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Home / Posts tagged “Workshop”

Tag: Workshop

Posted on November 10, 2018January 15, 2019 by Linda Bloomfield

Glaze course dates 2019

colour blend

I will be teaching more glaze courses in 2019.

Learn about mixing glazes, colouring oxides, colour blends and glaze chemistry.

13-14 April 2019 Forest Row School of Ceramics, East Sussex.

16-17 March 2019 Burnt Earth studio, Forest Row, East Sussex

25-26 May 2019 Studio45 Dartington, Devon.

Category: What I'm doing this week
Tags: colour, glaze, glaze chemistry, glaze course, Workshop

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Important information

Everything is dishwasher and microwave safe, except for the handmade cake stands.

All the handmade pottery is made by Linda in her studio in west London. All the manufactured pottery is made to Linda's designs.

The porcelain clay is mixed in Stoke-on-Trent. It is fired to a high temperature in electric kilns and resists chipping or cracking.
The glazes are made in the studio and contain no lead or cadmium.
Glaze materials: feldspar, quartz, kaolin, calcium carbonate, dolomite, and borax frit from CTM potters supplies. Colourants: small amounts of rutile, copper oxide, nickel oxide, cobalt oxide, and tin oxide.

Exhibitions
  • Critical Clay, Form Gallery
  • Fresh Air Sculpture
  • Plates with Purpose, Messums West
  • Sarah Wiseman Gallery
Open studios
  • Artists at Home
Past exhibitions
  • Design Nation Our Journey at The Hub
  • Oeiras Ceramic Art
  • On Air at Ceramic Art London
  • Pathways Art Trail
  • Stone Lane Sculpture
  • The Future of Craft
Restaurants
  • Leafwild Cafe
  • Luca
  • Royal Albert Hall Café Bar
  • Scarlet Hotel
  • The Clove Club
Shops & Galleries
  • Frivoli
  • G&G Goodfellows
  • Goldfinger Design
  • Masham Gallery
  • Pure Concept Store
  • Rye Art Gallery
  • Sarah Wiseman Gallery
  • Studio Eleven
@lindathepotter
Linda Bloomfield

@lindathepotter

Potter and author of Contemporary Tableware, #SpecialEffectGlazes, #ColourinGlazes, #ScienceforPotters Making functional ceramics, inspired by lichens
  • On the third day of our workshop with @swansonstudii @guldagergaard_claytopia I took the lead and we made various glazes, ash glaze, iron red, oilspot, lava and lichen, adjusting the alumina and silica to see how they affected the texture and colour of the glaze.

The glazes we made from local clays yesterday were fired to cone 6 and we saw the fired results this afternoon, with the iron in the clay producing a range of ochre yellows and red-browns.
    18 hours ago
  • On the second day of the workshop we crushed local clays to make slips and glazes and added colourants and opacifiers. The clay body triaxial tests came out of the kiln, fired to cone 7. 

Tomorrow we will be making more glazes using wood ash and other materials.
    2 days ago
  • The first day of our workshop @guldagergaard_claytopia was all about clay, led by Linda Swanson @swansonstudii 

We made triaxial blends of various clays, fluxes and silica to form clay bodies, and also added colouring oxides to Egyptian paste, a self-glazing clay body.
    3 days ago
  • Some interesting results from our Currie grids, including some chrome-tin pinks, one using discarded lab glass 🧪 🧫 and a dolomite crystalline glaze fired to cone 10.

Thank you for having me to teach @christina_schou_christensen @experimental.glazes @glassandceramics_kglakademi 

I enjoyed the Danish hotdog barbecue 🌭🇩🇰
    5 days ago
  • I enjoyed teaching glazes today @glassandceramics_kglakademi on Bornholm with @christina_schou_christensen @experimental.glazes 

The students made Currie grids, where they chose glaze recipes with different fluxes and varied the silica and kaolin in a biaxial grid of 35 different glaze tests.

