Morgan
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Posts posted by Morgan
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I have been using Joe's fluxes quite a bit and find they work fantastic I think I even posted a few pics over there.
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def do not use that anymore and contact the potter. it is pretty irresponsible imo to use liner glazes that leech that bad...and after only one use it sounds, very suspect. And as min notes it depends on what is in it but still should not be happening. my .02
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Certainly looks like some sort of inclusion stain, worth asking for sure, cannot hurt!
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Not sure if this is what you are looking for but I use just a nice base gloss recipe and add 5% tin. I use that as a modifier “glaze” for drips brush strokes etc with a ton of great effects, clearly fun on glazes with chrome oxide. I consider that a type of wash but not sure if that counts ha!
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Ok the more I look at those pics I think you are both correct, especially the second picture albeit not as pronounced. I suppose there is no real remedy to it and more of a clay body issue. Either way not a big deal I was just playing around with a few bags of different clay I had.
Thanks all! -
Maybe…it’s more the clay itself right beneath the end of the glaze line. Where the glaze ends looks fine just maybe a 1/4” or less below it gets the toasted look. I will try and snap some pics.
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Hope everyone is well.
I am playing around with a new clay body that is tan/almost peachy colored and it’s so lovely I did a few test tumblers with the bottom third clay exposed. On almost all of them, no matter the glaze, right beneath the glaze itself it produced and almost burnt/cooked color. The rest of the piece is fine, bottom etc just near the glaze itself.
This clay is rated to cone 8 and my witness cones were all pretty much perfect ^6. I recall seeing this long ago when testing a bag of lagunas speckled buff so I’m not sure what would cause this. Glaze fumes perhaps discoloring the clay?
I am 90% porcelain user so thought I would ask if anyone has seen this before.
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Just stick with Forbes imo it is the best there is, and I love that it is water based, never gunks up easy to clean etc.
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Joe Thompson has a pretty nice blog write up on making a simple and nice light box.
https://www.oldforgecreations.co.uk/blog/simple-and-cost-effective-photobooth-for-product-photography
I have had a few of the cheap amazon ones and they are all...cheap frankly. -
pretty random question but thought I would throw this out there.
I have never had issues visually from a glaze changing but more curious.
I bring this up as I started testing oil spot glazes which have a ton of iron ox in them.
given that and how messy RIO is it is very noticeable visually when dipping into a cover glaze and seeing the RIO getting into the cover glaze bucket. Fwiw I see this when semi wet or the glaze has fully dried.
I guess the question is…does this eventually contaminate the glaze chemistry of a bucket over time or is it so minute it’s not an issue? Again, I’ve never seen it change or mess up a glaze over thee years but the RIO makes it clear as day that dipping from one bucket to another glaze does get into it. Anyway just curious…and if so any tricks to avoid it?
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Big fan of a drop and hold/soak for healing pinholes and blisters. I use the natural cool digital fire one but you could easily alter it for cone 5.
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Whoa! I have a million dollar policy and it is silly cheap, like $50/year.
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For me personally, if I use the pre-programmed bisque I usually get a very small target cone bend @ 04 (sometimes none) but I simply glaze accordingly and do not worry to much about a perfect bisque.
Also, and I may be mistaken, but most pre-programs simply fire to the actual 04 target temp (1945) which does not mean you are actually getting that heat work.
You could always add a soak at the top or adjust the firing schedule to get what you are aiming for.
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I use and like kentucky mudworks brown bear. They have a speckled version too. They say it is limited but I have frankly never seen it go out of stock.
https://kymudworks.com/collections/ky-mudworks-clay/products/speckled-brown-bear-limited-release?variant=35198422253736Just curious, what issues did you have with 112?
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This is great thank you both so much!!
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Aloha and happy new year,
Inspired by some others I have been having a lot of fun playing with colored slip from my same clay body, mainly as a way to recycle and try new things (porcelain), but I have not seemed to crack the code, pardon the pun, on drying it perfectly, especially on tall vase like forms. I have got it down pretty well but not where I want it, which is zero cracks
I put it on thick to get a psychedelic'esque look I am going for where the different colors overlap and that is where they seem to crack, or separate a tad from the overlap is a better way to put it.I apply it while it is well before leather hard, as that seems to help, and then I put it in a damp box for a few days and just slowly open and close that until it is as good as I can get it. Again, I have got it down pretty good where it is, IMO, it is only really noticeable to me as a "flaw" but I really want to not have it happen at all. Considering I am using the same clay body I would think this is preventable.
The only thing I can think really causing it is each slip color is not exactly the same consistency which is is causing them to dry slightly different.
You can check out some pictures of ones that are fine but one has a minor separation you can see if you close enough (second pic).
https://fluxceramicskauai.com/products/olive-oil-dispenser-drippy-waves
Should I look into slip recipes vs my own clay? Anything I can add to prevent? Keep it in a damp box forever?
Mahalo -
That video makes me think I got a bad batch or something because it looks like it has much more integrity…the black ice I used in no way could even support itself at those heights…and I throw basically dry after centering.
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Try and throw black ice porcelain higher than a few inches.
incredible end results with glazes but I literally laughed out loud at how obnoxiously hard this clay is to throw. The fact that it is labeled as an “excellent throwing body” makes it all the more funny yet annoying. Even letting it stiffen up does nothing to get it remotely workable on the wheel.
So any potter that can throw this any sort of height I would pay to see a video of.
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I love frost when it turns out but it’s finicky is not worth the effort imo…it is hard to match but I found standard 365 to be better in almost every regard. I can throw it paper thin if needed, it’s super white translucent etc. months ago I tested every porcelain I could pretty much get my hands on and 365 won for me as it checked every box.
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@neilestrick yup thanks for that, explains it much more clear!
Good news is my Cone offset dialed it in perfectly! -
Not sure if this belongs here but speaking of docs and manuals (and this may be more of a bartlett issue) is my new kiln seemed to be firing a bit high on cone 6 slow with cooling, almost a cone over, 6.5-7. So I decided to do a cone offset and most of the literature is pretty confusing on how to use positive and negative numbers on the Genesis 2.0 touch screen. The non touch screens ask you to use the 9020 type number (I forget the exact number but something like this) to fire 20 degrees cooler but the new screens simply ask for a number 0-99 degrees. All of the manuals I looked at including ones included with the kiln say positive numbers for both cone and TC offsets LOWER the temp...well after some back and forth with L&L and them clarifying with Bartlett (even L&L was confused and agreed to possibly update it or make more clear) the cone offset needs a NEGATIVE number to lower the temp and the TC offset a positive number to lower the temp. I have no idea why they both do not follow the same process but alas thought I would share.
Neil can correct me on any of this but just throwing this out there as I almost did a positive number for the cone offset per L&L's advice which could have ruined and entire load.
Low specific gravity but THICK!
in Clay and Glaze Chemistry
Posted
Look into thixotropy as well. Basically the last thing you want to do in glazes like this is to keep adding water. Get your SG where you want it and floc/defloc from there. What that SG should be is going to take testing with a glaze and simply knowing your glaze well/application
Great video that explains thixotropy in simpleton terms
and this one more specific to your case