemistry calculation software will be introduced, and the approach used to this can be applied to any ceramic chemistry software. Troubleshooting of fired results, "food-safe" qualities, health and safety, legal requirements, and ventilation concepts will also be touched upon. Handouts will be provided to all participants. Prerequisite: Intermediate or greater background in ceramic work To Register NEW HAMPSHIRE INSTITUTE OF ART 148 Concord Street Manchester, NH 03104-4858 BY PHONE Community Education Office (603) 836-2564 IN PERSON Manchester Campus: Mon – Fri, 9am – 4:30pm Registrar, 148 Concord St., Manchester, NH Sharon Arts Campus: Mon – Fri, 9am – 3pm 457 NH Route 123, Sharon, NH BY EMAIL CERegistration@nhia.edu ONLINE www.nhia.edu/CE BY MAIL New Hampshire Institute of Art Community Education Office 148 Concord Street Manchester, NH 03104-4858
  8. I imagine we've all had that moment. At some point we look at our work and see, sometimes rather suddenly, that we have decided to go in a direction very different from the one we've been pursuing. The moment came for me a few firings back, when I unloaded the kiln and realized I liked a lot of the pots better than I liked the stuff I had been doing before. And then, I had to think about why I liked them better. Those new pots existed, in all honesty, because I had an order for a bunch of bowls and I had to get them out quickly. I decided to use some surface techniques that I had been experimenting with to some extent. These techniques involved the use of sprayed slips and incising through layers, and then using a simple but active glaze that reacted strongly with the slips to create somewhat random surface effects. This was a decidedly unfussy approach, and I have often become mired in fussiness in my work. Except for the first few years of my career, when I was intentionally imitating the great Asian pottery traditions, I have relied heavily upon my ability to draw. I was a painter before I was a potter. I saw that potters who could draw were a minority, so I tried to exploit that skill, in a lot of different ways. If you check my gallery of older work, the emphasis is pretty obvious. But at the same time, my favorite contemporary potters are not people who can draw, or at least that skill is not something that they make heavy use of in their work. These perceptions were strengthened a couple weeks back when I went to a Tom and Elaine Coleman workshop. Tom is not a draftsman. He was also a painter before he was a potter, but it seems obvious to me that he was likely an abstract expressionist, because his wonderful pots are decorated in an abstract and spontaneous manner, with marks made in a very free and unstudied manner. Elaine's work is very different. Not only does she draw extremely well, but she is also a brilliant pattern maker. At any rate, I realized that I was not as interested in the drawing as I was in the pattern making, and this further impelled me along my new path. So, what large changes in direction have you had, and what occasioned them?
  9. Just wondering, can you tell by just reading whether a glaze will be more suited/attractive by firing in reduction or oxidation? I liked a glaze I saw called variegated slate blue, but it was only coming across the same glaze again that I noticed it was labelled for reduction. the colourants were rutile and copper carb from memory so if fired in oxidation...it would be more what?? green? less variegated?
  10. Hi, I'm new. Newly set up studio in garage...connected the kiln, focusing on tiles, still learning. I work with Standard 420 and 547 clay with lots of grog, and will fire to cone 6. I want to make some really earthy matte floor tiles, and am having a hard time finding matte glazes. The color range I am interested in is cream, burnt sienna , terra cotta (slightly pink?), earthy orange, mossy green, straw?. Attached is a pic.with colors that I love, but it is on a cement tile. Any suggestions on how to get this look- rustic texture and lovely variation on field tiles? It would be cool if these glazes blended/layered nicely with each other. Would they be sprayed on (I've never done that)? What about colorants to the clay and a clear matte glaze on top. I have little experience with colorants. I have never mixed my own glazes, but may be willing to learn (or have my local ceramic supplier mix them for me). Thanks very much. Happy to have this forum! Steph
  11. Hi all, I have been able to consistently mix and use several glazes that I'm very happy with. Now I am trying to find a group of glazes that can be used with each other. Even if it is only two colors on an item. All my work is functional. I feel overwhelmed by the number of choices and am looking for a method to narrow down my search. My glaze chemistry knowledge is limited as I am mostly self taught. I like glazes that run and can be over lapped. I fire cone 6 electric on white stone ware. Thanks for any help offered.
