tag:blogger.com,1999:blog-90117343770290098322024-03-14T07:10:52.104+00:00The PottersFriend's blogspotPottery making information and tips from the Potters Friend.The Potters Friendhttp://www.blogger.com/profile/05345030874426727684noreply@blogger.comBlogger42125tag:blogger.com,1999:blog-9011734377029009832.post-82934063927399852282015-10-21T13:42:00.002+01:002015-10-23T09:49:53.207+01:00Pottery and the colour Blue<div class="separator" style="clear: both; text-align: center;">
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjknIqwYn8ujbJPSiPo7HwkXsLqg0SqrWvPc5hEFg3skaJEsKggC1z65aGkiuZdjzrw0abrRXtnQYlzlIVq9Zi6gFk0NFnNBrb28AkZzfBVvGU8KPQunf52o-TF7CNRv2Sn1uQ-5AgBsPIG/s1600/Royal+Blue.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjknIqwYn8ujbJPSiPo7HwkXsLqg0SqrWvPc5hEFg3skaJEsKggC1z65aGkiuZdjzrw0abrRXtnQYlzlIVq9Zi6gFk0NFnNBrb28AkZzfBVvGU8KPQunf52o-TF7CNRv2Sn1uQ-5AgBsPIG/s200/Royal+Blue.jpg" width="150" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Royal Blue</td></tr>
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<h3>
The History of Blue and White Pottery</h3>
Blue is one of the colours of the rainbow and it has become associated with many things over time. Perhaps the connections with the sky and the seas are the most strong. However it also been used to denote cold, loyalty, truth and conservatism. In past eras the blue coloured pigments for clothing were scarce and expensive leading to the colour being related to wealth and royalty eg Royal Blue. It is a colour that is not available as a natural ceramic pigment but needs cobalt ore to be refined to produce the highly intense blue colour. In the early days the ore was roasted and then further melted with a a glass to produce the early pigments of Zaffre and Smalt.<br />
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The origins of blue colour in pottery are a little confusing. <br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBDcGUoJTjhFzeSD9RINxBntpD1WpSnRt9sCKe-LpAhv2H5CmNtq4HxZ_cu74q64CvXPe_448CvOKfOWqdcd46Admrmzvv9LnpBYfkv8UlHhYf5h6cB0RdzLS4PitRS5oit7k05f9eI7oZ/s1600/452px-Blue_and_white_vase_Jingdezhen_Ming_Yongle_1403_1424.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBDcGUoJTjhFzeSD9RINxBntpD1WpSnRt9sCKe-LpAhv2H5CmNtq4HxZ_cu74q64CvXPe_448CvOKfOWqdcd46Admrmzvv9LnpBYfkv8UlHhYf5h6cB0RdzLS4PitRS5oit7k05f9eI7oZ/s200/452px-Blue_and_white_vase_Jingdezhen_Ming_Yongle_1403_1424.jpg" width="150" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ming Vase</td></tr>
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The Egyptians are known to have been making blue coloured pottery since before 400AD but it was the Chinese cobalt blue and white pottery from the the Tang Dynasty onwards that led to a huge interest in blue and white in Western Europe. The introduction of tea to England escalated the interest in pottery tea sets especially blue and white.<br />
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Cobalt has been the source of pigments for English blue and white pottery since the eighteen century and these were the pigments used to make the famous Spode patterns of Willow and Indian tree. Since that time blue and white has never disappeared from our lives.<br />
<h3>
Blue and white in the 21st Century</h3>
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Now old designs such as Burleigh compete with more contemporary blue patterns in our High St. Denby Imperial blue has stood the test of time being unique in colour, texture and appearance. Similarly, the English style of Burleigh ware created by the unique hand made tissue printing technique continues to attract buyers from around the world. New patterns like Blue Hydrangea from hand made producer Peregrine pottery continue to gain interest from those looking to buy English style with a modern look.<br />
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<tr><td style="text-align: center;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuaKYmgXkoGMmxA4HzpLQgUTKBUpwr4wLSdcXSfpybD3ngGpup5cZd4JYZzU0ckGPp_caQlEdk_rF_6VVHtFMPWAcWOdQf8RaDlvXBcRrNEX0QqUAMBW7jLOmlJzT143_96XaWWCVcFLiF/s1600/images.jpg" style="margin-left: auto; margin-right: auto;" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Blue Hydrangea from Peregrine Pottery</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgW3TglNRCUttBLMdq24fsfSwcqnh0Bvad4knJASZCdMCB0LIonc1-y_EImie0faJKUuarFOhFPixquMENd-Q3qTLr0WCdlB8fBFCqJCBrmX1eijwfGVfXj2_xKSrEdTt-jGedzuezldp0H/s1600/Factory-Shop-front.jpg" imageanchor="1" left="" style="margin-left: 1em; margin-right: 0 em;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgW3TglNRCUttBLMdq24fsfSwcqnh0Bvad4knJASZCdMCB0LIonc1-y_EImie0faJKUuarFOhFPixquMENd-Q3qTLr0WCdlB8fBFCqJCBrmX1eijwfGVfXj2_xKSrEdTt-jGedzuezldp0H/s200/Factory-Shop-front.jpg" width="150" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Burleigh ware</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguKDk8bNjsLkPQfg-L3E4lBodHBtU2b9Vmkwsz_s-ENfXV04jaH2-IoDFAYfvrQfl_EeHrPDjfbbvVtdLPcLUmh40M8fYlN6rQbaDKcPX-ExhamSVU48hiCB1OVXQ6yYT7E01VDE5WUkVt/s1600/denby+blue.jpg" imageanchor="1" style="clear: left; display: inline !important; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguKDk8bNjsLkPQfg-L3E4lBodHBtU2b9Vmkwsz_s-ENfXV04jaH2-IoDFAYfvrQfl_EeHrPDjfbbvVtdLPcLUmh40M8fYlN6rQbaDKcPX-ExhamSVU48hiCB1OVXQ6yYT7E01VDE5WUkVt/s200/denby+blue.jpg" width="150" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Denby Imperial Blue<br />
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<h3>
The Pigments</h3>
Although modern blue ceramic pigments started with Zaffre and Smalt, their development has continued and modern day pigments provide high intensity with the ability to meet specific colour tones or firing temperatures. Whilst the use of the basic cobalt oxide in glazes is still common for craft or studio glazes looking for a low cost, the use of cobalt silicates and cobalt aluminate pigments has flourished. They extend the inter-mixable nature in glaze or coloured decoration and often provide improved dispersion characteristics. Some examples of the colour tones available using the different pigment types can be seen in the table below.<br />
(NB Web colours are never an exact match for ceramic tones)<br />
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<table align="center" cellpadding="0" cellspacing="0" style="height: 223px; text-align: center; width: 489px;"><tbody>
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<span style="font-size: 12pt;"><b>Colour name</b></span></div>
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<span style="font-size: 12pt;"><b>Colour pigment</b></span></div>
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<span style="font-size: 12pt;"><b>Colour shade</b></span></div>
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<span style="font-size: 12pt;">Matte Blue</span></div>
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</td><td height="33" style="border: 1px solid black; vertical-align: top;" width="191"><div>
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<span style="font-size: 12pt;">Cobalt aluminate</span></div>
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</td><td bgcolor="#0069CE" height="33" style="border: 1px solid black; vertical-align: top;" width="146"><div style="text-align: center;">
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<span style="font-size: 12pt;">Mazarine Blue</span></div>
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<span style="font-size: 12pt;">Cobalt Silicate</span></div>
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<span style="font-size: 12pt;">Royal Blue</span></div>
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</td><td height="33" style="border: 1px solid black; vertical-align: top;" width="191"><div>
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<span style="font-size: 12pt;">Cobalt zinc silicate</span></div>
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</td><td bgcolor="blue" height="33" style="border: 1px solid black; vertical-align: top;" width="146"><div style="text-align: center;">
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<span style="font-size: 12pt;">Willow Blue</span></div>
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<span style="font-size: 12pt;">Special</span></div>
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</td><td bgcolor="#0033CC" height="32" style="border: 1px solid black; vertical-align: top;" width="146"><div style="text-align: center;">
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<span style="font-size: 12pt;">Azure</span></div>
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<span style="font-size: 12pt;">Cobalt alumino-silicate</span></div>
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<span style="font-size: 12pt;">Flow Blue</span></div>
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</td><td height="33" style="border: 1px solid black; vertical-align: top;" width="191"><div>
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<span style="font-size: 12pt;">Na-Ca-Cobalt silicate</span></div>
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</td><td bgcolor="#0000CC" height="32" style="border: 1px solid black; vertical-align: top;" width="146"><div style="text-align: center;">
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<h3>
Where next for Blue and White?</h3>
Whatever your interest blue continues to feature in pottery decoration across the world. I predict this fashion is unlikely to change soon. I would love to hear whether you agree and your thoughts on blue and white and why its appeal continues so strongly?<br />
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More information and other technical articles on pottery and ceramics can be found at my website <a href="http://www.pottersfriend.co.uk/">The Potters Friend</a>.</div>
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Go now to sign up for my free <a href="http://www.pottersfriend.co.uk/mailings/add_subscription.php">newsletter</a>.<br />
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The Potters Friendhttp://www.blogger.com/profile/05345030874426727684noreply@blogger.com0tag:blogger.com,1999:blog-9011734377029009832.post-67611111597550685912015-07-10T11:29:00.000+01:002015-07-13T09:54:36.949+01:00Top ten tips on pottery firing<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkVsfn2wJuZA-o-tYdkGJ8trQDI3G1bjWIxZMssiePY5jCM1ZUdY4_pk7nCAIpsAZ2RJ1Zeu4CcID_VO_1j7QdGeYEVPZ0yPLCeSPYBBiB_pjUPZelknyYpShs31gwqj12yLA7N558xz4n/s1600/front+loader+gas+kiln+from+Kilns%2526Furnaces.gif" imageanchor="1" style="clear: right; float: right; margin-bottom: 0em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkVsfn2wJuZA-o-tYdkGJ8trQDI3G1bjWIxZMssiePY5jCM1ZUdY4_pk7nCAIpsAZ2RJ1Zeu4CcID_VO_1j7QdGeYEVPZ0yPLCeSPYBBiB_pjUPZelknyYpShs31gwqj12yLA7N558xz4n/s1600/front+loader+gas+kiln+from+Kilns%2526Furnaces.gif" /></a></div>
Pottery making provides some challenges for the beginner but non more so than at the firing stage. No-one wants to lose their precious ware after making it so lovingly. It is quite usual for small studio and craft potters to use intermittent box type kilns to fire their ware. Whether you use gas or electric as the energy source the principle is the same; heating an enclosed space containing shelves of pottery. Whilst the science of firing is quite complex and often outside the knowledge of many hobby potters most know it is important to follow some basic rules. The following tips are aimed at giving you the best performance from your kiln whatever the type.
