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Showing results for tags 'underglaze'.
Found 114 results
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Hello all : ) I just bought some cobalt oxide, I'd like to paint it directly on some leather hard stoneware vessels before bisque. Can I ask if anyone knows which percentage of cobalt to amount of water should I use for best results? Thank you!
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Hello - For many years I’ve been using Amaco’s Jet Black underglaze on white stoneware, firing to ^05/04 bisque and it’s always behaved really well. I recently started a new gallon bottle, mixed it up in a bucket really thoroughly before using. It was pretty thick, and I diluted it somewhat. I apply the underglaze to greenware in order to do sgraffito. Now I’ve started to see crazing when the bisqued ware is dampened - when sponging prior to applying clear glaze, and then much more noticeably when applying glaze (typically Amaco’s HF-9). Picture below. Although I’d already diluted the underglaze, it happened again with the next bisque. The folks at Amaco couldn’t account for it. I’ve been nervous about possible problems firing these pieces to ^5/6, which I’ve always done in the past - I don’t know if that would be risky. Any suggestions out there? Thank you!
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Porcelain grasses vase with gold lustre highlights
Celia UK posted a gallery image in Browse Member Galleries
From the album: July 2019
Thrown porcelain. Wax resist all over, carved when leather hard. Black underglaze inlay painted over and wiped back. Bisqued to 1000oC. Transparent glaze poured and dipped then fired to cone 6/7. Gold lustre applied before third firing to 780oC. -
Hi! I'm trying to make Holly´s Underglaze which needs 33.3% of Ferro Frit 3124, sadly here in my country -Mexico- that specific Frit is unavailable, but I can get Ferro 3134 and by reading Digitalfire I realized that the biggest difference is the lack of alumina, so I was thinking about increasing the amount of EPK Kaolin in the recipe and was wondering if you might have any kind of suggestion of how to modify the percentage of Kaolin or even another approach to making a proper substitution by using the 3134, I know this is a matter of trial and error but I'm hoping to decrease the errors in the process... or perhaps I'm caring too much since both frits are pretty alike... any suggestion is welcome! Thanks in advance!
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If I could figure out how to attach the correct size photo you could see the what I’m gonna describe... Duncan Clear Satin (SN351) glaze is not running into all the incised lines after the recommended number of coats and fired to cone 06.. It looked completely covered. This has now happened a couple of times and I’m not sure what’s going wrong. The clay is Standard 528. The design was inscised then bisque fired to 06. It was then stained using Amaco velvet underglaze (V361)...allowed to dry before applying the Duncan clear glaze as per mfg. I’ve used this technique for a long time with other clay bodies and this never happens, no problems. Any idea what’s going on? Is it the clay? The glaze? My technique? The firing? I could use some help. (And how to upload the right kind and size image).
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Hi, Would it work to use a decorating slip on greenware , bisque fire it and then decorate with underglazes before clear glazing and firing? I seem to remember someone telling me that the colour of the slip would mix with the underglaze but I don't know if firing in-between would maybe help with that? The reason I'd like to do this is for the slip to be the background colour, as I've found it tends to be less patchy than underglaze for larger areas. And for the underglaze to be the design detail on top. Is that a sensible way to do it or is there a better way to achieve something like that? I'm fairly new to decorating - any advice appreciated! Thanks :)
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I am using underglaze to create designs on newsprint underneath slip to form decals to apply to greenware. I need advice on how to avoid streaking underglaze.
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Hi all Is zircopax OK to use in place of white pigment or stain? I want to make a basic white underglaze with it. I am worried about pinholing or peeling though. I want to fire to about 1150 centigrade. Any help appreciated.
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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 -
Yes, I am tilting at windmills... I've been doing tons of trials with Amaco Velvet underglazes to introduce some bright colors to my pieces, and I currently work only in cone 10 reduction. I know what I'm up against, but still I must persist. I apply the underglazes on leatherhard so that they will be bisque-hardened to better withstand cover glazing. Yes, most of the colors will not be true, but I've found many I like—without a clear glaze cover. What I need to find is a clear gloss cover glaze that will not completely alter so many of the colors. Amaco's own house brand has its problems, including the crazy price for enough glaze to dip pieces, (they offered no help "because we sell a clear glaze") and the best choice at my membership studio still transforms most of the colors, some into a completely different spectrum (see image). Does anyone have a clear gloss glaze recipe with a better hope of allowing the underglazes to stay as true as possible in a cone 10 reduction kiln? When you stop laughing, I'd love to hear. -
From the album: In the Beginning...
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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?
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Has anybody used underglazes under a clear crackle Raku?
