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Found 232 results

  1. Hi everyone! I am am new to ceramics after moving to it from metal clay. Things are going well but there is one constant error. I have a small jewellery kiln and it fires to the correct temp and the ceramic and glaze is working fine APART from where the object touches the kiln shelf on a glaze fire. I make pendants and rings mostly and it is so upsetting to have the items ruined or stuck to the shelf!! I use low fire stoneware clay and low fire glazes. So my question is what do I fire my pieces on. I have seen metal kiln furniture, is that the way forward? I am hoping you can help me, if you need any more info from me let me know! Thank you! Emma xxx
  2. Hi Y'all - I'm super stressing cause I don't know if I can reverse my mistake. The studio I work at uses a kiln that can fires to a max of cone 10, but regularly fires at cone 06 and uses EM342 whiteware clay. I somehow totally missed the memo and thought I heard them say we fire at cone 6 (!) so I went ahead and bought some really beautiful cone 5-6 glazes, covered a handful of pieces in them, and, to probably no one on this forum's surprise (but to my total dismay) they came out all kinds of wacky Is there any way I can salvage my pieces? One thought - could I fire the pieces again at cone 6? Would the clay be able to withstand that? Your ideas would be appreciated - thanks!
  3. Why do I get cracks in the glaze after the fire? Any suggestions Thanks nitza
  4. I am new in the pottery. I try to make glaze from raw material. It has so many recipes, which one should I start with? Please give to me some advice.
  5. The exhaust fan in the ceramic glaze spray shed has failed at my local Arts Center. The fan had an open motor and the spray had clogged up and shorted out the motor. What the old one is is a 10 inch inline duct fan. That unit is no longer being manufactured so I need to get it replaced with something comparable. I have seen some fans available on the internet but they are different and are very expensive. So, I'm checking with others on this forum for recommendations. I'll either be looking for an affordable replacement fan for the old one that failed. Or come up with some other DIY solution for exhausting ceramic glaze in a spray booth. Recommendations?
  6. I am asking for suggestions for matte white underglazes or engobes. I would also consider making my own engobe out of my white stoneware clay body but I don't know how. I've never done that. I need it to be able to be painted on bisque ware under my Clear Bright from Laguna. I have tried: - Duncan Concepts white underglaze. It flares up and comes through the clear glaze. Yuck. That's not going to work. - Dune White engobe from Laguna. If applied too thickly it forms micro cracks along the edges. Since this is filling in carving .... I thought I would try Amaco's Velvet White but it says it is only food safe if I use it with their clear. I have extensively experimented with the Clear Bright and my clay bodies and I am not willing to change it. I have been making a series of highly decorated pie plates with carving and slip inlay. I paint wax on a leather-hard piece and then carve through to the clay, then paint it with white stoneware slip. The problem I am having is that the two most recent pieces I've made this way have been horribly pitted, tiny air bubbles formed when I painted on the slip and they did not show up until after it was fired. I thought I had them filled with the glaze but after glaze firing about 20 pits were still open, making a high-investment piece completely unusable. I want to try just carving it plain and painting on/wiping off an underglaze or engobe after it is bisque fired. This is not the item with the issues, this is another one that I made with the same technique.
  7. When a manufacturer states that a specific line of glazes is 100% mixable, and that each of these glazes is food safe on its own, can I assume that means that if I layer or mix colors in the same line the glaze is still food safe? Applied and fired according to their instructions of course. I'm really agonizing over glaze safety and no, I don't want to make my own glaze. The prevailing wisdom, and what the manufacturer's say, seems to be that once different food safe glazes come in contact with eachother, all bets are off as to the food safety of that glaze. This makes sense to me, but I'm seeing all sorts of combining going on in utilitarian ware. Beautiful combining. I don't think everyone is sending their stuff off to the lab for testing. Or maybe I'm wrong. At this point I'm using single glazes anywhere food touches. I'd appreciate any guidance and suggestions. Thanks Irene, trying hard not to contaminate anyone or make any enemies
  8. I finally made the commitment to making a large batch of my standard white glaze in order to move beyond the size limitations of a 5 gallon bucket and the nuisance/mess of transferring glaze from said 5 gallon bucket to shallow bins for plates. I was hoping to find a 15 gallon bucket with an available bucket dolly, but no such bucket appears to be on the market. I ended up going with a standard 20 gallon Brute garbage barrel. I mixed up three 10kg batches of my glaze, which amounts to about 12 liquid gallons. It fills to just above the halfway line of the barrel (the barrel tapers out toward the top). In addition to sitting low in the bucket, there is an annoying trough around the perimeter of the barrel's floor where the barrel dolly locks into place from the underside. I anticipate this trough will make stirring up the glaze adequately a challenge. So I'd like to make the 20 gallon barrel act more like a 15 gallon barrel with a flat bottom. My idea is to pour concrete into the bottom of the barrel to fill the trough and raise the floor of the barrel up by a few inches. I've never worked with concrete before, so in doing some research I learned that it is porous. So my question is: Will the porosity of the concrete matter? Will the concrete absorb one or more of the glaze ingredients in higher concentration than others... will the presence of the concrete throw off the chemistry by trapping one ingredient disproportionately? Will the concrete break down over time? If it is not safe to have the glaze in direct contact with the concrete, my plan B is to cut sheet PVC to the exact shape and size of the concrete slab and seal it in the barrel on top of the concrete. Thoughts, recommendations, warnings and alternative ideas will be appreciated. PS I know the easiest answer is to make up another 10kg batch or two of the glaze, but it's and expensive recipe and I'm out of materials.