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1. Temperature uniformity is key to achieving consistent results. This should be the aim when firing your kiln.<br />
2. Measure the performance of your kiln using bullers rings or Orton cones. Control it using an electronic temperature controller.<br />
3. Record firing cycles used and settings for each firing as well as Bullers Ring or Orton Cone values.<br />
4. Measure and record the gas or electricity used in KWH for each firing. The trends in this often give you a pre-warning of catastrophic failure.<br />
5. Regularly calibrate thermocouples as they deteriorate over time.<br />
6. Inspect refractory brick or lining regularly to ensure large cracks are not present. Remember large cracks in brickwork will affect kiln temperature uniformity.<br />
7. Inspect electric elements regularly as over time they become brittle and may distort or break.<br />
8. For gas users the colour of the flame is a guide to the kiln atmosphere. Yellow flame is reducing while blue flame is oxidising.<br />
9. Placing ware affects the firing performance of the kiln. Large or thick walled pieces require more heat and act as a heat sink.<br />
10. Don't be greedy- firing pottery too fast can lead to all manner of faults. Unless the glaze and body are designed to be fast fired don't do it!<br />
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More information and other technical articles on pottery and ceramics can be found at my website <a href="http://www.pottersfriend.co.uk/">The Potters Friend</a>.</div>
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Go now to sign up for my free <a href="http://www.pottersfriend.co.uk/mailings/add_subscription.php">newsletter</a>.</div>
The Potters Friendhttp://www.blogger.com/profile/05345030874426727684noreply@blogger.com0tag:blogger.com,1999:blog-9011734377029009832.post-87155414030921785462015-04-14T12:38:00.000+01:002015-04-14T12:38:46.161+01:00Should I make my own Pottery Glazes?<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiF4E5JLyh3WpRNsFu7QaBiOvmrms4yBuRHDp7YB4rZ0BuvMsZ2-GM0zutUnO0KOUItt9NFluYCtTqUHq84SosbvJj9ekyiH24jglXQd3q2oh5E_KKKDsZmJ4vixh3mws_3KrDtjLbOI_qs/s1600/PottingShedPixies2.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiF4E5JLyh3WpRNsFu7QaBiOvmrms4yBuRHDp7YB4rZ0BuvMsZ2-GM0zutUnO0KOUItt9NFluYCtTqUHq84SosbvJj9ekyiH24jglXQd3q2oh5E_KKKDsZmJ4vixh3mws_3KrDtjLbOI_qs/s1600/PottingShedPixies2.jpg" height="160" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Coloured glazes used by Tinkling toadstools</td></tr>
</tbody></table>
This question has caused a lot of debate among potters. It is a similar question to "should I make my own bread, cakes or pastry?" Clearly there is no right and wrong answer. People who bake their own bread and cakes do so for numerous reasons. Whether it is to reduce costs or make it fresh or make it taste better; all are valid reasons. However most do it because they like it and the self satisfaction it gives them to create something of value.<br />
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Similarly, the potter will often claim that making glazes gives him the same type of satisfaction, is cheaper and gives him more scope for creativity! But lets look at the issues involved in making glazes in detail to see if his claims are true:-<br />
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<h3>
Costs
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsavIZbpyiJKU0cD_ULhLeecqtEsawzf7_TCUe00gilrDqxb_Vz65FSe8aJWv-m45H4jGkZchOqXYxAlY3Gc7xO_1bvf68vd4rlJrQOBuv6lz7xQDCrYpZNC6EBu8Quu5GQtop7z72OebP/s1600/body+materials2.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsavIZbpyiJKU0cD_ULhLeecqtEsawzf7_TCUe00gilrDqxb_Vz65FSe8aJWv-m45H4jGkZchOqXYxAlY3Gc7xO_1bvf68vd4rlJrQOBuv6lz7xQDCrYpZNC6EBu8Quu5GQtop7z72OebP/s1600/body+materials2.jpg" height="200" width="199" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Glaze materials</td></tr>
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There is little debate that buying the glaze materials to make the glaze can reduce costs significantly. Common materials such as clays, felspars, silica, frits and pigments are all readily available from a number of suppliers. However, often they are not in the ideal form to produce a glaze without additional processing. Most need at least a number of processing steps to make a satisfactory glaze. These steps include, preparing a recipe, grinding or mixing with water, sieving, magneting, testing, and controlling the glaze slip consistency using additives. The time and knowledge to correctly process and test the glaze are mostly overlooked when cost comparisons are made. For those with time to learn about glaze materials and the process this is not an issue. However for many hobbyists who are time poor it clearly does not make sense economically.They are better using reliable commercial glazes.</div>
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<h3>
Creativity</h3>
<div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCsCSndLzoYJqR3O2zJ_TlNdDNPtmxrJZk6jw2lxm37nNFHdK8WnvK33dcbcyhZBvoqk-QbBUda-pYnJYLJyz140kgOcWOMokQNYOK_JhEmceO2eezdkyiGCA8apN2LA4S9NkSzSNgfd-p/s1600/Rouge+Flambe+by+Royal+Doulton.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCsCSndLzoYJqR3O2zJ_TlNdDNPtmxrJZk6jw2lxm37nNFHdK8WnvK33dcbcyhZBvoqk-QbBUda-pYnJYLJyz140kgOcWOMokQNYOK_JhEmceO2eezdkyiGCA8apN2LA4S9NkSzSNgfd-p/s1600/Rouge+Flambe+by+Royal+Doulton.jpg" height="178" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Unique copper ruby glaze</td></tr>
</tbody></table>
Without doubt making your own glazes is a creative exercise. Again using the same cake making analogy as before, you have complete control of the make up of the glaze and how it will look after firing. Just like cake recipes there are thousands of recipes for glazes each giving its unique colour, texture and appearance depending on how its fired. This uniqueness is what many studio potters strive for. By varying the pigments and make up of the glaze in theory you can innovate to your hearts desire! Therefore creativity can surely be improved by making your own glazes!<br />
<br />
<h3>
Technical restrictions</h3>
In practice, however, there is considerable science behind making acceptable glazes:<br />
<ul>
<li>The glaze needs to technically match the body or the glaze may just peel off like old paint. </li>
</ul>
<ul>
<li>There is a limit to the range of compositions that can be made- for example some recipes will just never make glossy glazes.<br /></li>
<li>The firing cycle and atmosphere have as great an affect on the glaze appearance as the recipe.</li>
</ul>
The fired glaze surface of functional tableware needs to pass the requirements of legislation e.g. toxic metal release into foodstuffs.<br />
<br />
So if you want to be creative with glazes you also need to have some technical knowledge. Potters without a scientific background may struggle to understand these technical parameters and hence making glazes could ultimately become more trouble than its worth.<br />
<br />
<h3>
Health and Safety</h3>
</div>
<div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzkqGp59ry4tfIfcEMdFePLh-Yixh_ZFpcfyzwI3HyuYh5lUrU0l2HOsrXiHA50BIisapJ7PR1gPXNA3YeLml8-NZi98Tq9mtX8jwduUDnD4GkeesS9KQai9qHtmXdyZVBS5KMFIuRTZtB/s1600/White+mug+unleaded.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzkqGp59ry4tfIfcEMdFePLh-Yixh_ZFpcfyzwI3HyuYh5lUrU0l2HOsrXiHA50BIisapJ7PR1gPXNA3YeLml8-NZi98Tq9mtX8jwduUDnD4GkeesS9KQai9qHtmXdyZVBS5KMFIuRTZtB/s1600/White+mug+unleaded.jpg" height="200" width="199" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Unleaded Glaze</td></tr>
</tbody></table>
In recent years this issue has grown in importance for potters making their own glazes. Lead, for example, is being phased out in commercial glazes and its use and safety has been severely questioned especially in the USA. Other materials such as Barium compounds need to be used within strict guidelines for safe use. Even pigments such as cobalt and nickel oxide have been questioned over their safety. Clearly there is a lot to learn technically to comply with health and safety during the making of glazes. These issues are understood by commercial glaze manufacturers who can provide up to date data sheets on the glazes they manufacture and supply.<br />
<br />
Equally important is an understanding of the legislation that applies to the fired product to meet the demands of the end market. Functional tableware has to meet much more legislation than ornamental ware in the various countries around the world.</div>
<div>
<br /></div>
<h3>
Summary</h3>
<div>
In summary making your own glazes safely and successfully is much more difficult than at first appreciated. Technical and health and safety issues are not easy to overcome. However for a potter or hobbyist with a scientific understanding he can indeed be more creative and lower some material costs by making his own glazes. For the uninitiated it will be a long road of trial and error and frustrations. For those determined to try I recommend you do some reading and preparation online or in the wealth of books available before you begin. </div>
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Good Luck and Happy Potting</div>
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More information and other technical articles on pottery and ceramics can be found at my website <a href="http://www.pottersfriend.co.uk/">The Potters Friend</a>.</div>
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The Potters Friendhttp://www.blogger.com/profile/05345030874426727684noreply@blogger.com0tag:blogger.com,1999:blog-9011734377029009832.post-1967624668155141892015-01-21T10:28:00.000+00:002015-02-20T11:35:24.171+00:00Inspirational pottery glazes<h3>
The special ceramic materials and process</h3>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIGHGFZ_2pSZEvnQvepEA0ZJwUaEX0Ux6l6HBzdZ1FsTie0StewY4nbghKCqFpfKWMolWKfuDHPKw6DVSeqANSUfOwlMfxBC7wTwPNGBWWXjmVD1TaSl1dYt0zHfAqZvdOAcY9Jy3EkDzR/s1600/reactives+C.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIGHGFZ_2pSZEvnQvepEA0ZJwUaEX0Ux6l6HBzdZ1FsTie0StewY4nbghKCqFpfKWMolWKfuDHPKw6DVSeqANSUfOwlMfxBC7wTwPNGBWWXjmVD1TaSl1dYt0zHfAqZvdOAcY9Jy3EkDzR/s1600/reactives+C.jpg" height="212" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Reactive coloured glazes</td></tr>
</tbody></table>
<div>
The <a href="http://thepottersfriend.blogspot.co.uk/2012/05/how-to-make-pottery-glaze.html" target="_blank">first article </a>of my series on glaze making identified the basic ingredients used in glazes as silica, felspar, frit, and clay and explained how a little science would help speed up your artistic flair!.This second of the series on glaze making discusses the non core ingredients of a glaze and explains how a little science in the form of good processing can ensure that you achieve the best result from your glaze making efforts.</div>
