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Found 232 results

  1. I have a laser which I have been using to engrave designs into big store bought ceramic tiles. Up to this point I have been color filling them with rub-n-buff or I have painted them and engraved off all the paint except the design itself. Sometimes I mask the tiles and laser thru the mask and then paint and remove the mask after painting. I also have a sand blaster which I sometimes use to etch the tiles deeper than the laser can do. I have a kiln ordered that will fire cone 10. I would like to color the engravings and fire them in the kiln so the completed tiles can be set using sanded grout. i.e. more durability than with the process I now use. Being brand new to this adventure with a kiln, I could use all the advice and recommendations you may wish to provide. The laser takes the factory glaze off and leaves a so I am unclear as to which type glaze I should use and would china paints and/or india ink work? The picture attached is close up of one of the tiles that has been engraved with the laser.
  2. I'm not sure why some cone 6 glazes change color rather drastically when refired to a lower temperature, but maybe someone can explain. Specifically, Coyote Ice Blue glaze fired to cone 6 turned out the usual beautiful multi-hued blue, brownish at the breaks. Then I decided to put some low fire clear glaze on the bottom and refired the piece at cone 06. The result was an awful, mottled green and brown camouflage-like color. Yeechhh!! So I refired back up to cone 6 again hoping to recover the blues. The piece now looks much better - the greens are gone - but the subtler blues are also gone and there is more and deeper brown. As it happens, I did the same thing to several other pieces with different commercial glazes on them. All of them suffered significant color degradation after the 06 low fire, and recovered only a portion of their original color in the second cone 6 fire. With one exception: a bowl with a combination of Amaco Textured Turquoise and Amaco Iron Lustre looked pretty bad after the low fire but almost completely recovered its original color after being refired to cone 6. I thought it was safe to refire pieces at a lower temperature, but I am obviously mistaken. Any insights on this phenomenon would be appreciated.
  3. I've seen an ultra suede dry matte glaze used on earthenware. Is it a custome recipe? Done in colors too. Is it possible to get the same effect using other clays? See attached image. Thanks in advance for any information on the topic. MJ
  4. I have a couple of buckets of unknown glaze materials. When I test fired them I got a very dry underfired result. Then I set about adding various materials, looking for what would make it fusible, something like a glaze. Testing systematically, I have added every material I have at hand and in combinations, such as, silica, feldspar, talc, whiting, gerstley borate, china clay, alumina, nepheline syenite, borax, rutile, and so on, at various quantities 10, 20 %. I can not get much of a change, and it has got me beat. Surely something has to give. Of course maybe if I added something at 50 to 100% I would get a change but this would be counter productive, adding a lot of material and just creating a double lot of some unknown recycled glaze, and not making primary use of this quantity of waste unknown material. At that rate I might as well discard the waste glaze. But to actually find a solution, adding something in the order of 10 or 20 %, does anyone have any insights? I am quite amazed that I have not found any addition that works. I have tested at cone 1, 3, and 6. Of course it could be it needs a higher temperature, but that's not the point, because even a higher temperature glaze can be modified. The obvious additions just don't seem to be working. Let me put it this way. How can a mix of glaze material not be a glaze? For materials which generally are a glaze, which ones when added together will not act like a glaze? A strange question? Any thoughts?
