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Found 236 results

  1. Hi all, I've just seen that my local suppler has stock of the Amaco Crystallex brush on glazes. The specs say to fire to cone 5. I use high fire stoneware and I'm wondering if anyone could shed some light on the ramifications of firing to cone 5 instead of cone 6 as I normally do. May thanks, Andrea
  2. Hi All! I am new to the Ceramic Arts Community! I made a few pieces both hand built and on the wheel with terracotta clay. I would like to glaze and fire my pieces in one fire with a clear matte finish. So my questions are... 1. Is it possible to skip the bisque fire and just glaze it and fire it once 2. What cone should I buy for my glaze? 3. Does anyone have any recommendations for clear matte glazes that would work for terracotta Thanks in advance!
  3. I thought I would start a new subject line rather than continuing to hijack the other one. I am trying to learn how to do some basic fine tuning of my glaze firing. I am going to start by trying to correct a pinhole issue I am having with one of my more popular glazes. I think the problem is that the temperature is dropping too quickly once reached and "freezing" the glaze before it has time to smooth out and heal over. I have a Bartlett V6-CF controller on my Olympic Kiln and I glaze fire to cone 6. With help from people over on the other subject of firing schedules (thank you!) I read through the Bartlett manual again. I read it when I first got it but didn't understand most of what I was reading so bad me for not reading it again. It seemed easiest to simply cut and paste the info from the Bartlett Manual so I don't get it wrong. This is their firing schedule for cone 6: Then I found this towards the back of the manual concerning a pre programmed vary fire program called User 6. They have something called a 16-S (16 segment program) under the menu section on the controller. I played around with the controller and was able to turn on this special, 16-S, user 6 cool down program. I do have a question concerning their Important Notes section. I am using the preprogrammed slow glaze cone fire program and the preprogrammed user 6 slow cool program. I don't see anywhere to do the segment adjustment they are saying to do. What am I not getting? Once I get the programming figured out my firing schedule should look like this if I am understanding it correctly: Slow Glaze Cone 6, 2232F 150 degrees per hour to 250 degrees 400 degrees per hour to 1982 degrees 120 degrees per hour to 2232 degrees Add on the Vary-fire User 6 Program (user 6 cone 6 cool down) Temperature starts at 2232 degrees F then cools at its natural rate to 1900 degrees F Then cools at 150 degrees F until it reaches 1500 degrees F at which point it then cools at its natural rate the rest of the way down to kiln opening temperature. Am I getting this right? Will adding this onto my slow glaze schedule help reduce pinholes? T
  4. I'm hoping someone can tell me how this kind of glaze effect is accomplished or if this is glaze , these were advertised as ceramic plugs so i assumed the color on top is glaze and the sides look like bisque, please help, id love to replicate these colors on my pottery, it looks more like glass then glaze. thanks
  5. does anyone know how these are done? I've never seen color like this before and I buy from an extremely large ceramic/ glaze supplier
  6. Hello all you experienced glaze chemists, I have been using this recipe at my studio for a few months now and I really like it except that when it's thick it moves more than I'd like. I'd like to slightly adjust it so it's a little more stable. Any recommendations? Also, the iron oxide and copper carb wouldn't affect any of this, right? Soto Amber - Cone 6 Frit 3124- 32% Feldspar Minspar- 26% Silica- 19% Calcium Carbonate- 13% EPK- 10% --- Red Iron Oxide- 3% Copper Carbonate- .75%
  7. Hi all, I'm very new to ceramics and need help with underglaze and clear glaze compatibility. I use Duncan covercoat on bisque with a Colorobbia CLA3 non toxic clear glaze over it. The problem is, the color just doesn't come out right when I use this glaze. I have tried firing at higher temperatures, I have tried putting the covercoat on leather hard clay, firing, then dipping in clear glaze and firing again- nothing seems to work. The color doesn't come out. I have contacted both Duncan and Colorobbia, both seem to say that the two products should work just fine together. When I tried a different clear glaze (lead based) it seemed to work perfectly fine, the color comes out just right. The problem is I do not want to be using a lead based glaze as my pots are for dinnerware! Any suggestions or ideas would be greatly appreciated! Thanks!!
