leolol Posted April 8, 2020 Report Share Posted April 8, 2020 Hi! I've started turning pottery a few months ago for school/uni, and i like it! I do have a few bowls that i really like and i'd love to know how to get a similar glaze for my own pieces. Maybe one of you can help me out? Unfortunately I dont have classes anymore, so I cant ask my teacher. Files are attached! Link to comment Share on other sites More sharing options...
Hulk Posted April 8, 2020 Report Share Posted April 8, 2020 Hi Leolol, Nice platters! The first/pink one, looks like a white glaze over coloured glaze? Note the movement on the inner walls - gravity. Sorry I don't have specific suggestions for you! However, please do specify what clay(s) you are using, at what firing temp, and any other specific info... Second/blue one, looks like the piece was dipped in a blue glaze - just the rim - after the liner glaze. As for the blue specks, no idea. Link to comment Share on other sites More sharing options...
JohnnyK Posted April 8, 2020 Report Share Posted April 8, 2020 Hi Leo...Welcome to the best ceramics forum in the world! Here are a few pieces that I have done with an edge similar to the pink platter. The Hare's fur effect is gotten by glazing the rim of the pieces with Duncan Renaissance Glaze RG704 Shino Cream...2 or 3 coats of this stuff in a band about 1/4" to 3/8" wide will cause the underlying glaze to run nicely. These pieces are done by layering Amaco Potter's Choice PC31/33 (in a 50-50 blend) over PC41. So far I've just used the RG704 over the PC glazes but plan on experimenting with other glazes in the future...Hope this helps... Link to comment Share on other sites More sharing options...
Pres Posted April 8, 2020 Report Share Posted April 8, 2020 If I were going to try something like the pink tray at my firing temperature, ^6, I would start by testing a white glaze with a tin/chromium red glaze over top of it. There are lots of variations out there, some break to spots over a white base glaze. It will take considerable testing to get the right variation, as the tin/chrome combination can be tricky when other oxide elements are introduced, but not impossible. Try some of the reputable cone 6 books out there if you are in the cone 6 range. IMHO best, Pres Link to comment Share on other sites More sharing options...
leolol Posted April 8, 2020 Author Report Share Posted April 8, 2020 Hey! First of all thanks for your replies. I dont have a lot of knowledge about pottery etc, but I am trying to get into it! Im using regular turning clay, without "grog" ("chamotte"), and right now i'm only doing one firing at around 1200C - I dont have an oven myself, so I cant just fire to test a few pieces . I also am from Europe, we dont really get the same brands as you have in the US. Regarding technique: These bowls/plates are really smooth, so i suppose there definitely is a finishing clear coat on them. If you coat them more then once would you let the seperate glaze layers dry out completely before putting on the next coat? Or maybe just basecoat in a color, then "splatter on" secondary color and then the last clear coat of glaze? Thank you! Felix Link to comment Share on other sites More sharing options...
leolol Posted April 8, 2020 Author Report Share Posted April 8, 2020 Ah, i also wanted to link the company who makes the tableware i posted - they have many really nice pieces of similar style. https://www.motelamiio.com/en/tableware/ No advertisment, but maybe someone can see the technique better with different pictures. Link to comment Share on other sites More sharing options...
blackthorn Posted April 8, 2020 Report Share Posted April 8, 2020 I know the glaze is key but it wouldn't necessarily have to be 2 glazes, one over the other. A thinish semi translucent white could work with the technique in the image below. Experiment with the timing and the height of dusting - when the freshly applied glaze is still wet, damp or dried. Changing the height of dusting obviously changes the look. I got this notion some time back from Mitch Lyons. About a minute in on the video. Of course there are several other ways to achieve this. Experimentation required and hopefully enjoyable. https://www.youtube.com/watch?v=bUl1oLRue0I&t=154s Link to comment Share on other sites More sharing options...
LeeU Posted April 9, 2020 Report Share Posted April 9, 2020 7 hours ago, blackthorn said: About a minute in on the video. I must be missing something or this is not the right video???? I am not making the connection between the colored clay and glaze questions of the OP. Link to comment Share on other sites More sharing options...
blackthorn Posted April 9, 2020 Report Share Posted April 9, 2020 LeeU- Sorry my dots seem to be too far apart to connect. I posted the video only as it shows how to create the colored clay ball that is used to dust the surface of the piece. Whether or not the glaze that Felix shared with us was actually created by dusting, that effect can be achieved this way and the video just shows one way to get colored clay to do it. My image shows what I created earlier today to get that look, and while it's only done on white paper here I've successfully gotten the look Felix is after with this technique. Too much of stretch? Sorry. Link to comment Share on other sites More sharing options...
leolol Posted April 9, 2020 Author Report Share Posted April 9, 2020 Hey! Thanks for the suggestions, im also having trouble to connect the dots. In the video he's using colored clay to press onto the surface of his piece, which wouldnt really be possible on the inside of a bowl... I'm very certain that the techniques used are all glazes and not colored clay. I'll try to test a few things out but its gonna take a while, maybe someone else has learned about similar styles. Thank you! Felix Link to comment Share on other sites More sharing options...
