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About ayjay

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    Hampshire, UK.

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  • moh

  1. I've definitely used it successfully over a gloss glaze in the past. I think I still have a piece like that, I'll try and look it out and take a pic. From the other topic " and trying to not mix the glaze too far in advance seems to help too.", I'd wondered about that myself. Looking at that logically (well, economically anyway) you won't be making a large batch of this glaze, so it must be brushed or sprayed rather than dipped. I've got a test tile (brushed on) in a friends glaze firing today and also a test (with some underglaze and some ^6 glaze on a pot) in my own bisque fire today to be glazed in a few days time.
  2. I don't have the same wheel as you, (mine is a Cowley Double Drive) but it has a reverse switch: it takes a lot longer than just the wheel head stopping before you can switch direction, you can hear the motor (or something) still spinning down, only when that has completely stopped will it change direction on command from the switch. If you switch it too soon, although the switch position has changed the wheel rotation won't have
  3. Joseph, thanks, I'd been following that topic with interest, although I've not had many problems with the glaze flaking from vertical surfaces. I do remember it happening once, but that's all. I've used crawls sparingly but am never sure how it's going to turn out and am unsure of the best method of application. The formula I started with was taken from this website (istr:) Soda spar, 30: Mag. Carb 30: FF3134, 10: Talc, 10: EPK, 20. When this has been successful the cracks between the eventual blobs of glaze have opened up as it dried. This hasn't always happened. I'm trying a different formula now:- Nepheline Syenite, 75: Mag, Carb, 20: Ball Clay, 3: Zinc Oxide, 2:. On application with a brush (my usual method) this has gone on just like a normal dipping glaze would with a brush (i.e. not looking as though it's the best application method). It's stayed there but hasn't cracked up at all. I've been told that crawl glazes are likely to work best over a bisque fired underglaze, (or even a bisque fired ^6 glaze) and will give that a go. The Magnesium Carbonate requires much more water than I would usually use for slaking down dry ingredients before sieving but I've tended to leave it like that as it gives a good thick coat with a brush. My worst result ever was on a plate rim which was over a black satin matt glaze, the effect ended up not unpleasant, but in no way resembled a crawl glaze, (pic below). I'm really wanting to know the best method of application and what the consistency of the glaze should be. I mix most of my glazes on the thin side which allows me to use both an airbrush and a larger spray gun. I rarely dip pots to glaze them as with my limited output I can't justify making glaze in large enough quantities, (storage space also enters the equation as well) but I do know the correct consistency for a dipping glaze.
  4. Crawl glazes or beading glazes or Lichens or Reticulating glazes, whichever you prefer to call them, anything with a high Mag Carb content is what I'm referring to. I like the effect of these (in the right circumstances) but am never sure if they are going to work or not. What sort of consistency should I be aiming for with the mixed glaze and what is the best application method and thickness? Dipping is rarely possible in the circumstances I like to use them. Do they work better over a gloss glaze (they appear to to me) and is there a way to make them work better over a matt glaze or even just underglaze on bisque?
  5. Snoozing Fox in the garden. Plenty of these around in the garden too, (although this one is rarer being an aberration, with extra spots).
  6. If you have almost exactly what you want but without the "roundness underneath" - can you *solder blob* the item or possibly add a small dab of epoxy to create the roundness?
  7. I think people normally celebrate joyous occasions, not suicide of national proportions. I'm not biting, (not very hard anyway): time and place, etc.etc. ...........and I'm just about discussed out via UK based forums. The fact remains, I voted to not go in in the first place back in the 70s and I've since loathed every twist and turn of the breathtaking corruption in Brussels. We were fine before the Common Market and we'll be fine long after the EU is dead and buried.
  8. Just a normal day here: maybe some time in the future we'll celebrate 23rd June, Brexit Referendum day, (and my birthday).
  9. I use both standard spray guns and airbrushes, being in the UK we seem to have different equipment available (and unavailable) to the US and I've never been able to find the Paasche guns mentioned here and in previous posts. I tried a couple of airbrushes, with the largest needle I could find, but even though all my glazes are passed through a 100 mesh sieve I still suffered annoying blockages. I've eventually settled on a Badger 250-2, this doesn't use a needle for delivery, it operates by the same method as a Critter spraygun, it will still suffer the very occasional blockage (far less often than a needle type airbrush) but the clean out process is so much simpler and quicker.
  10. I don't even like to make tea in a cup or mug that isn't white inside, I am only a very occasional and very amateur painter but I also couldn't use anything but a white palette. It's like how glazes appear different on different clay bodies, if the paint is going onto a white ground it has to start on a white palette.
  11. Only guessing here, (I've not yet worn out any elements) but as you have less element material than in a larger kiln wouldn't the effect of deteriorating elements tend to show up much quicker?
  12. There's a couple of web-pages worth a read which might help you out - links below. Lots of recipes on the first link and the second is more of a brief *how to* http://www.angelfire.com/art2/shambhalapottery/oxidewashes.html http://www.fireverseceramics.com/using-oxides.html
  13. 1) That would be considered normal/standard - but you do whatever you want, the Amaco Velvets for example have a pleasant finish when unglazed, and if the clay is correctly formulated and fired to maturity it shouldn't need glaze. 2) All the underglazes I've used can be watered down, often they benefit from it, although you would then need more coats to achieve the advertised colour, they are very much like watercolours in that respect. 3) The clay and glaze need to match: a ^5 clay needs glazing with a glaze that's formulated to fit the clay when fired to ^5. A ^10 glaze won't have melted properly at ^5. Most underglazes nowadays will fire to ^6 without washing out - the destructions ought to tell you. 4) I use compressed air to blow off the pots if I'm spraying the glazes, it only takes a moment to change the sprayer for a blower, (be wary of breathing the dust), I will have already given them a wipe over with a damp sponge. The pots can be made quite wet before glazing if you have a reason to do it - the main reason would be so that they take up less glaze, or you can wash them and leave them to dry. No-one here minds what may seem to you like trivial questions - I'm sure I've asked a few myself over the time I've been here.
  14. It depends: , (as usual). https://digitalfire.com/4sight/education/reducing_the_firing_temperature_of_a_glaze_from_cone_10_to_6_101.html
  15. I've tried it once, (but later I accidentally broke the piece and binned it), mine came out alright in most respects but it was just a dull beige, fairly matt in comparison to the pic below and no crystal growth at all. https://glazy.org/recipes/4602 It may need a slow cool down programmed in after reaching ^6. I'll give it another go some time, but my output is not prodigious so it will be a while.
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