  5. 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

  6. 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

  7. From the album: Ceramic Boxes

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

    © Terry Buffington

  8. This 2-day workshop will explore an array of leatherhard and bisqueware decorative options to enhance your pottery surface. Demonstrations are divided into two sections: pre and post firing. Initial explorations will begin in the green-ware stage to include the use of slip, slip trailing, sprigging, as well as trimming. In the bisqueware portion, glaze strategies will be investigated with trailing and waxing techniques demonstrated. Upon the completion of this workshop you will be armed with a variety of skills to apply towards your future pottery practice. Participants will have the opportunity to employ these ideas through their own work during both days. Please bring a sketchbook, personal potting tools, assorted brushes and any reference material you would like to incorporate in your work (photos, drawings, etc.) Bio Ryan J. Greenheck received his Master of Fine Arts degree from SUNY College of Ceramics at Alfred University in 2004. He earned a Bachelor of Fine Arts degree as well as a Bachelor of Science degree from The University of Wisconsin-Stout in 2002. He has participated in numerous national juried exhibitions and shows since 2000. His work is represented in many galleries throughout the country. Ryan currently is a practicing studio potter and Lecturer at the University of Pennsylvania. WS01 – Saturday & Sunday, 10-4pm, January 16 & 17, 2016 Fee: $200 members; $225 non-members Contact Mary Cloonan at mary.cloonan@baltimoreclayworks.org for more information. Baltimore Clayworks 5707 Smith Avenue Baltimore, MD 21209 www.baltimoreclayworks.org
  9. Hello! Could anyone please give me hints on where to go next best to figure out where the following problem comes from? Here are three examples of first tests made by me and my friend with glazes we found in recepy books and online, all for cone 6. We are using an electric kiln at one workshop where we can only program a ramp with three steps and so we tried the following firing programme, while skipping the step 1 and the last one (so we had no hold on cooling and just had the kiln switch off after the 15min hold on the top temperature). here the original firing programme: http://digitalfire.com/4sight/firingschedule/plainsman_cone_6_electric_standard_firing_schedule_114.html I suspect we need a slower cooling. We can program the kiln to cool down with a constant temperature, but we can't add any hold into the programme. Any idea what would be a good temperature then? We now also try to apply some of the glazes thinner. Several texts I have read on the troubleshooting issues mention to lengthen the firing programme, but give no specifics about which step and how much to lengthen. Some say to use higher temperature, but doesn't give a hint in terms of how much higher etc. Any advices would be highly appreciated! Best wishes, Martin
  10. Hi all, Looking for some help. Firing my kiln today, doing something new. Doing a programmed ramp and cool down. After 250 degrees I am ramping at 500 degrees an hour to 1978 degrees (farenhieght). My kiln vent is on and appears to be working properly. The only other difference is the kiln is loaded with three new glazes. I have thoroughly tested the glazes, just never done a load of just the new glazes. Firing to a top temp of 2225. Using a cone 6 red clay, same as usual. The problem, the studio smells, really strongly. It is a normal firing smell as in my previous place I fired in an open garage. I pulled out my respirator and am wearing it to check the kiln. Luckily the smell isn't penetrating to the rest of the house. Any ideas? My only thought is I am using glazes made with Alberta Slip. Could it be possible it has a lot of organics in it? Thanks for any help. Chantay
  11. Hey everybody, been doing some testing and went through my first gas firing. (click my sig link if you are interested in the firing) I thought it was a disaster but others tell me not so much. Expectations will absolutely RUIN your happiness. Anyways, I have 2 glazes that I really kinda dig. The first glaze is a leach white which is nice and I'm still doing some tuning on that. Below is an example of the leach 4-3-2-1 glaze that went through the gas firing with too much reduction and made it to cone 9. I put a sprinkling of FE203 Red Iron Oxide and a sprinkling of Rutile as well just to see what each would do. The second glaze is what I'm curious about. It's Malloy Clear. Its not really clear, its opacity is created by billions of bubbles trapped in the glaze which is actually quite cool. It gives it a warmer color and I'm quite smitten. Being that there are bubbles in this, and they do not affect the surface of the piece would these be in any way compromised in strength / durabiltiy / foodsafenes etc?
  12. John Britt has graciously allowed Tony Hansen, creator of Insight, to add the recipes from his book, "The Complete Guide To Mid-Range Glazes", into Inside-Live. It is still important to buy John's book because it offers far more than just glaze recipes. It's an outstanding book that provides a wealth knowledge about glaze chemistry. If anyone has pictures of the glazes on tiles or pots, send them to Hansen or me so that he can add them to Insight-Live. Also, include clay type and firing schedule.