Looking forward to seeing the results from an ash glaze using plum and beech ash, chrome-tin pink, tin white, copper green, crystalline glazes and a glaze using crushed waste lab glass 🧪
    6 days ago
  • People keep asking me for recipes for cone 6 (1220°C). It’s not difficult to convert a glaze recipe from high temperature cone 10 (1300°C) to mid temperature; you just need to add around 5% frit to lower the temperature by one cone.

These are oilspot glazes fired at various studios around Australia, the UK and Europe. The original recipe was a Michael Bailey cone 10 oilspot glaze containing 5% frit. To fire it to cone 8, I added another 5% frit. For oilspots the viscosity of the molten glaze is very important. It needs to be viscous enough to hold the gas bubbles, allowing the glaze to smooth out but not run. The oxygen gas comes from thermal decomposition of red iron oxide in the glaze to black iron oxide. These were fired in oxidation in electric kilns.

The best way to convert a glaze to fire at lower temperature is to add 5,10,15,20% frit in a series of glaze tests known as a line blend and see which one works best at your kiln temperature.
    1 week ago
  • Beautiful work by @yaerin.art and @jongjinpark_ceramics at @solunacraft and opposite at Secret Ceramics and Curated Ceramics by @kate_malone_ceramics @sothebys for @firedup4clay where there are still a few pieces for sale @londoncraftweek
    1 week ago
  • Cone 8. Almost everywhere I’ve taught glaze workshops, studios around the UK, Europe and Australia have fired to around 1250°C or cone 8. 

Why? There is a good reason for this: the clay becomes vitrified at that temperature. For example, I use Royale porcelain from @valentineclays which is vitrified at cone 8 and starts to warp at cone 10.

At cone 6, 1220°C, most clays are not vitrified and remain porous. Water can carry bacteria into the pores and mould can grow in the clay underneath the glaze. Cone 6 is not a good choice unless your clay body is specifically made to vitrify at that temperature, which is difficult without the addition of an extra flux or frit. Vitrification happens when the pores in the stoneware clay become filled with molten glass during firing. The clay becomes strong, hardwearing and impervious to water.

So I think cone 8 is a better choice than cone 6, particularly for the clay I use. Check with the clay manufacturer what is the optimum firing temperature for your clay.
    1 week ago
  • Magnesium matt and calcium matt glazes are slightly different. Magnesium matt glazes are very silky, waxy and viscous, while calcium matt glazes are slightly drier, can be more runny, crystalline and sometimes melt to glossy where thick. 

They can be affected by numerous variables including application thickness, firing temperature and firing time, and also by the proportions of flux, clay and silica in the glaze.

Magnesium matts, in the first and second photos, are those containing dolomite or talc, which have more muted colours, while calcium matts, contain whiting, wollastonite or wood ash are a better glaze base for chrome-tin pink, third photo.

Matt is the English spelling and matte is the American spelling.
    2 weeks ago
View on Instagram
On the third day of our workshop with @swansonstudii @guldagergaard_claytopia I took the lead and we made various glazes, ash glaze, iron red, oilspot, lava and lichen, adjusting the alumina and silica to see how they affected the texture and colour of the glaze.

The glazes we made from local clays yesterday were fired to cone 6 and we saw the fired results this afternoon, with the iron in the clay producing a range of ochre yellows and red-browns.
On the third day of our workshop with @swansonstudii @guldagergaard_claytopia I took the lead and we made various glazes, ash glaze, iron red, oilspot, lava and lichen, adjusting the alumina and silica to see how they affected the texture and colour of the glaze.

The glazes we made from local clays yesterday were fired to cone 6 and we saw the fired results this afternoon, with the iron in the clay producing a range of ochre yellows and red-browns.
On the third day of our workshop with @swansonstudii @guldagergaard_claytopia I took the lead and we made various glazes, ash glaze, iron red, oilspot, lava and lichen, adjusting the alumina and silica to see how they affected the texture and colour of the glaze.

