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  1. Hi there, Like many artists, I am currently transitioning from making pottery in a community studio to working at home which is a big adjustment with an even bigger learning curve! I'll be setting up my very first kiln in the coming weeks and now need to figure out (for the first time) what the best commercial glazes out there are for the clay I'm using. For now I am using Standard #112 clay, and I will also eventually be working with their #551 Porcelain (both cone 6). I will be firing in a Skutt Km818 electric kiln. I have two big questions. First, does anyone have any tips on good commercial glazes to use on the #112 for a good fit? I'm specifically looking for a simple & reliable black, white and/or grey (glossy or matte), as well as other simple colors like cream, peach, soft/pale greens, yellows and generally neutral, organic tones. I like the look of flat color, and not necessarily layering. I've noticed that Coyote's Enduro-colors are really lovely and just my taste but I have zero experience with this company. Does anyone use these glazes? Has anyone tried Standard Clay CO's line of glazes? I just discovered those exist. Lastly, since much of my work is done by hand-painting AMACO Velvet underglazes, I now need to find a good zinc-free clear to put on top of both these clay bodies. Ideally, I'd love to find a glossy clear that won't craze or make my underglazes designs smudge or bleed color. This is a very overwhelming undertaking as a first-timer, so I'd love some feedback and guidance! Thanks!
  2. I’m on a really long and frustrating journey trying to find a glaze/clay match to avoid crazing. But why, time and time again, on YouTube and Instagram am I finding potters with high follower numbers and ‘JUST SOLD OUT ETSY RESTOCK’ posts who are advertising pots, which have clearly got crazing issues?? Is there a ‘generally accepted’ level of crazing one should expect? Is it ‘normal’ to hear your pottery ping when getting it out of the kiln then later pouring hot liquid in? I’ve been driving myself nuts, but it appears to not be as serious as I initially thought... am I wasting my time??
  3. Hi all. Am having trouble with pinholes. I am using some commercial glazes and one glaze I mixed up from a recipe I found online. I clean my pieces very well before I glaze. I allow to dry before glazing, and leave them covered until glazing. I believe maybe it could be my one glaze recipe, or perhaps it could be the firing. I rent a space and the owner does the firings. He will not let anyone else fire and he blames all defects on you or your pots. Any help is so much appreciated. I am attaching a photo of a bad example of a glaze with a pinhole I got this firing. I saw where I could add flux, or remove zinc or rutile? Here is my recipe for floating blue cone 6 I used: Neph Sy - 45.2 Gerstley Borate - 24.5 Silica - 18.9 EPK Kaolin - 5.7 Whiting - 3.8 Talc - 1.9 Bentonite - 2 Rutile Flour - 4 RIO - 2 Cobalt Carb - 1
  4. 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.
  5. I have been wandering from years ,talked with many pottery experts but haven't got anything closest to yohem tenmoku glaze recipe, So is there anyone who can help me out to figure it how these wonderful bowls are done .
  6. https://photos.app.goo.gl/sA4GWePsvoQtE7gx6 Above is a link to the photo of an Eagle I sculpted. I mistakenly used low fire glazes on the head and feet while using cone 6 glazes on the body. Can I paint low fire glazes on the body to correct the problem? What would happen if I painted a low fire clear glaze on the body and re fired low range? Is there anything I can do to salvage the project? https://photos.app.goo.gl/sA4GWePsvoQtE7gx6
  7. Hi all, New here and first post. I am also very new to working with clay but have been really enjoying it and ready to learn more. I have constructed a clay Udu drum, it's like a vase with a curved bottom and a hole in the side. I haven't bisqued it yet and am looking for advice how I might glaze after bisquing so that I can achieve full coverage. I have attached a photo for you. Please let me know what other information I can provide to help getting a better answer. Would tripod stilts be sufficient? Looking forward to participating in this forum!
  8. Hello I used a series of 4 glazes layered on a recent set of plates. Every single one of them has crawled, especially on one particular colour which I’m guessing is the thicker application when layered? My question is, can I reglaze and refire them, perhaps to a lower temperature? They’ve been fired to cone 7 (electric), and it’s a Valentine’s Delta stoneware. I’ve refired plates before and they’ve broken right down the centre. I’ve seen people on here say they’ve had success with refiring and wondering if there’s a recommended technique. Attached a couple of photos of the crawling. Hoping someone with more experience than I can provide a helpful suggestion. Other than telling me not to layer the glazes! Funnily enough I’ve used this glazing technique plenty of times on bowls without any problem. Thanks in advance.
