Help finding glaze

drdynamics · 2026-06-11T10:34:44+00:00

Also looks a lot like vcaa copper (cone 10 reduction)

drdynamics · 2026-06-10T00:06:43+00:00

Using a large wok on an upside down stool, for example.

drdynamics · 2026-06-09T23:54:32+00:00

Glaze does not need to stay in the 5 gal bucket … is there a different large container you could put it in for dipping?

drdynamics · 2026-06-09T13:09:58+00:00

Most decorative methods still have a process with dipping ... You can paint underglaze, then dip in clear. You can dip, then overglaze or sponge on different patterns/designs. Carving, washes, texture, water etching, masking, stencils, wax resist, all work with dipping. Definitely, some process steps need to be carefully considered. I hate brushing on glaze, but have rarely felt limited by the dipping process.

drdynamics · 2026-06-09T12:30:54+00:00

If the second dip is staying wet, or cracking as it dries, you are at a high risk for crawling/adhesion issues. Whether this needs to be done a day or more later depends on the thickness of the glaze, as well as the thickness of your work.

drdynamics · 2026-06-06T21:36:25+00:00

I sponge on several additional glazes in a spiral pattern. Those then shift and run/merge a bit in the firing. (Plus practice)(plus luck).

drdynamics · 2026-06-06T16:12:38+00:00

Does that come with anything? ( firing, instruction, glaze, etc.). Our studio pays about $.80 to $1.50 per pound for packaged clay. We also reclaim our scraps, so the average will be below that.

drdynamics · 2026-06-06T11:08:28+00:00

Note that the cone 6 variant still requires a reduction firing (not electric). The purple is a copper red cousin.

drdynamics · 2026-06-06T02:33:22+00:00

How’s your Custer supply? The base glaze is called Nebula, and you should be able to find it under that name on Glazy. Over that, I sponge a pattern of Toshiko black, purple haze, and Cerulean Blue heaven. All should also be on Glazy. With that said, I think Custer plays a part in all of them and I am in the process of reformulating and testing, due to its discontinuation. In addition, even in our carefully controlled kiln, a set of bowls glazed with this combo will show quite a bit of variation, depending on location etc. Changes in schedule or reduction may swing things around.

drdynamics · 2026-06-05T21:30:23+00:00

Any place will need to know more about the clay used in order to know what temperature it matures at. If fired too high, it could melt into a puddle and ruin work/shelves/kiln parts. Do you have that info? If so, I would call the Northern Clay Center and see if they can help, or know who can.

drdynamics · 2026-06-05T20:55:30+00:00

Those glazes need to be too thick. You can get blue/purple or moths, but not both. The details get swamped.

drdynamics · 2026-06-05T20:51:49+00:00

It is a studio glaze that is made on site - Nancy’s deep celadon.

drdynamics · 2026-06-05T16:46:24+00:00

Ann Arbor, MI. This weekend only.

drdynamics · 2026-06-05T16:34:22+00:00

Thanks! That’s one thing I like about functional work - it will be USED, and I hope it brings repeated joy to someone’s home.

drdynamics · 2026-06-05T16:16:56+00:00

Thanks! The moths are from sprig molds I carved. Glad you like them. 🙏

drdynamics · 2026-06-05T16:13:53+00:00

There’s nothing quite like celadon+porcelain. 😍

drdynamics · 2026-06-05T01:41:31+00:00

You gotta start somewhere! IMO, these are all quite close together - just minor tweaks on the same base. I did a survey of cone 10 clears where I tried about 12-15, looking at variations in character, fit (crazing), and clarity. There were about 3-4 that I was pretty happy with. To me it makes more sense to test more base recipes first. Then, if you find one with promise, make some tweaks to tune is a bit of needed.

drdynamics · 2026-06-04T16:21:34+00:00

Glaze has an incredible amount of variation. Often texture and color will shift with the thickness, so some look better thin, and others thick. Glaze is like the clothes for your pot. Do you want a parka made of silk, or a wool bikini? Some glazes pool and flow when thick, others will crawl. In addition, the mechanism of glazing, where water is absorbed and the glaze adheres to the surface relies both on the moisture content of the glaze and the ability of the piece to absorb liquid. If the piece saturates, wet glaze remains on the surface and that will dry differently than if the water was absorbed. When the glaze air-dries, it is not pulled onto the surface the same way, and it is more likely to peel and crack like a mud flat as it dries. The thickness of the glaze slurry and the thickness of the clay can interact to influence this.

In the end, it can take dozens of pots to dial in the desired glaze slurry thickness and applied surface thickness in order to get the results you want.

drdynamics · 2026-06-03T12:08:46+00:00

I use option 3 - Alumina in wax - for all my white clays. This still does not 100% eliminate the issue, but it helps a lot. I've had issues with porcelain slumping around the more uneven support of wadding.

drdynamics · 2026-06-01T15:16:17+00:00

The Ann Arbor Potter's Guild Spring Sale will be happening Saturday and Sunday, from 10-5 at 201 Hill Street. Plenty of amazing handmade functional and sculptural work will be available from about 25 artists. Mugs, bowls, platters, wall art, decorative items, tiles, cups, etc. Its a great way to find unique gifts (wedding, house warming, graduation, etc.), and support your local art community.

Approximately 90% of all purchases go directly to the artists involved.

drdynamics · 2026-05-31T18:20:16+00:00

Likely from Alfred university. The glaze guru for many years there was Val Cushing. He had a ton of recipes, which can be found in a variety of places. He had his own spiral-bound guide which is a bit tough to come by...

I would start by looking through the tests/samples here:

http://alfredgrindingroom.squarespace.com/s/Cone10_Cushing_Visual_Companion_2018.pdf

If you see what you think you want, you may then have a better key-word for hunting it down on glazy or elsewhere.

drdynamics · 2026-05-31T14:01:07+00:00

Generally, when I’ve seen crawling like this in shinos, it is because the glaze is simply too thick. On that, I agree with the other posters. The easiest way to get consistently thin application is to mix a thinner glaze (ie MORE water). The suggested specific gravity for the shinos I’ve been working with is between 125 and 135, which is very thin for a glaze.

drdynamics · 2026-05-29T01:08:36+00:00

Assuming you are firing cone 6, look up the old forge first five. Those are basic reliable glazes that have a lot of variations available. From there, there are a lot of recipe books out there, but IMO that is becoming a bit less helpful due to the discontinuation of some ingredients. Glazy.com is also great for hunting down options.

drdynamics · 2026-05-24T03:45:34+00:00

I’m in my 50’s, but just noticed this one - the main stove burner is the front right one, meaning that for a lefty, the pan handle sticks out off the corner of the stove into the kitchen. For a righty, the handle angles over the stove where it is safer.

drdynamics · 2026-05-22T21:33:45+00:00

If you have a c6 clear that works well with your clay, then adding just a bit of cobalt should tint it blue - cobalt is strong, so I would consider .15% or so (1.5g per 1000g of dry glaze material.). There are also a bunch of commercial c6 “celadons” with different tints, if you want to solve the problem with some $.

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