The glazes we made from local clays yesterday were fired to cone 6 and we saw the fired results this afternoon, with the iron in the clay producing a range of ochre yellows and red-browns.
On the third day of our workshop with @swansonstudii @guldagergaard_claytopia I took the lead and we made various glazes, ash glaze, iron red, oilspot, lava and lichen, adjusting the alumina and silica to see how they affected the texture and colour of the glaze.

The glazes we made from local clays yesterday were fired to cone 6 and we saw the fired results this afternoon, with the iron in the clay producing a range of ochre yellows and red-browns.
On the third day of our workshop with @swansonstudii @guldagergaard_claytopia I took the lead and we made various glazes, ash glaze, iron red, oilspot, lava and lichen, adjusting the alumina and silica to see how they affected the texture and colour of the glaze.

The glazes we made from local clays yesterday were fired to cone 6 and we saw the fired results this afternoon, with the iron in the clay producing a range of ochre yellows and red-browns.
@lindathepotter
@lindathepotter
•
Follow
On the third day of our workshop with @swansonstudii @guldagergaard_claytopia I took the lead and we made various glazes, ash glaze, iron red, oilspot, lava and lichen, adjusting the alumina and silica to see how they affected the texture and colour of the glaze. The glazes we made from local clays yesterday were fired to cone 6 and we saw the fired results this afternoon, with the iron in the clay producing a range of ochre yellows and red-browns.
18 hours ago
View on Instagram |
1/9
On the second day of the workshop we crushed local clays to make slips and glazes and added colourants and opacifiers. The clay body triaxial tests came out of the kiln, fired to cone 7. 

Tomorrow we will be making more glazes using wood ash and other materials.
On the second day of the workshop we crushed local clays to make slips and glazes and added colourants and opacifiers. The clay body triaxial tests came out of the kiln, fired to cone 7. 

Tomorrow we will be making more glazes using wood ash and other materials.
On the second day of the workshop we crushed local clays to make slips and glazes and added colourants and opacifiers. The clay body triaxial tests came out of the kiln, fired to cone 7. 

Tomorrow we will be making more glazes using wood ash and other materials.
On the second day of the workshop we crushed local clays to make slips and glazes and added colourants and opacifiers. The clay body triaxial tests came out of the kiln, fired to cone 7. 

Tomorrow we will be making more glazes using wood ash and other materials.
On the second day of the workshop we crushed local clays to make slips and glazes and added colourants and opacifiers. The clay body triaxial tests came out of the kiln, fired to cone 7. 

Tomorrow we will be making more glazes using wood ash and other materials.
@lindathepotter
@lindathepotter
•
Follow
On the second day of the workshop we crushed local clays to make slips and glazes and added colourants and opacifiers. The clay body triaxial tests came out of the kiln, fired to cone 7. Tomorrow we will be making more glazes using wood ash and other materials.
2 days ago
View on Instagram |
2/9
The first day of our workshop @guldagergaard_claytopia was all about clay, led by Linda Swanson @swansonstudii 

We made triaxial blends of various clays, fluxes and silica to form clay bodies, and also added colouring oxides to Egyptian paste, a self-glazing clay body.
The first day of our workshop @guldagergaard_claytopia was all about clay, led by Linda Swanson @swansonstudii 

We made triaxial blends of various clays, fluxes and silica to form clay bodies, and also added colouring oxides to Egyptian paste, a self-glazing clay body.
The first day of our workshop @guldagergaard_claytopia was all about clay, led by Linda Swanson @swansonstudii 

We made triaxial blends of various clays, fluxes and silica to form clay bodies, and also added colouring oxides to Egyptian paste, a self-glazing clay body.
@lindathepotter
@lindathepotter
•
Follow
The first day of our workshop @guldagergaard_claytopia was all about clay, led by Linda Swanson @swansonstudii We made triaxial blends of various clays, fluxes and silica to form clay bodies, and also added colouring oxides to Egyptian paste, a self-glazing clay body.
3 days ago
View on Instagram |
3/9
Some interesting results from our Currie grids, including some chrome-tin pinks, one using discarded lab glass 🧪 🧫 and a dolomite crystalline glaze fired to cone 10.

