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  1. Hi everyone, Hobbyist ceramist with a few years of experience here, but not so much glaze chemistry knowledge. I make work at a studio in Germany since a few years and since the summer, we noticed a lot of new issues with various glazes used at the studio. Nothing seems to have changed a priory with the way we do things. We fire with 2 different Rhode ecotop kilns at 1220 celcius. All ours work is made using a white stoneware clay from one distributor. We order commercial glazes from the same distributor and a few other glazes from another one. We've been using the same glazes for yea
  2. Loking at old glaze book. What are your predictions for this c 03 glaze DeBoos Frit 3134 90 Bentonite 20 Addtitives Rutile 5 Rio 2 Am goingto mix today. Nog lookin forward to handling the bentonite. Looking for an opaque base to cover terracotta for a student...old school student come back to area for 6 months covid and I relented!
  3. How do i do this effect in which there is no glaze in the lines between the spaces? should i not glaze those parts? or do they get that worn-out look on their own? I will be very grateful to the people who help me. I think this effect is incredible.
  4. Hello, My white gloss glaze has recently started pinholing I believe. We have been using it for years with no issue. i initially started with the kiln it is firing to temp. We fire slow bisque and slow glaze programs to 06 and 6. I have tried bisquing to 04 with a hold on the end but the defect came back... I have tried a hold on the end of a glaze firing (20 minutes) with little improvement. We have tried the ware with this glaze in 3 different kilns all have the same problem especially on larger ware. We have also tried wiping down the ware lightly with a sponge on both
  5. Hello all, wondering if you can help with a new problem. I’ve used the same earthenware body and brush on botz glaze for over a year no probs. I have an old sitter kiln and bisque to 03 then glaze at 05 this has worked till now... suddenly my pieces are crazing about a week or two after firing (not immediately). It’s shuddering for some reason. I am making slightly chunkier pieces, could this be why? Any ideas why this is now happening would be great!
  6. Hi Everyone! Longtime lurker. All the information you post has been SO HELPFUL to me as I start to get my fledgling pottery business off the ground. I'm looking to make the switch from commercial to homemade glazes in the near future and have some picked out that I'd like to replicate. Mostly from Mastering Cone 6 Glazes. I was wondering, for those of you that operate out of a home studio, how many homemade glazes do you keep on hand? Thanks! Katie Piro
  7. Hi folks, once again, no new questions in the pool, so I will muddle through with another QotW. . . . QotW: Do you use commercial products or do you mix your own? In my small studio, I could never imagine mixing my own clay bodies, it would just take up too much space. Much easier to just order what I want in clay from Standard Ceramics in Pittsburgh. Yet I do mix glazes, and slips. I try to stay away from most commercial products that way as the cost is easier for me to make my own. I have purchase some underglazes, and mason type stains to mix colors that are hard to reach with ^6 unle
  8. Hi, I have 05 bisqued pots that I want to put 06 glazes on. I have to fire in someone's kiln who normally fires at 05. Will 05 firing an 06 glaze be problematic? Thanks for any response..
  9. I am trying to find out where I bought these glazes to get more info. I would like to give both bags to a small pottery group and if they like the glazes, they might want to get more. I have had them sitting in my studio for a few years, it is possible that the company I bought them from no longer exists. If you know anything about these commercial glazes, please let me know. Thank you.
  10. I'm experimenting with Wayne Higby's Raku glazes....Higby Canyon Orange, Higby Water Blue, Higby Green, and have not yet hit the "sweetspot" for glaze maturation. They seem tricky and have tried different thicknesses and temps, with minimal success. Been trying in the 1800-1900 degree range. Anybody out there using these glazes with success and can direct me to what temp you're firing them at? Thanks, Mike Brown, LizardHill Pottery
  11. Hello, I am making some porcelain work for an exhibition and I am hoping to achieve a finish on the porcelain that slightly resembles the Japanese sand wall plaster technique: https://habitusoutlet.com/portfolio_item/wara-juraku-wall-finish/ I was wondering if anyone knew of any techniques of adding plaster/sand/grout to fired porcelain? Or if not if anyone knew of any glazing methods that could help me reach a similar effect. I would quite like the finish to be quite textured. Any help would be appreciated, Thanks
  12. My new batch of glaze has a lot of bubbles - Just on the surface. I've stirred it over a few days, but they are still there. Very evident when I dip test tiles. I had this issue before, and found a suggestion to spray a mixture of alcohol and water on the surface. Or could it be vinegar and water? ?? In either case I cant remember the proportions. Any ideas to solve this problem? Many thanks.