  9. I saw someone say that washing bisqueware before glazing can prevent dripping in the glaze fire because it makes it less absorbent when dipping in the glaze? Does anyone else do this? I'm worried it will make the glaze crawl or something weird.. Thoughts?
  10. Took some pots out of the kiln and noted pinholes in both the celadon (Amaco Sky) and satin matte (Amaco white) vases. This is one of my earliest glaze firings and I am curious as to the factors to investigate to better control this issue. Here is some data: 1. Both clay bodies are Sheffield 20231G clay 2. Bisque fired in my E23S L&L kiln (programmable) to Cone 06 (verified with actual cones as accurate). 3. These 2 examples were more than a year old before the glazes were applied. Wiped pots but NOT with damp sponge. Possible problem? 4. Applied 3 coats of brushed on Cone 5/6 glazes from Amaco; Sky Celadon and White Satin Matte (examples). Amaco Shino glazes also, but NO pinholes in any of those 4 pieces. I think each coat dried before next coat applied, but not sure how dry is 'enough' (possible problem). I never measured thickness of final glazed product so can't confirm if too thick. Possible problem? 5. These 2 examples were both then fired with other pieces on the top shelf (only 2 shelves) to the pre-programmed Slow Glaze Cone 5. The temperature reached was a little higher than the program 2165F (Actual 2171). Total time 8 hr 44 min (included 15 min pre-heat, NO hold time or custom cool down). Witness cones on both shelves show that witness cone 6 had begun to bend. (I will try to attach a pic). 6. Pinholes seemed to be biggest issue although I also saw some cracking with the celadon glaze. I will try to attach pix. 7 (new). Took pix from top view to see thickness. Also, both of the vases were inner glazed with Amaco Clear glaze. Based on this info (or other you might request), can someone please offer some possible root causes and ways to correct them? I am happy to provide any info that can help you help me. Thank you to any and all comments/advice.
  11. Hi Everyone. I'm having major problems with pinholing and pitting. I am getting hundreds on pin holes on only the outside of small pots. I am using tucker's mid smooth stone and bisqueing to 04 with a 16 minute hold. I am dip glazing using amaco white with a 16 minute hold. I have noticed after I dip glaze that lots of popping bubbles appear on the outside of the pots in the glaze. More hold time? Is my kiln broken? Any help would be good . Thank you.
  12. Hello, I have recently set up my home studio to practice pottery alongside my course. I have a question about my glaze firing and wondered if anyone could help? I’ve just done my first glaze firing, I used Botz brush on glaze on my bisque fired white earthenware (bisque fired to 04) and glaze fired at 05. I’m wondering if I should of also done it on 04 as now they are out of the kiln they are pinging like a tinkling noise. The kiln was left for 24hrs before unloading. Ive read that this occurs also when the glaze doesn’t fit the clay, but the glaze is an earthenware glaze so I don’t really understand. Does anyone have any ideas on what I’m doing wrong? Thank you Emma
  13. I really need some help with the mixing of high fire glazes and medium. I have these 2 urns and my plan was to have a shiny white interior (stoneware 1200° C) interior with Amaco brush on on the outside, I've done the inside firing to 1200 with a 20min hold. My problem is that the interior has crawled badly so I thought I'd put crushed glass into it and refire, but having already fired to 1200 will the Amaco glazes actually work? TIA Andrea
  14. Youtube series that doesn't feel like a slow drip of valium: Earth Nation Ceramics video series. This is a much tamer example than the typical. https://www.youtube.com/watch?v=N0QnOFsjTcY
  15. Wondering if anyone has experienced peeling of underglazes and/or colored slip when firing with raku clear glaze. One experienced potter suggesrwd adding EPK kaolin...Any similar experience out there?
  16. I am a newbie to firing my own pieces. I fired this mug to cone 6. It is Coyote's Pistachio Shino. In trying to remove some glaze around the design so it would stand out I did not apply enough to this area resulting in this brown patch. This is how this glaze behaves with thinner application. Could I add a bit more glaze to this area and refire? If so should I use the same firing program I did originally? I am sure there are other threads about this topic but I would really appreciate advice to my specific situation since this a gift for a friend's upcoming birthday!!
