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  1. Hello, All! I am looking for info on favorite and best clear glazes to use with slip decorations at cone 10, and favorites to use with underglaze at cone 6 on porcelain slip! any and all help is appreciated. I am in my senior year of my ceramics undergrad, so photos of results could be super beneficial because I am not 100% certain of the properties I desire as of just yet. Thank you in advance!
  2. Hello, I have recently set up my home studio to practice pottery alongside my course. I have a question about my glaze firing and wondered if anyone could help? I’ve just done my first glaze firing, I used Botz brush on glaze on my bisque fired white earthenware (bisque fired to 04) and glaze fired at 05. I’m wondering if I should of also done it on 04 as now they are out of the kiln they are pinging like a tinkling noise. The kiln was left for 24hrs before unloading. Ive read that this occurs also when the glaze doesn’t fit the clay, but the glaze is an earthenware glaze so I don’t
  3. I am having a terrible time mixing a dry glaze. I ordered a white dry satin glaze that should be fired to cone 5-6. I mixed 11oz of distilled water per pound of dry glaze (as recommended by the company that made the glaze), let sit overnight and sieved with an 80 mesh screen. Then when I was dipping pieces the glaze seemed a little too thick and was cracking as it dried, so I added water a little at a time until the cracking stopped. The specific gravity was in range and the viscosity seemed good. I let sit overnight again and the glaze is now super thick, like the consistency of yogurt
  4. Hi all, I'm wanting to make a low-fire matt or satin transparent glaze. Have any of you got a simple recipe? Thank you in advance.
  5. I need to find the best All-In-One clay for cone 5, great for both hand building and wheel throwing I know. That's a tall order. But I can dream. I have a pug mill and don't want 2 bodies. Problem: I have too many problems with my gas kiln for cone 06 anymore. I'm DONE. I am moving to cone 5. Criteria / Factors: I'm in Southern California I teach 180 high school students grades 9-12, all levels of art skills, so it has to take punishment Not too sandy on the wheel, not too smooth or squishy for hand building Not too dense so it is so top-heavy wh
  6. Hi, My understanding of gum arabic is it helps with the application of glazes when brushing them on - is that correct? My glazes to date have all been good but I find that when they dry they turn quite powdery, which compared to some of the commercial glazes, is quite significant. So before a firing I have to be really cautious about how I handle them so as to not leave spots where I've removed the glaze with my hands. Will adding gum arabic help with this? Another issue that I've found is that when brushing on the glazes in layers, some of the 'base' layers underneath are removed at the
  7. So I’m new to getting glazing figured out. And I got really thrown off by the “whole milk consistency” rule I kept hearing about mixing glaze. And subsequently, I have seen correctly mixed glazed and I don’t think those people know what whole milk looks like.. so long story short, I got WAY too much water in my glazed and I’m trying to salvage them. I spoke with a person at the closest pottery store and they suggested I add APT-II or brushing medium to thicken them up. I added the APT and it did thicken them up some. They were at varying degrees of watery. I gave up and dumped the worst
  8. I hand-mix a transparent glaze, which I've used for the last year continuously with great success. The last two times I've glaze-fired, TONS of little bumps appeared, a few of them up to a cm wide (those ones looks a little more like an air bubble in the clay. The clay is white and the glaze is clear, but the bubbles that are appearing are white (so it looks like the glaze has fused to the clay body and pulled it out into bumps/bubbles. Please see the attached photo- this is what all my pieces came out like. I thought my glaze might have been contaminated so I mixed a whole new batch but the s
  9. Dear everyone, I am quite new to a slip casting technique. Have made several plaster molds for casting porcelain. And had some success, but recently I have noticed that some of the greenware gets tiny pinholes and then, (because some cups doesnt have it) there are SOMETIMES also pinholes on the glaze. If i got it right, those tiny pinholes are the result of air bubbles or pieces of dust in the casting slip, right? But i wonder, do those pinholes influence the glaze? I am a bit confused, because some of the porcelain cups are not having those pinholes on the glaze and some do have. The thi
  10. Hello, So I've mixed a few of my own glazes. Some of them are more stable than others but I always fire to cone 6 and use a pretty standard stoneware. I'm finding that some glazes run more than others. Is there any additives than be used to stop this from happening? I've done a bit of research and it looks like gum arabic can help? Also, does anyone know what the ratio is when mixing gum arabic with water (that's assuming the GA will help to stop the glaze running). Thanks in advance for any advice given! Carl
  11. Oops, I am a new potter and accidentally used Custer Feldspan instead of Soda Feldspar. What should I do? Thanks! cone 6 2000g Batch Gerstley Borate 634g Flint (Silica) 594g *asked for Soda Feldstar used Custer Feldspan 396g Talc 277g EPK 99g
  12. I am new to the community. My website is Eastwood Pottery I have a question regarding Hannah's Fake Blue Ash glaze. My glaze always comes out brown. I left out the RIO and just used the Cobalt Oxide but I still for the life of me cannot get blue. Does anyone out there have success using the blue ash glaze and do you use cobalt oxide as in the recipe?