Thank you for having me to teach @christina_schou_christensen @experimental.glazes @glassandceramics_kglakademi 

I enjoyed the Danish hotdog barbecue 🌭🇩🇰
Some interesting results from our Currie grids, including some chrome-tin pinks, one using discarded lab glass 🧪 🧫 and a dolomite crystalline glaze fired to cone 10.

Thank you for having me to teach @christina_schou_christensen @experimental.glazes @glassandceramics_kglakademi 

I enjoyed the Danish hotdog barbecue 🌭🇩🇰
Some interesting results from our Currie grids, including some chrome-tin pinks, one using discarded lab glass 🧪 🧫 and a dolomite crystalline glaze fired to cone 10.

Thank you for having me to teach @christina_schou_christensen @experimental.glazes @glassandceramics_kglakademi 

I enjoyed the Danish hotdog barbecue 🌭🇩🇰
Some interesting results from our Currie grids, including some chrome-tin pinks, one using discarded lab glass 🧪 🧫 and a dolomite crystalline glaze fired to cone 10.

Thank you for having me to teach @christina_schou_christensen @experimental.glazes @glassandceramics_kglakademi 

I enjoyed the Danish hotdog barbecue 🌭🇩🇰
Some interesting results from our Currie grids, including some chrome-tin pinks, one using discarded lab glass 🧪 🧫 and a dolomite crystalline glaze fired to cone 10.

Thank you for having me to teach @christina_schou_christensen @experimental.glazes @glassandceramics_kglakademi 

I enjoyed the Danish hotdog barbecue 🌭🇩🇰
Some interesting results from our Currie grids, including some chrome-tin pinks, one using discarded lab glass 🧪 🧫 and a dolomite crystalline glaze fired to cone 10.

Thank you for having me to teach @christina_schou_christensen @experimental.glazes @glassandceramics_kglakademi 

I enjoyed the Danish hotdog barbecue 🌭🇩🇰
@lindathepotter
@lindathepotter
•
Follow
Some interesting results from our Currie grids, including some chrome-tin pinks, one using discarded lab glass 🧪 🧫 and a dolomite crystalline glaze fired to cone 10. Thank you for having me to teach @christina_schou_christensen @experimental.glazes @glassandceramics_kglakademi I enjoyed the Danish hotdog barbecue 🌭🇩🇰
5 days ago
View on Instagram |
4/9
I enjoyed teaching glazes today @glassandceramics_kglakademi on Bornholm with @christina_schou_christensen @experimental.glazes 

The students made Currie grids, where they chose glaze recipes with different fluxes and varied the silica and kaolin in a biaxial grid of 35 different glaze tests.

Looking forward to seeing the results from an ash glaze using plum and beech ash, chrome-tin pink, tin white, copper green, crystalline glazes and a glaze using crushed waste lab glass 🧪
I enjoyed teaching glazes today @glassandceramics_kglakademi on Bornholm with @christina_schou_christensen @experimental.glazes 

The students made Currie grids, where they chose glaze recipes with different fluxes and varied the silica and kaolin in a biaxial grid of 35 different glaze tests.

Looking forward to seeing the results from an ash glaze using plum and beech ash, chrome-tin pink, tin white, copper green, crystalline glazes and a glaze using crushed waste lab glass 🧪
I enjoyed teaching glazes today @glassandceramics_kglakademi on Bornholm with @christina_schou_christensen @experimental.glazes 

The students made Currie grids, where they chose glaze recipes with different fluxes and varied the silica and kaolin in a biaxial grid of 35 different glaze tests.