  17. Week 38 The nineteenth century chemist Herman Seger divided part of the oxides in glazes into three groups:______________________, neutral oxides, and acid oxides. reduction oxides (glass formers) oxidation oxides (bases) basic oxides (fluxes) all of the above These colors are only visible in an oxidation atmosphere. Up to 10220F. there will be no color inside the kiln. . .. . . . . becomes deep red at 14540F.. . . . . at around 21560F. it is a pale orange. . . At 23360F. the color changes from pale yellow to___________________. . . . . . . pure white bright orange pale white yellowish white Glazing with a Brush. . . Before glazing gently wash the piece to remove all traces of dust. The water will also keep __________________________. the glaze from being absorbed too quickly. . . the dust from re-adhering to the pot. . .. the pot from slipping out your grip. . . . fingers prints off of the ware. . . . _____________________ glazes are transparent and shiny and are produced by a saturation of iron oxide with a very low alumina content. The glaze crystallizes on cooling, producing shiny reddish or golden brown crystals. The percentage of iron is from 3 to 15 percent; the percentage is important because too much iron turns the glaze opaque or cloudy. Scotch Topaz Celedon Raku Oxblood This weeks questions come from Ceramics Class: Glazing Techniques, Joaquim Chavarria, c 1998, 1999 Watson Guptill Publications, NY NY Note from Pres: This book, even though small is a powerhouse of ideas for beginners, or those teaching beginners. You will be seeing more from other books in the Ceramics Class series. Answers: 3. basic oxides-Seger divided part of the oxides into three groups: basic oxides (fluxes), neutral oxides, and acid oxides. 4. yellowish white-These colors are only visible in an oxidation atmosphere. Up to 500°C (l022°F), there will be no color inside the kiln. Between 550 and 600°C (l022—lll2°F), the kiln will look dull red, which deepens-between 600 and 700°C (1112—l292°F), and finally becomes deep red around 790°C (l454°F). From this point on the deep red begins to turn cherry red, a color that becomes fully developed at 880°C (l6l6°F). At 980°C (l796°F), it is a paler cherry, tending toward orange, which turns brilliant between 1000 and l080°C (l83Z—l976°F). At around ll80°C (2l56°F) it is pale orange and becomes paler still at l250°C (2282°F). At l280°C (2336°F) the color changes from pale yellow to yellowish white. Between 1300 and l350°C (2342-2462°F) it is yellowish white, and it becomes a dazzling white at l380°C (25l6°F). At around l480—l500°C (2696—2732°F) the color is a brilliant, dazzling white with a bluish haze. 1. the glaze from being absorbed too quickly. . .Before glazing, gently wash the piece to remove all traces of dust. The water will also keep the bisque-fired ware from absorbing the glaze too quickly and will prevent a wide brush from leaving too thick an application of glaze. To avoid the bisque fired clay absorbing the glaze too quickly (thus resulting in uneven coverage), it is a good idea to apply a first layer or wash with a fairly watery glaze solution. 1. Scotch Topaz-These glazes take their name from their similarity to a rock of the same name, a dark yellow quartz with fine layers of embedded golden mica. The earliest known glazes of this type originated in ancient China. Scotch topaz glazes are transparent and shiny and are produced by a saturation of iron oxide with a very low alumina content. The glaze crystallizes on cooling, producing shiny reddish or golden brown crystals. The percentage of iron oxide ranges from 3 to 15 percent the percentage is important because too much oxide turns the glaze opaque or cloudy. The flux may be lead, or alkaline materials such as sodium or potassium.
