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  1. Hi there, I've recently begun experimenting with Amaco Velvet underglazes and am really enjoying them. If I have a foodsafe liner glaze on the interior of a mug, is there any concern with using only an underglaze on the exterior (with no clear on top)? Would it be dishwasher safe?
  2. I think I must have missed the firing temp and sequence of applying a clear glaze over the underglaze in Sean O'Connell's amazing clayflicks member video. Specifically I like how the black velvet underglaze dots turn blue with streaking. What brand/type of clear is used, at what temp, and do you add the clear over underglaze at the bone dry stage or after the piece has been bisque? Thank you! Would love to give this effect a try.
  3. Hi everyone, i’m new to making ceramics and i have two questions. First one is that is it possible to paint your ceramics before it’s bisque? Second one is that please can somebody recommend me a good brand which has underglaze paints?
  4. Hi guys. I`ve purchased some Underglaze powder pigments. In description is written that I can mix it with water to use like an underglaze. I mixed it with water (5g powder to 10ml water; 5g -15 ml; 5g - 20ml) and draw to bisque pots. After it dries, color is easily removable with friction. I mean, if i touch paint, it comes off. Then I mixed 5g powder to 5g clay and 20 ml water. Difference was clear. Color was well balanced and it was not easily removable. So basically, in first method, I`m mixing water and powder, in second method Slip and powder. I wonder, is any of this method wrong or right? I can`t test them with firing right away so any basic info would help me.
  5. Hi everyone! I'm fairly new to glazing pottery, and have just unloaded a kiln full of pieces I had painted with underglaze, and applied a clear glaze over. Some pieces had been bisque fired with the underglaze already painted, and others were painted onto bisqueware, but all seem to have the same problem of the glaze avoiding areas where the underglaze is. In some places it has caused the underglaze to chip off, but mostly it's just all very rough feeling and patchy looking. There are a few pieces where the rough patches are a bit annoying but not too bad, but the majority have deemed the pieces unusable :-( I used the Amaco velvet underglazes, and a clear glaze from Scarva. The glaze required the kiln to be fired to a pretty high temperature - cone 1 at about 1137 celsius - so I'm wondering if this is the issue or if I've done something else wrong. I'm looking into finding a different lower firing clear glaze but am worried the same might happen again - and I would rather not attempt making my own glazes as I'm not experienced enough - so any recommendations would be much appreciated! I'll try to attach some photos to explain better what I'm talking about (might have to be in another post). Thanks! Amber :-)
  6. Hi! Does anyone know of an underglaze, other than mayco stoke and coat, that doesn’t need a clear glaze overtop to make it food safe?
  7. Hi all - I'm fairly new to underglazing. I have historically glazed my pieces with a select few glazes which I brush -very rarely dipped. I use Bella's Blend from Highwater because the clay body shows off my favorite glazes. These are my go to glazes Coyote: Eggshell Coyote: Light blue Mayco: White opal (usually over the light blue) Mayco: Green opal Laguna: Turkish amber (accents) Amaco Celadon: Cherry Blossom Designer Liner: Black I'm not a fan of clear glaze over exposed clay body. I am adding a pic of a piece I made a few years ago - I used designer liner as the black and white opal over it - but it ran really bad and muted all the detail. So I'm wanting to try with underglaze to see if my designs will remain crisp. But I don't want to have "naked" clay around the designs. And I really love my main mid-fire glazes and the durability of mid-fired pieces. See below Suggestions on how to achieve this with underglaze (i.e. the black details?) Can I put underglaze over glaze and then cover the underglaze with celadon or clear?
  8. Hi all, Currently I work with mid-fire slip and glaze my work 'traditionally' to achieve quite muted, natural tones. I'm thinking about making some wares that I want to be BRIGHT and flat in colour - like popping, primary colours. I'm wondering what the best way to achieve this level of colour would be? In my experience using stains in glazes never seems to achieve the flatness I'm after. I would suspect a coloured slip might be the answer but again using stains only seems to result in pastels - what is the average ratio of stain to slip to achieve a full bodied red for example? Or would I paint the work all over with an underglaze? Or something else. All suggestions appreciated!
  9. So any tips for preventing warping on a cone 4 ( yes I mean 4 not 04 :D ) vitreous slip cast clay? It's a tall tiki form that is a little top heavy so they wants to sag/warp. I'm applying amaco velvet underglaze to the exterior that develops a slight sheen so I don't want to lay them on their side... Also has anyone tried firing amaco celedons at cone 4? I've been experimenting with some recipes but they are coming out more opaque and milky. Kinda in a crunch!
  10. Hey guys! I'm looking to make a sink basin for my bathroom in the upcoming months. I want to use Standard Ceramics 266 Dark Brown Clay with a turquoise/seafoam glaze on the interior while leaving the exterior bare. Attached is an idea of what I would like to do. I have never used a dark clay before, so I don't have experience to work off of and can't make test tiles until it is safe to use the studio again. Would coating the inside of the clay with a white underglaze cause the blue glaze to stand out more? Does anyone have a good glaze suggestion that stands out and reacts well to this clay? Or does anyone have other suggestions for completing this project whether it be clay type, glaze, helpful tips, etc.? Thanks for all the help!!
  11. Morning! I am looking to try a third-firing technique for added layers and details. Should I use an underglaze like amaco velvet OR an Engobe. I know they are very similar but what would be the difference in this situation? Thanks!
  12. I want to try my hand with trailing underglazes. know I have to play around to find what works best for what I'm trying to achieve. As a starter, should I use the underglaze full strength straight from the bottle, thin it with water, or mix it with a clear glaze? I plan on covering the work with clear glaze and I fire to cone 6
  13. I have two pieces and am applying underglaze on top of glaze. Will it work? First piece is Laguna Ward's Red Cone 06 earthenware with cone 06 clear glaze (already fired.) Trying to fix something, so I added some underglaze and plan to add more cone 06 clear glaze. Do you recommend two firings -- one for the new underglaze, one for the additional clear glaze? Second piece: Laguna White B-Mix Cone 10 with cone 6 clear glaze (already fired.) Again, trying to fix something, so I added underglaze and plan to add Cone 6 clear glaze to the new underglazed bits. Do you recommend two firings -- one for the new underglaze (maybe at low-fire 06 level) and then high-fire cone 6 for the clear glaze? Thank you for your thoughts. Susan
  14. Hi everyone! I'm trying to find out what combination of Lustre glazes this person used in order to try an recreate it on a vase. This person won't give out their recipe and I totally understand why but it's for my own curiosity and not to sell any products. What are your thoughts on this combination? https://www.instagram.com/p/B5ANbf6AU_4/?igshid=vbzq2wap6n2u
  15. From the album: July 2019

