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Marian Lake

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  1. The Coyote glazes I've used are Black MBG002, I also use the Charcoal Satin. For the white ones, White MBG023 gloss, Eggshell, Alabaster Satin, Creamy White matte. I like all of them, my least favorite though is the Creamy White matte, it almost feels 'greasy'. I also had a sample pack of the 'Texas Two Steps' 'oil spot' glazes and used the Marshmallow over the 'base' glazes, it breaks up very nicely. The Licorice from the same series is also nice, as is the Espresso. I haven't used a white slip over the 112, but have used a porcelain slip over red clays including Earthen Red from Highwater, Sheltowee from KY Mudworks, and 4d3B from Sheffield Pottery, my main supplier. Worth a try using the slip on the 112, I'm bisque firing some this week, will try a porcelain slip and get back to you with the results. I know that you mean about the learning curve on glazes, there's a recent thread here regarding Glazy recipes, still don't have a good grip on the chemistry, tend to 'glaze over' --pardon the pun-- when I see the explanations. Sounds like you may be more into surface decoration right now, I do the same, I'd like to try as many ways of decorating as I can, commercial glazes offer a fast way to jump right into creating without the time, dedication, and testing that learning glaze formulation requires. Someday though, when I run out of pints, think I'll give the Falls Creek shino and Clear w/mason stains recipes a go. Don't know if it's allowed on the forums, but PM me and I can send some samples of the ones I have. Coyote in general has really good glazes from what I've used so far, they're very helpful customer service as well, they'd probably be happy to answer any questions you have about their glazes-- Best wishes, M.
  2. You can rinse off the glaze coat, scrub it with a soft brush or scouring pad, let the piece dry before re-glazing. Or you might try and just cover the purple with black, if the piece is important to you you might fire a test tile in a glaze load before firing the work itself. If you're using Mayco 'Foundations' low fire glazes, the black will probably cover up the purple, the only way to know 100% would be the test tile method though.
  3. Hi KCamm, here's a tip sheet from Coyote on glaze fit, most of the glazes will fit the 112 except for the 'Archie's Series'. I haven't tried their Enduro colors but as they're made as liner glazes, they'll probably be a good fit. The 112 has granular manganese added, the specks will show through some glazes but not all. Coyote's Black looks great on every clay I've used it on including 112, their White is also very reliable. For a more translucent white, the Eggshell is one of my favorites. I haven't tried the Standard glazes, difficult to find a supplier for those. Amaco's zinc free clear has always worked for me, no crazing or other glaze faults. I have different uses for glaze than yours, as I look for glazes that 'break' on texture. I have favorite types of glazes from each company's selection. For me, I like Amaco's Clear glazes, Celadons and their Potter's Choice 'float' glazes such as Blue Rutile and Indigo Float. Mayco and Duncan also have some really nice float type glazes, and I'd think any of their glazes will be quite reliable. For mattes, I like Georgies glazes, they're 'stony' mattes which I love. Coyote glazes are great for their black and white glazes as mentioned, but the Shinos work especially well for my textured pieces. Their 'Archies' series can produce beautiful results, but they run A Lot...and can shiver on 112 unfortunately. Spectrum glazes I've also found are quite runny. Haven't tried many Laguna glazes, but I do use the 'Robin's Egg' and it's really pretty but a pain to photograph because it's so reflective. Coyote and Georgie's both sell 'sample packs' of their glazes, here are Coyote's, they have the Enduro glazes as one option. If you are going to be brushing glazes, I've found that Amaco, Mayco, and Duncan have more 'brushability' as they contain more gum than Coyote or Georgie's, which feel more like studio glazes because of how fast they dry, but they aren't hard to get even coats with practice. I make small handbuilt items so a pint of glaze goes a long way, but if you'll be making larger items they may go very quickly and are quite expensive! If I could go back to when I started I probably would have bought the materials to make my own glazes, it takes a bit of time to learn and test, but whoo when I look at how much I've spent on commercial glazes...though they did teach me a lot about different types of glazes and how they look on various clay bodies so they did serve their purpose. Hope this helps and hope you enjoy your new at-home studio :)
  4. Thanks everyone, many good suggestions, think I'll go with the foam and some sort of strap to keep the lid from getting damage. I'm hoping UPS will work as the carrier they've been pretty good every time I've used them.
  5. First thing I thought of is what Min says, there might be air pockets under the decal. Do you use a rubber rib to smooth it out after sliding it on the piece? I still have the occasional blister even when careful to smooth it out.