  13. I've been doing a lot of photography here lately (a grim necessity if you have an Etsy shop.) One of the recommendations for the photos used in the shop is for a close-up of some detail. At first I tried to get close to the pot to take these, but then I realized that my camera has so much resolution available that it worked a lot better to just zoom into a shot of the whole pot until I found something good. In the course of this I discovered that you could see stuff in the glaze surface that wasn't obvious to the naked eye, and I became somewhat obsessed with looking at these extreme closeups. I even wrote a blog post about them a day of two ago, and it occurred to me that maybe some folks here would find the idea interesting. Here are some examples:
  14. Hello everyone, I wanted to ask why the glaze might break after cooking the piece when it`s cooling off. Thank you very much. Sofía Jacky
  15. Hello, newbie here. I want to do some experimenting with making my own wood ash glazes from local woods. I've done a fair amount of research on the subject, but I do have some questions. 1. I've decided to keep my variables simple in the first round of tests. I was thinking I'd do a simple recipe for ash glaze, which is 50 parts dry ash and 50 parts clay body. Does this sound like a reasonable place to start, or am I missing anything important? 2. I have also decided to wash all of the ash I use. I like that it will be more stable/last longer in a mixed glaze and will be less caustic. I also don't want a SUPER runny glaze, and I read that there are more fluxes in unwashed ash. I am wondering, though, what is the best way to dispose of the lye-water that I will make through the washing process? I don't want to pour it into our septic system or kill any plants or hurt the environment. 3. I'll be making plates mostly, maybe some shallow bowls. I was thinking simple, flat test tiles would be the best way to test colors and would be easiest to display later. I am a little worried about super runny glazes, though. Any suggestions for a good test tile to test glazes used on plates? 4. I am not sure what the best glaze application process would be. I don't have access to a sprayer, and it will be difficult to dip plates (especially if I don't have a LOT of glaze mixed up at a time.) Any ideas how to use either a sponge or a brush to get a fairly even coat? (I'm okay with some variation in pattern, but I want to make sure the whole surface is glossy and glazed) How thick should my glaze be when I paint it on? (Should it cover my hand completely and be like runny yogurt or should it be thinner?) 5. I've read that it's important to gather pure ash, and that ash from the fireplace doesn't always work because of the newspapers/magazines used in starting the fire. How important is it that the ash I use for glaze is absolutely 100% wood ash? Will having a little paper ash in there hurt things or make it less food safe? 6. I am thinking of adding a couple of colorants and testing those results as well. I'm going to start with copper carbonate and cobalt carbonate. I'm also thinking of trying rutile but am concerned that it contains titanium... would glazes made with rutile be food-safe? 7. I've read that ash glazes are typically high-fire glazes. I was thinking that to keep all the variables the same, I would fire all the test tiles and plates at the same temperature, probably cone 9/10. I've also read you have to go as high as 11. Thoughts? Sorry for so many questions! Like I said, I'm pretty new to ceramics and this will be my first experiment with mixing my own glazes and I'm excited but also nervous. Feel free to just answer a couple of questions, and thank all of you in advance Betsy
  16. This week I am reading about glazes with Alberta Slip. I have been looking for a clear for my brown clay and if I can get it to look like the pictures, it should work great. I am getting my info from AlbertaSlip.com. Another glaze I really want to work is Alberta Slip, lithium, and tin. The website states that to get the pictured results that part of the Alberta Slip must be ballmilled. Does not give a percentage. While reading John Britt's book, Complete Guide To Mid-Range Glazes, he mentions that this use to be the case, but is no longer necessary due to the fine quality of raw materials now available. If anyone is interested in trying any of these glazes, John does still recommend to calcine half of the Alberta Slip. I would like to know of anyone's experience with these types of glazes.
