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Found 16 results

  1. Hi there, I am trying to make some plates for my sisters wedding present and I have been running into a lot of problems! I am using Amaco velvet underglaze (fire to cone 5/6) on greenware - when they were fired for bisque (I put the underglaze on the greenware before the bisque) they came out ok (although still quite dark) but then i fired them for glazing (with transparent on top for glazing part as per instruction and to get glossy plate look) and they have come out very strangely - its almost as if some of the glaze has disappeared somewhere and it looks significantly thinner that it was after the bisque firing. Here is what I used: Clay: White Special Stoneware (1200-1300) Bisque fire: I am wondering what the reccomended bisque for this would be in degrees celcius eg. room temp - 600*C at 150*C per hour (I have sadly forgotten which bisque i had)? Glaze fire: I think I will try the following schedule: - room to 600 at 100 per hour - 600 to 931 at 150 per hour - 931c - 1031c at 60 p/h Do you think this would be ok? I would love to know if anyone had any reccomended glaze and firing scheudles for this clay and the amaco underglaze as I am keen to get the plates right as theyre for my sisters wedding! I am not sure if the problem is in my firing ramp or if because of the hire fire clay we have (sadly I dont have any others at the moment) THANKY YOU!
  2. Does anyone have any idea on how the color variation/movement in the green glaze is created? It is a premade glaze from my local pottery shop, and the employees were unable to tell me how it is done. I have a basic ingredients list, but it does not give specifics on the type of feldspar or frits used. Any help would be appreciated, as I'm new to glaze making. Thank you! Here is a link to the basic ingredients sheet. The glaze is called Metallic Green, under the HG (high gloss) section. https://www.mnclay.com/msds/glazes.aspx
  3. I am a beginner at ceramics and sculpting in general. I bought a ton of supplies after the studio I got a membership at said they required cone5/6 clays and glazes. I didn't realize I purchased 06/05 clay and glazes instead of 5/6. The supplies I purchased is nonrefundable. I will be purchasing more clay BUT the description for the glazes says most colors can hold up if fired up to cone 6. Generally, is it safe to fire glaze up to a cone 6 if its meant to be fired at 06/05? https://www.dickblick.com/products/blick-essentials-gloss-glaze/ here is a link to glaze I purchased.
  4. Hi everyone, I am new to pottery and I'm just about to buy some glazes. I am wondering - can you use low fire glazes with mid-range clay? What type glazes should you use with mid-range clay? Thank you!
  5. I am new to the forum and to ceramics generally, although I am an experienced sculptor. I am dip glazing Majolica base glaze and find that it immediately - when wet and as it dries - has a rough texture all over - almost like a sprinkle of fine sand. I have not yet attempted to fire it. The texture of the glaze is I think actually tiny air bubbles. When dry, I can rub them out with my finger, there is no grit. I have to produce a lot of glazed items and would much prefer not to have to rub every square millimetre smooth, some of the shapes will make this difficult or impossible. I have tried pouring and spraying the base glaze instead of dipping but I get exactly the same bubble-ly texture all over the pieces. I am using commercially sourced powder Majolica base glaze (from Potters Market in Western Australia) mixed and sieved to specification with an 80 mesh sieve (0.2mm hole size). I am attempting to glaze press-moulded items in Terra Cotta Filtered Potters Clay produced by Bennetts. It has been bisque fired commercially by Potters Market . I have sanded the bisque surface to smooth it and remove imperfections. I wipe down the surface with a damp cloth before glazing. Any suggestions about how to cure this problem would be most appreciated. Is there something I can add to the glaze to improve the way it coats the bisque ware? Perhaps a source for a better behaving Mojorlica base glaze in Australia? Some images attached. Geoffrey
  6. Hello, Does anyone know why this may be happening to my glazes. This is the second time it's happened. Both times at has been on mugs that had a drip glaze over the first color. Not sure if it's too thick? I have done several other pieces with a thick drip glaze on them and had no issues. The glazes are painted on glazes and are low fire. I appreciate the help and advise.
  7. Is there a glaze that will allow for a gradual/subtle/general color change naturally over time? Ie. If the glaze was white/off-white but over the years of use gains more coloring due to wear?
  8. bubbly.pdf Hello, hi ! I've been a bit lost and what seems to be a loop when looking to re-create this glaze somehow. I'm pretty fresh to pottery, and am willing to take any and all information to help me understand what creates this effect and if this piece is done by using two different types of glazes. For example a white over gray glaze with a higher levels of iron oxide? Thank you kindly
  9. 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!
  10. I tried to use the glaze calculator of glazy.org It is very interesting but I can not understand if it is possible to know the ideal firing cone. For a "normal" not runny glaze. It seem strange for me that I can not see differences according to different cone firing. Underfiring and overfiring indications.
  11. I'm preparing some recipes for cone 6-7 glazes with washed wood ash. It is not very important that these recipes are perfect, it is important that they are enought different (regarding characteristics of the ingredients) for future experiment with oxides and correction with clay, feldspar or other raw materials. I'm thinking also to mix them one with the other. It is also important that they are not too much problematic, as probably the 4 and 6 recipes that will need to correct spodumene concentration! Recipes 1 (already prepared should be ok) 29,4 Potash feldspar 29,4. Ball clay 36,2 Washed wood ash 5 Bentonite Recipes 2 (already prepared schould be ok) 29,4 Potash feldspar 29,4. China clay 36,2 Washed wood ash 5 Bentonite Recipes 3 (probably ok) 39,3 Soda feldspar 6,2 China clay 21,8 Washed wood ash 6,6 Bentonite 20,4. Quartz 5,7. Zinc ox. Recipes 4 (needs correction) 44,4 Spodumene 22,2 Ball clay 6,8 Washed wood ash 7,1 Bentonite 4,45 Talc 10,6 Quartz 4,45 Zinc ox. Recipes 5 (to have red with red iron ox.) (similar to the original recipe) 44,5 Cornish stone (original recipe was 46,7 potash feldspar) 3,8 China clay 14,3 Bone ash 6,6 Bentonite 16,1 Talc 10,7 Quartz 4 Litio carb. Recipes 6 (hoping to have green with chromium ox.) (needs correction) 46,7 Spodumene 5 China clay 14,4 Washed wood ash 14,9 Colemanite 5 Bentonite 14 Quartz
  12. Hi there. I love these glazes that Seth Rogan does - does anyone have any idea how they could have been done?!
  13. 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 years and the same firing cycle as well. We received a new order of clay and glazes in August from our main distributor and since that, we started to notice an increasing amount of dunting. The issues are mainly with work from beginner students that are taking classes at the studio and that are perhaps applying glazes a bit too thick. This is something that happens regularly but didn't usually result in dunting before. Then recently, I also started to have shelling or slight shivering issue at the rims of cups on some of my own pieces when using one particular glaze. It's a matte transparent glaze I've been using for years and never had issues with. Is it possible that it is the clay body that is creating all these new issues? What is the best way to trouble solve from here? I emailed both distributors so ask if they know of any changes with their products already ( waiting on an answer) but any other tips I can get from someone with more experience would be much appreciated!
  14. 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 sides did not help. I am thinking it must be the glaze. But I have no idea where to start. Help.
  15. 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 unless you have a more elaborate set up than mine. My use of commercial product is based on convenience more than anything else along with a healthy eye on budget. So what is your mix of Commercial and home mix as the original question was: QotW: Do you use commercial products or do you mix your own? best, Pres
  16. From the album: Rogryphon's stuff

    Leftover bottom of the jar glazes, looks very nice.
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