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Found 6 results

  1. Hello all : ) I just bought some cobalt oxide, I'd like to paint it directly on some leather hard stoneware vessels before bisque. Can I ask if anyone knows which percentage of cobalt to amount of water should I use for best results? Thank you!
  2. Someone at the ceramic supply store I've been going to recently mentioned to me that it's possible to do a sort of underpainting with cobalt carbonate mixed with water. (I think...she may have said a different binder, but I'm pretty sure it was water.) I've tried researching it a little and can't seem to find anything on the internet about it or how to do it. Can you paint unfired clay with the cobalt-water mixture before you bisque it? Do you paint it on bisqueware and fire separately before glazing over top? Do you paint it on bisqueware and apply the glaze directly over the top? Would love to know if anyone has tried this and how you did it! Thanks
  3. From the album: 2016

    3 creamers with cobalt tissue transfers applied through a home made stencil with transparent glaze over. Wedding favours - 2 test pieces (120 in total) glazed with Mayco Stroke and Coat. Individual name tags to be attached using teal ribbon. These are for my niece (a labour of love) - would never be cost effective as a commercial item, unless someone had money to throw away! Fired to 1100oC in electric kiln.
  4. From the album: Fullacreations Pottery

    Smalll bowl 7 inches in diameter with copper over transparent glase with wax resist and cobalt over that.

    © craig fulladosa

  5. My third glaze firing has produced better, but slightly unexpected results... Just opened my small electric kiln to find that the plain white glazes are speckled blue. The effect is not unpleasant, but it isn't what I planned for. Question: I had some cobalt blue glazes in the kiln and I think their strong blue colouring must have spread around the kiln? Blues mostly were on bottom shelf and the most affected whites were on that shelf and the one immediately above it. The top shelf showed least contamination. Question: Some of the ware may have been damp from glazing when it went into the kiln – might this have exacerbated the spread of blue through excessive water vapour? Question: Some pin holes have also appeared in glazes in some places – due to moisture again maybe? Question: one of the pots, the glazes have clumped together and some have run off the bottom of the pot in places. The pot was thin walled and quite damp from glazing the inside when I glazed the outside, I don't think the glaze 'adhered' very well to the damp clay – would this have exacerbated the slumping? This pot is shown in the second photo below. The attached photos, the left area on the first pot and the lower areas on the second and third pots is the 'white' glaze that shows the blue speckling/contamination.
  6. 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)
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