<br/>
<h4>
The 3 Basic Questions</h4>
<div style="margin-bottom: 0.25em; padding: 0px;">
To make truly inspirational glazes we need to establish at least 3 things</div>
<div style="margin-bottom: 0.25em; padding: 0px;">
1) What type of glaze we want to make?</div>
<div style="margin-bottom: 0.25em; padding: 0px;">
2) What type of body it will be applied to? Stoneware?, Earthenware? Biscuit? Clay?</div>
<div style="margin-bottom: 0.25em; padding: 0px;">
3) What firing temperature/cycle do we intend to use?</div>
<div style="margin-bottom: 0.25em; padding: 0px;">
Once we have the answers to these questions we can begin to formulate the glaze.</div>
<br/>
<h3>
The choice of non core glaze materials</h3>
<h4>
Making a silky matt -what to add to your basic glaze</h4>
<div class="txtd" id="txtd_30670869" style="margin: 0px; padding: 0px; word-wrap: break-word;">
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-k32cHRvBKrWAVh1NkZhNtNvZzc6crnP5m3kxa7r8FcRVJDHnHXCZspRnDTBHejWTccwrHrmrTVx41KHqby_gvHHlV72Jc5mlpOmwTqQaHqGTR-P9ffJ2nOSAEPVnmuFo_6HEMxlwkOhR/s1600/silky+matt.gif" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-k32cHRvBKrWAVh1NkZhNtNvZzc6crnP5m3kxa7r8FcRVJDHnHXCZspRnDTBHejWTccwrHrmrTVx41KHqby_gvHHlV72Jc5mlpOmwTqQaHqGTR-P9ffJ2nOSAEPVnmuFo_6HEMxlwkOhR/s1600/silky+matt.gif" height="200" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Silky Matt glaze</td></tr>
</tbody></table>
<div style="margin-bottom: 0.75em; padding: 0px;">
<br />
Let us assume we want to make a white silky matt textured glaze firing at 1150C on stoneware biscuit.</div>
<div style="margin-bottom: 0.75em; padding: 0px;">
We have already identified silica, felspar, clay and frit as core glaze materials. This means that at least 2 of these materials are used in almost all glazes.</div>
<div style="margin-bottom: 0.75em; padding: 0px;">
Using the same cake making analogy as before, these ingredients are considered the eggs, butter, flour and sugar equivalents of the glaze recipe!</div>
<div style="margin-bottom: 0.75em; padding: 0px;">
The materials we might consider adding to these core materials could be:-</div>
<div style="margin-bottom: 0.25em; padding: 0px;">
Limestone (calcium carbonate)</div>
<div style="margin-bottom: 0.25em; padding: 0px;">
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqPq_FtGSQQCzhYW2BzrSiEBk6XKD-Qvl3UgXYDYBnKKtwWJb8TCtPSdHXgaxnhBARjiHSpn3WkdLll_WMds6Bl_oXQnx40CKCsZ_Loqyfm2Oc-JM-5NyTFpLT17nKzqpKWScvyKfBaEqJ/s1600/crystals+in+glaze.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqPq_FtGSQQCzhYW2BzrSiEBk6XKD-Qvl3UgXYDYBnKKtwWJb8TCtPSdHXgaxnhBARjiHSpn3WkdLll_WMds6Bl_oXQnx40CKCsZ_Loqyfm2Oc-JM-5NyTFpLT17nKzqpKWScvyKfBaEqJ/s1600/crystals+in+glaze.jpg" height="320" width="197" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Needle-like crystals on glaze surface</td></tr>
</tbody></table>
Dolomite (calcium magnesium carbonate)</div>
<div style="margin-bottom: 0.25em; padding: 0px;">
Zinc oxide</div>
<div style="margin-bottom: 0.25em; padding: 0px;">
Alumina (aluminium oxide)</div>
<div style="margin-bottom: 0.25em; padding: 0px;">
wollastonite (calcium silicate)</div>
<div style="margin-bottom: 0.25em; padding: 0px;">
clay (alumino silicate)</div>
<div style="margin-bottom: 0.25em; padding: 0px;">
<br />
These materials help to form crystals on the surface of the glaze on firing and thereby help create the matt (dull) texture. However these materials also influence how the glaze melts and bonds to the body on firing. It is an absolute necessity to match the glaze to the clay body or on cooling the glaze may just flake way like old paint! (Technically the glaze and body thermal expansion need to match so that the glaze is in compression after firing.) But lets not go too deeply into how we do that at this stage.</div>
<div style="margin-bottom: 0.25em; padding: 0px;">
<br />
<div>
Alumina does not readily melt at this temperature so the likely (and easier) materials to use are zinc oxide, limestone, dolomite and wollastonite. Adding these materials in the right proportions to make a suitable glaze takes a lot of trial and error.</div>
</div>
</div>
<br />
<h3 style="font-family: arial, helvetica, sans-serif; font-size: 1.2em; margin: 0px 0px 0.6em; padding: 0px;">
Developing the Glaze Recipe</h3>
If you start a with a basic 1250 C recipe as follows:
<br />
<div>
<h4>
Base Glaze</h4>
Silica 38</div>
<div>
Felspar 40</div>
Clay 10
<br />
<div>
Limestone 12</div>
<div style="margin-bottom: 0.275em; padding: 0px;">
<br />
and start replacing the silica and felspar with more fluxing ingredients that create crystals and allow you to fire at a lower temperature you might eventually reach a formula</div>
<br /><div style="float: right;">
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<h4>
Modified Glaze</h4>
<div>
Limestone 12</div>
<div>
Dolomite 25</div>
<div>
Felspar 20</div>
<div>
Clay 25</div>
<div>
Zinc oxide 4</div>
<div>
Boron frit 9</div>
<div>
Silica 5</div>
<div>
<br /><br/>
<div style="margin-bottom: 0.275em; padding: 0px;">
Imagine how many test glazes you might need to make before arriving at such a detailed recipe? Note how different this is from the starting base transparent glaze! The material recipe is not the only part to consider when making glaze. The particle size of the glaze materials needs to be reduced to a fine powder by grinding with ceramic pebbles in water to less than 75 microns. Often, for best results, the mean particle size needs to be closer to 15 microns-the diameter of the finest human hair. This allows the glaze particles to react and melt during the firing process.</div>
</div>
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<h3 style="font-family: arial, helvetica, sans-serif; font-size: 1.2em; line-height: normal; margin: 0px 0px 0.6em; padding: 0px;">
Firing the Glaze</h3>
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<div style="margin-bottom: 0.75em; padding: 0px;">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkVsfn2wJuZA-o-tYdkGJ8trQDI3G1bjWIxZMssiePY5jCM1ZUdY4_pk7nCAIpsAZ2RJ1Zeu4CcID_VO_1j7QdGeYEVPZ0yPLCeSPYBBiB_pjUPZelknyYpShs31gwqj12yLA7N558xz4n/s1600/front+loader+gas+kiln+from+Kilns&Furnaces.gif" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkVsfn2wJuZA-o-tYdkGJ8trQDI3G1bjWIxZMssiePY5jCM1ZUdY4_pk7nCAIpsAZ2RJ1Zeu4CcID_VO_1j7QdGeYEVPZ0yPLCeSPYBBiB_pjUPZelknyYpShs31gwqj12yLA7N558xz4n/s1600/front+loader+gas+kiln+from+Kilns&Furnaces.gif" height="200" width="196" /></a></div>
The firing process is equally important in obtaining satisfactory and repeatable glaze results. Initially the firing cycle should remain constant as you develop your glaze recipe. A typical glaze cycle might be 150 C per hour ramp from room temperature to the peak at 1150 C, followed by a holding period (soak) at peak temperature of 1 hour, followed by kiln switch off and natural cool to room temperature.</div>
<div style="margin-bottom: 0.25em; padding: 0px;">
Note that the cooling is often as important as the heating process when firing matt or crystal type glazes.</div>
<div style="margin-bottom: 0.25em; padding: 0px;">
Clearly making glazes is quite a complex process. However, like the best potters, in time you will come to believe that this is what makes pottery glazing so interesting. You can never be sure what will come out of the kiln each day!</div>
<div style="margin-bottom: 0.25em; padding: 0px;">
In the next of the series the use of ceramic colouring pigments to create even more interesting coloured pieces will be examined..</div>
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<h3 style="font-family: arial, helvetica, sans-serif; font-size: 1.2em; line-height: normal; margin: 0px 0px 0.6em; padding: 0px;">
Pottery books of value</h3>
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<div style="margin-bottom: 0.25em; padding: 0px;">
A great way of backing up your knowledge is to read some simple pottery making books. Some of the best books are those you keep going back to as your knowledge grows!</div>
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<h3 style="font-family: arial, helvetica, sans-serif; font-size: 1.2em; line-height: normal; margin: 0px 0px 0.6em; padding: 0px;">
Thought for the Day</h3>
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<div style="margin-bottom: 0.25em; padding: 0px;">
In pottery making it rarely goes exactly as you would like first time. Stay positive! Use it as a learning experience.</div>
<div style="margin-bottom: 0.25em; padding: 0px;">
Henry Ford Quote:</div>
<div style="margin-bottom: 0.25em; padding: 0px;">
"Failure is only the opportunity to begin again, only this time more wisely."</div>
<div style="margin-bottom: 0.25em; padding: 0px;">
~ Henry Ford</div>
<div style="margin: 0px;">
<br />
Happy Potting<br />
The potters Friend<br />
<br />
More information and other technical articles on pottery and ceramics can be found at my website <a href="http://www.pottersfriend.co.uk/p.php?page=Home">The Potters Friend</a>. <span style="background-color: transparent;">Go now to sign up for my free </span><a href="http://www.pottersfriend.co.uk/mailings/add_subscription.php" style="background-color: transparent;">newsletter</a><span style="background-color: transparent;">.</span></div>
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</div>The Potters Friendhttp://www.blogger.com/profile/05345030874426727684noreply@blogger.com0tag:blogger.com,1999:blog-9011734377029009832.post-49378692451132696702014-12-21T14:40:00.000+00:002014-12-22T15:21:54.277+00:00Why do I need frit in my glaze?<div>
A glaze after firing can be considered to be a glass. Therefore it is not surprising that traditional glass making materials such as quartz, limestone, and felspar are commonly used to make glazes. However glazes which are intended for firing below 1150C need other elements such as lead or boron and alkalis to create the right properties. To enable these elements to be included safely they are often pre-melted with other glass making materials to form a FRIT.</div>
<div>
<h3>
</h3>
<h3>
What is a frit?</h3>
<div>
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3P9esix-N2d8fQ8wVqQwwEOTKtuL6dVhl8pjGz84IkgSkrVLSWRUyiicGbayaYOLQZ7SlKsWxWaiNA3A5NyJR6hpzw3lSx2p1SKBqXIT6P6uMNJuE7XS6OYLlw_WkLzxhIO-YPCtcQE9u/s1600/glass+frit+1a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3P9esix-N2d8fQ8wVqQwwEOTKtuL6dVhl8pjGz84IkgSkrVLSWRUyiicGbayaYOLQZ7SlKsWxWaiNA3A5NyJR6hpzw3lSx2p1SKBqXIT6P6uMNJuE7XS6OYLlw_WkLzxhIO-YPCtcQE9u/s1600/glass+frit+1a.jpg" height="194" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Borosilicate frit</td></tr>
