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Found 232 results

  1. I'm trying to get the hang of using my Amaco hydrometer to get consistent specific gravity with my new glaze tests and also with my slip. I cant learn anything if I just keep guessing. I want consistency when it comes to "my" part and then after that the fire gets to have its say. So in glazing I get information that says glaze should be around 140 to 160 sp gr but the readings are for 1.xxx. On this scale 1.00 is even with water, nothing in it. Or on the other side it is 0-70, 0 being the reading for water. Here is a pic of what I think is the proper consistency of a Leach Temmoku glaze. It reads 1.600. I know that there are deviations depending on what type of glaze and that some need to be thicker than others but looking for a starting point really. In the Britt high fire glaze book there is no specific gravity except for some recipes that I guess are deviations from a standard? Does anyone know the standard specific gravity for this particular book? Also on the same topic when using slip for dipping and general purpose decoration like brushing what should the general specific gravity be? I seriously need to get a real drill that can mix a 5 gallon bucket of slip. Its hard doing it with a kitchen whisk ;-) Hoping the answers I get will help others along the way! Thanks everyone for your input!
  2. I have a 5 gallon bucket of Goldart sitting in my studio. I used to use it for white slip; Ball clay 33% EPK. 33% Goldart 33% Called Schiller White Slip. Not using slips any more as my glazes are very opaque. I got a glaze recipe; [Cone 10 reduction] Ash 50% Goldart 50% But it is very dry. A nice yellow ochre colour though. Any thoughts? TJR.
  3. 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.
  4. Okay, I just opened a test firing in my tiny kiln, mostly testing a new glaze with various slips and double dipped other glazes. I had a couple pieces come out with pink flashing on this glaze. I'm familiar with the problem caused by chrome and tin, but there is no tin in this glaze, and no strong source of chrome in any of the other glazes (small amounts of chrome in some glaze stains, used in very small amounts, resulting in very pale blue-green glazes. Also, no tin in the other glazes. There were a couple pieces with glazes carrying 2 percent cobalt carbonate. But that's the only strong colorant in the batch. The glaze in question is a fairly simple glaze, designed to be active and pick up color from underlying slips. It has 10 percent gerstley borate, 6 percent titania, and 6 percent lithium carb. My best guess is that something is reacting with the titania. The problem (actually I like the effect and would like to figure out a way to reliably produce it) is obviously from something fuming off a nearby piece, because of the way the affected pieces were only colored pink on one side. It's not from underlying slips, as the piece I'll post a pic of was not decorated with slip. Anyway, I'd appreciate any insights or observations regarding this.
  5. I know people hate this and I know I should be taking the time to test test test multiple glazes but truth is I don't have the time. I had a dear friend ask me to make a run of mugs for her and glaze them purple (long story behind the request that I'm sure no one is interested in but, it is a heartfelt gift that she is giving a group of friends to honor a friend that passed away). I don't have a purple glaze and this is going to be a one shot deal, so I am asking for a tried and true cone 6 oxidation glaze for white stoneware. Shade of purple isn't important but it would be nice if it was food safe so I wouldn't need to use a liner glaze (which I do have if I must). So if you have a good purple glaze I would appreciate the share so I can do this project for my friend in a timely fashion. I dip and spray my glazes and usually mix my own but if it is necessary I would try a commercial glaze to get this project done.
  6. Cone 6 Ceramic Glaze Testing Workshop with John Britt March 13-15, 2015 in Sarasota Florida. (where it is warm!) This is a three day Cone 6 glaze testing workshop designed to show participants how to test a base recipe to get strength and blend of colors. It will also be a general overview of ceramic glazes, clays, slips, cones, kilns, firing dynamics and principles. More information: mariooch.com/JohnBrittWorkshop.pdf or call Nancy Morris 941 228-4045 JohnBrittWorkshop.pdf JohnBrittWorkshop.pdf
  7. A few quick questions for the glaze experts out there. Background: I'm very excited to be creating my first base glazes - a simple cone 6 clear for a white (talc free) clay body. I also have a dark red clay body with obviously a high iron content. And then after that I will be going for a cream color glaze and then a temmoku. I have no real interest at the moment in bright glossy colors. I have 2 different options for silica - sand (white) and flint (270M) - Which is the best starting point or should I just get some of both? I want to give myself the most possibilities for testing and using in secondary glaze recipes. For the base white recipe I want to use it calls for Tin Oxide Tin Oxide vs Zircopax - Tin Oxide is REALLY expensive and I am reading a lot that Zircopax although it can be substituted at around 2:1 for Tin Oxide, it tends to kill the colors that oxides produce a bit. Not too big a problem for me I wouldn't think at the moment and none of the Temmoku I want to test calls for it. Does Zircopax work in a wide range of recipes and does it have any caveats to watch out for? Thanks much! Very excited to get going and will post results as I go.