  17. Hello, I'm fairly new to ceramics and am learning quickly with the guidance of a really great teacher who encourages my creative side. I like to use underglaze on my bisque pieces to add more vibrant colors or if I want detailed decoration. My teacher and I have been experimenting with several different clear glazes both studio made and commercial but are finding that we can't quite get what we're looking for. We want a very glossy finish, but without any clouding. We fire to cone 5-6. Commercial glaze recommendations or recipes are great--thanks!
  18. I plan to mix up some SCM to try over and under several glazes. I plan to dip and pour. Does anyone have experience using this? Any advice or suggestions?
  19. Hi I am struggling to find a stoneware glaze - either a recipe or a commercial one - that would recreate the rusty terracotta seen in the picture attached. Preferably cone 6. I was wondering if anyone here could help. Many thanks.
  20. 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
  21. 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.
  22. I had a somewhat disastrous test firing yesterday. On unloading the little kiln, I found I'd gotten some pretty magnificent glazes. Unfortunately, almost all of them flowed off the pot and on to the shelf. This was a new bucket of an old glaze, which I tested on tiles before using on actual pots, and the tiles were identical to the old bucket of the same glaze, so far as I could tell. Maybe the glaze was too thick on the pots; maybe I didn't have quite enough titanium in the new glaze-- it was a 10,000 gram batch and the titanium component was 30 grams short-- I ran out while mixing, but no difference could be seen in the test tiles. So here's what I'm wondering. I have a grinding disc that fits on my wheel, and I was able to grind off most of the overflowed glaze, leaving footrings pretty much intact. I cleaned up any sharp edges with the Dremel. I'd really like to offer these pots, because they're beautiful, in my opinion. But I wonder what others think of selling pots that have had glaze ground off the foot. Bad? Okay? I know that this is standard practice for macro-crystalline potters, but that's necessity. I'll attach an image of one of the mugs, and its footring.
  23. The studio where I take classes has commercial glazes in 5 gallon buckets. A fair number of the pieces I've made so far are either too big to dip or too awkward to pour across and my brushwork leaves something to be desired. I have an air compressor at home and am seriously considering buying a sprayer. Any particular brands better than others? Features that are requirements? Features you don't want? Any considerations I should be aware of in using a sprayer? I have asthma so am very diligent about wearing a good mask if anything could be airborne. Thanks, Judy
  24. aarrgghhh...I typed my whole spiel and the dang thing timed out and erased it all. OK-seeking a simple starter lesson on the sequence of greenware/bisque/mature fired AND with the proper sequence of underglaze and glaze relative to the firing sequence...not clear on the fit of the cone of the body and the cone of the glaze when it comes to the variables. I have read, watched videos, read more, and read again...but something is twitching in my brain to the point that I am just not "getting it" and not retaining any simple steps of what to do when. I have zip experience with commercial glazes. I had worked with cone 10 studio-made bodies, gas-fired, and sometimes, not that often, with high-fire studio-made glazes, generally very earthy, not a color palette as with commercial products. So I have no clue about low-fire underglazes and mid-fire bodies, for example. Also wondering if I can take an unglazed piece fired to cone 9 and glaze with a cone 6 glaze and re-fire at cone 6? Please do not leave me with just "test-test-test". I absolutely cannot afford to expend my precious and limited supplies/materials experimenting just to get to a basic starting point. Thanks in advance.
  25. Hello, all. As an advanced beginner, I know a few things about clay and glazes but have not really studied the chemistry. I did do some searching before asking this question but cannot seem to find an answer so I would appreciate replies! I have a straight-forward semi-transparent glaze recipe: - china stone 20 - carb whiting 23 - kaolin 30 - quartz 27 This is a wonderful glaze that I used at La Meridiana School (in Italy), and it fired beautifully on porcelain in both reduction (1280C) and oxidation (1260C). In my studio here, I have used EPK (for raku slip resist), but we also have a bag of calcined kaolin - which I am sure that I was the one to buy it but cannot remember why! My question, then, is what exactly is calcined kaolin and what is its use, i.e. can it be used where something calls for just "kaolin"? Please forgive my ignorance , and thanks! wendy h.
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