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Hi everyone, A question. Can anyone see a problem with not glazing over underglaze for non food works? I have looked but can't find an answer anywhere and it seems that everyone uses a glaze over the top for the underglazes. I'm using porcelain clay to make wearable works including rings (I should add). I love the results, and the undergalzes adhere very well to the porcelain. I can even wet sand after the final fire and the design stays put. The colours appear somewhat softer but that is good too. I belive that the newer underglazes have more frit in them making them a litle more like a glaze themselves and this is why they work differntly to older style glazes.? Any issues? I can do it but is it a bad idea as far as safely goes? cheers Lilly aka etched
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I have tried using underglazes and wiping them off to enhance textures on both bisqued and non-bisqued pieces. When I try to "wipe them off," a lot of color has already soaked into the raised areas of clay; or if I try being more precise about where I put the underglaze and then wipe it off, it still spreads onto and stains the other areas as I wipe. When I see pics of others' work in progress, it appears that their pieces have been wiped clean except for the textures. Do I just live with this or am I missing something in technique. Thanks for any help -
I had a collaborative project with a friend. I made the trays, she applied the black underglaze and did the sgraffito work. I bisqued the pieces to 04 and sprayed them with clear. All of the pieces came out with a white speckling and slight pitting. I have not noticed this effect on my other work with underglaze and clear. But I do not normally use large expanses of black. Does anyone have any thoughts or suggestions? We would love to do more of this work. Roberta
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Hi all, I've been starting to have a crawling issue with 3 of my last firings and can't figure out what's happening here (see photo). All color underneath the clear ^5 glaze is Amaco Velvet. I give 3 good layers for the underglaze every time, and have not changed the technique for painting. Glaze and clay body also remain the same. Upon suggestion from a friend I tried doing the firing SLOW, but that didn't help either. Couple of questions for you Amaco veterans: 1. Have you had issue with the crawling happening over Velvet? How did you resolve it? 2. Even in small coverage areas, the glaze is up higher where there is no underglaze, and lower where there is. A bit lost on what to do about this new strange issues.
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Wanting to make an Amaco underglaze have just a little bit of shiny-ness, but not cover it with a clear glaze. Have made some cups with a lot of exterior surface texture. Will be using a liner glaze on the interior as well as over the rim and down about 3/4" inch on the exterior. Planned to paint the underglaze in the textured area and then wipe off, leaving material in the recesses. Firing to Cone 6. Wondering if adding a small amount of either Gerstley Borate or Nepheline Syenite to the underglaze would do the trick? Or a Frit? Thanks for any suggestions.
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Help! I am having issues with underglazes disappearing in spots during glaze firings. I paint the underglazes (usually Duncan or Speedball) onto greenware and fire in a bisque kiln to cone 06. Then I dip my pieces in a clear glaze and fire to cone 6. When the pieces come out of the bisque firing, they are totally fine. After the glaze firing however, some pieces will have small round spots that look like the clear glaze and colored underglaze just JUMPED right off the pot. All my pieces are wiped down before applying the clear glaze, and as I already stated, they look perfect after the first firing.. I have had this happen on the inside of bowls, as well as the outside. Why would this be happening? Thanks in advance!
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Hi peps, I have an unfired stoneware planter that needs to be decorated. However my painting skills leave much to be desired. Because I don't have any spraying tools I will have to rely on using brushes. How can I achieve an even coat? -
Hello! I am very very new to ceramics and I have used a low fire underglaze to paint my pieces. They were Bisque fired and came out a bit glossy which signaled my instructor that I did something wrong and used low fire underglazes. I want to finish my pieces but I was told that they may get messed up after I glaze them. I wanted to use a clear glaze to make them food safe. Is this still possible? They are detailed pieces and I would hate to lose their designs. I used brown clay, and I was told that they have to fire the glaze at high temperatures. I am sorry I dont know alot so Im sorry if i got anything wrong. Thank you!
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I started pottery a bit over a year ago and recently begun exploring decorative techniques. I tried some underglaze inlay on a greenware piece, carving out decorative lines on a small waxed porcelain cup, then painting the whole thing with blue underglaze, and wiping off the excess underglaze. I bisque fired the piece, then dipped it in transparent glaze and fired it again. The final cup has streaky underglaze, I don't understand why since the underglaze was bisque fired before I applied the final glaze? (I'll attach a picture, please note it's just a test piece I do notice however that the streaking seems to occur on those lines that were less deep (the straight lines were carved a bit deeper into the clay, might that be the solution? - I thought mishima could be fairly superficial, am I wrong?) Should I try to sponge on the clear glaze instead of dipping? Also, I find that dipping gives me a bit of a thick final transparent coating, could I try and brush it on in order to obtain a thinner coating or am I just setting myself up for a huge mess? I'd very much appreciate some experienced insight on this! Many Thanks in advance! SaveSave -
From the album: Favorites
I love all the varied shapes a good mug comes in. The shape is my current favorite. It works well to separate the textured areas from the geometric sgraffito in the bottom. It has a pulled handle and commercial glazes and was fired to cone 6 electric. -
So I recently bought a kiln and don't know a lot about how glazes work - will figure it out as I go along. Just had a question. How is the effect in the attached teapot achieved? Can I dip bisqueware in white and then paint on top of it with underglaze and then fire? How else would I be able to achieve a white base with painted pattern on top? Appreciate any advice.
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From the album: 2017 Stuff
The final result of my first animal head sculpture. I'm quite pleased with how this turned out--as you can imagine, I was sweating when this piece was in the kiln!! My fella, its intended and current owner, was extremely happy when he got it for Christmas. <3 Sculpted from Clay Art Center (of Tacoma)'s Xtra White lowfire earthenware, painted with Amaco, Mayco, Duncan, and Clay Art Center underglaze, fired to ^03.© Me and my fella