  8. Hi guys, I am fairly new to ceramics and to this community. I wanted to ask if anyone had experiences/knowledge around sprinkling iron filings on pots with wet surfaces - right after glazing. Is it food safe? I know that there are glazes with high iron content but wanted to achieve a uneven effect with bigger speckles. This idea came about while watching and reading about a father and son potters from K. H. Wurtz. Here's a link of the video: On their website under their bio they mention the use of iron filings sprinkled on pots too. Any information about temperature, type of glazes, type of clay and their effects would be much appreciated. Regards, Jason
  9. I am new to glazing. I purchased a bucket of clear glaze. It was advertised as cone 6. I fired a few pieces (I know - should have done a test fire) and got blistering all over the pieces - some popped. In looking closer at the fine print, it is a cone 06 glaze. Can I retire and save these pieces? Or any help anyone can give. I know I should be chastised. Be easy on me. Thanks!
  10. http://ledondufel.com/fr/stage/la-terre-sigillee-de-la-fabrication-a-la-cuisson/
  11. Morning all, I recently ordered a glaze which was available in matt and glossy. I unfortunately did not specify the glossy code and the supplier did not check with me regarding the two options. I ordered 5kg and I really don't want to purchase another 5kg, as I had already made it up. Can anyone suggest what I can add to this to make it glossy. Thanks in advance Andrea
  12. I know that high fire stone ware is oven safe and dishwasher safe, but is it microwave safe?
  13. Hi everyone, I have seen this pot and do not how to make it. can u help me to identify it .
  14. Deborah Bedwell Workshop Surface Academy: Velvet Underglazes, Classroom Engobes and More! WS04 – Saturday, 10-4pm, May 21, 2016 Fee: $100 member/$115 non-member Scribble, doodle and dot! This 1-day workshop will introduce students to the colorful world of velvet underglazes, engobe slips and more. Participants will explore application techniques underneath glaze and on top of the glaze surface in this class. This class will encourage you to utilize line and color on your ceramic pieces while you learn how to bring a casual, playful, graphic sensibility to pottery making. Participants are encouraged to bring both leatherhard and bisque, either porcelain or stoneware, and experiment with the classroom materials. Open to all levels of artists with curious minds, previous clay experience is recommended, potters or hand-builders welcome. DEBORAH BEDWELL is one of the founding artists of Baltimore Clayworks and led the organization as the founding Executive Director from 1980-2011. Beginning in 2012 Deborah was elected NCECA President Elect. She holds a bachelor’s degree from Berea College (KY), a master’s degree from Towson State University (MD), and studied arts management at U. Mass. Amherst. She has received much acclaim for her success in creating Clayworks’ community arts programs, which has made the arts accessible to underserved individuals throughout Baltimore and the region. Her extensive knowledge of contemporary ceramics has taken her throughout the US and abroad where she has served as a panelist, curator, lecturer and workshop presenter. In addition she is an accomplished potter who continues to exhibit her clay work both locally and nationally. In the 1st quarter of 2013 she worked as artist-in-residence at Tainan National University for the Arts in Tainan, Taiwan ROC. WS04 – Saturday, 10-4pm, May 21 Fee: $100 Members; $115 Non-members Contact Matt Hyleck at matt.hyleck@baltimoreclayworks.org or Mary Cloonan at mary.cloonan@baltimoreclayworks.org for more information. Baltimore Clayworks 5707 Smith Avenue Baltimore, MD 21209 www.baltimoreclayworks.org
  15. I've bought about a dozen different Terracolor glazes, which are supposed to have "built in effects", looking very much like Raku... Two of the more solid color glazes look and work as they do on their product images, and one of the effect glazes also works beautifully and looks exactly like their product image. However, all others I've tried are complete disasters compared to the product images, and I've tried to vary water content, bisque firing temps, application thickness, firing temps... the lot! I don't want general tips, because even Terracolor themselves can't give me good pointers as to what I'm doing wrong. My question is this: Has anyone here used Terracolor, and what are your experiences?