</tbody></table>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgR2ClNsdElVpFpfeqbZ61IkGzQX_R4ewceU15zSdEY7tb8NssfQiyTCksHLpevFp5eUKg4dfV0E0wwXjXjLfLDMvvXyKyH0_DqP5N6I202NVV8bN3zZ3sBCzUhgFdUG3hKN2LqbmuCs6Gt/s1600/glass+frit+1b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgR2ClNsdElVpFpfeqbZ61IkGzQX_R4ewceU15zSdEY7tb8NssfQiyTCksHLpevFp5eUKg4dfV0E0wwXjXjLfLDMvvXyKyH0_DqP5N6I202NVV8bN3zZ3sBCzUhgFdUG3hKN2LqbmuCs6Gt/s1600/glass+frit+1b.jpg" height="194" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Lead frit</td></tr>
</tbody></table>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLx11vnV99WoxOIPdhLHb6j7WVocVbkHOamX8x2jLil45q_ZvRqTlheflhhxBT8dWVOy5TF3zwi6KfHZVcvjoU0GIgHDyLqZxerv78QOv_NrBH4oQ0rzJZZxUgO00IPzPl0nEllMWe5dk2/s1600/China+clay3.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLx11vnV99WoxOIPdhLHb6j7WVocVbkHOamX8x2jLil45q_ZvRqTlheflhhxBT8dWVOy5TF3zwi6KfHZVcvjoU0GIgHDyLqZxerv78QOv_NrBH4oQ0rzJZZxUgO00IPzPl0nEllMWe5dk2/s1600/China+clay3.jpg" height="194" width="123" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">China clay</td></tr>
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A frit is a a pre-melted glass which is granular in nature. Once crushed and ground to a fine powder it provides the basis for all low firing glazes. Often a glaze contains merely one frit and clay. The clay is added as a suspending and binding agent to aid glaze storage, application and firing.<br />
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<h3>
How many frits are there?</h3>
There are literally thousands of frits. The compositions have been researched and developed over a long time period to provide the right technical properties such as fusibility, thermal expansion and durability. A wide range of properties are needed to meet the wide range of bodies and firing cycles used by manufacturers and craft potters.In general terms frits are normally classified as transparent or opaque and then lead containing or lead free.For environmental/safety reasons lead containing frits are gradually being phased out and replaced with lead free alkali borosilicates.<br />
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<h3>
Can I make my own frits?</h3>
It is possible but not recommended. Large scale frit manufacturers often make frit by a continuous method in a high temperature box type kiln using specialist refractory linings. These kilns produce tonnes of frit per day, meaning they can achieve consistent high quality output. For other than the most demanding glaze requirement, making your own frits is unlikely to be cost effective.<br />
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</h2>
<h3>
How many types of frit do I need?</h3>
This depends on the number of clay bodies and firing cycles you employ. As a basic requirement you need a transparent frit, an opaque frit and an expansion modifier frit. These should allow you to make transparent, opaque and semi opaque glazes suitable for conversion to coloured glazes by adding colouring pigments.<br />
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<h3>
Why not use frits in all glazes?</h3>
<div>
In theory this is possible but the costs would be excessive. For example high temperature stoneware and porcelain glazes can be manufactured with lower cost glass making materials such as felspars, quartz, limestone and clays.</div>
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<h3>
Where can I buy frits</h3>
<div>
Most pottery material distributors sell small quantities of powdered frit suitable for the studio or craft potter. Industrial scale potters may buy the frit direct from manufacturers such as Endeka, Ferro or Esmalglas.</div>
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Happy Potting<br />
The Potters Friend<br />
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More information and other technical articles on pottery and ceramics can be found at my website <a href="http://www.pottersfriend.co.uk/">The Potters Friend</a>. <span style="background-color: transparent;">Go now to sign up for my free </span><a href="http://www.pottersfriend.co.uk/mailings/add_subscription.php" style="background-color: transparent;">newsletter</a><span style="background-color: transparent;">.</span></div>
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The Potters Friendhttp://www.blogger.com/profile/05345030874426727684noreply@blogger.com0tag:blogger.com,1999:blog-9011734377029009832.post-55298820336665100592014-11-17T12:04:00.000+00:002014-11-25T11:07:51.570+00:00Opacification of Glazes<div class="MsoNormal">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUCxo86s4HlVqBKbI1iiu4A8eG2SkUvkvTcD2Yqft5zkcJbc4vyrSxGQ0ypedDZJPRg5A-BQuqtKgc9WyeFXONnJhJGo9WP3FFQps5k43RonZ2PPsNPPppnbicmaExGx7qcuGfiUk-7Eae/s1600/flow+test+glazeEE.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUCxo86s4HlVqBKbI1iiu4A8eG2SkUvkvTcD2Yqft5zkcJbc4vyrSxGQ0ypedDZJPRg5A-BQuqtKgc9WyeFXONnJhJGo9WP3FFQps5k43RonZ2PPsNPPppnbicmaExGx7qcuGfiUk-7Eae/s1600/flow+test+glazeEE.jpg" height="160" width="200" /></a></div>
Glaze opacifiers are materials which when added to a glaze change the
level of transparency of the glaze. Glazes are often described as
clear/transparent or opaque. In order to achieve color tone and hide the body
color it is often necessary to add opacifier particles which stay discrete in the glaze after
firing. Materials which have a significant difference in refractive
index from the parent glaze produce the most effective opacification. To the right you can see the effect of adding an opacifier to a transparent glaze. It becomes whiter and milky (opacified ) in nature and flows less.<br />
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Below you can see the effect of adding opacifier to a transparent glaze containing different colored pigments</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjV4Npc_D5UqNabvGake7MApFFevGMx9hnUp7J7BnAEmRkvrfo2tno1g2nPo9GcnEtg0HRMRwLPULW8RPEfK2X6RSIjJ7fFY6uRZ65VrKOcdRoHhpAtR9Nl_N-QrndVqKGNKtRaqsmUoMZu/s1600/stain+range+labelled.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjV4Npc_D5UqNabvGake7MApFFevGMx9hnUp7J7BnAEmRkvrfo2tno1g2nPo9GcnEtg0HRMRwLPULW8RPEfK2X6RSIjJ7fFY6uRZ65VrKOcdRoHhpAtR9Nl_N-QrndVqKGNKtRaqsmUoMZu/s1600/stain+range+labelled.jpg" height="117" width="400" /></a></div>
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Top = transparent glaze Bottom = opaque glaze</div>
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Typical glaze opacifiers are zircon (zirconium silicate), tin oxide, and titania (titanium dioxide). </div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWRNBYsGhNdFGH73nRt8XPIE7OW-cd0jtSdrsvGNrPXicKiqiYWyccF1LlWvKu-bGGhrFA2UmSfofLuIVmHnRxup2SZOAzOlnwN5gxqjOr3y_DUTHs8moTg605VF2EYAWGhkzVIBWWk66T/s1600/zircon+flourB.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWRNBYsGhNdFGH73nRt8XPIE7OW-cd0jtSdrsvGNrPXicKiqiYWyccF1LlWvKu-bGGhrFA2UmSfofLuIVmHnRxup2SZOAzOlnwN5gxqjOr3y_DUTHs8moTg605VF2EYAWGhkzVIBWWk66T/s1600/zircon+flourB.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Zircon opacifier powder</td></tr>
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<h3>
Zircon</h3>
Zircon is the preferred opacifier for glaze due to
the low cost, inertness and stability in glaze. To achieve full opacification, the opacifier content and the particle size are important factors. For addition of zircon to the glaze mill during grinding a particle size of 95% less than 3 microns and a content of 5-10% ensures sufficient opacifier is dispersed to create optimum opacity. </div>
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However an exceptional level of
opacity can be achieved by pre-melting the zircon into a glass (called
frit) and then using the frit as part of the glaze recipe. These frits are transparent before firing but crystallize zircon during
the glaze firing process to give a high level of opacity. </div>
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<h3>
Tin Oxide</h3>
Tin oxide has historically been used as a glaze opacifier but its high cost has limited its recent use to low temperature majolica or special effect glazes. At a level of 5% in a transparent glaze a high level of opacity can be achieved. Its lower solubility in glaze compared to zircon means that lower levels of tin oxide can be used to create the same level of opacity as zircon.. Tin gives a slightly blue white tinge and also has a lesser effect on the glaze appearance than zircon which increases glaze viscosity during dissolution.One major drawback of tin is it reactivity with some oxide pigments. For example, with chrome oxide a pink discoloration may result from the formation of a chrome-tin spinel crystal.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIGHGFZ_2pSZEvnQvepEA0ZJwUaEX0Ux6l6HBzdZ1FsTie0StewY4nbghKCqFpfKWMolWKfuDHPKw6DVSeqANSUfOwlMfxBC7wTwPNGBWWXjmVD1TaSl1dYt0zHfAqZvdOAcY9Jy3EkDzR/s1600/reactives+C.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIGHGFZ_2pSZEvnQvepEA0ZJwUaEX0Ux6l6HBzdZ1FsTie0StewY4nbghKCqFpfKWMolWKfuDHPKw6DVSeqANSUfOwlMfxBC7wTwPNGBWWXjmVD1TaSl1dYt0zHfAqZvdOAcY9Jy3EkDzR/s1600/reactives+C.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Titania reactive glazes</td></tr>
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<h3>
Titania</h3>
Titania is also a very costly opacifier and is used primarily where reactive special effect glazes are required. Like zircon it has a higher solubility than tin in the glaze and even at levels of 4% tends to give a yellow tinge to the glaze after firing. It readily reacts with other materials in the glaze to create many unusual crystalline phases on cooling.This is ideal for special effect glazes but undesirable for standard opaque glazes.</div>
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More information and other technical articles on pottery and ceramics can be found at my website <a href="http://www.pottersfriend.co.uk/">The Potters Friend</a>.</div>
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The Potters Friendhttp://www.blogger.com/profile/05345030874426727684noreply@blogger.com0tag:blogger.com,1999:blog-9011734377029009832.post-71182812233756527192014-09-10T15:52:00.000+01:002014-09-10T15:52:46.146+01:00The Wedgwood Collection and the changing face of UK pottery<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGvUKBMP57tVhiMG66vDrf90wvSXSYti3QOltjFHEuuVgnelrxlf8lOrE6syrOxCdhwfHuvRNa-aL0_Cmyu-_ahh1biZRIFsYYJEbejkRif_s4Nt2vh0K0GUst77lagOPoPovdSQNuyT_T/s1600/wedgwood-ceramic-experience-and-510094.jpg" height="213" style="margin-left: auto; margin-right: auto;" width="320" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Wedgwood Museum</td></tr>