Looking forward to seeing the results from an ash glaze using plum and beech ash, chrome-tin pink, tin white, copper green, crystalline glazes and a glaze using crushed waste lab glass 🧪
I enjoyed teaching glazes today @glassandceramics_kglakademi on Bornholm with @christina_schou_christensen @experimental.glazes 

The students made Currie grids, where they chose glaze recipes with different fluxes and varied the silica and kaolin in a biaxial grid of 35 different glaze tests.

Looking forward to seeing the results from an ash glaze using plum and beech ash, chrome-tin pink, tin white, copper green, crystalline glazes and a glaze using crushed waste lab glass 🧪
I enjoyed teaching glazes today @glassandceramics_kglakademi on Bornholm with @christina_schou_christensen @experimental.glazes 

The students made Currie grids, where they chose glaze recipes with different fluxes and varied the silica and kaolin in a biaxial grid of 35 different glaze tests.

Looking forward to seeing the results from an ash glaze using plum and beech ash, chrome-tin pink, tin white, copper green, crystalline glazes and a glaze using crushed waste lab glass 🧪
@lindathepotter
@lindathepotter
•
Follow
I enjoyed teaching glazes today @glassandceramics_kglakademi on Bornholm with @christina_schou_christensen @experimental.glazes The students made Currie grids, where they chose glaze recipes with different fluxes and varied the silica and kaolin in a biaxial grid of 35 different glaze tests. Looking forward to seeing the results from an ash glaze using plum and beech ash, chrome-tin pink, tin white, copper green, crystalline glazes and a glaze using crushed waste lab glass 🧪
6 days ago
View on Instagram |
5/9
People keep asking me for recipes for cone 6 (1220°C). It’s not difficult to convert a glaze recipe from high temperature cone 10 (1300°C) to mid temperature; you just need to add around 5% frit to lower the temperature by one cone.

These are oilspot glazes fired at various studios around Australia, the UK and Europe. The original recipe was a Michael Bailey cone 10 oilspot glaze containing 5% frit. To fire it to cone 8, I added another 5% frit. For oilspots the viscosity of the molten glaze is very important. It needs to be viscous enough to hold the gas bubbles, allowing the glaze to smooth out but not run. The oxygen gas comes from thermal decomposition of red iron oxide in the glaze to black iron oxide. These were fired in oxidation in electric kilns.

The best way to convert a glaze to fire at lower temperature is to add 5,10,15,20% frit in a series of glaze tests known as a line blend and see which one works best at your kiln temperature.
People keep asking me for recipes for cone 6 (1220°C). It’s not difficult to convert a glaze recipe from high temperature cone 10 (1300°C) to mid temperature; you just need to add around 5% frit to lower the temperature by one cone.

These are oilspot glazes fired at various studios around Australia, the UK and Europe. The original recipe was a Michael Bailey cone 10 oilspot glaze containing 5% frit. To fire it to cone 8, I added another 5% frit. For oilspots the viscosity of the molten glaze is very important. It needs to be viscous enough to hold the gas bubbles, allowing the glaze to smooth out but not run. The oxygen gas comes from thermal decomposition of red iron oxide in the glaze to black iron oxide. These were fired in oxidation in electric kilns.

The best way to convert a glaze to fire at lower temperature is to add 5,10,15,20% frit in a series of glaze tests known as a line blend and see which one works best at your kiln temperature.
People keep asking me for recipes for cone 6 (1220°C). It’s not difficult to convert a glaze recipe from high temperature cone 10 (1300°C) to mid temperature; you just need to add around 5% frit to lower the temperature by one cone.

These are oilspot glazes fired at various studios around Australia, the UK and Europe. The original recipe was a Michael Bailey cone 10 oilspot glaze containing 5% frit. To fire it to cone 8, I added another 5% frit. For oilspots the viscosity of the molten glaze is very important. It needs to be viscous enough to hold the gas bubbles, allowing the glaze to smooth out but not run. The oxygen gas comes from thermal decomposition of red iron oxide in the glaze to black iron oxide. These were fired in oxidation in electric kilns.

