Jump to content


  • Content Count

  • Joined

  • Last visited

  1. The ingredient list looks familiar, from my perusal of Menards safer data sheet for Black Blast. It is a repurposed product sold for sand blasting. Fairly fine texture. For a 50# bag, I think it was well under ten dollars. I just got a few pots out frm bisque firing that had this material, and one or two with crushed granite, as well (chicken grit, at the local feed store), pressed into the clay. I will give them a light wash with iron oxide, maybe try a watered down clear glaze, and fire to cone six. Pix to follow, good or bad!
  2. Photo of a test out if the kiln today: the brown patch on the end is a small pile of the Black Blast; the brown bob in the middle is BB mixed into iron oxide wash; the grey-black blob on the end s Marilee's lava glaze, worth black stain added, and a large percentage of BB stirred in. I as not measuring anything for this first test, but results are promising.
  3. I've been using Marilee's lava glaze, and like the effect, but ran across a product at Menard's yesterday that got me wondering, could a lava glaze be made with a good bit of coal slag in it? The product is called Black Blast, and is made for sandblasting. It is 99% pulverized coal slag, and looks like crushed black glass. The material data sheet on it noted a melting temperature of 2500 degrees. Has anyone tried using this in a lava-like glaze? I am going for a very rustic, rocky surface for planters and bonsai pots.
  4. You're a life-saver- thank you so much! Can't wait to try one out!
  5. A short while back, one of the video posts showed a potter making a tray, using an adjustable wooden form, which looked sort of like wood clamps, though they appeared to be made for use by hand builders. They were similar in idea to the cottles used for forming the sides of plaster molds, but he was able to slide them, while adjoining sides were still connected, to adjust the shape to be square or rectangular, and of different dimensions. So, my question is, are these something he made, or are they commercially available? If they were made, does anyone have an idea how to do this, in order to keep the parts (inside and top surfaces) as smooth as possible, to avoid extraneous marks in the clay's exterior surface? If they are available commercially, could you point me in that direction?
  6. stonegarden

    Saturation Gold

    Several recent projects using Amoco's Saturation Gold, fired to a very hot cone 6 (oxidation), on a red-brown stoneware, which had been bisque fired to 06.
  7. Saturation Gold poured heavily onto red brown stoneware, fired to hot cone 6 oxidation. Where very thick, there is some cratering; mildly thick brings out the gold tones, and can lead to a wrinkly texture. Results are good for this sculptural piece, but if I use it on a dinner plate, will have to go more lightly with the glaze.
  8. As the glaze is more thickly applied, the gold tones surface; when heavy, the gold is almost a wrinkled texture.
  9. As the glaze is more thickly applied, the gold tones surface; when heavy, the gold is almost a wrinkled texture.
  10. HInts of gold, on an industrial-appearance matte pewter (?) color; very appealing result, smooth surface.
  11. We also use old sheets, and pillow cases, to get a fairly smooth surface. Another approach for even less pattern (there is a very minute pattern left by the cloth form a sheet or pillow case) is to place several layers of newspaper onto the slab roller, on the canvas; place the clay onto the paper near the rollor, and lay several more sheets over the top to receive the stretched-out piece of clay when you've run it through the roller. The paper is not re-usable afterward, but if you have a sack of old newspapers for recycling, this is one good way to re-use them, and get even less texture on your rolled clay.
  12. Thanks- if I'd had another cup of coffee, that might eventually have occurred to me, or not...I'll give the recipe a try after the holidays and see what happens here. We tend to fire at a hot cone 6, more like cone 7, range.
  13. The first result is beautiful- can you share some details for others to try this recipe? Like, the particular feldspar, and I'm guessing, the China clay is EPK, available at our local potters' chemical supply house? Last- I don't recognize the term "fling" in the context of glaze chemicals. Can you help me here? Many thanks, and good luck with the formula.
  • Create New...

Important Information

By using this site, you agree to our Terms of Use.