Glazy now in Español, Français, Nederlands, Hrvatski, 中文. And more on the way!
One of the most inspiring aspects of Glazy is that it connects ceramicists from all over the world through the universal language of ceramics and chemistry. And now that Glazy’s user interface and metadata categories are translated into multiple languages, it will be even easier to share our knowledge.
Special thanks to these amazing ceramicists who crowd-sourced the translations:
@ceramicmaterialsworkshop‘s “Understanding Glazes” course uses the following method to quickly mix variations of a glaze using one batch of base glaze and nine different types of additives (e.g. cobalt, copper, iron, stains) in two different amounts each. It’s a really simple way to learn how different additives like colorants and opacifiers affect a glaze.
New video tutorial “Creating Analyses & Deriving Recipes on Glazy.” In this tutorial, we’ll use Glazy (glazy.org) to create an analysis of an ancient celadon glaze from Nigel Wood’s book “Chinese Glazes”, and using that analysis create an actual glaze recipe that we can test in the kiln.
This has been an important question for me during over a decade of study in Jingdezhen, China. In the “Porcelain Capital of the World” it’s easy to find anything you could dream of- the whitest, most translucent porcelain clay, glazes of all types and colors, kilns of all shapes and sizes. The city is filled with master artisans who can help you make anything you dream, from 2-meter tall Buddhas to delicate miniature porcelain flowers.
Through Glazy I’ve met amazing people all over the world, most recently @maryfoxpottery
It’s impossible to even begin to represent this artist through a few images in an IG post. A self-taught potter who’s supported herself through ceramics since 1979, it’s astonishing to me how a single person can be so prolific, simultaneously producing multiple lines of work (from beautiful, simple functional ware to large, technically demanding decorative and sculptural forms including her exquisite “chalices”) each in a broad range of ceramic bodies, firing temperatures and glazes- and ALSO in glass! And did I mention she is writing a book?! Mary has been generous with her knowledge through her lectures and workshops, and she’s also sharing some of her favorite recipes on Glazy. Please visit her Glazy home at https://glazy.org/u/maryfoxpottery
Please follow @maryfoxpottery for more beautiful images of her work as well as announcements for upcoming events and her new book!
I’ve added some simple slip recipes to illustrate how one can use the Mason Stains added yesterday. These slip recipes use a material called “English Porcelain”, which is simply an analysis of a typical high-fire porcelain body, as well as 8-10% added Mason Stain. I hope you will add color tests, too!
You can find these slips in the “Slip & Engobe” section or visit the collection here: https://glazy.org/u/derekau?collection=7661
Double Rainbow! I’ve just added 60 Mason Stains with photos. Just click “Materials” and search by the stain number, e.g. “6600”. In order to use a material in your recipes, you’ll need to add it to your inventory by clicking the “Add to Inventory” button.
Here’s another test with fixed glaze and variable body. The glaze is @pete.pinnell Pinnell Blue Celadon (a fairly low-expansion glaze that does not usually craze on porcelain bodies), while the porcelain is a typical high-fire body with Red Iron Oxide (RIO) successively added in 1% increments. Fired in a reducing atmosphere to Orton cone 10. Without RIO, this glaze fits the body perfectly. After adding just 1% RIO to the body we can already see slight crazing, while at +2% RIO the glaze is completely crazed.
(Disclaimer: I’m not a clay body expert!) Rather than a biaxial with changing glaze chemistry applied to a single clay body, here is the opposite: A biaxial with fixed glaze (Nigel Wood’s Jun) and variable stoneware clay body, with increasing Alumina moving up and increasing Silica to the right. This test demonstrates that crazing is a function of the thermal expansion of both clay body and glaze. If you can’t get a glaze to fit you may want to change the body, instead, although adjusting the body may lead to other issues like dunting.
Repost from @alfredceramics. Leave it to the amazing people at @alfredceramicsto turn test tiles into freaking ART! These are the most beautiful test tile photos I’ve ever seen. @earlyamericanrobotpotteryblew my mind: “We’re using these glazes on our artwork, so why not photograph the tests the same way we photograph our ceramics?” The completed sets of cone 6 and cone 10 glazes from Val Cushing’s Handbook represent hundreds of hours of work by Keith Simpson and Rachel Allstadt @luxmud and are an example for all of us to emulate. Download the PDF’s and check out the images in full resolution.
I’ve spent the past day trying to export my mother’s Outlook email archives to a format that I can import into a new Gmail account I’ve set up for her. It’s been a surprisingly frustrating ordeal given that her outdated Outlook 2007 installation is somehow slightly corrupted and Thunderbird is getting stuck importing the PST files. The only option that’s worked is propriety software that will cost me $30 for a license that I’m too stubborn to buy.