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  1. I'm still trying to get my arms around this concept of "flocculation and deflocculation". Specifically, here is my question: If I measure a glaze's specific gravity, and it is "X", and I then flocculate the glaze by adding epsom salts, will I then find that the specific gravity of the glaze has changed? If so, will it be higher or lower? The flocculation process makes the glaze seem "thicker" so I am assuming the SG has increased, but ...........?
  2. So I usually mix dry stains with dry glaze, but currently have a large quantity of mixed Laguna MS 29 clear glaze I want to use instead. How would I figure out quantity of stain to add? My usual ratio is 10g stain to 100g dry glaze. Is this possible and will it have a good outcome??
  3. I am wondering if anyone has tried using the paint spray guns from harbor freight that run around $16.99. Or is it a you get what you pay for situation and worth the $50 to buy the PH300 glaze sprayer from the ceramic suppliers? Do paint sprayers even work for glaze, or will the just get all clogged up? I make 1" ceramic pendants and hand brush the fronts and backs. two coats on the back and three on the top. I currently have hundreds to do, and I think the time saved by using a spray gun will be the way to go.
  4. Hello everybody! I am quite new to ceramics and I was wondering if it is possible to leave pieces unglazed. It concerns a series of handbuilt tealight holders, so even though it is functional pottery, they will not be used for any food or beverages. The types of clay I have used are the numbers 354 (980-1200 °C), 366 (1000-1120 °C) and 376 (max 1240 °C) from Have a good clay (I think it used to be called Goerg&Schneider). I like the structure and colour of the clay (especially when the tealight itself is lit and illuminates the chamotte) and I wish to keep it after firing the pieces. Is glazing a must for every piece of pottery? And if it is possible to leave them unglazed, should they be fired twice (and to which temperature)? Also, will the pieces be more brittle and fragile when they are not covered by the glaze? Thank you very much in advance! Any help is very welcome!:) Have a good day!
  5. Hi there. I have bought this glaze : https://www.potterycrafts.co.uk/Products/potterycrafts-stoneware-glazes/P2813 (firing range 1180 - 1250 degrees C). I have applied it to stoneware clay that I bisque fired at: I have been doing this for bisque: Section 1 - room -> 600 at 90 degree per hour Section 2: 600 - 1000 at 200 per hour Could anyone reccomend a firing schedule in degrees celcius per hour for me? I use an electric kiln. Will I need a soak or anything? Thank you, Lara
  6. Hello everyone! I've just finished a firing of vases, all went well but my glazes aren't what I'd hoped for in exterior colour. I've had flowers with water in a few of them recently, and oddly on the base of them after a few hours is a damp ring/the base is damp.I I poured transparent on the inside and the clay is Scarva Earthstone Terracotta Crank E/S65. Do you think the transparent was too thin and is letting water though? My vases are made well, all sealed and simple in shape. So all I can think of is the glaze thickness being an issue? I'm very new to glazing, it's definitely an area that I'm very cautious around but I'm saving up to go on a glaze course soon. Any help would be so appreciated! Thank you all!
  7. Hello I have a few mugs with a glaze drip beneath the handle that I'd like to grind down for stability. No issue with that. What I'm wondering is--is there a way to polish the grinded bit of glaze that will return it to a more similar surface texture to the rest of the piece? Or would I need to re-fire to accomplish this? I'm a relatively new potter so any tips / advice are greatly appreciated. I've only been able to find different ways to grind / prevent drips in the first place, but not so much on how to return the sanded bits to a similar glossiness seen in the rest of the ware or if this is even possible. Thanks!