    Thrown porcelain. Wax resist all over, carved when leather hard. Black underglaze inlay painted over and wiped back. Bisqued to 1000oC. Transparent glaze poured and dipped then fired to cone 6/7. Gold lustre applied before third firing to 780oC.
  16. Hi! I'm trying to make Holly´s Underglaze which needs 33.3% of Ferro Frit 3124, sadly here in my country -Mexico- that specific Frit is unavailable, but I can get Ferro 3134 and by reading Digitalfire I realized that the biggest difference is the lack of alumina, so I was thinking about increasing the amount of EPK Kaolin in the recipe and was wondering if you might have any kind of suggestion of how to modify the percentage of Kaolin or even another approach to making a proper substitution by using the 3134, I know this is a matter of trial and error but I'm hoping to decrease the errors in the process... or perhaps I'm caring too much since both frits are pretty alike... any suggestion is welcome! Thanks in advance!
  17. Hi folks, Today I was working on the Wedding Jar that I had made for a nephew, and was trying to accent their lettering for names and dates. I had stamped these in, but it was not quite clear so I cleaned them up and added a stain over top thinking to do a little mishima to bring the letters up. However, due to the curved surface I lost some of the letter forms. What to do. I used a small brush after engraving the missing areas to flow the glaze in, and that worked. At the same time I decided to use the brush with a white engobe to accent the flowers of the mountain laurel I had stamped into the form. My tip for the day though is much simpler. I had problems with getting the right amount of slip or stain on to the fine bristled brush. I tried a lot of different techniques and then tried to dip a sponge brush into the container of slip or stain and lay it over the top of the container loading the brush up from that. It worked perfectly with just the right amount of stain or slip to work into the brush and keep the fine work when painting on the pot. I was an art teacher, working with a lot of media, especially watercolor, acrylic, and inks. This technique I had never heard of, but it would work well with almost any media to keep from overloading a brush. So. . .. do any of you have some technique that would work well with the use of stains, underglazes, glazes, even if brushing, spraying, or other technique? Post it here, it would be great to hear from you. best, Pres
  18. I started pottery a bit over a year ago and recently begun exploring decorative techniques. I tried some underglaze inlay on a greenware piece, carving out decorative lines on a small waxed porcelain cup, then painting the whole thing with blue underglaze, and wiping off the excess underglaze. I bisque fired the piece, then dipped it in transparent glaze and fired it again. The final cup has streaky underglaze, I don't understand why since the underglaze was bisque fired before I applied the final glaze? (I'll attach a picture, please note it's just a test piece I do notice however that the streaking seems to occur on those lines that were less deep (the straight lines were carved a bit deeper into the clay, might that be the solution? - I thought mishima could be fairly superficial, am I wrong?) Should I try to sponge on the clear glaze instead of dipping? Also, I find that dipping gives me a bit of a thick final transparent coating, could I try and brush it on in order to obtain a thinner coating or am I just setting myself up for a huge mess? I'd very much appreciate some experienced insight on this! Many Thanks in advance! SaveSave
  19. From the album: Favorites

    I love all the varied shapes a good mug comes in. The shape is my current favorite. It works well to separate the textured areas from the geometric sgraffito in the bottom. It has a pulled handle and commercial glazes and was fired to cone 6 electric.
  20. From the album: 2017 Stuff

    The final result of my first animal head sculpture. I'm quite pleased with how this turned out--as you can imagine, I was sweating when this piece was in the kiln!! My fella, its intended and current owner, was extremely happy when he got it for Christmas. <3 Sculpted from Clay Art Center (of Tacoma)'s Xtra White lowfire earthenware, painted with Amaco, Mayco, Duncan, and Clay Art Center underglaze, fired to ^03.

    © Me and my fella

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