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Staffordshire pottery manufacture changed forever in the late 1980's and early 1990's. The power of the supermarket buyers, the draw of low cost manufacture overseas and the changing markets in Europe all contributed to the massive decline in pottery manufacture in the UK. So many big names like Royal Doulton, Spode, and Royal Worcester, to name but a few, now exist merely as brands with the factories closed and demolished. Bleak as it was for the thousands of workers who lost their jobs during that time, many of those workers still talk fondly of the friendships, skills and pride of working in the hundreds of potbanks which existed at that time in north Staffordshire and especially Stoke on Trent.<br />
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><span style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><a href="http://www.staffordshireoatcakes.com/oatcakes.php" target="_blank"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGulBr0J05LTwCvC5cKNRrRs3YYYpqz0dmYsvtNc0Imw4_MotTxEjZYS-_KxOjMQpTHhsdAHTvmgUE0IYu65BaraXALzqD9Xj-eBbrqHTm55ytAcsh13-VEpjzrOAm0W6r1L51LhVJFiaH/s1600/oatcakes_baking.jpg" height="239" width="320" /></a></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://www.staffordshireoatcakes.com/oatcakes.php" target="_blank">Staffordshire Oatcakes</a></td></tr>
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It was not just the potteries that demised but also the services to those factories, the engineers, the material suppliers and sandwich and oatcake shops that provided breakfast and lunch to the hungry workers at break times.For the lucky few they found work elsewhere and the humble Staffordshire Oatcake lives on mainly through online marketing and Social Media.<br />
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Many of those pottery workers now rely heavily on their work pensions created during their employment at companies like Wedgwood. However Wedgwood pension trust has a big pension deficit that is causing problems.<br />
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Over the last few years the importance of this pension deficit has been highlighted as the struggle to keep the magnificent <a href="http://www.savewedgwood.org/the-collection" target="_blank">Wedgwood Collection</a> at its home in the Wedgwood museum in Stoke on Trent continues.<br />
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For those who have not seen the collection I urge you to do so. You will not be disappointed. At over 80,000 historical pieces, ranging from early experiments for new bodies and glazes through to modern production as well as rare manuscripts and letters, pattern books, works of art and photographs, covering the 250-year Wedgwood history, it is one of the most unique industrial archives in the world. The importance of the collection is explained in more detail in this <a href="http://www.savewedgwood.org/" target="_blank">Wedgwood video link.</a><br />
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The <a href="http://www.savewedgwood.org/under-threat" target="_blank">collection is under threat</a> because a legal loophole allowed a Wedgwood previously in liquidation to place pension debt in the Museum trust. The trustees have no option but to try to pay off this debt by selling some or all of the collection.<br />
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We cannot lose this collection from the UK or allow it to be dispersed around the world to private collectors. It is OUR heritage and I urge you to <a href="http://www.savewedgwood.org/" target="_blank">donate </a>to help meet the £2.74m shortfall still required to keep the collection together in the UK.<br />
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Thank you for your support.The Potters Friendhttp://www.blogger.com/profile/05345030874426727684noreply@blogger.com0tag:blogger.com,1999:blog-9011734377029009832.post-1100716314481181222014-08-04T14:25:00.000+01:002014-08-04T14:25:19.450+01:00Pottery Glaze Safety<h2 style="text-align: left;">
<span style="color: black;">Introduction</span></h2>
<div style="text-align: left;">
The safety of pottery manufactured by credible large scale pottery manufacturers particularly in Europe and the USA is a priority. However many smaller scale studio potteries have a lesser understanding of the leaching of toxic components from glazes. Why? Because it is difficult to understand and even more difficult to test accurately without specialist equipment.</div>
<div style="text-align: left;">
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However everyone involved with pottery manufacture needs to understand about glaze toxicity in the 'sue everyone' culture of today.<br />
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Changes to legislation in the USA in the early 90's provided the springboard for worldwide change.</div>
<div style="text-align: left;">
A case of lead poisoning in the USA caused by pottery which did not conform to any legislation worldwide (YES NON CONFORMING WORLDWIDE!) led to big changes. The result of the political intervention that followed was to effectively ban lead glazed ware (<a href="http://www.oehha.org/prop65/law/P65law72003.html" target="_blank">under proposition 65</a>) in California and many other US states.Whether this was a justified scientific solution to the original problem is still debated by many in the industry. However the result is here to stay.</div>
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<h2>
<span style="color: #073763;">Lead in Glaze</span></h2>
<div style="text-align: left;">
<img align="right" alt="" src="http://pottersfriend.co.uk/files/image/800px-LeadPaint1.JPG" height="150" hspace="20" vspace="0" width="200" />Lets start with some facts about lead :</div>
<ul>
<li style="text-align: left;">Lead in large quantities is known to be toxic. Indeed the ancient Egyptians used it for homicidal purposes.<br />
</li>
<li style="text-align: left;">Lead in small quantities is known to be harmful. It can seriously affect the learning ability of small children and cause other harmful effects in adults.<br />
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<li style="text-align: left;">Lead glazed pottery leaches lead when subject to strong acids. However this may be as low as parts per billion; less than might be found in drinking water!<br />
</li>
<li style="text-align: left;">Lead leaching from the glaze surface is not directly related to the lead content of glaze. Many other factors such as firing have an equal or greater influence.<br />
</li>
<li style="text-align: left;">Lead glazed pottery has been in existence for thousands of years</li>
</ul>
<div style="text-align: left;">
Clearly the picture for lead glazes is not good. However the technical understanding gained over many years of industrial research and manufacture allowed them to be used with relative safety. Nonetheless the pottery industry has moved forward.<br />
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Environmental as well as political pressures has ensured that millions of pounds have been spent to research and develop unleaded glazes and colours by major manufacturers. Unleaded glazes and colours have now become the norm and are available for most types of pottery body.</div>
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But unleaded glazes are not without issues. Lets consider why:</div>
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<h2 style="text-align: left;">
<span style="color: #073763;">Unleaded Glaze</span></h2>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPnMtQDzamwibMMus5WbsS4FAoB2lOH6307f6YV5WfP3-Kk1dL8EYVZQRQdfth5X8mcqhtKCommAvUE0U_OSzpKyRffBrMKi5GrLcf3cxDSNoA_pfbtv0XZa_Nnqm63Pmo0Y4LOqXJ55h1/s1600/White+mug+unleaded.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPnMtQDzamwibMMus5WbsS4FAoB2lOH6307f6YV5WfP3-Kk1dL8EYVZQRQdfth5X8mcqhtKCommAvUE0U_OSzpKyRffBrMKi5GrLcf3cxDSNoA_pfbtv0XZa_Nnqm63Pmo0Y4LOqXJ55h1/s1600/White+mug+unleaded.jpg" height="200" width="199" /></a></div>
Unleaded glazes are mainly glass, sometimes with a crystalline phase and are considered as long-lasting and indestructible. This is not strictly true as all glass leaches to some extent when it comes into contact with acid foodstuffs even water. In the case of acids, contact with the glaze surface over a period of time can cause a much greater leaching effect. The intermittent use of alkali dish-washing agents can also dull the glaze surface leaving it more prone to acid attack. Early unleaded glazes were particularly prone to this type of attack by strong dishwashing detergents.<br />
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Some unleaded glazes contain elements such as Barium, Zinc and Cadmium which are also considered toxic when released in large quantities from the surface of the glaze. Indeed some countries legislate for this by imposing limits on the release of cadmium and zinc elements and other heavy metals in their metal release legislation or guidelines. The safe handling of barium carbonate and cadmium compounds in the manufacture of glazes is also a concern for glaze producers.<br />
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<h2>
Coloured Glazes</h2>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgROcO0kuft4unRIcS0s_sYDc78cMMtRQIVJxtfxvl4uwCRZ0l0TV8-Opfmp52Hv6YgtcKx2vu-lLF3nZb7S1BADnQEoWBwBQLBDucRWUAIy4qeX7_ovFW3ihnXswHzOs-xUNpoOBdoBMuI/s1600/Cu.Co+celadon+greenA.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgROcO0kuft4unRIcS0s_sYDc78cMMtRQIVJxtfxvl4uwCRZ0l0TV8-Opfmp52Hv6YgtcKx2vu-lLF3nZb7S1BADnQEoWBwBQLBDucRWUAIy4qeX7_ovFW3ihnXswHzOs-xUNpoOBdoBMuI/s1600/Cu.Co+celadon+greenA.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Copper green glaze</td></tr>
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Coloured glazes have long been known to give greater problems than white glazes in terms of toxic metal release. This is due to the often overlooked fact that the choice of pigment greatly influences the ease at which acids can attack the glaze surface. For example it is well established that the combination of copper and lead in a glaze gives significantly greater lead leaching than from the lead glaze alone.<br />
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Other colouring elements such as cobalt, manganese can act in similar ways even in unleaded glaze. Therefore it is important to know the effect of pigments and intrinsic durability of each glaze you make.<br />
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<h2>
Toxic Metal Testing</h2>
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Toxic metal testing of pottery intended for food contact is carried out by specialist testing organisations who are accredited to carry out standard tests such as EU 2005/31/EC or ASTMC738 in the USA. The most recent European limits for this test is specified in 2005/31/EC.
