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Found 247 results

  1. Hello! I'm looking for some advice on using pre-mixed dry glazes. I have always been part of a larger studio and didn't have to worry about mixing up glazes - now I live in a smaller northern community and have just started a small studio with a few others but none of us have ever mixed glazes before. We have an electric kiln. After searching around for products online I was thinking that buying a larger quantity of pre-mixed dry glaze for Cone 6 (like Laguna ms series or spectrum 1100 series, 50/10 lb) might be a good compromise for us newbies between buying pints of wet glazes and buying all the different ingredients to mix by recipe. If anyone has any advice for us on the best way to start out with glazing or how pre-mixed dry glazes work or what products work best we would love to hear it! Cost of shipping is definitely an issue for us as well as the possibility of freezing during shipping (it is -20C where we live in the Yukon this morning). Thanks so much!
  2. Has anyone attempted to use natural iron pyrite in a clear base glaze to a mid to high fire on stoneware? I would like to use iron pyrite collected directly from area streams which may contain minute amounts of gold or silver. I would like to avoid having to completely reinvent the wheel. I have a propane updraft kiln. Any advice or educated guesses are welcome.
  3. Hello everyone! I'm new here, and I've been reading some threads. I was wondering if anyone might know of anyone or might have stashed somewhere, the Blue Marble glaze from Mayco Jungle Gems. This glaze was discontinued in the early 2000s because of its lead content. I just recently discovered it when someone had a tiny amount for me to glaze a pinch pot. I glazed it at cone 6 instead of 06 (oops) but it came out AMAZING! (Turns out Jungle Gems CAN be fired at cone 6!). The Mayco rep contacted me about my inquiry and is sending me a package of glazes to play around with to see if I can recreate it, but I would really like to find something very similar or some that someone isn't using. I will pay a reasonable amount for this! Questions: Is touching a piece made with lead glaze harmful? Once a lead glaze is fired is it still dangerous?
  4. hey all, I'm determined to work with cobalt and get detailed brush strokes on an opaque white background. I'm interested in Delftware, Chinese blue and white pottery, etc. I keep having issues with the glazes and I keep trying different ones and combos and I'm not getting anywhere. This technique/aesthetic seems so classic and universal that this shouldn't be so hard, and I shouldn't have to keep reinventing the wheel! Would anyone be able talk with me about this? - - - Specifically, I'm using low fire majolica process for it's simplicity (i'm using this recipe: http://digitalfire.com/4sight/education/g1916m_cone_06-04_base_glaze_226.html?logout=yes), but the cobalt which is mixed 1:1 with non-opacified base glaze, is either chalky and almost unmelted in heavy/dark areas and in other random seeming areas the cobalt seems to bleed out onto the background. I'm looking to have relatively sharp/clean lines and brushstrokes, a more even, smooth texture (not the hard buildup in the darkest areas). - - - I'm ready to head to Delft, NL and beg the folks at Royal Delft Blue to explain to me what they're doing. Someone, please! How is this done? (p.s. don't know why CAD rotated this image, but it did. Sorry)
  5. Hi out there. does anyone have a good recipe for a clear gloss glaze for white earthenware, firing to a max. of 1100 degrees centigrade. Many thanks for your help.
  6. I am looking for a good "dark" grey glaze I can fire in oxidation on light stoneware clay. We wire around 1249C (cone 9) This the tone (or shade) of grey I am looking for (forget it's b&w image): Do you have any good recipes? I am thinking about experimenting with white satin glaze I have and adding some black stain I got (Co-Fe-Cr). Am I even on the right track?
  7. I've used this ^10 Ohata recipe for years. G-200 43.4 whiting 6.5 Talc 5.7 EPK 5.7 bone ash 9 flint 19.5 iron 9.7 I've made the change from the old G200 and I don't like it. I've tried both Custer and the G200HP/minspar combination. They look about the same as each other, but not the old Ohata. The new formulation isn't nearly as bright and firey as before; more of a purple tone than orange. Has anyone else noticed this and tried to formulate it back to its old look? If anyone else has been working on it, I'd just as soon not start from scratch. Or, could someone suggest where I might start with a reformulation.
