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Sprakeloos

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  1. Hey all Being rather new to glaze formulations, I want to experiment with using a fluxed clay body (extra black stoneware max. 1200degC) as a glaze for single fire/raw glazing of japanese-inspired yunomis/tea bowls made from the same clay. The clay has such an amazing black bordering metallic color when fired to maturity, whose character I would love to retain partially in a glaze to line the inside of the bowls. I have some twice-sieved hardwood ash that I want to add as a flux (for cone 5/1200C oxidation) and probably will require an additional flux (GB maybe). I understand this will require experimentation which I am now planning, but before I do I am curious if anyone has any tips/advice on doing this, perhaps some rough ratios as a starting point. Hoping to create a not too glossy /satin glaze (or perhaps more appropriately said a well-fused slip-based engobe) with minimal ingredients (clay body, wood ash, perhaps secondary flux and/or feldspar). Any pointers/advice would be greatly appreciated. Thanks Joris (the Netherlands)
  2. Dear all, I am fairly new to ceramics and have revived my interest due to forced staying at home here in the Netherlands. It's provided a means for me to stay positive in the midst of such much somberness. I've been working with a deep black firing cone 6 stoneware and want to do some bright and colorful underglaze decorations without a clear cover glaze (as I like the mattness of the unglazed surface). I've noticed how direct application of Amaco velvet underglazes (even 3 thick coats) on this clay results in muted colors as the black clay bleeds through to some extent. I happen to have a Cone 6 engobe rich in tin oxide sitting around. Is there any reason I couldn't use a thin coat of this engobe under the Velvets to provide a white background for the colors to pop? Or will the tin oxide potentially react adversely with the stains in the underglaze and alter their colors? I am grateful for any advice Best, Joris
  3. Thank you Magnolia for you very fast reply! This is interesting and I will certainly give it a try. You mention compression of the slip as a succes factor: does this have to do with the bonding of the slip with the body underneath? Does this mean that dip application of a slightly thinner version of this slip with inclusions will not work?
  4. Dear all This is my first post here, having been a lurking reader for a while. I would like to suspend some coarse particulates in a porcelain slip. I am intrigued by the coarse feldspar inclusions in some Japanese wood fired pottery. I have tried adding coarse inclusions in a porcelain body, which fired well but the large chunks got in the way of my preferred style of handbuilding and surforming the surface. I now want to try to add these particulates in a porcelain slip that I can apply to my pots by dipping. Does anyone have any tricks on how to suspend larger particulates in a clay slip, eg grog or coarse inclusions? Do grogged slips exist? I was thinking that perhaps adding bentonite could help due to its thixotropy, but I am not sure. Any help from this very helpful forum in my self-learning endeavors would be much appreciated Best Joris The Netherlands
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