To reduce cost and avoid testing of clearly unacceptable glazes quick tests can be used to screen out poorly durable or lead glazes. Cutting a lemon in half and placing it overnight on the glaze surface is one such quick test. Another is using a quick lead test such as <a href="http://pottersfriend.co.uk/p.php?page=Leadtesting" target="_blank">lead inspector</a>.<br />
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However it is recommended that all glazes produced for food contact use are tested by certified test laboratories to ensure compliance.<br />
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Summary</h2>
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To produce safe ceramics that comply with current legislation it is important to understand the formulation and firing of glazes. It is more complex than most people think and testing by a recognised testing laboratory is the only true way to ensure compliance. The problems of safety of lead glazes are well known, and these glazes are being phased out and replaced with unleaded equivalents. However unleaded and coloured glazes are not totally free of issues and reference to the health and safety glaze documents of suppliers is strongly recommended.</div>
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The Potters Friendhttp://www.blogger.com/profile/05345030874426727684noreply@blogger.com0tag:blogger.com,1999:blog-9011734377029009832.post-61736116467184767852014-06-19T13:40:00.001+01:002014-09-02T16:45:13.949+01:00Pottery Materials-Potters You've Never Had it So Good!<h2>
Sources of materials</h2>
Materials dug from the ground have been the source of pottery making for thousands of years. However early potters relied heavily on local materials, especially the clays and sands. This was certainly the case in my beloved Staffordshire, England where local marl clays formed the major source of clay for early industrial potters.<br />
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<tr><td class="tr-caption" style="text-align: center;">Borax granules</td></tr>
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Today materials are shipped around the world to areas of high industrial scale ceramic manufacture. For example the high quality white china clays from the south of England are often shipped to Asia to make the finest bone china and porcelain bodies. Similarly borax and boron minerals from Turkey and the USA are used in Europe to make glazes and frits for tile, tableware and sanitary ware manufacture.<br />
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However it is not just the source of available materials but also the quality and consistency that has helped modern potters and potteries to improve their quality, designs and efficiency.<br />
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Materials for body making</h2>
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<tr><td class="tr-caption" style="text-align: center;">Body materials</td></tr>
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The main materials used to produce a <a href="http://pottersfriend.co.uk/p.php?page=Bodies" target="_blank">clay body </a>are silica or quartz, felspar, and clays. These materials come in various purities, particle sizes, and qualities. To produce the finest white bodies, high purity low iron materials are used and these materials are sourced locally where available. However most areas of pottery manufacture do not have the required purity or consistency required from all their local suppliers and are therefore forced to consider other supplies. It is the consistency in purity, and control of of material properties that has made a significant difference to large scale pottery manufacturers. They can automate processes and improve efficiency to reduce costs. Materials are now stardardised to fit processing routes. For example 30 mesh and 200 mesh materials are common in the UK. These improvements in materials for industrial scale customers also has a knock on benefit for craft, hobby and studio potters who can also purchase these same materials from distributors and use them with greater confidence.</div>
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Materials for glaze making</h2>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuyd5EYOtulE9u4NLNzhQrSKwclvO9o6kNTV8R1s4WTZ0WydV67y9QEL7cucnGyOjSlaFrMfSZUfa0hyphenhyphenaelVH5PMcuburJ3iEP1tYZvujBgdSC3H7P1CcfsUnaE6eRmINgKfs6qn9XeJmC/s1600/Frit2.JPG" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuyd5EYOtulE9u4NLNzhQrSKwclvO9o6kNTV8R1s4WTZ0WydV67y9QEL7cucnGyOjSlaFrMfSZUfa0hyphenhyphenaelVH5PMcuburJ3iEP1tYZvujBgdSC3H7P1CcfsUnaE6eRmINgKfs6qn9XeJmC/s1600/Frit2.JPG" height="186" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Frit granules</td></tr>
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Like body the main materials used for <a href="http://pottersfriend.co.uk/p.php?page=MakingGlaze" target="_blank">glaze making</a> are silica, china clay, and felspar. However frits (fused glass fragments) and other minerals such as limestone, dolomite, wollastonite, zircon are often added to control the fired properties of the glaze. Expensive technical grade chemicals such as zinc oxide, barium carbonate,and boric acid are also used in small quantities in the glaze or frit to meet the most demanding glaze requirements. However it is in the use of boron products where industrial scale and craft scale differ the most. Large scale glaze manufacturers predominantly use frits as a source of boron, where craft glaze makers use boron products such as Gerstley borate. The benefits of using frits for industrial scale glaze manufacture are far reaching. The recipe of the glaze is designed to be lead free and often fine tuned to give the widest firing range and technical performance. Control of glaze slip properties, glaze application, and firing properties are of paramount importance especially in automated plants which are not suited to the use of borates in glaze. Slip control of the glaze involves controlling both the solids content of the slurry, the viscosity (fluidity) and the drying time by means of chemical additives.</div>
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This differentiation in supply is a benefit to craft and hobby potters who can choose a from a wide range of frits or borates depending on their scale of operation or cost needs. .</div>
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Materials for decoration</h2>
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A whole range of methods are now available for<a href="http://pottersfriend.co.uk/p.php?page=Colours3" target="_blank"> decoration of pottery</a>. When colour was introduced to pottery in early years it was in the form of naturally occurring coloured minerals usually high in iron. Consequently the colour range was restricted to brown- red to grey blue in colour depending on the firing condition. However with the development of pigments from the eighteenth century many more colours became available with Chinese blue colour on white glaze becoming very popular. <br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcfx8UrSfKaWOv1L64z8mClyQOhZjAPFixM9fgRFybPpfzUbBxHXiGflbB_WjxsA4yvADsuMSY-tXk-rpuKnkcfBNW0oSQ6kuIzLDn2-J1qDB6GXj5OCALcCklhG7ay888aG5wIk575VZD/s1600/pantone+reference+mugs.png" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcfx8UrSfKaWOv1L64z8mClyQOhZjAPFixM9fgRFybPpfzUbBxHXiGflbB_WjxsA4yvADsuMSY-tXk-rpuKnkcfBNW0oSQ6kuIzLDn2-J1qDB6GXj5OCALcCklhG7ay888aG5wIk575VZD/s1600/pantone+reference+mugs.png" height="320" width="277" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">range of onglaze decorating colours</td></tr>
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Today a full range of stable mixable ceramic colours are available ranging from bright yellow to blue to red. Together with a wider range of decorating techniques the modern potter now has the opportunity to design truly unique ware that is also repeatable.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjV4Npc_D5UqNabvGake7MApFFevGMx9hnUp7J7BnAEmRkvrfo2tno1g2nPo9GcnEtg0HRMRwLPULW8RPEfK2X6RSIjJ7fFY6uRZ65VrKOcdRoHhpAtR9Nl_N-QrndVqKGNKtRaqsmUoMZu/s1600/stain+range+labelled.jpg" imageanchor="1" style="clear: left; display: inline !important; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjV4Npc_D5UqNabvGake7MApFFevGMx9hnUp7J7BnAEmRkvrfo2tno1g2nPo9GcnEtg0HRMRwLPULW8RPEfK2X6RSIjJ7fFY6uRZ65VrKOcdRoHhpAtR9Nl_N-QrndVqKGNKtRaqsmUoMZu/s1600/stain+range+labelled.jpg" height="57" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Range of ceramic stains</td></tr>
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To put this into perspective an anology might be to compare Fords "you can have it in any colour as long as its black" to the current range of colours and effects used to paint modern vehicles.<br />
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In a similar way to body and glaze materials, decorating colours such as onglaze have become standardised and more consistent in both their application and firing. Colours have been developed without lead and are available in the best medium (liquid) to allow optimum application whether that is hand painting, machine banding or screen printing. Introduction of <a href="http://pottersfriend.co.uk/p.php?page=Digital" target="_blank">digital printing</a> has allowed digital images to be translated from computer to ware using ink jet decals or even direct printing in a similar fashion to paper printing. For the hand made purists in pottery computer support to design has not always been welcomed but it has extended the range of design to new levels.<br />
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In the future design will be pushed even further by 3D printing which is in its infancy in the pottery industry.<br />
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Summary</h2>
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Clearly material technology and control in the pottery industry has progressed almost unnoticed since the early eighteenth century pottery manufacture. However it has progressed and the development of more consistent, environmentally friendly colours together with a wider colour palette has been of great benefit to modern potters, large and small.. The advent of digital printing in recent years and the potential of 3D printing is set to revolutionise the industry further creating even more design possibilities.</div>
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Yes Potters it is true! You've never had it so good!</div>
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<br />The Potters Friendhttp://www.blogger.com/profile/05345030874426727684noreply@blogger.com0tag:blogger.com,1999:blog-9011734377029009832.post-73747963190218494902014-04-23T10:53:00.000+01:002014-05-08T09:19:17.738+01:00How to Make Coloured Pottery<h3>
<span style="background-color: white; color: #454545; font-family: Arial, Helvetica, sans-serif; line-height: 21px;"><span style="font-size: large;">The Appeal of Colour</span></span></h3>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzqaWSoT7FM4juUcAQ3HGg-NyD0E_hb2DMBHKsn_4t9QgUnsfkKZ9oovEsOMfJGBFtz-bJNqqO1DNOyaVDlDQAc-Sh_9hmKMzSfof3t159ZTKSJScSyqXDJ20x_JVH0Jx0oJP2YUnXR00t/s1600/Rouge+Flambe+by+Royal+Doulton.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzqaWSoT7FM4juUcAQ3HGg-NyD0E_hb2DMBHKsn_4t9QgUnsfkKZ9oovEsOMfJGBFtz-bJNqqO1DNOyaVDlDQAc-Sh_9hmKMzSfof3t159ZTKSJScSyqXDJ20x_JVH0Jx0oJP2YUnXR00t/s1600/Rouge+Flambe+by+Royal+Doulton.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Copper Ruby glaze</td></tr>
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<span style="background-color: white; color: #454545; font-family: Arial, Helvetica, sans-serif; font-size: 14px; line-height: 21px;">The addition of colour to pottery adds so much to its appeal. Whilst white pottery can emphasise the distinctive form of a piece it is often colour which catches the eye! Colour is often associated with a mood or feeling and this varies between cultures and countries. For example red is a very emotive colour and can mean anything from love and romance to danger and fire! Choosing the right colour to make or decorate your pottery however is a matter of personal choice and allows for much creativity and freedom of expression.</span><br />
