Jump to content

Search the Community

Showing results for tags 'Glaze'.

  • Search By Tags

    Type tags separated by commas.
  • Search By Author

Content Type


Forums

  • Ceramic Arts Daily Forums
    • Forum FAQ & Terms of Use
    • Studio Operations and Making Work
    • Clay and Glaze Chemistry
    • Equipment Use and Repair
    • Business, Marketing, and Accounting
    • Educational Approaches and Resources
    • Aesthetic Approaches and Philosophy
    • Int'l Ceramic Artists Network (ICAN) Operations and Benefits
    • Ceramic Events of Interest
    • Community Marketplace – Buy/Sell/Trade/Free

Find results in...

Find results that contain...


Date Created

  • Start

    End


Last Updated

  • Start

    End


Filter by number of...

Joined

  • Start

    End


Group


AIM


MSN


Website URL


ICQ


Yahoo


Jabber


Skype


Location


Interests

  1. If I could figure out how to attach the correct size photo you could see the what I’m gonna describe... Duncan Clear Satin (SN351) glaze is not running into all the incised lines after the recommended number of coats and fired to cone 06.. It looked completely covered. This has now happened a couple of times and I’m not sure what’s going wrong. The clay is Standard 528. The design was inscised then bisque fired to 06. It was then stained using Amaco velvet underglaze (V361)...allowed to dry before applying the Duncan clear glaze as per mfg. I’ve used this technique for a lon
  2. Hi there, I'm new on this forum and quite new to ceramics and glazes in general so please excuse my lack of knowledge... I've been making ash glazes using this Katherine Pleydell-Bouverie nuka glaze recipe; Mixed woodash 33.0 Feldspar 33.0 Kaolin 16.5 Ball Clay 16.5 On a recent trip to China I aquired some rice straw ash and I was really excited to turn this into a glaze. From what I read rice straw ash should be very high in silica too like other (mixed) wood ashes so I used the same recipe. The results came out rather different then expected or other wood ash based
  3. Greetings! I'm a fairly novice potter who has made figurative pottery with some functionality using Amaco Low Fire White, which fires to 04. These are mostly ring dishes and candle holders. I've recently been looking to make food safe pottery such as plates, teapots, and pie plates, but have been given conflicting reports on how to make them fully food safe. I know that low fire clay is somewhat porous, but would a good quality glaze make them 100% food safe? I also have heard that pie plates and other bakeware may be prone to thermal shock if just stuck into a hot oven, and the
  4. From the album: Ceramics Fall 2016

    I made 4 similar mugs from the recycled clay and iron filings in a glaze called moonlight. I have learned that a little goes a long way for the iron filings, and next time I think I will use less. Most of the filings came through on the inside of the cup, rusting slightly but covered thinly by glaze. Does any one else have experience with using too much iron filings? Do you feel it causes any safety hazards to the average human?
  5. From the album: Ceramics Fall 2016

    Turquoise stone and white matte ^6 ox on calico dark red clay. A couple very wonky vases that developed decent sized cracks from uneven drying, this was one of the first things I made after taking a hiatus of 3 years from clay, be gentle! I needed to keep a few unsatisfactory pieces to try my experiments. I am totally head over heals in love with the color combo, but am very sad all the pieces developed pin holes on them... I talked to the professor and she is going to go over how to avoid that next time and keep my work together as to have a more consistent firing.
  6. From the album: Ceramics Fall 2016

    Turquoise stone and white matte ^6 ox on bone white clay. A very wonky vase, this was one of the first three things I made after taking a hiatus of 3 years from clay, be gentle! I needed to keep a few unsatisfactory pieces to try my experiments. I am totally head over heals in love with the color combo, but am very sad all the pieces developed pin holes on them... I talked to the professor and she is going to go over how to avoid that next time and keep my work together as to have a more consistent firing.
  7. From the album: Ceramics Fall 2016