The best way to convert a glaze to fire at lower temperature is to add 5,10,15,20% frit in a series of glaze tests known as a line blend and see which one works best at your kiln temperature.
People keep asking me for recipes for cone 6 (1220°C). It’s not difficult to convert a glaze recipe from high temperature cone 10 (1300°C) to mid temperature; you just need to add around 5% frit to lower the temperature by one cone.

These are oilspot glazes fired at various studios around Australia, the UK and Europe. The original recipe was a Michael Bailey cone 10 oilspot glaze containing 5% frit. To fire it to cone 8, I added another 5% frit. For oilspots the viscosity of the molten glaze is very important. It needs to be viscous enough to hold the gas bubbles, allowing the glaze to smooth out but not run. The oxygen gas comes from thermal decomposition of red iron oxide in the glaze to black iron oxide. These were fired in oxidation in electric kilns.

The best way to convert a glaze to fire at lower temperature is to add 5,10,15,20% frit in a series of glaze tests known as a line blend and see which one works best at your kiln temperature.
People keep asking me for recipes for cone 6 (1220°C). It’s not difficult to convert a glaze recipe from high temperature cone 10 (1300°C) to mid temperature; you just need to add around 5% frit to lower the temperature by one cone.

These are oilspot glazes fired at various studios around Australia, the UK and Europe. The original recipe was a Michael Bailey cone 10 oilspot glaze containing 5% frit. To fire it to cone 8, I added another 5% frit. For oilspots the viscosity of the molten glaze is very important. It needs to be viscous enough to hold the gas bubbles, allowing the glaze to smooth out but not run. The oxygen gas comes from thermal decomposition of red iron oxide in the glaze to black iron oxide. These were fired in oxidation in electric kilns.

The best way to convert a glaze to fire at lower temperature is to add 5,10,15,20% frit in a series of glaze tests known as a line blend and see which one works best at your kiln temperature.
People keep asking me for recipes for cone 6 (1220°C). It’s not difficult to convert a glaze recipe from high temperature cone 10 (1300°C) to mid temperature; you just need to add around 5% frit to lower the temperature by one cone.

These are oilspot glazes fired at various studios around Australia, the UK and Europe. The original recipe was a Michael Bailey cone 10 oilspot glaze containing 5% frit. To fire it to cone 8, I added another 5% frit. For oilspots the viscosity of the molten glaze is very important. It needs to be viscous enough to hold the gas bubbles, allowing the glaze to smooth out but not run. The oxygen gas comes from thermal decomposition of red iron oxide in the glaze to black iron oxide. These were fired in oxidation in electric kilns.

The best way to convert a glaze to fire at lower temperature is to add 5,10,15,20% frit in a series of glaze tests known as a line blend and see which one works best at your kiln temperature.
People keep asking me for recipes for cone 6 (1220°C). It’s not difficult to convert a glaze recipe from high temperature cone 10 (1300°C) to mid temperature; you just need to add around 5% frit to lower the temperature by one cone.

These are oilspot glazes fired at various studios around Australia, the UK and Europe. The original recipe was a Michael Bailey cone 10 oilspot glaze containing 5% frit. To fire it to cone 8, I added another 5% frit. For oilspots the viscosity of the molten glaze is very important. It needs to be viscous enough to hold the gas bubbles, allowing the glaze to smooth out but not run. The oxygen gas comes from thermal decomposition of red iron oxide in the glaze to black iron oxide. These were fired in oxidation in electric kilns.