  9. Hi. I was looking for a nice white liner glaze and I came upon Turners White in a CAD article. It said it was good with cone 6 and cone 10 and mixes well with Mason stains. Sounds perfect to me, The glaze called for soda ash which I was out of. I called my local pottery shop and he had Minspar 200 which he said should work well as a sub. So I tested it at Cone 6 and it came out very underfired looking. It was dry and cracked This is the recipe I made Dolomite 10 Whiting 9 Minespar 200 25 Custer Felspar 20 EPK 18 Talc 6 Silica 12 BEntonite 2 Zircopax 8 (I used Zircopax plus) Is Minspar 200 a good Soda Felspar? Could it have been Zircopax Plus instead of just Zircopax? What can I do to fix this glaze for cone 6 firing. Thanks
  10. Does this simply mean a glaze speckled by the clay body? I've Wikipedia'd "Shino" and the best I can figure out it's an old Japanese technique using a white glaze which speckles over a red clay body, originally on tea bowls as part of rustic pottery aesthetic. Wikipedia branches off into a lot of info about shino that seems to spiral around getting more ever more complicated, at least to my beginner's ears. However I've heard the term "Shino" glaze bandied about seemingly loosely with modern glazes while watching youtube videos. They didn't look much like the ancient Japanese utensil ware referenced. The glaze wasn't always white, and there was no clue as to what they meant. I don't even think it was speckled. The nearest pottery shop has "Shino" glazes for sale not all of which are white. Of course I asked them what shino was and got an eyeroll. I'd like to learn once and for all what it means.
  11. Hi, I am new to ceramic glazing. Are there any methods that can duplicate fire-based glazing on ceramics? I work at home, so i do not have access to kiln. I have read there are oven-based glazes and non-fire based glaze. How effective are they in terms of the glaze (will it be similar to fire glazed plate)? Thank You.
  12. This might be a very stupid question, so bear with me. Recently one of my pieces has split at the bottom (I made it too thick). I have both pieces and I know that when glazes are fired they connect with anything they touch. Is it possible to reattach the pieces just by glazing the sides that are detached?
  13. Someone asked me recently how I get the smooth interiors of my bowls. Potters that want smooth "non-drip" appearing glazes often struggle with it because they do not understand that clay(and opacifiers) in the clay will basically form a double layer in the areas where drips are formed. The only ways to prevent it, is to spray the glazes in a very controlled manner, or to sand drips that form down very carefully after it dried completely. Of cause drips are not necessarily wrong, but it must work along with the design of the object and not fight it. Anyone that have more ideas around this? Antoinette Badenhorst PorcelainbyAntoinette.com TeachinArt.com
  14. Here is an interesting happening... I recently fired about a dozen of these "flowerpot gremlins" in a bisque/glaze firing to ^04. The dark red on the right was done with 2 coats of pure red iron oxide. The strange looking one on the left was done with 2 coats of red iron oxide and 3 coats of ^06 translucent matte glaze. Right came out pretty much as expected, but Left was a total surprise! The "matte" finished glossy and the color just blew me away. Any suggestions as to what might have happened. The clay was a ^5 B-Mix w/o grog. JohnnyK
  15. Good day, I create ceramic pipes and have been having issues with the bowls / bottoms of the pipes encountering runny glaze. I fire mostly cone7to10 in my natural gas kiln and my problem has occurred most when I dip glaze for 3 seconds. I have spray glazed with greater success but it is cold outside where I spray and I want to stay warm inside. I do production so time is important which means brush glazing takes to long and should be out of the question. So do you have any tips on how to prevent my glazes from running and ruining my pipes? Less dip time? Deal with the cold? Face the long time of brushing? Or maybe dip the top half of the pipe and then the bottom half for 1second and brush the glaze in the bowl? To better understand the question and see my work you can visit ceramicsmokeware . com. Know that your time and replies are much appreciated. Thanks, James P
  16. So I recently bought a kiln and don't know a lot about how glazes work - will figure it out as I go along. Just had a question. How is the effect in the attached teapot achieved? Can I dip bisqueware in white and then paint on top of it with underglaze and then fire? How else would I be able to achieve a white base with painted pattern on top? Appreciate any advice.