  12. Success

    It only took 18 months (part-time) for me to learn about glazes and how to manipulate them to get results I want. I have read so much about glaze chemistry I feel like my head is going to exploded. For beginners I can't say enough about how helpful John Britts book, The Complete Guide to Mid-Range Glazes was. I want to thank everyone here at CAD for all your help also. So many great things have come out of this last firing even having over fired. I am posting just one of the glazes I have come up with. I replaced pic with a smaller one.
  13. Hey all! My first volley of research didn't garner much, so I figured I'd see what the forum has to offer... A friend of mine would like me to make something for her in a bright lime green (see attached photos for examples of the color). Any suggestions for a commercially-available glaze? PLEASE note that I don't mix my own for various reasons, so unless you're going to mix it for me and mail it (an option I'm not averse to if someone is willing), I have to go the commercial route. Any brand is fine, but it needs to be either ^05 or ^6. Suggestions? Thank you all in advance! ...not my personal preference in colors, but it's not going in MY house.
  14. I wanted to post some of the other glaze test results from my firing last week other than the glazes that contained the Alberta Slip. I have been using a glaze called Flowing Green, very common, A medium green color, breaks brown where thin. I tried several variations using this glaze and the Alberta Slip glazes. The photo of the mug is Flowing Green on white stone ware. It is applied pretty thick on the top. The test tiles are: #294 Alberta Slip Base under Flowing Green, Redrock #253 Flowing Green under McGruder Red #255 Flowing Green under Selsor Temmoku I had a couple of more really great results but am still working on getting the images uploaded and labeled. I have to give credit to my daughter, Micah, she is my photographer and took all the pictures.
  15. In another recent thread, member TJR made an interesting observation. He pointed out that what customers want has changed significantly since I began working, back in the Stone Age. He implied that traditional glazes such as celadons and temmokus are less likely to find fans than they once did, and that white and colored glazes are more popular. That strikes me as okay, for me personally. I started out as much a fan of the Leach tradition as you were likely to find, and my early glazes reflected that devotion. But after the first few years, I started to wear out a little on glazes from the far east. At the time, there was a whole other esthetic going on in the American SE, led by potters like Charles Counts, who promoted electric mid-fired wares with earth-colored matte glazes. I found this a bit boring, personally-- I wanted the excitement and unpredictability of high-fired reduction glazes. However, as my glazes evolved, I went in the direction of white and colored glazes, and even more eccentric (for the times) shiny glazes. Now I'm firing in a slightly lower range, in electric kilns, and these same sorts of glazes are still appealing to me. I like a lot of visual texture and complexity, so that it's not possible to completely take in a piece until you have lived with it for a while. I still like shiny glazes, but my favorite glazes tend to have variation, with some matte areas to add to the visual variety. So I might once again be completely out of step with current trends. I don't know. I'd love to hear from other potters on how they perceive their glazes as meeting current fashions in the pottery-buying public.
  16. leftover glazes

    From the album Rogryphon's stuff

    Leftover bottom of the jar glazes, looks very nice.
  17. Runny Cone 10 Glaze

    I am a high school teacher and I found a beautiful commercially produced Turquoise glaze that tends to run, a lot! I have never relly gotten in to the chemistry of glazes. I have always used prepared commercial glazes. Simple, easy to mix and cheap. My question is, what can I add to the glaze to reduce the amount of running? I believe that the running is a result of firing the glaze to too high of a temp. However, if I fire to a lower temp to keep the Turquoise from running, the other colors will not fully mature. With so many students, I don't have the capacity to do a firing of just the Turquoise glazed projects. My little research says that by adding China Clay to the glaze it will reduce the runnyness (not sure if that's a word). I also saw that Spodumene will raise the melting temp as well. Any help is greatly apprecioated. Brian
  18. I was loading a kiln load up today, glazing as I went, loading each piece as I usually do into the kiln when finished with it. I set of my pre waxed taller pieces aside, working on the patens(plates). I go through a series of dip glazes, sprayed and poured glazes, and some atomized on stains. I then finish the foot ring by using a damp sponge on the foot rings of the patens while on the griffin grip. Chalices are done much the same, in batches of 2 or 4 to match patens. I placed the lid on the kiln(mine is not hinged, but has two handles) leaving a little space up top for early venting. I also leave out the peep plugs on the top two layers. All kiln switches were turned to 9 o'clock which is 25% on my switches. An hour later, I have closed the lid, but leave the switches at the same position. What simple test could I use to tell when to start up the regular firing? This is for the newbies out there, and the experienced folks also. I have been noticing questions involving, shivering, spots on kiln shelves, and other things that this test could help alleviate. Answers folks?