The best way to convert a glaze to fire at lower temperature is to add 5,10,15,20% frit in a series of glaze tests known as a line blend and see which one works best at your kiln temperature.
@lindathepotter
@lindathepotter
•
Follow
People keep asking me for recipes for cone 6 (1220°C). It’s not difficult to convert a glaze recipe from high temperature cone 10 (1300°C) to mid temperature; you just need to add around 5% frit to lower the temperature by one cone. These are oilspot glazes fired at various studios around Australia, the UK and Europe. The original recipe was a Michael Bailey cone 10 oilspot glaze containing 5% frit. To fire it to cone 8, I added another 5% frit. For oilspots the viscosity of the molten glaze is very important. It needs to be viscous enough to hold the gas bubbles, allowing the glaze to smooth out but not run. The oxygen gas comes from thermal decomposition of red iron oxide in the glaze to black iron oxide. These were fired in oxidation in electric kilns. The best way to convert a glaze to fire at lower temperature is to add 5,10,15,20% frit in a series of glaze tests known as a line blend and see which one works best at your kiln temperature.
1 week ago
View on Instagram |
6/9
Beautiful work by @yaerin.art and @jongjinpark_ceramics at @solunacraft and opposite at Secret Ceramics and Curated Ceramics by @kate_malone_ceramics @sothebys for @firedup4clay where there are still a few pieces for sale @londoncraftweek
Beautiful work by @yaerin.art and @jongjinpark_ceramics at @solunacraft and opposite at Secret Ceramics and Curated Ceramics by @kate_malone_ceramics @sothebys for @firedup4clay where there are still a few pieces for sale @londoncraftweek
Beautiful work by @yaerin.art and @jongjinpark_ceramics at @solunacraft and opposite at Secret Ceramics and Curated Ceramics by @kate_malone_ceramics @sothebys for @firedup4clay where there are still a few pieces for sale @londoncraftweek
Beautiful work by @yaerin.art and @jongjinpark_ceramics at @solunacraft and opposite at Secret Ceramics and Curated Ceramics by @kate_malone_ceramics @sothebys for @firedup4clay where there are still a few pieces for sale @londoncraftweek
Beautiful work by @yaerin.art and @jongjinpark_ceramics at @solunacraft and opposite at Secret Ceramics and Curated Ceramics by @kate_malone_ceramics @sothebys for @firedup4clay where there are still a few pieces for sale @londoncraftweek
Beautiful work by @yaerin.art and @jongjinpark_ceramics at @solunacraft and opposite at Secret Ceramics and Curated Ceramics by @kate_malone_ceramics @sothebys for @firedup4clay where there are still a few pieces for sale @londoncraftweek
Beautiful work by @yaerin.art and @jongjinpark_ceramics at @solunacraft and opposite at Secret Ceramics and Curated Ceramics by @kate_malone_ceramics @sothebys for @firedup4clay where there are still a few pieces for sale @londoncraftweek
Beautiful work by @yaerin.art and @jongjinpark_ceramics at @solunacraft and opposite at Secret Ceramics and Curated Ceramics by @kate_malone_ceramics @sothebys for @firedup4clay where there are still a few pieces for sale @londoncraftweek
Beautiful work by @yaerin.art and @jongjinpark_ceramics at @solunacraft and opposite at Secret Ceramics and Curated Ceramics by @kate_malone_ceramics @sothebys for @firedup4clay where there are still a few pieces for sale @londoncraftweek
@lindathepotter
@lindathepotter
•
Follow
Beautiful work by @yaerin.art and @jongjinpark_ceramics at @solunacraft and opposite at Secret Ceramics and Curated Ceramics by @kate_malone_ceramics @sothebys for @firedup4clay where there are still a few pieces for sale @londoncraftweek
1 week ago
View on Instagram |
7/9
Cone 8. Almost everywhere I’ve taught glaze workshops, studios around the UK, Europe and Australia have fired to around 1250°C or cone 8. 

Why? There is a good reason for this: the clay becomes vitrified at that temperature. For example, I use Royale porcelain from @valentineclays which is vitrified at cone 8 and starts to warp at cone 10.

