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Found 235 results

  1. 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!
  2. 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
  3. 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
  4. Hello! My first post here Can I purchase All Ready Made Glaze that is for high fire cone 10 clay that is like Elaine Coleman's Celadon blues or greens?- Thank you
  5. Hello! I will be making a number of sample pieces for clay and glaze examples, but would like to make little notes on the back of them. Someone told me an underglaze decorating pencil is needed. Is there not a generic pencil that will not burn off in a kiln? $11.95 and shipping leads me to think I'll just carve notes instead. Many thanks!
  6. Hi, I found that some potters would like to use silver nitrate in their own glaze recipe, this is not common in my country, could you suggest me some ideas about the use of silver nitrate? Thanks!
  7. I was experimenting with some Hakame and made a brush from grass broom bristles which seems to be fine as far as the tool is concerned (the synthetic broom bristles might be an interesting alternative too as you could space them out and create a "comb"). The issue that I ran into is that instead of doing it with slip I am doing it with glaze. It turned out pretty interesting but I'm not getting the flow that I want which is in the second photo. Any tips on getting that type of flow? The color pallate that I"m working with is exactly what I want and using another slip I might consider eventually but I'm trying to stick with working with minimal amount of variables at this time.
  8. Hello Good potters, I've just made some stoneware pendants, finished in a dry matte glaze. Are glazes that are not food safe, such as dry matte or those marked with a 'CL' caution label (using commercial glazes) safe to use on jewelry that will be touching the skin? Many thanks--
  9. Here is my first successful ash glaze. I call it Nuka crackle. it is fired to ^6 oxidation. It is placed on thick and cracks as it dries. The top of the tile is double dipped while the bottom is single dipped. It does not drip, but has a great matte finish. The recipe is: Soda Feldspar 40 Tumbleweed ash 26.7 Whiting 13.3 EPK 13.3 Frit 3124 6.7 Total 100 I'm thinking of using it over a darker glaze so the color is seen through the cracks. Jed
  10. I am looking for a recipe for a white or light glaze. I will use it on dark clay, so I want an opaque glaze. Perhaps it should be an ash glaze. I want to burn at 1250C - cone 7 or 8. I just today got my new studio (for the first time in 15 years - hooray). Tomorrow I will order materials so a good answer is urgent - and very appreciated!
  11. I have been given everything in a home pottery studio from a deceased estate. Now that I have the kiln refurbished and running I am trying to work out what is in the buckets because the labels just have a word or two. From one bucket I've poured a very milky 'choc-mint' onto some terracotta cake plates. Because it was so pale I assumed it was a glaze and that the chocolate and greeny mint colour would come forth in firing. Also because I didn't know if it was food safe, I painted it over with a transparent glossy glaze. Surprise, surprise with the firing! Wherever I painted transparent glaze the choc-mint was now a brilliant aquamarine blue and elsewhere the 'choc-mint' was still milky. I'm not sure if the difference comes across well in these photos but in real light a difference is very evident. So are the contents of this bucket a slip? Would a slip's colour change that much under a coating of transparent glaze? Is there any way (apart from firing) to tell if what's in the other buckets are slips or glazes?
  12. I feel that I get a more even application spraying. I think I lose a lot of glaze by spraying. When I dip I get finger marks and try to fix them they never come out completely. Do you dip and pour or spray? Do you have a booth for spraying? Any recommendations?
  13. I've been looking on the internet as well as a few books on crystaline glazes but what I'm looking for is a way to add shinny copper sparkles to a glaze over a dark color. Sort of what happens with Crystaline Ultramarine but just the copper sparklies. Thanks
  14. Hello! I'm looking for some advice on using pre-mixed dry glazes. I have always been part of a larger studio and didn't have to worry about mixing up glazes - now I live in a smaller northern community and have just started a small studio with a few others but none of us have ever mixed glazes before. We have an electric kiln. After searching around for products online I was thinking that buying a larger quantity of pre-mixed dry glaze for Cone 6 (like Laguna ms series or spectrum 1100 series, 50/10 lb) might be a good compromise for us newbies between buying pints of wet glazes and buying all the different ingredients to mix by recipe. If anyone has any advice for us on the best way to start out with glazing or how pre-mixed dry glazes work or what products work best we would love to hear it! Cost of shipping is definitely an issue for us as well as the possibility of freezing during shipping (it is -20C where we live in the Yukon this morning). Thanks so much!
  15. Has anyone attempted to use natural iron pyrite in a clear base glaze to a mid to high fire on stoneware? I would like to use iron pyrite collected directly from area streams which may contain minute amounts of gold or silver. I would like to avoid having to completely reinvent the wheel. I have a propane updraft kiln. Any advice or educated guesses are welcome.