  6. It's an Olympic 120v 'hot box' weighs only about 50 lbs. Thinking of just taking it to FedEx like liambesaw suggested, will price it out. If not, would a couple of towels placed inside help protect the bricks?
  7. Hope this belongs here--I have someone who's interested in buying my old test kiln, they want me to ship it as they're too far away for pick up. I don't have any of the original packaging. Any idea of what would be the best way to pack the box so that the kiln isn't damaged?
  8. Unfortunately lizella clay is only yellow at lower temps and isnt a clay body all by itself but rather a clay like redart, added to other clays and such to make the clay body. The digitalfire entry on it shows it turns a dark red/purple when fired by itself to cone 5 but it is quite brittle alone. I’ve only found a couple of commercial clay bodies that use it, Sheffield Pottery has one it looks great in cone10R, almost an irridescent purple. They mine a clay similar to Albany slip on their own property, I’ve done some digging near there and near Albany too but I’m not knowledgeable enough about ceramic materials to know what Im looking at most of the time. Most interested in finding the right clays to create simple glazes, Albany slip isnt available anymore but Alberta and Sheffields slip clays are comparable. Can buy them but where’s the fun in that? I think to get your fossil effect I would either use a light yellow stain in porcelain, then IO wash over leaf imprint at bisque plus a clear glaze. Or underglaze at greenware then wash/glaze at bisque, or just a nice sheer yellow glaze over the wash. Hate to admit it but I just now figured out that you werent firing rocks, you were firing dirt! Still surprised to see dirt turn into the material in your pics. The shiny pieces look almost like epoxy resin over rock, not sure how you got glaze to stick to that surface and why they didn’t fall apart in the firing. You may find better clay deposits near a stream or other body of water.
  9. Neat stuff, I wouldn't have expected rocks to fire like that. Especially like the fossil ones with the glaze on it, the yellow ones with the ferns are beautiful. Would love a glaze with that color and depth. Thanks for posting!
  10. Thanks that’s interesting, is the purple clay that color straight from the ground, or after a reduction firing? I think Lizella clay turns purple in reduction but is orange-ish before firing? I’m looking to use a clay nearby that is similar to Alberta slip, with some frit added to make a cone 6 glaze. It’s a low cost material but it’s fun to experiment with ‘wild’ clays (even if I don't know what I'm doing or where to look most of the time :)
  11. I'd also be interested in your findings. I've been wanting to experiment a bit with some local clays, the forums have been very helpful on that topic but new research is always appreciated!
  12. I use different sites depending on what I'm ordering, best to shop around as prices vary on the same item. Sheffield Pottery, Bailey's, The Ceramic Shop, Clay King and Axner are all very good from my own experience with them, all are located in eastern US so your shipping will likely be less than if from companies out West.
  13. That's the first time I've seen a red clay look red with a clear over it, @Min Every time I've tried a clear, I had the same muddy, cloudy color after firing b/c of the bubbles. Will try your version with Alberta Slip, thanks!
  14. I love the look of glazes on 112 but it's not as vitrified as I'd like. I've been using Kentucky Mudworks clays for a year or so now, it was hard to pick just a few because all of the samples I tried of theirs I really like. For now I'm using Speckled Turtle which is a bit redder/darker than 112, Brown Bear dark brown clay, White Lightning porcelain, and Sheltowee which is a deep red. All of these have a 1% or less absorbency. One that you may like is Clawhammer, it doesn't have manganese specks but does show iron speckling in reduction. It's a bit lighter than the 112.
  15. Hi DeDe, don't worry about your beads they won't slump or distort unless you over fire the clay, i.e. you fire a cone 04 body to cone 6. It's porcelain so it's either a cone 6 or cone 10 clay, both of which would work in a cone 6 firing, though cone 6 glazes may craze on a cone 10 body. I would make some little stoneware bowls to fire your beads in, to keep them together and off the shelf. Sometimes porcelain will have 'plucking', where the piece will stick a bit to the shelf, picking up a bit of kiln wash with it. They seem to stick less to the stoneware bowls, I use a cone 10 stoneware for these and I've fired most of them a couple of dozen times in cone 6 firings. Most of the problems you see potters have with porcelain won't really see in small pieces like jewelry, it fires nearly identically to stoneware and has few if any problems at that size. If you're the one loading the kiln in the future, maybe you could look into using some posts horizontally to hold your beads on kanthal wire, then you'll be able to safely glaze the whole piece (except the hole of course).
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