  8. Hey guys what ceramic supply websites do you prefer? Which have the most reasonable prices and what were your experiences with them?
  9. I have been mixing a Cone 6 clear gloss glaze that is very stable and consistent. It's a Glossy Clear Liner recipe (see below). However, the super shiny surface makes my pieces look "plasticy". It also changes the clay body color dramatically. I have two questions: 1) Does anyone know how to modify this recipe so it's less glossy? I don't want a matte finish. I would like something between satin and semi-gloss. 2) Will changing the sheen effect the clay body color somewhat? Thanks! GLOSSY CLEAR LINER 100G G-200 FELDSPAR 20 FERRO FRIT 3134 20 WOLLASTONITE 15 EPK KAOLIN 20 TALC 6 SILICA 19 TOTAL 100
  10. So, I don't have a clue about ceramics, but I'm trying to do a DIY Sharpie mug. I took some IKEA mugs, removed the glaze using Armor Etch, wrote on my design using oil-based sharpie pens. Now I'm looking for a glaze I can put on top to seal the design. I don't have a kiln, just an oven, and because it's a mug, I need a glaze that is food-safe and heat resistant for dishwasher and microwave use. Am I just totally in over my head or does such a product exist? If not, is there any way to create a similar product that is dishwasher and microwave safe?
  11. Commercial glazes that can be purchased please. the dead thread..
  12. I just graduated from high school where my teacher would do everything with the kiln. I just got a kiln and am going to start firing my own things. It is a cress cone sitter. I have a bunch of low fire clays around but i plan on getting some potters choice glazes. will the cone 5-6 glaze would work with the low fire clays? what clays would be good for throwing and firing with the potters choice? can i bisque high fire clays at around 04? Im a bit new to firing my own pieces so sorry about all the questions.
  13. 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
  14. I am new at firing my own pots. I've only glaze fired a couple of times in my new Skutt kiln. I just glazed some pieces today and I'm hoping to fire tomorrow. I don't know if overnight is long enough for drying though. I left the temperature in the room at 65 degrees F. Will it be safe to fire so soon? Thanks
  15. I put a coat of glaze on a pot last weekend. This weekend I went back to finish glazing. I dipped the same pot into another glaze. The second coat cracked and peeled off in chunks. It happened on 2 pots, same glazes. On one, i lightly tapped and brushed the loose glaze with a brush, then dabbed glaze back on with the brush. - On the other, since is was more of a flat piece, I left it like that. I'm hoping it will still melt as I want it to even though it's cracked and not adhering to the first layer of glaze. I wonder if the first coat (dipped a week ago) got so dry the new glaze couldn't adhere. Other glazes adhered to the same first coat from last week though. So it might be just the two glazes don't work well together. Does anyone have advice for me? Thanks
  16. Hi all! I have a new type of project that I'm not too sure how to execute. I have a client that wants lettering on a mug and I have a few ideas on how to do it - but need some expert advice! I'm going for a knock-out kind of text, similar to what is show in my attached image. I couldn't link the image correctly, but here it is shared on my Google Drive: https://drive.google.com/file/d/0B9KmXACqrOVwUXJsMmN1NjVqRDg/view?usp=sharing 1. My first thought was to stamp letters into the semi-leather hard clay and carefully fill the grooves in with dark-colored slip. Bisque, then cover the text area with wax resist and finish glazing the rest of the mug. 2. Dipping the stamps in dark colored slip and stamping with color directly onto semi-leather hard clay. Bisque, then cover the text area with wax resist and finish glazing the rest of the mug. 3. My final thought was to skip dealing with the tedious slip application and just stamp the lettering into the mug, then bisque. Paint glaze onto the text area only, to fill in the grooves - then wipe off the excess. Apply a wax resist OVER the lettered section and then glaze the entire mug. I am really leaning toward the third method because it seems the most straigh-forward and easiest, but I've never applied wax resist OVER glaze and not sure how it will turn out. I wanted to see if anyone on here has ever used this method before with fine detail. Thank you so much fo your help! - Nina
  17. A problem has arisen on mugs where the glaze has a hole in it around the handles - this has only recently started happening. A friend said it looks like crawling - if so how do I stop it happening? My kiln elements are a bit worn out so I am firing at a slightly lower temperature than normal to avoid overfiring - could this be the problem? Or is it dust? If there's an obvious hole in the glaze when I apply it I brush some more over it to fill it. Can anyone help? Thanks.