  16. Hello everyone! I'm new here, and I've been reading some threads. I was wondering if anyone might know of anyone or might have stashed somewhere, the Blue Marble glaze from Mayco Jungle Gems. This glaze was discontinued in the early 2000s because of its lead content. I just recently discovered it when someone had a tiny amount for me to glaze a pinch pot. I glazed it at cone 6 instead of 06 (oops) but it came out AMAZING! (Turns out Jungle Gems CAN be fired at cone 6!). The Mayco rep contacted me about my inquiry and is sending me a package of glazes to play around with to see if I can recreate it, but I would really like to find something very similar or some that someone isn't using. I will pay a reasonable amount for this! Questions: Is touching a piece made with lead glaze harmful? Once a lead glaze is fired is it still dangerous?
  17. hey all, I'm determined to work with cobalt and get detailed brush strokes on an opaque white background. I'm interested in Delftware, Chinese blue and white pottery, etc. I keep having issues with the glazes and I keep trying different ones and combos and I'm not getting anywhere. This technique/aesthetic seems so classic and universal that this shouldn't be so hard, and I shouldn't have to keep reinventing the wheel! Would anyone be able talk with me about this? - - - Specifically, I'm using low fire majolica process for it's simplicity (i'm using this recipe: http://digitalfire.com/4sight/education/g1916m_cone_06-04_base_glaze_226.html?logout=yes), but the cobalt which is mixed 1:1 with non-opacified base glaze, is either chalky and almost unmelted in heavy/dark areas and in other random seeming areas the cobalt seems to bleed out onto the background. I'm looking to have relatively sharp/clean lines and brushstrokes, a more even, smooth texture (not the hard buildup in the darkest areas). - - - I'm ready to head to Delft, NL and beg the folks at Royal Delft Blue to explain to me what they're doing. Someone, please! How is this done? (p.s. don't know why CAD rotated this image, but it did. Sorry)
  18. Hi out there. does anyone have a good recipe for a clear gloss glaze for white earthenware, firing to a max. of 1100 degrees centigrade. Many thanks for your help.
  19. I am looking for a good "dark" grey glaze I can fire in oxidation on light stoneware clay. We wire around 1249C (cone 9) This the tone (or shade) of grey I am looking for (forget it's b&w image): Do you have any good recipes? I am thinking about experimenting with white satin glaze I have and adding some black stain I got (Co-Fe-Cr). Am I even on the right track?
  20. I've used this ^10 Ohata recipe for years. G-200 43.4 whiting 6.5 Talc 5.7 EPK 5.7 bone ash 9 flint 19.5 iron 9.7 I've made the change from the old G200 and I don't like it. I've tried both Custer and the G200HP/minspar combination. They look about the same as each other, but not the old Ohata. The new formulation isn't nearly as bright and firey as before; more of a purple tone than orange. Has anyone else noticed this and tried to formulate it back to its old look? If anyone else has been working on it, I'd just as soon not start from scratch. Or, could someone suggest where I might start with a reformulation.
  21. Hi all, I'm taking a ceramics class and our teacher provided us with ^06 clay. I didn't realize how low-fire that was until it was too late to start my project over...in fact, she had told us that it was ^6 not ^06. I'm a little concerned as I am making a teapot and don't think I will be able to glaze inside the spout, and have read that unglazed areas of low-fire clay are fairly porous and are not generally considered foodsafe. Should I be concerned that the teapot I spent hours and hours on might not be safe to actually use? Any ideas for how to properly glaze the inside of the pour spout? Thanks!
  22. Theres a spray booth at the studio where I work. However, I would love to hear if anyone has had success using an atomizer or hand sprayer. I would be using it to get a light coat of clear glaze over plates. It would save a lot of time and cleaning:) thanks!
  23. I need to glaze fire a pile of plates. Problem is, only one plate fist per kiln shelf so I end up having more shelves (in weight) than plates. Is there a better way to do it because this feels like a such a waste.
  24. I have a gallon of transparent gloss glaze. Ive had it for About a year and when i took it out of the box, It has a pepto pink cast to it. Ive had pints before but It was not pink.. Is this new to see the glaze and will It be clear after firing?? Anyone..anyone?
  25. After three successful crystalline firings with the same 4 glazes, my fourth crystalline firing failed with the exact same firing schedule. I had 14 pieces in the kiln and all of the glazes bubbled and flaked off except for one piece! Any advice on what happened? Why is the glaze matte, flaking off and no crystals? How could 13 of the 14 pieces fail? The picture below is 2 vases with failed glaze and 1 vase with the successful glaze The 3 vases were made with the same clay body, bisque fired at the same temperature and have the same glaze.
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