  8. Hi all, I'm taking a ceramics class and our teacher provided us with ^06 clay. I didn't realize how low-fire that was until it was too late to start my project over...in fact, she had told us that it was ^6 not ^06. I'm a little concerned as I am making a teapot and don't think I will be able to glaze inside the spout, and have read that unglazed areas of low-fire clay are fairly porous and are not generally considered foodsafe. Should I be concerned that the teapot I spent hours and hours on might not be safe to actually use? Any ideas for how to properly glaze the inside of the pour spout? Thanks!
  9. Theres a spray booth at the studio where I work. However, I would love to hear if anyone has had success using an atomizer or hand sprayer. I would be using it to get a light coat of clear glaze over plates. It would save a lot of time and cleaning:) thanks!
  10. I need to glaze fire a pile of plates. Problem is, only one plate fist per kiln shelf so I end up having more shelves (in weight) than plates. Is there a better way to do it because this feels like a such a waste.
  11. I have a gallon of transparent gloss glaze. Ive had it for About a year and when i took it out of the box, It has a pepto pink cast to it. Ive had pints before but It was not pink.. Is this new to see the glaze and will It be clear after firing?? Anyone..anyone?
  12. After three successful crystalline firings with the same 4 glazes, my fourth crystalline firing failed with the exact same firing schedule. I had 14 pieces in the kiln and all of the glazes bubbled and flaked off except for one piece! Any advice on what happened? Why is the glaze matte, flaking off and no crystals? How could 13 of the 14 pieces fail? The picture below is 2 vases with failed glaze and 1 vase with the successful glaze The 3 vases were made with the same clay body, bisque fired at the same temperature and have the same glaze.
  13. Can I use the glaze that I brush on (and pour) for spraying? Do I just need to thin it, or do I need a completely different glaze? Thanks
  14. I am just getting back into clay after a long hiatus due to lack of studio space and other responsibilities. In the past I have usually known other potters where I could get some leads on good clays and glazes and check out some samples. I don't know any potters where I live and have had to rely on manufacturers write ups and test tiles at a supplier. At the clay store everyone says "you'll have to test it". Well, that's for sure but without a glaze studio I have accumulated some clays and glazes that are not working the way I hoped. I am hoping I can shorten the learning curve with some advice from those who have used Western clays. I do smaller scale hand-building: a good cone 5/6 porcelain and a white stoneware with a bit more strength (really fine sand or grog only) would both be desirable (no wheel work). So far I have had a lot of glaze fitting issues with the bodies I have tried (some success with clear glaze on porcelain, but success with a celadon type glaze is on my wish list) My location is Arizona so I would probably be looking at California manufacturers. I am considering a couple of Aardvark clays for my next clay trials (Nara 5 and BeeMix with sand), any comments on those? I do both slab construction and pinching and like a smooth body. I prefer white bodies so that I lessen the chances of contaminating porcelain with another color and I also plan to use body stains in porcelain. Firing is electric oxidation. Just to eliminate a few questions: I have already tried to fine tune bisque firing and I don't think it is the problem. I have called the clay manufacturer and spoke to a tech guy there, and I also talked to a guy in the back at the clay store. In the end I got honest comments about both clays I have been using that lead me to think they are less than ideal for my purposes and one is particularly difficult to get a good glaze fit under any circumstances. So I am back to looking at trying other clay bodies and hope that I can stick with one manufacturer to help with shipping. With any luck I might even find that some of the glazes I have already purchased might fit better on another clay. It isn't practical for me to start up a glaze studio right now so I would probably do best to find commercial glazes but would use glazemixer.com for a proven winner. I would be grateful for any suggestions since my time is limited and I want to reduce stress in my life by having more fun with clay and enjoying the end result. As you might imagine, this is my first post.