At cone 6, 1220°C, most clays are not vitrified and remain porous. Water can carry bacteria into the pores and mould can grow in the clay underneath the glaze. Cone 6 is not a good choice unless your clay body is specifically made to vitrify at that temperature, which is difficult without the addition of an extra flux or frit. Vitrification happens when the pores in the stoneware clay become filled with molten glass during firing. The clay becomes strong, hardwearing and impervious to water.

So I think cone 8 is a better choice than cone 6, particularly for the clay I use. Check with the clay manufacturer what is the optimum firing temperature for your clay.
@lindathepotter
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Cone 8. Almost everywhere I’ve taught glaze workshops, studios around the UK, Europe and Australia have fired to around 1250°C or cone 8. Why? There is a good reason for this: the clay becomes vitrified at that temperature. For example, I use Royale porcelain from @valentineclays which is vitrified at cone 8 and starts to warp at cone 10. At cone 6, 1220°C, most clays are not vitrified and remain porous. Water can carry bacteria into the pores and mould can grow in the clay underneath the glaze. Cone 6 is not a good choice unless your clay body is specifically made to vitrify at that temperature, which is difficult without the addition of an extra flux or frit. Vitrification happens when the pores in the stoneware clay become filled with molten glass during firing. The clay becomes strong, hardwearing and impervious to water. So I think cone 8 is a better choice than cone 6, particularly for the clay I use. Check with the clay manufacturer what is the optimum firing temperature for your clay.
1 week ago
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8/9
Magnesium matt and calcium matt glazes are slightly different. Magnesium matt glazes are very silky, waxy and viscous, while calcium matt glazes are slightly drier, can be more runny, crystalline and sometimes melt to glossy where thick. 

They can be affected by numerous variables including application thickness, firing temperature and firing time, and also by the proportions of flux, clay and silica in the glaze.

Magnesium matts, in the first and second photos, are those containing dolomite or talc, which have more muted colours, while calcium matts, contain whiting, wollastonite or wood ash are a better glaze base for chrome-tin pink, third photo.

Matt is the English spelling and matte is the American spelling.
Magnesium matt and calcium matt glazes are slightly different. Magnesium matt glazes are very silky, waxy and viscous, while calcium matt glazes are slightly drier, can be more runny, crystalline and sometimes melt to glossy where thick. 

They can be affected by numerous variables including application thickness, firing temperature and firing time, and also by the proportions of flux, clay and silica in the glaze.

Magnesium matts, in the first and second photos, are those containing dolomite or talc, which have more muted colours, while calcium matts, contain whiting, wollastonite or wood ash are a better glaze base for chrome-tin pink, third photo.

Matt is the English spelling and matte is the American spelling.
Magnesium matt and calcium matt glazes are slightly different. Magnesium matt glazes are very silky, waxy and viscous, while calcium matt glazes are slightly drier, can be more runny, crystalline and sometimes melt to glossy where thick. 

They can be affected by numerous variables including application thickness, firing temperature and firing time, and also by the proportions of flux, clay and silica in the glaze.

Magnesium matts, in the first and second photos, are those containing dolomite or talc, which have more muted colours, while calcium matts, contain whiting, wollastonite or wood ash are a better glaze base for chrome-tin pink, third photo.

Matt is the English spelling and matte is the American spelling.
@lindathepotter
@lindathepotter
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Magnesium matt and calcium matt glazes are slightly different. Magnesium matt glazes are very silky, waxy and viscous, while calcium matt glazes are slightly drier, can be more runny, crystalline and sometimes melt to glossy where thick. They can be affected by numerous variables including application thickness, firing temperature and firing time, and also by the proportions of flux, clay and silica in the glaze. Magnesium matts, in the first and second photos, are those containing dolomite or talc, which have more muted colours, while calcium matts, contain whiting, wollastonite or wood ash are a better glaze base for chrome-tin pink, third photo. Matt is the English spelling and matte is the American spelling.
2 weeks ago
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9/9

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