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<span style="background-color: white; color: #454545; font-family: Arial, Helvetica, sans-serif; font-size: 14px; line-height: 21px;"><b>Colour can be added to pottery in many ways including body colour, underglaze, inglaze, onglaze and also as a component of the glaze itself.</b></span><br />
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In this article I will try to review the two main types of ceramic pigment ( raw oxide and ceramic stains) available and how they can be used to produce highly decorative pottery.</span><br />
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<span style="background-color: white; color: #454545; font-family: Arial, Helvetica, sans-serif; font-size: 14px; line-height: 21px;">In the second of my series on glaze I described </span><a href="http://www.squidoo.com/makingpotteryisanartandsciencepart2" target="_blank">how to make a white textured stoneware glaze</a>.<span style="background-color: white; color: #454545; font-family: Arial, Helvetica, sans-serif; font-size: 14px; line-height: 21px;"> </span><br />
<span style="background-color: white; color: #454545; font-family: Arial, Helvetica, sans-serif; font-size: 14px; line-height: 21px;">Simply adding inorganic colouring oxides such as Iron Oxide to such a glaze produces colour but not always the desired colour! Carry on reading to find out why!</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">Raw Oxides in Coloured Glaze</span></h3>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimtr5knkKu5nIDN8Wamy1ip6kYc4pckJFIdqYDsi2e_pQF9IRxzZ0764j5mNKg0UsxPWnRYzNZAmoVXYH-ZgHdPfrOWUzVbN0p-qcl20ds_5KHCcRcaVREhvz7QI8oY9qL3jwdVJhmNFwy/s1600/oxides+range+300B.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimtr5knkKu5nIDN8Wamy1ip6kYc4pckJFIdqYDsi2e_pQF9IRxzZ0764j5mNKg0UsxPWnRYzNZAmoVXYH-ZgHdPfrOWUzVbN0p-qcl20ds_5KHCcRcaVREhvz7QI8oY9qL3jwdVJhmNFwy/s1600/oxides+range+300B.jpg" height="200" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Top = Oxides in transparent glaze<br />
Bottom = Oxides in opaque glaze</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-z0v5MWlyNPp7M1qsZ7KnduPZVfJsb_ztpUliZ8Bg3SD1OXWIxV0LCD2X-hY534bAAeL3KRPXWhd9eVEFZmfUv0UMv5Xo_IQ9Zfn_PF0loslMpglH0q4qFq4Dms5Tp0grxyN9GL8ysMYd/s1600/Copper+crackle+glaze.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-z0v5MWlyNPp7M1qsZ7KnduPZVfJsb_ztpUliZ8Bg3SD1OXWIxV0LCD2X-hY534bAAeL3KRPXWhd9eVEFZmfUv0UMv5Xo_IQ9Zfn_PF0loslMpglH0q4qFq4Dms5Tp0grxyN9GL8ysMYd/s1600/Copper+crackle+glaze.jpg" height="200" style="cursor: move;" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Copper oxide crackle glaze</td></tr>
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<span style="background-color: white; color: #454545; font-family: Arial, Helvetica, sans-serif; font-size: 14px; line-height: 21px;">It is common for raw oxide pigments to be used used in pottery making. Many studio and craft potters prefer to use cobalt oxide, chrome oxide, Iron oxide and copper oxide as colouring pigments.These oxides give blue, green, yellow-brown, and green-blue respectively on firing in or under the glaze. Often the fired colour of the starting oxide is not the same as the original oxide colour e.g. cobalt oxide changes from black to blue on firing in a glaze. However mixing of these oxides in a glaze, gives variable but often aesthetically pleasing artistic effects on firing. It is for this reason, and the lower cost involved that many studio potters often use these materials.</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwv-S8Rk2rScK53dYtLdfYwZFcDkoUuEyAKv8-hglAAqVP-FU3KaADGZbjN-gbPt6JaD3DcQ64OE_U_6gzgajARGef2hnyTo5_dfZ45R0F8q9x9-D7yQYx-G6G6lzvyj6fX4hCi67dhj9s/s1600/Oxide+glazes.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwv-S8Rk2rScK53dYtLdfYwZFcDkoUuEyAKv8-hglAAqVP-FU3KaADGZbjN-gbPt6JaD3DcQ64OE_U_6gzgajARGef2hnyTo5_dfZ45R0F8q9x9-D7yQYx-G6G6lzvyj6fX4hCi67dhj9s/s1600/Oxide+glazes.jpg" height="146" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Iron Oxide and cobalt oxide in glazes</td></tr>
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<b style="background-color: white; color: #454545; font-family: Arial, Helvetica, sans-serif; font-size: 14px; line-height: 21px;">In using oxides as pigments It is important to match the pigment type and content to the glaze to achieve the most consistent results</b><span style="background-color: white; color: #454545; font-family: Arial, Helvetica, sans-serif; font-size: 14px; line-height: 21px;">. In the example above iron oxide gives a yellow colour when added to a glaze in small percentage (eg 1%) compared to a brown colour in high percentage (eg 15%). In combination iron oxide and cobalt oxide often give grey or a black glaze colour (see example right). The difference in the colour between an opaque and transparent glaze containing the same pigment content is also marked. In the example above the same pigment content is compared in a transparent glaze (top) and an opaque glaze (bottom). A stoneware textured glaze will produce colour tones similar to those of an opaque glaze.</span><br />
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<span style="background-color: white; color: #454545; font-family: Arial, Helvetica, sans-serif; font-size: 14px; line-height: 21px;">Organic pigments such as those used in paper printing are clearly not suitable and will simply burn away during firing</span><br />
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<h3 style="text-align: center;">
<span style="background-color: white; color: #454545; font-family: Arial, Helvetica, sans-serif; font-size: large; line-height: 21px;">Ceramic Stains in Coloured Glazes</span></h3>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjV4Npc_D5UqNabvGake7MApFFevGMx9hnUp7J7BnAEmRkvrfo2tno1g2nPo9GcnEtg0HRMRwLPULW8RPEfK2X6RSIjJ7fFY6uRZ65VrKOcdRoHhpAtR9Nl_N-QrndVqKGNKtRaqsmUoMZu/s1600/stain+range+labelled.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjV4Npc_D5UqNabvGake7MApFFevGMx9hnUp7J7BnAEmRkvrfo2tno1g2nPo9GcnEtg0HRMRwLPULW8RPEfK2X6RSIjJ7fFY6uRZ65VrKOcdRoHhpAtR9Nl_N-QrndVqKGNKtRaqsmUoMZu/s1600/stain+range+labelled.jpg" height="200" width="500" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Top = Ceramic stains in transparent glaze<br />
Bottom = Ceramic stains in opaque glaze</td></tr>
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<span style="background-color: white; color: #454545; font-family: Arial, Helvetica, sans-serif; font-size: 14px; line-height: 21px;"><br /></span>
<span style="background-color: white; color: #454545; font-family: Arial, Helvetica, sans-serif; font-size: 14px; line-height: 21px;">In contrast to raw oxide pigments, ceramic stains have been specially formulated to create a wide range of colour tones in glaze. In their manufacture they have undergone a heat process and a fine grinding process so that they are highly temperature stable and capable of being mixed together to generate intermediate colour tones. This property is highly valued by large scale manufacturers who need consistency of colour tones. However this all comes at a cost compared to raw oxides.</span><br />
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<h3 style="text-align: center;">
<span style="font-size: large;">Onglaze and Inglaze Decoration</span></h3>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3WRt5A6aI2EJBSbFaAmF2KviBn-XMCl6xEnRVzi5Ot_Qzi_wMUymwVh_IoG_yLZW5_LjKbhk47Fgoci9HYVGAmUhZzc-saxZ9OoGx-UMfmP27cDN_7khNEFf6fhIAll6OcBZ9bkDg9xq8/s1600/pantone+reference+mugs.png" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3WRt5A6aI2EJBSbFaAmF2KviBn-XMCl6xEnRVzi5Ot_Qzi_wMUymwVh_IoG_yLZW5_LjKbhk47Fgoci9HYVGAmUhZzc-saxZ9OoGx-UMfmP27cDN_7khNEFf6fhIAll6OcBZ9bkDg9xq8/s1600/pantone+reference+mugs.png" height="320" width="277" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Pantone Mugs showing onglaze colours</td></tr>
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It is common for high quality whitewares such as bone china and porcelain to be decorated with special colours called<a href="http://pottersfriend.co.uk/p.php?page=Colours3" target="_blank"> onglaze (low temperature) or inglaze </a>(high temperature). These colours use a mix of special fluxes and the ceramic stains identified above to create a wide range of intense, durable colours and bond them to the already fired glaze surface.. Whilst a few studio potters try to make their own, they are best supplied by specialist manufacturers to ensure they meet current legislation and perform satisfactorily in use. These colours are often supplied as powders or pre-dispersed in a liquid allowing them to be applied by hand painting or screen printing. This type of colour is very versatile and is often used to make precision decorative decals for water slide application onto pre-glazed pottery. A new development called <b><a href="http://www.pottersfriend.co.uk/p.php?page=Digital" target="_blank">Digital printing</a> </b>now allows these decals to be personalised and produced in small quantities making it a cost effective method of decoration for craft and hobby use.<br />
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<h3>
Summary</h3>
Clearly there is more to making coloured pottery than is immediately obvious. For those who want consistent colour that can be mixed to give intermediate shades then use ceramic stains either as a glaze component or in decoration products such as inglaze or onglaze colours. For those who want unpredictable but aesthetically pleasing results use oxides as a glaze component or under the glaze. Whichever option you choose using colour creatively will only add to the appeal of your pottery.<br />
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Happy Potting<br />
The Potters Friend<br />
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<span style="background-color: white; color: #454545; font-family: Arial, Helvetica, sans-serif; font-size: 14px; line-height: 21px;"><br /></span>The Potters Friendhttp://www.blogger.com/profile/05345030874426727684noreply@blogger.com0tag:blogger.com,1999:blog-9011734377029009832.post-29698867191167969142014-03-13T16:16:00.000+00:002015-02-20T11:47:06.293+00:00How to Choose Your Pottery Clay Body<h3>
<span style="font-size: large;">
What is clay?</span></h3>
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<tr><td style="text-align: center;"><img align="right" alt="" src="http://pottersfriend.co.uk/files/image/Kaolin%20particle.jpg" height="133" hspace="10" style="border: none; font-family: arial, helvetica, 'sans serif'; font-size: small; margin-left: auto; margin-right: auto;" title="kaolin particle" vspace="10" width="200" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Flat plates of clay particles</td></tr>
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Before choosing your pottery clay body it is first important to understand a little about clay and why it is used as a component of a clay body. Clay is a mineral extracted from the ground which can be readily moulded like plasticine. At microscopic level, the particles of clay have a flat plate-like structure giving them this plastic like property. The 2 most commonly used pottery clays are Ball Clay and China Clay (Kaolin). Ball clay tends to be very plastic-mouldable but off white in colour. China clay is less plastic but has a whiter fired colour. Many other clays are available but they tend to be off white to red in colour and therefore less used in high volume white pottery manufacture.<br />
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<h3>
<span style="font-size: large;">
What is a clay body?</span></h3>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi06Yv74BrxRPWAR-61ZT-hX7f5Mml7Am918StN0jBjHxaNNMnpRNeSy6y_a434_OgVqRnWBnim8gDMHfTgIb-pUX1JIA3_QgI23OE7s3NBs14pPOaH6w9k9zHrhR8M7ejnpQL88Y8SrtBe/s1600/clay+wad.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi06Yv74BrxRPWAR-61ZT-hX7f5Mml7Am918StN0jBjHxaNNMnpRNeSy6y_a434_OgVqRnWBnim8gDMHfTgIb-pUX1JIA3_QgI23OE7s3NBs14pPOaH6w9k9zHrhR8M7ejnpQL88Y8SrtBe/s1600/clay+wad.jpg" height="200" /></a></div>
The terms clay and body are used by potters almost interchangeably. However in most cases it is not technically correct! In simple terms <b>a body is a formula containing clay and other minerals</b>. Therefore clay is a raw material component of a body. In past times a body was simply a clay dug from the ground which was variable in both its composition and properties. However, modern commercial potters no longer rely on bodies manufactured from clay alone. To achieve specific properties they are scientifically formulated in a very precise way.