    Turquoise stone and white matte ^6 ox on bone white clay. A very wonky bowl, this was one of the first three things I made after taking a hiatus of 3 years from clay, be gentle! I needed to keep a few unsatisfactory pieces to try my experiments. Ended up loving the combo, but am very sad all the pieces developed pin holes on them... I talked to the professor and she is going to go over how to avoid that next time and keep my work together as to have a more consistent firing.
  8. From the album: Ceramics Fall 2016

    Moonlight glaze with cobalt splatter ^6 ox on bone white clay.This was one of the first mugs I made this semester. I have gotten some great feed-back regarding smoothing the lip, foot, and handle. This was an experiment that did not produce the results I was looking for, I had splattered cobalt stain on top of the moonlight (that I later found out had cobalt in it) and the resulting texture is very subtle. I probably will not stick with this glaze, it looked better on the test tile... :rolls eyes:
  9. From the album: Glazed Ceramics 2013

    This whole bowl was glazed in sun valley. The outside ran quite a bit onto the foot and cookie it was resting on, but the inside result was very interesting. It breaks in a light blue, and can have a whole range of color changes as it melts. In 2013 this was the largest bowl I had managed to throw, it was made out of 10 pounds of clay. Deciding on if I want to use this glaze again on future works, as it is very unpredictable and runny.
  10. From the album: Rogryphon's stuff

    Love dragons and have fun making yarn bowls. So did a dragon's egg yarn bowl. Lots of fun since it is a bit unique and creates a nice surface to play with glaze combos. Amaco salt buff under celadon sky.

    © gryphonwyck 2015

  11. From the album: Ceramic Boxes

    My newest box. I wanted to see how much control I could maintain over my glazes so l drew stripes of varying thicknesses on the box then glazed each a different color. I then used some of my laser transfer designs and each color of stripe got a different pattern. The ribbon I rolled a scrolled pattern into while still wet then twisted and attached it so that it could be used as a handle. With all the color on the outside I went with a simple white interior glaze.

    © Terry Buffington

  12. From the album: Ceramic Boxes

    This was an experiment to see if I could fire a diamond shaped box with the glaze going around all sides. I did it! The stand is separate from the box but the way I designed the triangle base makes the box fit really snuggle into it. This is also the first time I used a mason stain wash instead of underglaze for the gold background on the box. The modern flowers are an underglaze transfer. The base is a simple RIO wash.

    © Terry Buffington

  13. From the album: Ceramic Boxes

    What's better than a gift wrapped box? Why an OPEN gift wrapped box!

    © Terry Buffington

  14. From the album: newer work

    The glaze is the standard silky white crystalline glaze I've been using a lot lately. The center of the bowl was sprayed with a pale green crystalline glaze to define the texture of the fluted pattern carved lightly into the porcelain. For unknown reasons, this sprayed on glaze fumed the white rim of the bowl to an almost fluorescent pink, and crystallized pink flowed down and collected in the center of the bowl
  15. From the album: newer work

    This is a one-piece hanging planter, a form I made in the hundreds, back in the day. The water catcher is thrown onto the bottom of the planter as a part of the trimming process. It's planted with aloe, and is a gift to my son the chef, who sometimes collects burns in the course of working.
  16. From the album: newer work

    These have no actual granite in them, but the glaze has a granite-like quality, with green specks on a blue background, a smooth matte surface, and a micaceous sparkle in the sun.
  17. I have bought some duncan covercoat underglazes and fired some testtiles with 2 types of clear glaze over them, a matte and a glossy. I make my own glazes and used food-safe cone 6 glazes I have not yet had problems with. The colours have dissapeared and changed after firing. What is a good recipe for a cone 6 matte - and a cone 6 glossy glaze for over these underglazes? Marlies
  18. From the album: What I am up to

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

    Same stuff diferent view.
  20. 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.
×
×
  • Create New...

Important Information

By using this site, you agree to our Terms of Use.