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Clean Merge Line.


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On glazing pots with two or more glazes, how do you get a clean merge line i.e. not a lumpy runny area where the two glazes touch? Quick dip to the merge line then laze as normal? I tend to get an area which I am not happy with or the glaze looking skinny on the two sides of a glaze merge I am happy with.

No photos, not potting at mo. but dreaming heaps.

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I've switched to a rather unconventional method of getting a crisp line when dipping. On closed forms (mugs, tall vases, etc.) I will wax the bottom first, put my hand inside the pot while expanding my fingers to grip from the inside, then dip the bottom first...as far up the outside as I want. At that point any extra glaze can be wiped, easily, from the bottom.  Once dry, I pour glaze inside the pot and pour it out. Once the inside is dry, I can grasp the pot by the foot, invert it, and carefully dip the piece into the glaze right up to the glaze line of the initial, bottom dip.

 

The rest of the time, I use masking tape and just spray,

-Paul

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Hamada and Dave Shaner used the Bray liquid wax.In fact, I think it was developed for Hamada while he was there.  Probably any of the modern liquid waxes would work. Cover the first glaze with the wax where you want it. Allow the wax to dry. Then wash the first glaze away from the edge of the wax line. Then you can apply the second glaze. Clean the glaze off the dried wax.

 

 

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post-1954-0-65889900-1431794092_thumb.jpg

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Well then, the surest way to do it, as mentioned above, is to use liquid resist.  I've used Axner's for many years.  As an example, to get a crisp edge for a white liner glaze on a mug, glaze the interior and lip.  Then resist the glaze at the lip and down a bit on the inside.  Wash away the liner glaze that's dribbled on the outside, let dry, then with your hand inside, plunge the mug into the exterior glaze, getting as close as feasible to the lip.  Then reverse the mug and lightly dip the lip to get any surface that doesn't yet have exterior glaze.  You still may have a slight overlap, but it will be the same glaze, and it can look good if you have a double thickness at the transition, with the right exterior glaze.

 

As other folks have said, this technique can be adapted to any situation where you need a perfectly clean line between two glazes.

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Just a clean meeting of glazes, no clay showing and no or not much inbetween colour from the over lapping, thus thicker glaze area on the pots. Ideally no overlap no clay showing but with my personality, prob not going to get it, but I am going to try!

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typed you a reply but it is not here.  must have missed that da** black "post" again!

 

some glazes need frequent stirring to maintain a thickness that will work well with dipping.  if it goes watery at all, the pressure of the dipped pot pushes the watery part away and as the pot is withdrawn, the watery stuff is what sticks to the pot. if this is what is happening, stir the glaze immediately before the second half is dipped.

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Thanks Old Lady my prob. is that when I have two glazes which in themselves give a satisfactory coating, when double dipped, they "clunk" up and it's not what  want.

When I thin them well, they are hungry on the pot but fine where double dipped..

See t his is in bold but am not shouting or swearing just a finger error and can't be bothered changing this! :) 

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I maybe should mention that if what you want is a very sharp and clear demarcations between two colors, then an excellent approach is to use colored slip on the greenware.  You can paint the line you want with resist, or just wipe away the slip where you don't want the color-- and this is particularly easy to do if there is a break in the contour at that point... say, a ridge or a groove.  Then you can use the same glaze overall and still get a very sharp edge where the pot changes color.

 

I find slip on leatherhard ware much easier to manipulate than glaze on bisque.

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