  19. Here is a link to my Facebook Color/Colour in Clay page ... https://www.facebook.com/groups/286531511532039/ The first post with pictures is from a newbie who is noticing significant fading on a colored clay glazed piece that has been run through the dishwasher several times. Any comments would be welcome as this is a new problem for me.
  20. Hi All, I am looking for glaze book recommendations for beginners. Like most artists I am a visual learner so that would be helpful to take into account. I currently work with earthenware clays so it would need to address low fire glazes. Fortunately I have most of the raw materials in my studio which came in a lot purchased off a former 1970s potter (who also worked with low fire clays and glazes). The collection is probably about 90% complete and even has a few materials no longer being mined - and a number that are now considered unsafe because of lead, cadmium, etc. Of course, I know to be extra careful working with these and to not use them for functional wares. I had hoped I could just start my glaze making experience by following some recipes I have found online and learning as i go along. I now realize that to achieve the best results I need to gain a stronger understanding of the chemistry involved. (I chose physics over chemistry in high school so am seriously lacking in general knowledge of this science to begin with) I would love to get some recommendations from other potters, especially on which glaze making books got other self-taught potters started. Thank you.
  21. Hey guys what ceramic supply websites do you prefer? Which have the most reasonable prices and what were your experiences with them?
  22. I've been throwing with Standard Clay 630 (^6 white stoneware) this year and have really been enjoying using it. However, I used a few different commercial glazes with it and have found that some of them are crazing. For example: Amaco HF-9 Zinc Free Clear Amaco PC-40 Celadon Amaco Sahara Yellow Coyote Light Blue Gloss All of these are translucent, so maybe that's the common thread? Because Amaco's Ultramarine, Amaco's Amethyst, and Coyote's Buttercup didn't craze at all. But I tried my local studio's zinc-free clear, and it didn't craze. It's not the cooling, because nothing is being fired any differently than other pieces that don't craze. So I'm thinking it's a COE / glaze fit issue...but I am a total newbie at glaze chemistry, so I bow down to the collective knowledge of the forums and ask if there's anything I can do to my commercial glazes to make them fit. Other than changing clays, of course. Which is probably what I'll have to do, but I like the 630 the best out of the ones I've tried and I really love the celadon and light blue glazes... Also, how serious is this breed of crazing? Is it really *that bad* when it comes to using them for food/drink?? (Regarding clays.....I know some of you swear by clays made by Highwater, Laguna, etc., but I live in Pennsyltucky and getting anything other than Standard isn't an option right now. Also, I am a hobby potter and porcelain is out of my current league.)
  23. Hello all! I need some clarification on kiln firings & a little help identifying some glaze problems. So first, I've been taking classes at a community center. I have ceramics/pottery background but I don't know it all when it comes to firing a kiln. I know the basics and I've loaded/fired bisuqe kilns and low/mid fire glaze kilns [it's been a couple of years though]. My issue/question here is: I've noticed that some greenware has been loaded into a low fire glaze kiln [cone 05 I believe]. Is this okay to do? I have never seen it done before & just wanted to make sure it wouldn't jepodize the integrity of the work. Also, there has been issues with glaze crawling and peeling all over peoples work. Does this sound like a dust issue? I've never had issues with dust before so this is a new concept to me. I'll have to post a picture later. Thanks!
  24. Hi Eveyrone, thanks for all the help so far on this site, its a fantastic community! i have a small question about Liquid Bright Gold; can i apply it over a glaze that i have already fired - at witness cone 06? i have some pieces that were fired at 06, then glazed and fired at 06, now i would like to add some further decoration with the liquid bright gold, which says it needs to be fired to 019-018. so the simple question is: can i apply it over already fired glazes? sorry if it seems a stupid question! i'm learning all the time! thanks so much! Toni
  25. Hi all my local hardware store sells a product called Black Oxide which is used to colour cement. Has anyone tried this is a glaze recipe? I dont know the chemical formula as their product website does not give that information, only that it is derived from anthracite and coal. So I dont know if it can be used for glaze? Can anyone help?
×