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Ryan glazer

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  1. Hi guys, Thanks for your input. Min, the top method is indeed a perfect match, so I'll give it a try. S.
  2. Thanks for all the interesting replies. I will certainly be following up those leads, Marcia, thanks. I don't mind a good lookalike, riverside. Really thinking about making some commercial wares. I'll look into the Duncan product you suggested. Blue and white is enjoying a mini revival in the UK, Marie. What people seem to be doing is putting a hipster spin on the traditional technique, by doing quirky motifs. Skulls and that malarky. The prices can be very healthy, which is part of the interest. But really I love this style. I was in a manor house(gunby) where the Huge fireplace was tiled in very old deft. I poked my head right in ( it wasn't lit) and saw designs that no- one had looked at properly for decades. They were like miniature Rembrandt ink sketches. Totally incredible shorthand brush notations.
  3. Anyone else read the Sept. Period Living article on Georgina Warne? She sculpts stoneware animals, and decorates them with natural designs. Very beautiful. The article hints at a studio transfer process, can anyone fill in the details? 'To create a monoprint, Georgina lightly draws a design onto tracing paper laid over a mix of oxide and pigment rolled on a glass plate. She then transfers the design to a slab of clay.' Anyone know what oxides / mason stains she might be using? I've searched the net for solid transfer process tutorials, but there's nothing I feel confident about using. Hopefully someone knows a really solid method. Regards, Steve
  4. 1. Google Martha grover superior slip; 2. Watch the video on the page; 3. Make the slip and patch the wares; 4. Fire very slowly
  5. That's great, thanks for your help:) Any traditional glaze recipes out there for the tin base coat and the blue liner glaze itself?
  6. Hi guys, Anyone familiar with the materials / processes involved in recreating that blue and white look? Mainly hoping to paint blue flowers on white tiles. Thanks, S.
  7. Hi babs, No, it wasn't textured as such. More of a low relief cameo, which, I guess could cause pooling too. TJR - I'll certainly try a 4 second dip.
  8. Hi, the barium carbonate - aka rat poison - is on a decorative tile. I was practically in a spacesuit when I mixed it. Can you suggest a safer / stabler glaze reformulation? I'm going for an oceanic effect. Ps. I also tried a commercial turquoise but this recipe lookd better, despite flaws.
  9. Thanks for your replies. I'll try a thick application next time, TJR. Nice work on your red spotted turquoise Pots:) do you use copper carbonate or mason stain? Marcia - my photo was misleading, As it only shows the edge of the piece. In fact, the whole damn tile was affected, with random bronzy spots on the flats, too.
  10. Hi guys, Here's a photo of the glaze flaw I need to identify. Kind of a bronzish patch. Anyone else seen this defect? Full description in my other post Input greatly appreciated. S.
  11. Electric kiln with air shutter closed, fume vent open.
  12. Hi guys. So this was an oxidation firing with no manganese. Recipe: Epk / China clay 20, barium carbonate 40, neph sy 40, Copper carbonate 5. Top temp 1220°c Hope this info helps resolve the brown patches. Thanks for your help, S. Ps Perhaps the glaze melted too soon, and gas bubbles were trapped in it? Or I should use distilled water to make new batch?
  13. Hi guys, So I fired a couple turquoise-glazed tiles yesterday, laying them flat on shelves. The results were marred by brownish patches. Closest resemblance : bronze spray paint, or ink from gold marker pens. (Most of the glaze was unaffected.) So basically, guys, I'm trying to ID the problem. Best current guess: a closed side shutter (not the main vent!) led to oxide gas damage. Schedule was 6 hours to 600 cent; 3 hours to 1220 cent, 15 min soak. The shelves were spaced quite generously. Copper carbonate based glaze. Advice MUCH appreciated. S.
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