  18. I'm using a technique where I apply contact paper stencils to create designs on my bisque before dipping into my cone 4-6 glaze. I've had really awesome results with this. My only issue has been that when I go to peel them off, no matter how quickly I try, chunks of glaze pull off around the edges leaving me less sharp lines. I've been using a damp sponge to wipe the glaze off of the paper and dampen the edges, but I still end up doing a lot of time consuming detail work with a paint brush. I'm toying with the idea of wiping the glaze off of the decal then leaving it in place to burn off in the firing (well ventilated, of course) I don't mind if the tiny bit of ash leaves some pattern on the unglazed bisque, but don't want it messing up glazed pieces in the kiln. Has anyone tired this or had similar experience?
  19. I have a fairly new bottle of amaco white underglaze. I haven't used it in a few weeks and when I went to get it I noticed through the bottle that the color was a grayish color. I shook it up, thinking it just needed a good shake. The gray color remained so I opened the bottle and the most awful sulfur smell came out. My entire studio smells horrible. Why did this happen? I keep all glazes inside. I've never had this happen before and I've used this same underglaze in the past. Thoughts?
  20. Hi all I've seen a beautiful piece at the IAC member exhibition in Dublin. On the tag it said "dry glaze". Can somebody tell me how to apply and fire dry glaze and where to buy it (here in Switzerland there is no dry glaze available). Thank you in advance. Greetings Evelyne
  21. I did some searching and didn't find much as far as favorite glaze recipes, so I thought I'd start this. What are your favorite glaze recipes? Include pictures OF COURSE!!!! American Shino, Cone 10 Reduction: 50 Nepheline Syenite 25 Ball Clay 25 Spodumene 0-2 Soda Ash Yellow Matte, Cone 10 Reduction: 50 Nepheline Syenite 25 Epk 25 Whiting Mackenzie Grey, Cone 10 Reduction: 50 Custer Feldspar 25 Whiting 25 EPK Kaolin For more pictures, in-depth explanations, qualities and shortcomings, and even MORE recipes, visit my website!
  22. Is there any way to salvage a glazed piece where a witness cone melted on it!
  23. I am working on a special project and would appreciate help identifying a glaze (Raku or otherwise) that matches closesly the tones found in the picture below. On the other hand, would it perhaps be easier to find a clay body that when fired matches this tone? From my own view, the piece does not seem to have been glazed. If that is the case, can anyone identify a similar clay body that will achieve these tones? I need the piece to look as though it is centuries old. Thank you!
  24. I have a considerable collection of pure earth, ochre and oxide pigments and oxides which I purchased for my encaustic medium via http://www.earthpigments.com. I would like to better understand how I can use these in the creation of stains and engobes. Do any of you do this? Might you have recipes or general rules of thumb for me? I see a lot online about "ceramic pigments" but I am pretty sure these are formulated, not pure. I'll happily text the options, but would love to hear people's experience first as these pigments are expensive and hard to get from where I now live in central Chile (by way of Boulder, Colorado). My main ceramic medium is porcelain, and I prefer to fire to cone 11/12 for translucency. However, I am concerned about burn out in the colors when using pure pigments and am happy to try cone 6 to maintain color. I will also test on terra cotta and stoneware. I am most interested in painting raw porcelain with the stains and/or engobes and doing a single firing, but I'm wide open. I am a beginner, really, with lofty aspirations. I love the work of Michelle Summer and am looking for a similar effect. I'm I right that the running in the work is only achievable with the clear glaze on top? Is she using underglaze, do you think? http://4.bp.blogspot.com/-mTkhN5hewWU/T4m5nVRXpWI/AAAAAAAAAbQ/jNHD6-jMdjw/s1600/DSCN2916.JPG I have seen this "bleeding" color under clear glaze in a lot of Japanese work lately. Am I correct that this is engobe + clear glaze? So, a couple of questions in this one. I appreciate any info you can share! Direct experience, links, anything. Warmly, Heather
  25. My name is Kristofer Hammer and I am a student of Union College in the USA, and I am applying for the Watson fellowship. This would allow me to study internationally for a year, traveling from various countries for my personal project proposal. My desire is to study Ceramics and the production of ceramics across the globe and I am hoping to not only work alongside artists, but to see how the Clay comes from the earth and into a persons hands. I was hoping that this community would be willing/able in assisting me in my dream, and might be able to provide me with any contact details of artists or art institutions in varying international countires, who may speak with me. My current countries are vast and wide but I am heavily considering Germany, Italy, France, India, China, Nigeria, Egypt, Korea, and England. I hope to hear from this amazing community and thank you for everyones time and consideration! Sincerely, Kristofer Hammer http://www.watsonfellowship.org/site/what/what.html
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