  13. Rereading a bit of Greg Daly's Glazes and Glazing, he mentions using soluble forms of metals when dwcorating. He does this to get a ubiformitl i.e. no speckles and spormts. Does anyone do this and with what results? He does warn with thin walked pots to decoration may travel to other side of wall
  14. Week 8 New quiz folks, another hodge podge of thought raising questions. All of the Earthenware clay bodies can be lumped into 3 arbitrary groups: pure earthenware, talc, and kaolin bodies fritted, grogged, and kaolin bodies pure earthenware, fritted, and talc bodies pure earthenware, kaolin, and fritted bodies As temperature decreases, flux increases, and ________________ decreases. Feldspar kaolin ball clay quartz The thinnest, and lightest of kiln shelves are made of a ____________________composition. high
  15. Week 5 “Raw glazes†are those that are applied to the clay at the unfired, leather hared or dry stage. When making a glaze for __________ ______ clay, we have to increase the plastic, clay content of the glaze. However, a raw glaze for dry clay needs a decrease in ___________ content. Bone dry, silica Leather hard, water bisque ware, alumina Bone dry, water Most raw glazes will need around ___-____% of clay in the recipe. 10-20 20-30 30-40 40-50 A very interesting glaze can be had by adding iron oxide into a
  16. Hello there, I'm very new into Pottery and don't know much about glazes yet, well, don't know much about a lot to do with Pottery, to be honest. I've mainly worked with clay during art school for anatomical sculpture and recently acquired a kiln from a cousin. I have never fired a kiln before, but feel comfortable with the greenware (I thiiink that's unfired clay, right?) I'm not even sure of the model yet. I have 2 questions (to start with) for you: *Can you recommend a good book or resource (video, websites, etc) to help me, an absolute and complete beginner, learn how to safely wo
  17. Hi there, I'm pretty new to glazing and looking for help. I've always been in love with Lucie ries work and have been trying to create a beautiful black glaze of hers made up of equal parts manganese dioxide and red clay. I'm not even sure you can call that a glaze which maybe why I'm having problems with running. The glaze looks beautiful but it runs! Is there anything I can do to stabilise the glaze while keeping the beautiful finish. I am firing it over earthstone original clay in an electric kiln to 1230. Up to 600 at 60/hr then at 100/hr up to 1230. Does anyone have any suggestions to
  18. Hello, I'm making and testing glazes in my hunt for a satin matt glaze. I came across this recipe by Tony Hansen, which sounds almost exactly what I'm after, but I'm not sure which silica to use. Apologies if its a basic question but I'm still relatively new to this! The recipe is here - https://digitalfire.com/4sight/recipes/cone_10_silky_dolomite_matte_base_glaze_39.html Then I am hoping to add oxides to make a black glaze, would anyone have any ideas of which oxides and how much? Many thanks!! Lauren
  19. Hello! This may be a question that's a little silly, but I can't seem to find the answer anywhere. I've taken a liking to brushing on glazes on a banding wheel, as I've used earthenware clay/glazes for the majority of my time making pottery, and just recently decided to try a few different clay bodies and still intend to use brush-ons as much as I can. My question comes from the level of difficulty brushing 3 coats onto Cone 6 stoneware or porcelain (that has been fired and matured to Cone 6) brings, as It's not porous and takes a while for each coat to fully dry. As I've been looking at som
  20. UNDERSTANDING GLAZE CHEMISTRY WORKSHOP (CER074SA) Sharon Campus of New Hampshire Institute of Art Nov 12 (Saturday), 10am – 3pm Professor John Baymore $129 This one-day seminar workshop will provide participants with a basic understanding of the core concepts that can impact the creation, use, and evaluation of ceramic glazes for studio use. The use of the popular Insight ceramic chemistry calculation software will be introduced, and the approach used to this can be applied to any ceramic chemistry software. Troubleshooting of fired results, "food-safe" qualities, he
  21. I imagine we've all had that moment. At some point we look at our work and see, sometimes rather suddenly, that we have decided to go in a direction very different from the one we've been pursuing. The moment came for me a few firings back, when I unloaded the kiln and realized I liked a lot of the pots better than I liked the stuff I had been doing before. And then, I had to think about why I liked them better. Those new pots existed, in all honesty, because I had an order for a bunch of bowls and I had to get them out quickly. I decided to use some surface techniques that I ha
  22. Just wondering, can you tell by just reading whether a glaze will be more suited/attractive by firing in reduction or oxidation? I liked a glaze I saw called variegated slate blue, but it was only coming across the same glaze again that I noticed it was labelled for reduction. the colourants were rutile and copper carb from memory so if fired in oxidation...it would be more what?? green? less variegated?
  23. Hi, I'm new. Newly set up studio in garage...connected the kiln, focusing on tiles, still learning. I work with Standard 420 and 547 clay with lots of grog, and will fire to cone 6. I want to make some really earthy matte floor tiles, and am having a hard time finding matte glazes. The color range I am interested in is cream, burnt sienna , terra cotta (slightly pink?), earthy orange, mossy green, straw?. Attached is a pic.with colors that I love, but it is on a cement tile. Any suggestions on how to get this look- rustic texture and lovely variation on field tiles? It would be cool i
  24. Hi all, I have been able to consistently mix and use several glazes that I'm very happy with. Now I am trying to find a group of glazes that can be used with each other. Even if it is only two colors on an item. All my work is functional. I feel overwhelmed by the number of choices and am looking for a method to narrow down my search. My glaze chemistry knowledge is limited as I am mostly self taught. I like glazes that run and can be over lapped. I fire cone 6 electric on white stone ware. Thanks for any help offered.
  25. It only took 18 months (part-time) for me to learn about glazes and how to manipulate them to get results I want. I have read so much about glaze chemistry I feel like my head is going to exploded. For beginners I can't say enough about how helpful John Britts book, The Complete Guide to Mid-Range Glazes was. I want to thank everyone here at CAD for all your help also. So many great things have come out of this last firing even having over fired. I am posting just one of the glazes I have come up with. I replaced pic with a smaller one.
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