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Found 16 results

  1. 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
  2. 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!
  3. 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.
  4. 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
  5. Hi there. I love these glazes that Seth Rogan does - does anyone have any idea how they could have been done?!
  6. 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!
  7. 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.
  8. Loking at old glaze book. What are your predictions for this c 03 glaze DeBoos Frit 3134 90 Bentonite 20 Addtitives Rutile 5 Rio 2 Am goingto mix today. Nog lookin forward to handling the bentonite. Looking for an opaque base to cover terracotta for a student...old school student come back to area for 6 months covid and I relented!
  9. How do i do this effect in which there is no glaze in the lines between the spaces? should i not glaze those parts? or do they get that worn-out look on their own? I will be very grateful to the people who help me. I think this effect is incredible.
  10. Hello all, wondering if you can help with a new problem. I’ve used the same earthenware body and brush on botz glaze for over a year no probs. I have an old sitter kiln and bisque to 03 then glaze at 05 this has worked till now... suddenly my pieces are crazing about a week or two after firing (not immediately). It’s shuddering for some reason. I am making slightly chunkier pieces, could this be why? Any ideas why this is now happening would be great!
  11. Hi Everyone! Longtime lurker. All the information you post has been SO HELPFUL to me as I start to get my fledgling pottery business off the ground. I'm looking to make the switch from commercial to homemade glazes in the near future and have some picked out that I'd like to replicate. Mostly from Mastering Cone 6 Glazes. I was wondering, for those of you that operate out of a home studio, how many homemade glazes do you keep on hand? Thanks! Katie Piro
  12. 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
  13. Hi, I have 05 bisqued pots that I want to put 06 glazes on. I have to fire in someone's kiln who normally fires at 05. Will 05 firing an 06 glaze be problematic? Thanks for any response..
  14. I am trying to find out where I bought these glazes to get more info. I would like to give both bags to a small pottery group and if they like the glazes, they might want to get more. I have had them sitting in my studio for a few years, it is possible that the company I bought them from no longer exists. If you know anything about these commercial glazes, please let me know. Thank you.
  15. I'm experimenting with Wayne Higby's Raku glazes....Higby Canyon Orange, Higby Water Blue, Higby Green, and have not yet hit the "sweetspot" for glaze maturation. They seem tricky and have tried different thicknesses and temps, with minimal success. Been trying in the 1800-1900 degree range. Anybody out there using these glazes with success and can direct me to what temp you're firing them at? Thanks, Mike Brown, LizardHill Pottery
  16. From the album: Rogryphon's stuff

    Leftover bottom of the jar glazes, looks very nice.
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