  18. Hi everyone, Hope you all have had a great weekend. I'm a messy glazer with drips everywhere and have had to redo the process on more than one occasion. I've just had a wonderful result from spraying underglaze onto my work and I'd really like to have a perfect finish. My questions are: Is it better to spray or to dip? If spraying, how many coats do I give the ware? Pics of the bisque below. Thanks in advance for your thoughts Andrea
  19. Week 9 In the opening paragraph of Chapter 1, Robin states: Some subjects learned in formal or foundational art training are invaluable to a lifetime of personal artistic growth, regardless of the medium in which we later work. One of the subjects he names is Drawing, the other is _____________________ Sculpture Mixed Media Color Theory Chemistry For convenience in calculation, materials are put into three columns with the Base (flux, also known as RO or R2O, sometimes referred to as the ____________ of the glaze) on the left, Amphoteric (usually clay, also known as R2O3, sometimes referred to as the muscle) in the center, and the Acid (glass-former, usually silica, also known as RO2, sometimes referred to as the bones of the glaze) on the right. Nerves brain organs blood Mocha diffusion, a slip technique that resembles moss agate gemstones is made by using a slip with a high degree of ball clay or plastic kaolin, such as EPK, along with an acidic material known as Mocha _____________. Tea Wash vinegar coffee Ceramic Decals have come a long way form their invention in England by John Stadler in ____________. These early decals were printed on tissue paper using etched or engraved copper plates inked with underglaze. 1850 1755 1910 1820 This weeks questions come from text in Making Marks, Discovering The Ceramic Surface, Robin Hopper, c. 2004, KP Books Note from Pres: If you do not own this text, or have not read it, it is the definitive text for decorating pottery at any stage from greenware through the firing. Other texts will give you more detailed information in some areas, but known of them that I have seen will give you the names and understanding that will allow you to search for more information as much as this one does. Answers: 3. Color Theory. . . .Some subjects learned in formal or foundation art training are invaluable to a lifetime of personal artistic growth, regardless of the medium in which we later work. Drawing and color theory are two such academic studies. Even if your ceramic work never directly utilizes them, it will improve because of your greater awareness and understanding of these two fundamentals. 4. blood. . . . . For convenience in calculation, materials are put into three columns with the Base (flux, also known as RO or R2O, sometimes referred to as the blood of a glaze) on the left, Amphoteric (usually clay, also known as R2O3, sometimes referred to as the muscle) in the center, and the Acid (glass-former, usually silica, also known as RO2, sometimes referred to as the bones of a glaze) on the right. It is the ratio among the three material types that determines the ï¬ring range, but primarily the fluxes that control color development. 1. Tea. . . The mixture used to form the patterns is called “mocha tea.†It originally was made by boiling tobacco leaves to form a thick sludge that then was thinned with water to a working consistency and mixed with color. 2. 1755. . . John Sadler of Liverpool, England, is credited with inventing ceramic transfer printing in 1755. He saw children placing printed material onto ceramic shards and rubbing the back of the print. As the ink technology was relatively crude, inks of the era were not especially fast drying, and the rubbing transferred the image to the broken crockery. Sadler’s “invention†was to ink etched or engraved copper plates with overglaze enamels.
  20. HELP! I screwed up my bisque firing and fired at cone 5 instead of 05. Major button pushing error. Can I still glaze my pieces and fire them at cone 5 again? Any suggestions of how to make the glaze stick to the bisque since it is so no porous? Thanks for any help.
  21. 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
  22. I wash everything outside to keep clay from getting into my plumbing. I am going to start glazing and firing at home soon. Should I take the same precautions with cleaning up after glazing? Will glaze cause problems in the plumbing?
  23. I have a number of bisque fired ^10 clay pieces that I made during a class that used ^10 only. At home, I work with ^5 - ^6 clay, and glazes. Can I take my bisqued ^10 clay pieces, fire them in my kiln to ^ 9 or 10, (without glaze) and then glaze them with ^5 glaze and refire to ^5? I know this is an odd question, and it seems to me it would work in theory, just wondering if anyone has any thoughts on this? I no longer have access to ^10 glazes, and would rather not purchase some just for 6 things. Thanks, Linda
  24. Hello I've started tinkering with gold leaf and wax finishes for some street art tiles. They seem great at finishing fine detail and add a good pop of colour that you cant get with glazing. The fake gold leaf is super cheap these days I got 300 sheets in 3 colours for £5 on ebay, so seems rude not to. Being a complete newbie I would love to know other members experiences of using them and any hints and tips. Thanks in advance. Darran
  25. I've used CMC Gum but by the time the second coat dries the flaking has begun. The glaze consistency is just a little thinner than medium. I wet the tiles first and use a damp brush. What am I doing wrong?
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