  13. My friend and I recently bought a used kiln and wheel. Our first test with the kiln we messed up and fired our stuff to cone 6 (instead of 06). We hadn't had a lot in the kiln, just a few really small cut-out pieces. It took about 6.5 hours to get close to cone 6, but the large 6 cone didn't fully drop, and the cone 7 didn't really move much, so we weren't totally sure if it was fully done. Moving on to our second fire. We had new things to fire, so we bisque fired our stuff (half full with things stacked) to cone 06 this time. Our cone sitter fell out when we closed it (not sure exa
  14. Hi everyone, I did try and find a solution but only came up with how to change the glaze composition. I have two urn which I just fired and both have crazing. I checked thick6of the glaze and all seemed fine. It's stoneware fired to 1200°C with 20 min hold. I've had problems making these pieces and it's taken me 8 months due to health issues and trying different forms for the request. Can I refire and hope that the glaze will smooth out or touch up with glaze and refire? Solutions would be much appreciated. Many thanks Andrea
  15. Hi, I am trying to glaze some logo mugs (mugs with logo plaques/medallions that have company logos/words on them) and want to get some advice on the best way to make the words/shapes on the plaques show up. I am wondering if I should use a combination of iron oxide and a clear glaze to accent the words/shapes in black iron oxide and the clear glaze on the rest of the medallion/plaque? The rest of the mug will be dipped in another glaze. I am using speckled brownstone clay, cone 6 glaze firing, and glazes made in-house. Thank you for your advice!
  16. When I was taking ceramic classes my teacher used some tool to rub on the sharp glaze edges that would rub the broken bubbles down so you did not get hurt. I seem to keep thinking it was made from cement. Anyone know what this is or if this is what it is?
  17. hello i'm sima from iran and i am a beginner i really want to learn about the techniques that are used to make these products. hope you could help me learn more. if you know any resources leet me know
  18. I have this heavy blisters and pinholes issue and I m doing the Bisque at cone 08 and glaze temperature is at cone 6 + 40 mins soak., Whats the reason behind this blisters and pinholes ? Is it a clay issue or its something to do with a glaze chemistry ?
  19. Just a quick question about re-firing work. I wasn't happy with some details around a logo that I carved in to my pieces so I've fixed them with glaze (and also filled a few pinholes) - my question is whether or not I need to be as meticulous about dust and fingerprints on these like you do with glaze on bisque. I had to hold them firmly and work slowly to fix my glaze errors from the past firing. I'm feeling like that stuff (oil from my hands, dust) will burn off before the glaze melts again since its technically laying over top of a hardened/fired glaze and not absorbing into un-fired
  20. This is once-fired glaze @ 900 Celsius. How I eliminate that defect???
  21. Hi all! First off, my apologies if this is in the wrong section. I'm new to Celadons (are all transparent glazes Celadon?). I have yet to have a piece where the celadon is a uniform consistency, even on the flat areas (I'm aware that it should be darker for contrast in carving, etc.). Either drips show up or there is a slight unevenness. Is this just something you have to deal with in using these glazes or am I missing something in application? Some of the glazes I'm using are bought, one (Ms. Selsor's faux celadon )was mixed by me. Any help is appreciated!
  22. Hi everyone, A question. Can anyone see a problem with not glazing over underglaze for non food works? I have looked but can't find an answer anywhere and it seems that everyone uses a glaze over the top for the underglazes. I'm using porcelain clay to make wearable works including rings (I should add). I love the results, and the undergalzes adhere very well to the porcelain. I can even wet sand after the final fire and the design stays put. The colours appear somewhat softer but that is good too. I belive that the newer underglazes have more frit in them making them a litle more like
  23. I'm going to have pots in a once/year wood firing. Ben Bates Oribe Green Cone 9-13 was given in a CM this past year and looks very interesting but I am wondering with 6% Copper carbonate if it would be food safe fired between cone 10 - 12? recipe is: Bone ash 2% Talc 9% Whiting 23% Custer feldspar 31% EPK 11% Silica 24% add: Copper Carb 6% Thanks for any help you can offer.
  24. Hello! New to the site and am curious about the effects of dry wood ash on glazes. I have found a lot of info about wood ash glazes, but not so much about applying dry wood ash onto an already applied and dried (or sometimes sprayed with a little water) glaze. I realize glaze recipes will vary greatly so it may not be very helpful to name any, but I have had great results (in my opinion) with the shino glaze at the pottery school I attend, please see the attached image. I have also tried this on our versions of tenmoku and iron red with results of some fluxing and gold spec
  25. Hi, I'm wondering if anyone has any thoughts on this effect: website is here: http://www.mostra-moustiers.com/fr/galerie-la-mostra/aire-goutt-allikmets.php Is this a look achieved through a glaze that cracks/crazes excessively, or what else is happening here?! I've seen a few vessels with this type of effect recently and I think it looks great, but how exactly is it done?!
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