  16. Hi, I have an unfired pot (cone 5/6 clay) that has had raw Cone 6 glaze (Coyote Alabaster Satin) applied to the inside. Can I fire this raw pot at bisque temp, leaving the applied glaze inside and then fire again at Cone 6 later? I was going to once fire this pot... but thinking now it would be a better plan to bisque at least a little first since it has some fairly fragile embellishments. Hope this makes sense Thanks!
  17. Morning all, I love the effect of crystal growth in glazes. I want to experiment making a glaze for electric kiln firing on stoneware to cone 8/9. Can anyone share a recipies?
  18. I am taking advanced ceramics courses at a University and need help organizing my thoughts/ideas/notes regarding glazes and glaze testing. I have searched the internet (research is NOT my strongest point) for some sort of chart/form that can help me keep detailed/thorough and consistent notes about my glaze testing. I have seen a program that will do this, but it is currently outside of my price-range Does anyone have or know where I could get something similar as a starting point. My memory stinks and have TOO MANY thoughts floating around in my head NOT TO do a detailed note-taking process. Also, I am attending college to become a teacher and would like to have something that helps my future students to keep track of recipes & results of glaze testing. Also, if there currently are not any, does anyone have ideas on the most important things to note in this chart. ​if I develop one, I will share it. thanks
  19. Okay, I have a decision to make. I've always felt that bowls for actual use are often best at displaying food if the interior of the bowl is white. On the other hand, decorating the exterior of a shallow soup bowl means that no one will see the decoration without taking the time to pick up the piece. So I've almost always decided in favor of decorated interiors. I still feel that the interiors of large shallow bowls make the best canvas for decorative surface treatments, but now I'm trying to decide if I should change my ways and make my smaller bowls with white interiors and decorated exteriors. I did a batch of these, and I'll include a couple poor photos of one of these smaller bowls, plus a pic of a big bowl decorated on the inside. So how do you feel about this decorative principle? Would you decorate these bowls on the inside, or the outside? Or both?
  20. Hi All, I'm a high-schooler taking a Ceramics II course, and I love it! I specialize in wheel throwing and I'm really interested in fusing glass on ceramic pieces. How would I do this? My teacher recommended putting marbles in my bowls to melt the glass with the glaze, but I'm curious on what others have to say! Also, where can I either get special glass, or get marbles to melt! Write me back! Thanks, Travis
  21. Hi, I am hoping that someone can help me out. I am looking for a cone 10 clear that works well in oxidation, specifically with underglazes, mason stains and color in general. In our studio we have a Laguna Clear and another that work okay in reduction but not well with the colors our students use. I know it can be difficult to have some underglazes come through at cone 10, but, I'm hoping to find a really solid clear that doesn't bubble up, cloud or burn out the color so severely. We use a commercial speedball clear sometimes but it is getting too expensive and I would love to have one clear that can be used in the various kilns. Any recipes/info would be appreciated. Thanks.
  22. Hi, I have fired black mountain clay in cone 10 reduction w/creamy glaze and love the iron speckles that come through. I see a thread of discussion last year about this w/suggestions. I am looking for any recommendations for creamy glazes (gloss or matt) that would work in electric cone 5/6 (oxidation) that might yield similar results. Any recipes or suggestions would be much appreciated. Thanks in advance!
  23. I've been noticing this glazing technique in some pottery on Pinterest ,( both modern and antique pieces ) and wondered what it was called. It seems that the lines must be done with a resist, so I tried some wax in a squeeze bottle but could not get a consistent line width. Anybody know about this technique?
  24. Morning to you all, I've just had a disastrous weekend trying to glaze items for firing. I don't have a large amount of any specific glaze so trying to make do is proving challenging to say the least. I've had to scrape down to bisque most of the items and now have to start again. How do you recover from a weekend from pottery hell? I really enjoy the final result but the prep work gets to me. I suppose I'm not yet experienced enough to go through a prep without problems. Part of the growing pains of experience! Look forward as always to your advice. Andrea
  25. Hi people, If I want to glaze the bottom of a pot do I put a disc of clay underneath so that the pot doesn't stick to the shelf?
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