  8. Hi everyone! I just recently bought a used Cress FX27P electric kiln so I can start firing work at home. So I just recently started my first bisque firing yesterday at 4pm. It was more of a test fire, so I didn't put a lot of work in there, about 15 wheel thrown pieces. There were a couple pieces in there that were not fully bone dry so I set the firing speed at E, the slowest speed. I also put a pyrometric cone (04) in the sitter, 1 peep hole open, and set the thumb wheel to 1, and I set the timer to 16 hours so it can shut off at that time in case anything goes wrong. Throughout the day and night I checked periodically, and the kiln did get red hot, so the elements seemed fine to me, but I didn't take a look at the thumbwheel. So this morning I went to go check on the kiln, and it fired the full 16 hours! and the kiln sitter didn't go off, so the the kiln didn't reach cone 04 temp. Also, the thumbwheel stayed at 1! It didn't move! So I'm thinking the thumbwheel is broken or needs repair, I didn't put the cone in right, or something is wrong with the elements. And even 16 plus hours later the kiln was still showing orange to red heat signatures inside the peep hole. So I talked to my friend who has experience firing kilns, and he said to just fire the thing until the kiln sitter shuts off and set the thumbwheel to 10 max temp as soon as possible so the kiln doesn't have to reheat back to 1000 for the sake of energy efficiency. If anyone has any ideas, input, advice, or suggestions I'd greatly appreciate it! I'm hoping to bisque fire and glaze fire using this kiln in the near future, I already bought a couple pints of cone 6 glazes to test out. Thanks!
  9. Hello, I was wondering if anyone could help me, I have around 10 glaze fired tiles, they are all stoneware and I fired to 1200 with a 30 minute soak. 7 were glazed with textured brush on glazes and 3 were painted with a transparent glaze. For some reason when I took them all out of the kiln, all three transparent glazed ones and one beige tile appear to have several cracks in the back. The clay is a white stoneware clay, I placed them directly onto a batt washed kiln shelf and all three transparent tiles were on the top shelf. Not sure if this may be a coincidence. Please let me know if anyone has any suggestions as to how I can fix this issue?
  10. Attempting to glaze very thin slip cast cups. The casting slip is a commercially mixed ^6 porcelain bisqued to ^05. I’m using a commercial transparent dip glaze recommended by the supplier. When dipped, the glaze remains completely wet on the cup and then sags and cracks off completely as it slowly dries. I know I’m in the dark without further information about the make up of either the slip or the glaze and that the real solution will be mixing my own glaze but I just wanted to make sure that I’m not getting something wrong in the mechanics of firing and application. My first thought is that the very thin porcelain over fired in the bisque firing and is therefore not porous enough to take the glaze however it does absorb water when soaked. Would I be better off using a spray application as a starting point? I am a newbie and very much finding my way here. Thanks
  11. 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!
  12. I've been having problems with pitting in glazes lately and am wondering is it good practice to fire an empty kiln to burn off any potential lingering fumes to help glazes? Have been firing non-stop with about 2 months now, and in the last few weeks a lot of work is coming out of the kiln with pits. Have been in touch with my clay and glaze supplier and they are stumped! Have tried many firing schedules, from slow to fast, with up to 45min soaks at top temp and tried a drop and hold schedule but nothing seems to work. Have also tried bisque firing high to 1020oC with a 45min soak at 780oC on the way up and 45min at top temp but no success. It leaves me wondering should I fire an empty kiln, and would that "freshen up" the atmosphere within? Could the bricks be holding onto residual fumes from firings and could this be causing the glaze issue? I have an extraction fan that runs for the full firing until the firing is finished. And allow the kiln to cool naturally with the fresh air valve closed (as per operational instructions). Any advice would be much appreciated. Thanks in advance.