Rae Reich Posted April 9, 2020 Report Share Posted April 9, 2020 I think this effect can be done all at once in a single firing. It looks like there is a white base glaze which has speckles included in it (are there speckles on the outside also? That would be confirmation.) Making your own glaze that includes speckles would be tricky, but there are some pre-made glazes with that effect. If there are speckles only inside, they probably used a method similar to flicking a glaze-dipped toothbrush over it or lightly dusting with bits of dried glaze. (Pour a puddle of contrasting glaze out on a porous surface to dry, crumble into chunks the size you want, sieve onto the still-damp white-glazed surface. ) I think both pieces had the contrasting glaze brushed around the inside of the rim. During the firing, the blue glaze is more stable and does not run much, but the pink is runnier (contains more fluxing agent) and leaves the rim completely as it courses toward the bottom. If you start with a glossy white glaze, you should not need an additional clear over it. Link to comment Share on other sites More sharing options...
Roberta12 Posted April 9, 2020 Report Share Posted April 9, 2020 19 hours ago, leolol said: Hey! First of all thanks for your replies. I dont have a lot of knowledge about pottery etc, but I am trying to get into it! Im using regular turning clay, without "grog" ("chamotte"), and right now i'm only doing one firing at around 1200C - I dont have an oven myself, so I cant just fire to test a few pieces . I also am from Europe, we dont really get the same brands as you have in the US. Regarding technique: These bowls/plates are really smooth, so i suppose there definitely is a finishing clear coat on them. If you coat them more then once would you let the seperate glaze layers dry out completely before putting on the next coat? Or maybe just basecoat in a color, then "splatter on" secondary color and then the last clear coat of glaze? Thank you! Felix Hi Felix, welcome! The company you linked to has a commercial production set up. And from photos, they are slip casting their wares. I know almost nothing about slipcasting, but perhaps part of the look you love happens during the casting?? They have dialed in their glazes and techniques to fit their aesthetic, leaving the rest of us to wonder and/or spend a great deal of time in testing trying to achieve their look!! I do know the glaze companies have spent a lot of time replicating beautiful glazes and layered glaze effects. That might be a good place to start. Find some commercial glaze companies where you live and see what they have to offer. And no clear coat necessary if it is a glossy glaze. Congratulations on finding an interest and passion for clay. Your brain will never be bored!! Roberta Link to comment Share on other sites More sharing options...
oldlady Posted April 9, 2020 Report Share Posted April 9, 2020 i think blackthorn has the right idea. i could not recognize the green thing in his photo until i read that it is colored clay. i think the more even distribution of color on the factory pieces is done with a flat screen. and with a dried glaze as rae suggests. i have done a "confetti" effect with the dried bits of glaze left over from the edges of a plastic palette in which stroke & coat was used. different colors all over a large plate. stroke & coat does not run, though. Link to comment Share on other sites More sharing options...
blackthorn Posted April 9, 2020 Report Share Posted April 9, 2020 Dang! I did put the wrong video up. Mitch has two videos where he creates the colored clay balls. Apologies for the confusion. There is another one where he shows the actual dusting technique and the posted one only shows how to make colored clay. Not bone dry. But let's forget the videos. The still photograph shows the tools and the result of what I've tried so poorly to convey. The ball of clay, having been mixed wet with oxide, is bone dry. [chromium green in this case] So, I take that bone dry ball of colored clay and lightly scrape it across a wire strainer [which I call dusting] and I'll get a pattern like that of the ware you've shared with us. The higher up I hold the strainer the more faint the speckles will be. Any oxide or stain can be used. I have some with cobalt, RiO, like what's used in the ware you shared. Of course in production, as your examples are, it's not manual as I describe but almost certainly, as @oldlady has pointed out, with a larger screen and likely a conveyor belt. When I do this the colored dust settles on the pieces with no change to the surface texture - only color, such as those you've shared. Am I saying this IS the way your shared ware was created? Nah. But you can easily achieve that look this way. As @Rae Reich mentioned, coming up with a glaze with such speckles is tricky. A simple semi-translucent white or even clear glaze is far easier, to which you can then add the speckles of your own choosing. Again, apologies for my confusing attempts but as soon as I saw your images I immediately recognized one of the techniques I use. I'm sorry I don't have finish fired images to share. Those pieces, like me, are in lock down elsewhere. Link to comment Share on other sites More sharing options...
blackthorn Posted April 9, 2020 Report Share Posted April 9, 2020 Ah, I found an image, though not even bisque fired. Hopefully it can show better than my 1000+ words. Link to comment Share on other sites More sharing options...
Min Posted April 9, 2020 Report Share Posted April 9, 2020 I think there are two totally different approaches to the two glazing methods and glazes used. The speckled blue one would be easy to replicate the look of, just add speckles of sintered blue glaze that has been ball milled or crushed in a mortar and pestle to a white base. In the US there are some commercial speckles available here but in very limited amounts. Could be in Portugal there is a commercial product available that they used. I believe the other pot with the pink red glaze is probably 2 glazes. A base glaze of a darker version of the pink red then a high titanium glaze overtop. If you look at their catalogue you can see mugs and cups where there is a solid colour at the top and then the mottled more muted colour at the base and the dipping overlap mark. They have them in many colours and for each of the solid dark versions there is a lighter mottled version. edit: Rabco sells many colours of glaze "crystals" that can be added to glaze. Link to comment Share on other sites More sharing options...
blackthorn Posted April 9, 2020 Report Share Posted April 9, 2020 Thanks Min! Link to comment Share on other sites More sharing options...
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