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Found 15 results

  1. So there's this glaze one of the potters I follow on IG uses that has me drooling. I'm too shy to ask for a recipe but from scrolling through the feed I see that it's a wood ash glaze fired in oxidation. I don't know if this potter uses real wood ash, all I know is that I don't want to mess with real wood ash myself. I found a few synthetic ash recipes that are supposed to mimic ash sourced from different kinds of burned materials. Also found some wood ash ^6 ox. glaze recipes I want to try that I believe may produce the look I'm after, which is very glossy with tiny white crystals.
  2. This is a problem I have had intermittently since I started making pottery at home in 2010, and lately it seems to be happening to more pieces each firing. 1. Are these pinholes or blisters? Sometimes they are sharp on the edges. 2. How can I correct this? Helpful (?) details: I am doing a slow bisque firing to cone 04. I hold for 10-15 minutes at peak depending how tight I've loaded the kiln. Bisque firing profile: 80/hr to 250F, 200/hr to 1000F, 100/hr to 1100F, 180/hr to 1676F, 80/hr to 1945. Glaze firing to cone 6. I do a programmed "slow" firing on Bartlett controller to
  3. Hey everyone! I'm in the process of creating a home studio, and I thought it would be a great idea to start making my own glazes. What are some good resources, magazines, or books that have helped you guys when it comes to introductory to advanced glaze making? Also, are there any tips or suggestions when I'm starting out! Thank you so much and any input would be greatly appreciated.
  4. Good Afternoon, I'm using a Paragon HT22 kiln with the Dwyer gas inlet flow meter. I'm producing small wire springs (stainless steel) that need to be heat treated in order to secure their final form. In my regular smaller kiln, the oxygen in the atmosphere is reacting with the heated stainless steel and results in pretty intense discoloration (brown/dark purple/etc). Using my new kiln with a tank of Nitrogen gas hooked up, I am able to produce springs that have only a slight blue discoloration. This drastic reduction in discoloration/oxidation means that the nitrogen gas is working
  5. Hey everyone! I recently purchased a used Cress FX27P Electric Kiln, and after bisque firing the first time with the automatic kiln sitter, I noticed that the thumbwheel does not move, and appears to have some sort of malfunction. I figured out a way to bisque firing while moving the thumbwheel manually, but I haven't tried glaze firing yet. Anybody owns this kiln or a similar version of this kiln and can help with how I can glaze fire (cone 6) by moving the thumbwheel myself? For everyone that doesn't know what the purpose of the thumbwheel is, there are numbers 0 to 10 on it, and it move
  6. From the album: Glazed Ceramics 2013

    This whole bowl was glazed in sun valley. The outside ran quite a bit onto the foot and cookie it was resting on, but the inside result was very interesting. It breaks in a light blue, and can have a whole range of color changes as it melts. In 2013 this was the largest bowl I had managed to throw, it was made out of 10 pounds of clay. Deciding on if I want to use this glaze again on future works, as it is very unpredictable and runny.
  7. Hello, I have been firing a small gas kiln at the school I teach at and I am finding that about 1/4 of the pots are coming out oxidized, though most of the kiln load is reduced just fine, even with nice reds. Some pots even seem like the clay on the bottom is half reduction color and half oxidation color, which seems odd, and I think that it is causing brittleness in the ware. I am not exactly sure about placement, because another instructor usually unloads the kiln before I can observe it, but I think there is a bubble of full oxidation in this kiln, maybe in the lower left corner. Any id
  8. From the album: Pottery 2016

    Cone 5 B-Mix, carved and glazed in Stoned Denim from Mayco.

    © Giselle Massey 2016 all rights reserved

  9. Hi, I am hoping that someone can help me out. I am looking for a cone 10 clear that works well in oxidation, specifically with underglazes, mason stains and color in general. In our studio we have a Laguna Clear and another that work okay in reduction but not well with the colors our students use. I know it can be difficult to have some underglazes come through at cone 10, but, I'm hoping to find a really solid clear that doesn't bubble up, cloud or burn out the color so severely. We use a commercial speedball clear sometimes but it is getting too expensive and I would love to have on
  10. Hi, I have fired black mountain clay in cone 10 reduction w/creamy glaze and love the iron speckles that come through. I see a thread of discussion last year about this w/suggestions. I am looking for any recommendations for creamy glazes (gloss or matt) that would work in electric cone 5/6 (oxidation) that might yield similar results. Any recipes or suggestions would be much appreciated. Thanks in advance!
  11. From the album: Jim Keffer Pottery

    Porcelain Vase 10" Fired to cone 6 Oxidation with Black Opulence Coyote Blue and Saturation Metalic
  12. Greetings all, I am trying to create work with a surface quality similar to these tiles by Natalie Blake, http://natalieblakestudios.com/tiles/botanical/ Its sgraffito work in cone 6 oxidation. I am currently using thirds of Frit 3124, EPK, and Iron Oxide for my sgraffito stain on greenware. I could change this although I have already bisqued many pieces with this and it seems like a good recipe that will darken washes/stains that get applied over it. I want to come up with a base recipe or two that will work with as many Mason Stains as possible. I understand that some base reci
  13. Hi, I am new to the forum and am about to set up my own studio after 30 years of classes. Before I start with the inevitable start up questions, I have an interest in historic ceramics and processes and I wonder if anyone knows the process for creating white salt glazed stoneware like that the British made in the 18th century? Is it just that they did not create a reduction atmosphere so the clay body remained white? The German, British, and American salt glazing process for utilitarian cereamics like jugs usually closed the kiln after adding salt, leading to reduction of the clay bod
  14. I saw this at a craftrs fair and it was fantastic. Has anyone tried this. I just get a bland mauve. What is the secret? Red/Pink Purple/Mauve ^6 Gerstley borate 21 % Nepheline Syenite 16 % Kaolin 11 % Whiting 20 % Silica 32 % Tin 5 % Chrome 0.15%
  15. I am looking for a good "dark" grey glaze I can fire in oxidation on light stoneware clay. We wire around 1249C (cone 9) This the tone (or shade) of grey I am looking for (forget it's b&w image): Do you have any good recipes? I am thinking about experimenting with white satin glaze I have and adding some black stain I got (Co-Fe-Cr). Am I even on the right track?
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