  13. Hi there. I recently glazed some items on white stoneware clay. The clay (White Stoneware PF560) was glazed fired after being bisqued at : room --> 600 degrees C at 100 deg/c per hour 600 -> 1230 at 150 deg/c per hour 20 min soak It came out really patchy and there are some air bubbles. If anyone could recommend good firing ramp for this glaze in degrees celcis with timing that would be great - thanks so much Terracolor orange Ember - https://www.scarva.com/en/gb/Terracolor-FS6031-Orange-Ember/m-1772.aspx was the glaze that didnt look very good! Clay was : https://www.bathpotters.co.uk/white-stoneware-pf560
  14. I am interested in Your input... I want to tile my bathroom myself, using tiles I created with molds. So the tiles created MUST be WATER PROOF! Firing the green ware using a home kiln, using my 110v house hold run wiring. Finally after firing to bisque, glazing to fire. I live in a townhouse so extra venting or drilling is not possible. I know this venture is going to take forever unless Covid takes me. What kind of kiln? How and why. I use to help my mom when she use to do ceramics. Way back with cones and giant kilns. So not what I want nor need
  15. Hi All, I use Amaco mixing clear c-11 to thin out the colors of celedons (a proscribed use). Was wondering if I could use Amaco HF-10 the same way. Also to use in thinning the color and transparency of underglazes. Anyone have experience with this?
  16. Sorta beginner potter here! I recently came across some glaze I really wanted to try out! On the pint it says “apply to cone 04 bisque” but it fires to ^6...wouldn’t that melt my pottery into a puddle if my 04 earthenware clay was fired to ^6? Or is it referring to stoneware? What type of clay is best for ^6? Thanks in advance!
  17. Hi there, I have this vase with what I assume is some kind of reactive glaze, my knowledge of glazes is effectively zero at the moment. I just can’t find any examples or recipe for what it. It looks like lots of bubbles and the most similar I can find are chunky volcano glazes. It’s hard to tell in the photo but it’s very textured, the bubble outlines are raised but it has a slight iridescent shine at the same time. Does anyone know what this is called so I can do further research or have any related information? It’s much appreciated. Thank you!! Sample of Glaze Sample of Glaze 2
  18. I love HCSM 1 + 2 from John Britt's Mastering Cone 6 but I need a white semi-matte glaze. Has anyone had any luck adding zircopax to these glazes to make them opaque and white? I did some searching and couldn't find anything. Would love some feedback from the hive mind before I jump (more like fall) headfirst into testing mode. Thanks bunches.
  19. 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
  20. Hi there, I have Amaco Potters Choice glazes and they say that they should be fired to cone 5/6. I am very new to pottery and was wondering what this means in terms of the firing schedule in my Nabetherm kiln. I have been trying to get the effects as shown on their website but they do not look very similar! What would the different outcomes of cone 5 and 6 be? Thanks so much and really appreciate any help, lara
  21. I’m new to ceramics and recently bought a used kiln that’s quite old but works like a charm. i don’t really know what the numbers on the knobs are and I’m trying to bisque cone 06 and glaze cone 6. I don’t have pyrometic bars for the cone 06 bisque so any help on what the numbers on the knobs signify and how to reach the desired temp would be awesome. (I do have glass cone 6 bars)
  22. 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?
  23. Hello from a newbie to the forums and to ceramics! I’ve read info from the Ceramic Arts Network for a while, but I’ve just joined the forum tonight. I’m an intermediate handbuilder and beginner thrower looking to expand my skill set and absorb as much knowledge as I can! My ceramics teacher is a sculpture artist and not a ceramicist, so while I’ve learned a ton about handbuilding from her, there’s a lot she says she can’t teach me about glaze, special firing techniques, and advanced throwing. I’m looking to build a collection of great, thorough resources (forum posts here, names of people to follow, blogs, websites, articles, videos, online courses, whatever) to educate myself further. I was hoping some of you kind folks will have some that immediately come to mind that you can point me to (the internet is vast, y’all). If there’s something or someone you found helpful while learning, chances are I will, too! I’m especially interested in anything to do with glazing, firing, and throwing. I’ve only used commercial glazes, but I’d love to learn about mixing my own and all the cool effects you can get. I’m working on getting a kiln of my own, but am currently limited in that I’m using the one on the university campus where I work, and thus can’t do what I want when I want. But after I get my kiln set up, sky’s the limit. Thank you in advance for any pointers you’re willing to throw my way! Cheers!
  24. Wondering what the closest frit/frits substitute would be for Fero 3134, Aus 4108 would be.
  25. 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.
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