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  1. Someone asked me recently how I get the smooth interiors of my bowls. Potters that want smooth "non-drip" appearing glazes often struggle with it because they do not understand that clay(and opacifiers) in the clay will basically form a double layer in the areas where drips are formed. The only ways to prevent it, is to spray the glazes in a very controlled manner, or to sand drips that form down very carefully after it dried completely. Of cause drips are not necessarily wrong, but it must work along with the design of the object and not fight it. Anyone that have more ideas around th
  2. Here is an interesting happening... I recently fired about a dozen of these "flowerpot gremlins" in a bisque/glaze firing to ^04. The dark red on the right was done with 2 coats of pure red iron oxide. The strange looking one on the left was done with 2 coats of red iron oxide and 3 coats of ^06 translucent matte glaze. Right came out pretty much as expected, but Left was a total surprise! The "matte" finished glossy and the color just blew me away. Any suggestions as to what might have happened. The clay was a ^5 B-Mix w/o grog. JohnnyK
  3. Good day, I create ceramic pipes and have been having issues with the bowls / bottoms of the pipes encountering runny glaze. I fire mostly cone7to10 in my natural gas kiln and my problem has occurred most when I dip glaze for 3 seconds. I have spray glazed with greater success but it is cold outside where I spray and I want to stay warm inside. I do production so time is important which means brush glazing takes to long and should be out of the question. So do you have any tips on how to prevent my glazes from running and ruining my pipes? Less dip time? Deal with the cold? Face the long time
  4. So I recently bought a kiln and don't know a lot about how glazes work - will figure it out as I go along. Just had a question. How is the effect in the attached teapot achieved? Can I dip bisqueware in white and then paint on top of it with underglaze and then fire? How else would I be able to achieve a white base with painted pattern on top? Appreciate any advice.
  5. Hi All, First post on this forum - excited to have found it. I just tested out a batch of the Folk Art Guild White from John Brit's midfire glaze book. It's gorgeous, but at $30 lb, the tin content is a bit expensive - any thoughts on opacifying for cheaper? Does anyone use a white glaze with tin/titanium combined? I've tried some other recipes with zircopax and I much prefer the creamy white of tin over the bright bluish white of the zirc. Folk Art Guild White ^6 F-4 Feldspar 18 Spodumene 10 Silica 18 EPK 18 D
  6. Hi, I'm wondering is anyone can offer any advise!! I loaded my kiln about 9pm last night, and after I switched it from low to medium to high, I went to bed like normal. Today around noon I went in to going unload my stuff from the night before and to my surprise my kiln was still running!!! I turned it off right away. After letting it cool a few hours I was able to peak in the top and my trees looked like this!! They are glazed exactly the same as the other tree in the other picture though. I am wondering if maybe my kiln didn't reach temp. it should have which is why it didn't shut off and th
  7. Hello everyone, I have set the kiln to fire at night time and it switched off in the middle of the firing because of a power cut. Can I fire that again to get to the right temperature? Will the glaze be compromised? Thank you! Tatiana
  8. Hello everyone, I have set the kiln to fire at night time and it switched off in the middle of the firing because of a power cut. Can I fire that again to get to the right temperature? Will the glaze be compromised? Thank you! Tatiana
  9. Hi glaze friends! I have been running into an issue when I try and create an ombre effect around the rim of my bowls. The bowl is first dunked in EM-1002 Alabaster White Glaze (Laguna Clay), and then the rims are airbrushed with a pigmented version of the Alabaster White Glaze using mason stains. My issue is seen in the attached images - it's as if the pigments collect in areas (as seen in the blue bowl) instead of evenly spraying for a seamless ombre. I've tried using an underglaze instead of a pigmented low fire glaze, and it results in a "cracking" look as you see in the pink bowl.
  10. Hi y'all! I'm about to order a couple pounds of Laguna Crystalline Glaze (Crystal Palace) and try it out. http://www.axner.com/lagunawc-561crystalpalace10glazedrysoldperlb.aspx Laguna's website says it fires from cone 5 to cone 10, but I'll be doing the first firing at cone 10 in a gas kiln. Has anyone here had prior experience with this glaze? I haven't been able to find much information other than that it is a good base for other crystalline glaze recipes (no info on what those recipes end up looking like though). I'm trying to figure out if it plays well with other glazes an
  11. Hey everyone! I recently purchased a used Cress FX27P Electric Kiln, and after bisque firing the first time with the automatic kiln sitter, I noticed that the thumbwheel does not move, and appears to have some sort of malfunction. I figured out a way to bisque firing while moving the thumbwheel manually, but I haven't tried glaze firing yet. Anybody owns this kiln or a similar version of this kiln and can help with how I can glaze fire (cone 6) by moving the thumbwheel myself? For everyone that doesn't know what the purpose of the thumbwheel is, there are numbers 0 to 10 on it, and it move
  12. Hello: During my recent glaze firing I had an experience that I've never seen before in that my glaze looks like it's separated from my work. However, it seems to be a little more complicated in that the glaze is all over my shelves (Ugh. I know). I've attached a picture of a piece from this firing so you can see what I mean. Some piece are worse than others. The glaze that was used is this: https://www.amaco.com/products/glaze-pc-20-blue-rutile The Clay in use is this: http://www.lagunaclay.com/clays/western/wc379.php The ware was fully bisque fired prior to the glaze firing,
  13. Hi folks. I've been using a Silhouette Cameo cutter to create vinyl decals I put on my bisque before dipping in glaze to create a negative space design. (it's ain't easy creating a signature look and standing out in an art town) It's challenging (sometimes flat crazy making) because if you pull the decals too soon, glaze runs into the area you want to keep clean and too late, it flakes and chunks come off with the decal and I end up doing a lot of clean up or touch up. Add to that my unnatural love of gooey, reactive, unpredictable and persnickety glazes and it can be a real PITA, especially
  14. So I pulled this out a bowl this morning and found a 1" crack. I did not see it after bisque - and I looked. How / why did this happen, any ideas? Can I grind it out and reglaze maybe? I don't see it on the back but when I fill it with water it slowly dampens the surrounding area. Thanks
  15. Nube here. Might someone speculate on the process best suited to achieve a surface like the attached image of an ancient tile (Sumerian?)? Right now I have two greenware tiles made of clay that fires white. I'm planning to paint black underglaze on the greenware and draw into that (exposing white). Then fire to the max temp of the clay? Then apply a matte glaze for a second firing? Any thoughts for me? Appropriate articles?
  16. i all, I've recently set up a raku kiln and have been experimenting with different clay bodies. Someone requested on this forum that I try Laguna's B-mix with grog. I was looking for a nice creamy white clay to glaze with a clear.. I like the clay, but have had a few - not all - pieces came out with a few hairline cracks that were happening during reduction. I've attached a few photos. This past weekend, I fired around 10 different pieces with varying thicknesses, and had only about 3 cracks, so I'm not thinking it's the clay. Could I be doing something wrong in the reduction? The
  17. 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?
  18. Hello! This is my first post after reading so much fabulous and useful advice on these forums the last couple of years. I'm still a bit of a newbie potter and I've been selling for just over a year. So far I've been really pleased and no complaints or negative comments (exception: why don't you make in blue?) LOL. So I sent off a pair of mugs (Etsy sale) and the new owner is really happy with them, except that he just tried to microwave one to reheat his beverage, and he heard some "pinging" noises. He was alarmed and took the mug out and didn't try again; he's just wondering if I know what
  19. 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.
  20. 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.
  21. 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.
  22. 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:
  23. 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.
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