  15. Hi there! I'm a graphic design senior at Columbus College of Art and Design who also loves ceramics. I'm currently taking an independent study course where I'd like to develop my web and user experience design skills as well as delve into something a little more entrepreneurial. In a nutshell, I'd like to create an online glaze database that ceramic artists can submit various glaze tests and surfaces to as well as search for new glaze recipes to experiment with. I know there currently is software available to download and work with, but I'd like to create something that's a little more intuitive, user friendly, and social. My goal is to use technology to help connect us and develop and push the field of ceramics even further as a collective. I'd really love it if some of you on the forums here would be able to help get me started by giving me some feedback with your personal experiences with glazes and how you use them. I have some questions that you can answer, but feel free to give me any other advice that you might have. It'd be great to start a conversation here on some of the struggles and setbacks you have when searching for and using glazes. If you're interested in just filling out a survey online, I've created a Survey Monkey: http://www.surveymonkey.com/s/R2NZGFV How do you currently look for glazes that you’d like to use or create? Where do you find glaze recipes? What part of the glaze production process frustrates you the most? Explain your creation process with a piece of work and how glaze is a part of that. Do you currently use any glaze software to generate and create glazes? If so, are you happy with it? How would you make it better? Would you be willing to share your glaze tests and creations with other ceramic artists? Do you own a smartphone device or camera that you could photograph glaze tests with? Thanks! - Luke
  16. From the album: What I am up to

    A close up from above
  17. From the album: What I am up to

    Same stuff diferent view.
  18. From the album: What I am up to

    Side view of the mug and bowls after the glaze has been applied. Now just a little cone six firing away from the finished product.
  19. We just tried to fire a newly bought glaze that required 1160 degrees on stoneware that is labelled 1100 - 1280 degrees. The kiln was opened at around 250 which we have done many times in the past. However, this time we heard several pinging sounds from the largest stoneware piece, so we immediately closed it until it got under 200. Then we propped open the lid with a brick until it got down to 100. All the time we heard the pinging sounds. At around 70 we removed all pieces and they were fine, except the largest one that kept "pinging" away. So we wrapped it up in a large piece of cloth and kept it like that overnight. Today, almost 24 hours after it has gotten down to room temperature, it still "pings"! Some bone china pieces did spontaneously shatter with a glaze from the same manufacturer, but that happened within minutes of them becoming room temp. This large piece has lasted way longer now. On another forum someone said we should tap it and see if it rings out like a bell or if it only produces a dull noise, which means it's internally cracked, but it does ring out like a bell still. We've heard that the glaze apparently isn't compatible with the stoneware, but does anyone know what we can expect? Will it spontaneously shatter a week from now, a month, a year? EDIT: WRONG FORUM! My mistake. Can a moderator please move this to the "in the studio" forum? Thank you!
  20. In the late 70's I was out in Seattle and stumbled upon this lovely pot in a gallery. I was completely puzzeled by how the beautiful four glazes could have been applied in abstract pattern. There are no overlaps. I bought it for $20 and got the makers card that read "Charles Rothschild, Barlow Pottery, Sandy Oregon." I wrote Charles a letter saying how much I admired the pot and asked about the glazes and how they were applied. In a couple months I received a nice letter telling me about a take-off on Shaners Red, and the white being Rhodes basic #32 white, etc. all fired to cone 9 reduction, and not a word about how they were applied. I wrote again and never had a reply. About once a year since then I take the pot in hand and try to figure out. It's hard to believe each pour would be waxed to protect from next pour? The piece appears to be slab made which again would add to the time cost. It does appear to be single-fired because the lid cut divides the glaze pattern as shown in photo 1. Could this be an early laser cutting? Photo 7. also shows a perfect cut- back which points to being done after glazing at leather-hard. Anyway some of you old timers out there (not the Old Lady please!) may know the potter and/or the process, and would like to share your ideas. Hope you find the puzzle interesting. John255
  21. Hello! Has anyone tried adding Floetrol to their glaze to make it easier to apply? Did it work out for you? Is there any reason this obviously would cause problems? Thanks
  22. I just finished loading a glaze load in L&L. It came to mind that I have seen discussions of loading bisqueloads, some to the running over point, but not much on forcing as much as possible into a glaze load. Over the years, I have come to load my glaze kilns mostly with 1/2 shelves, but often leaving a 1/4 of the kiln occupied by a much larger piece(taller & wider) than the normal piece in the load. In order to do this, I stagger shelves, add shims of bisquefired clay under the stilt and keep on loading. How do you load a kiln of mixed pieces to make room for large pieces?
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