  17. Hi All, First post on this forum - excited to have found it. I just tested out a batch of the Folk Art Guild White from John Brit's midfire glaze book. It's gorgeous, but at $30 lb, the tin content is a bit expensive - any thoughts on opacifying for cheaper? Does anyone use a white glaze with tin/titanium combined? I've tried some other recipes with zircopax and I much prefer the creamy white of tin over the bright bluish white of the zirc. Folk Art Guild White ^6 F-4 Feldspar 18 Spodumene 10 Silica 18 EPK 18 Dolomite 18 GB 18 Tin 13 RIO 2 Bentonite 2 -Vanessa
  18. Hi, I'm wondering is anyone can offer any advise!! I loaded my kiln about 9pm last night, and after I switched it from low to medium to high, I went to bed like normal. Today around noon I went in to going unload my stuff from the night before and to my surprise my kiln was still running!!! I turned it off right away. After letting it cool a few hours I was able to peak in the top and my trees looked like this!! They are glazed exactly the same as the other tree in the other picture though. I am wondering if maybe my kiln didn't reach temp. it should have which is why it didn't shut off and these did not fire all the way? Or if they fired to much and they are burnt?? Can anyone help me??
  19. Hello everyone, I have set the kiln to fire at night time and it switched off in the middle of the firing because of a power cut. Can I fire that again to get to the right temperature? Will the glaze be compromised? Thank you! Tatiana
  20. Hello everyone, I have set the kiln to fire at night time and it switched off in the middle of the firing because of a power cut. Can I fire that again to get to the right temperature? Will the glaze be compromised? Thank you! Tatiana
  21. Hi glaze friends! I have been running into an issue when I try and create an ombre effect around the rim of my bowls. The bowl is first dunked in EM-1002 Alabaster White Glaze (Laguna Clay), and then the rims are airbrushed with a pigmented version of the Alabaster White Glaze using mason stains. My issue is seen in the attached images - it's as if the pigments collect in areas (as seen in the blue bowl) instead of evenly spraying for a seamless ombre. I've tried using an underglaze instead of a pigmented low fire glaze, and it results in a "cracking" look as you see in the pink bowl. The image with the purple mug is the look I am trying to achieve, and was a total fluke that I have had an impossible time trying to recreate. Does anyone have any advice on how I can create a seamless look? Thank you!!!!! Praying for a holiday miracle Jess
  22. Hi y'all! I'm about to order a couple pounds of Laguna Crystalline Glaze (Crystal Palace) and try it out. http://www.axner.com/lagunawc-561crystalpalace10glazedrysoldperlb.aspx Laguna's website says it fires from cone 5 to cone 10, but I'll be doing the first firing at cone 10 in a gas kiln. Has anyone here had prior experience with this glaze? I haven't been able to find much information other than that it is a good base for other crystalline glaze recipes (no info on what those recipes end up looking like though). I'm trying to figure out if it plays well with other glazes and what kinds, as well as different ways to tweak the recipe. Any tips would be much appreciated so I can make the most out of the once-a-month firings! Chloe
  23. Hi all. Can anyone please recommend some food safe, high fire, clear matte/satin glazes? I'll be using it over fired underglaze on slipcast mugs I'm working on. Amaco recommended their SM-10 (https://www.amaco.com/products/glaze-sm-10-clear?ref=2&taxon_id=284) to me, so I'm going to try that out. But I'd like to see what other people are using as well. They can be dippable, sprayable, brushable - anything. I just want to test some different products to find what I like best. Also, I understand that the matte/satin clears aren't entirely crystal clear in the way that gloss clears are, but how much of a difference is there? I'm relatively new to ceramics so any info will be helpful. Thanks!
  24. Hey everyone! I recently purchased a used Cress FX27P Electric Kiln, and after bisque firing the first time with the automatic kiln sitter, I noticed that the thumbwheel does not move, and appears to have some sort of malfunction. I figured out a way to bisque firing while moving the thumbwheel manually, but I haven't tried glaze firing yet. Anybody owns this kiln or a similar version of this kiln and can help with how I can glaze fire (cone 6) by moving the thumbwheel myself? For everyone that doesn't know what the purpose of the thumbwheel is, there are numbers 0 to 10 on it, and it moves gradually by itself during a firing. 0 being no power to the elements, and 10 being maximum power to the elements. Any help would be appreciated! Thanks.
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