A wide range of raw clays and minerals are used from all around the world. They vary in colour, strength, particle size as well as mineralogy and purity. No two clays from different parts of the world are precisely the same although for comparison purposes they can act in a similar way when used as part of a body formula. For studio pottery manufacture coarse minerals called grogs are often added to the clay body formulas to give additional texture appeal and improved properties.<br />
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<h3>
<span style="font-size: large;">
How to choose the best clay for you</span></h3>
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<h4>
Firing range of your kiln</h4>
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The maximum firing temperature of your kiln should be your first consideration when deciding which type of clay body to buy. It is no use choosing a stoneware clay firing 1250 C if your kiln will only fire to 1200 C. Lower temperature kilns are suitable for earthenware and terracotta bodies (less than 1200 C) whereas high temperature kilns are acceptable for most bodies including porcelain and stoneware.<br />
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<h4>
Colour</h4>
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The fired colour of the body will often dictate the cost. In general whiter clay bodies are more expensive than buff or cream coloured ones. The type of clay body you use is often prescribed by your colour selection. For example porcelain and bone china are always very white after firing. To give you an idea of the fired colour produced by the different clay body types see the section entitled 'range of bodies'. Please also note that the firing temperature has a significant affect on the fired colour!<br />
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<h4>
The making Process</h4>
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The making process you intend to use to shape the body is also an important factor when considering the most appropriate clay body. Clay body sub-types allow you to select a clay suitable for all major forming operations including throwing, hand-building, sculpting, casting or machine making.<br />
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<h4>
Size of your work and end use</h4>
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The size of the pottery piece you plan to make is also important. Larger pieces often require a more heavily grogged (less plastic) clay whereas smaller pieces of work can require more plasticity. In addition, the end use of the ware, whether it is purely ornamental, for outside use, or designed as functional tableware will affect your choice of clay body.<br />
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<h4>
Texture</h4>
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For the more experienced potter the texture of the clay body after firing is often important.. The feel, look and strength of the ceramic piece is strongly affected by this sub-type of clay. For example the grogged subgroup of bodies generally add texture, strength and stability, whilst an ungrogged body will result in a smoother more polished finish.<br />
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<h4>
Glaze compatibility</h4>
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Whichever clay body you choose it is imperative that you select a glaze which is compatible with the body. This technical compatibility is critical to producing an intact piece without faults after firing. Be guided by your supplier who can supply compatible glazes for most body types and firing schedules. For peace of mind you should always test a sample of the glaze and clay body in your own kiln prior to any major production. The temperature and firing schedule of your kiln will influence whether your clay body and glaze are compatible after firing.<br />
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<h3>
<span style="font-size: large;">
Range of Clay Bodies</span></h3>
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The are numerous clay bodies produced commercially around the world available to the craft potter, studio potter and commercial pottery. Indeed there are so many that it is impossible to detail them all here. Bodies are often developed to make them suitable for the making process. Therefore suppliers often state subtypes which define which clay bodies are more suitable for hand throwing, casting, hand building etc.<br />
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Clay bodies however can be classified into a relatively small number of categories according to their colour, firing range and texture. Below are a few major examples showing the fired colour of individual body types.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmHnMpX6ghO3ss1mbFQX_QHxsewoam8B1uH5YJiJRnPObBbN9mp5sSlQCzjjA-W4OpltSisCMHyVZstmUgri712H1fl5DUVSx9EPvR6iV5MJL84LO9Wj2Kie34B2edjrP1oxNCPifYK2iU/s1600/Porcelain+Audrey-Blackman-1280cping.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmHnMpX6ghO3ss1mbFQX_QHxsewoam8B1uH5YJiJRnPObBbN9mp5sSlQCzjjA-W4OpltSisCMHyVZstmUgri712H1fl5DUVSx9EPvR6iV5MJL84LO9Wj2Kie34B2edjrP1oxNCPifYK2iU/s1600/Porcelain+Audrey-Blackman-1280cping.png" height="90" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Porcelain</td></tr>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKKZA0Vb24uTEE8xfhXsBOaWjDBKpz6yHSyfL5W_z_kC-sjQF_Lmm17x6RZr73eG6VC1F8y7qZTBG0w9VhWy6zF68RGvtRrX0UyNZUaFBZYW6dmYwmY2BiiiDeDrSyuFqzJLz-2zOUMUhF/s1600/MF-P+ping.png" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKKZA0Vb24uTEE8xfhXsBOaWjDBKpz6yHSyfL5W_z_kC-sjQF_Lmm17x6RZr73eG6VC1F8y7qZTBG0w9VhWy6zF68RGvtRrX0UyNZUaFBZYW6dmYwmY2BiiiDeDrSyuFqzJLz-2zOUMUhF/s1600/MF-P+ping.png" height="90" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Bone China</td></tr>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibbRxM-tEpm_QuJbmt3PLwClmz0E-62bOdDJGmHtLfdiT5AeBiqqe2NPKoOKOBFGRuEPnU9AdPBWsK_cVWuBTE-DyopNHvR8HhQWgVdo5DJr58YPDJXuk-XNOUkjwfnkBriK-q8oLXdAoY/s1600/white+earthenware+tile+colour+ping.png" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibbRxM-tEpm_QuJbmt3PLwClmz0E-62bOdDJGmHtLfdiT5AeBiqqe2NPKoOKOBFGRuEPnU9AdPBWsK_cVWuBTE-DyopNHvR8HhQWgVdo5DJr58YPDJXuk-XNOUkjwfnkBriK-q8oLXdAoY/s1600/white+earthenware+tile+colour+ping.png" height="90" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Earthenware</td></tr>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJstanqm2EcZ2RCc1Ud8RnthpIH8Hryi4AUyfXOZk-3zmNtyjROTre9capz0QPVaZufPQymgeHukgeTAur7-ld7fxh8pdspjrvvZ8q8AIqUf6ZMLKa5hk3MMSMI_e_hyphenhyphenq3yfyOVkUciloa/s1600/stoneware+tile+colour+ping.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJstanqm2EcZ2RCc1Ud8RnthpIH8Hryi4AUyfXOZk-3zmNtyjROTre9capz0QPVaZufPQymgeHukgeTAur7-ld7fxh8pdspjrvvZ8q8AIqUf6ZMLKa5hk3MMSMI_e_hyphenhyphenq3yfyOVkUciloa/s1600/stoneware+tile+colour+ping.png" height="90" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Stoneware</td></tr>
</tbody></table>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiu0UHYDcG-73VoHwbL93TUSmIVTLL42bta_Kf4ptqz4d64ams-739NTJBJ66cgNXATZMf05SU0Ht3-Sx3nDbhK4xA7SLVUAB0uJrEcqozcG4OSoxqBdOBKU__ZSZjVVFOcA6oKV27slX4F/s1600/Standard-Red-terracotta+1180%CB%9Acolour+tile+ping.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiu0UHYDcG-73VoHwbL93TUSmIVTLL42bta_Kf4ptqz4d64ams-739NTJBJ66cgNXATZMf05SU0Ht3-Sx3nDbhK4xA7SLVUAB0uJrEcqozcG4OSoxqBdOBKU__ZSZjVVFOcA6oKV27slX4F/s1600/Standard-Red-terracotta+1180%CB%9Acolour+tile+ping.png" height="90" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Terracotta</td></tr>
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<h4>
Bone China</h4>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/proxy/AVvXsEivKqPsiEp1a1KbKlsDJEute2YTWwKrII1hn-Xaizxc2Fd4HLF4cYsVvn2EuJPnpu-3jGy8ZNAL3LCn4BJKUs994uo9ijEDNZyMbsOk9fJxuhQIKwjJvZJNMBv7UaqcvT9dPD3Fa-FoaB7gw7-OzANNbiBYlDhjJD82xDvs2Rko7_S9Oqa4B2kjsp9Cb7k=" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img align="right" alt="Bone China chocolate cup" border="0" src="http://pottersfriend.co.uk/files/image/240px-BLW_Bone_China_Chocolate_Cup.jpg" height="120" hspace="20" style="background-color: #e7f9ff; border: none; font-family: arial, helvetica, 'sans serif'; font-size: small;" title="Bone China Chocolate Cup made in Staffordshire, 1815-20 from Victoria and Albert Museum" vspace="20" width="90" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Bone China</td></tr>
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This is a smooth textured extremely white firing body that is also translucent. It is unique in that it contains a high proportion of calcined bone ash . Biscuit firing at approx 1220 C gives it a high strength making it suitable for producing delicate highly decorative items as well as tableware. This type of ware after glazing is often decorated with onglaze colours or precious metal decoration to create stunning pieces of pottery. Electric firing kilns usually produce the best bone china quality.<br />
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<h4>
Porcelain</h4>
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This is a smooth textured translucent extra white firing body similar to bone china. However two types of porcelain are made, a 'hard porcelain' which requires a glaze firing in excess of 1400 C and a 'soft porcelain' which requires a glaze firing to approx 1250 C. Biscuit firing however is often around 1000 C which allows pieces to be glazed more successfully. High temperature gas kilns are often used to fire this type of body. Porcelain, like bone china, can also be decorated with onglaze enamels and precious metal to create delicate highly attractive giftware as well as tableware.<br />
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<h4>
Stoneware</h4>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; text-align: right;"><tbody>
<tr><td style="text-align: center;"><img align="right" alt="Stoneware jar" src="http://pottersfriend.co.uk/files/image/storage_jar%20by%20Kitchen-pottery.jpg" height="150" hspace="20" style="border: none; font-family: arial, helvetica, 'sans serif'; font-size: small; margin-left: auto; margin-right: auto;" title="stoneware jar from kitchen pottery" vspace="0" width="100" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Stoneware</td></tr>
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This class of clay body is commonly used by craft and studio potters. It has a relatively high biscuit firing temperature in excess of 1150C. Many commercial bodies, available in a range of off white to buff colours, are fired in the range 1250-1300C to give maximum strength. By glazing with a reactive type coloured glaze a wide variety of effects and colours can be achieved. Because of this stoneware has found high popularity with craft potters looking to create unique coloured or or textured hand made pottery. This body type can be used to produce both decorative and functional pieces such as tableware.<br />
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<h4>
Terracotta</h4>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/proxy/AVvXsEhdE_HTp8LD3-hpA8F1I71Q2rfteA4MqVR18I6awU10iJ4i_b_CDucc-g6zUK49ubMF2urxjk284Zcp9NtimKyMGPnbEEZpdHzZy9lkTIk7sGjJYKS1TDPWAgB73BdsPMsye1ZAeUE9Lns4dKszxGqDkPPtRtv996siwzzIp5iB9Ai6W-OikmZG=" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img align="right" alt="" border="0" src="http://pottersfriend.co.uk/files/image/Richard%20Baxter%20Terracotta.jpg" height="77" hspace="20" style="border: none;" title="Richard Baxter Terracotta" vspace="10" width="100" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Terracotta</td></tr>
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This class of body is typified by its unique red terracotta colour. This clay body has a high iron content in its mineral components giving the unique red colour. Like stoneware the smooth texture can be modified, by addition of grog (coarse material), to give a much rougher finish. Terracotta bodies have a relatively low firing temperature of 1000-1050C and are therefore porous and have relatively low strength after firing. Commonly unglazed it is often used for sculptures, planters, tiles and garden ware where the technical properties are not so demanding. For more demanding environments such as tableware the body is often glazed to give a stronger more durable product.<br />
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<h4>
Earthenware</h4>
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This type of body is often used for hand painting by hobbyists.
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<a href="https://blogger.googleusercontent.com/img/proxy/AVvXsEhGrN9YFtoY6pNvlUj8y1L-TfgMhaP2JA8GgDx1dOW8QEPX2hqKGIebb8z6Uo6twZxiFN2q1XNjvMuNhs8LGessQo-zUf77ex66BDqXByrtKfdCVBnKiu2EwdllgrOY2oMlxwzBvUZp-e3noT9bcGTBQL1N75VD9Q=" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img align="right" alt="Burleigh Blue and white jug" border="0" src="http://www.burleigh.co.uk/images/Factory-Shop-front.jpg" height="100" hspace="20" style="background-color: #e7f9ff; border: none; font-family: arial, helvetica, 'sans serif'; font-size: small;" title="Burleigh Blue and white jug" width="100" /></a></div>
For craft pottery this body is biscuit fired to approx 1000 C to allow easy brushing of underglaze colours or coloured glaze on to the porous surface. Following glaze firing to 1050 C to 1150 C the body colour and underglaze colours show through the transparent glaze producing highly decorative ware. After glaze firing the body remains porous with reduced strength compared to fully vitrified bodies like porcelain or bone china.<br />
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Body colour ranges from white to buff and some bodies are also grogged to provide texture.<br />
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For commercial tableware optimum body strength is achieved by firing the biscuit in the range 1180-1220 C but this peak is not often needed for lower strength or decorative only ware.<br />
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<h4>
Special bodies</h4>
<img align="right" alt="raku firing by Lori Duncan" src="http://t0.gstatic.com/images?q=tbn:ANd9GcTlTiywDYlYQVdtjq08p3WWwgs9u_PaOux09p8UVhcsxLC6mnmDZQ" height="120" hspace="20" id="Raku pot" style="border: none; font-family: arial, helvetica, 'sans serif'; font-size: small; padding-bottom: 0px; padding-left: 8px; padding-top: 8px;" title="Lori Duncan Raku jar" width="100" /><br />
This range of bodies include, highly coloured bodies, low firing bodies, Raku bodies, and special highly textured bodies. In the case of Raku the body is modified to allow rapid heating and cooling without cracking, usually by the addition of grog. Making raku pottery successfully requires more expertise than other pottery types and often depends on a trial and error approach. To learn more about Raku read my separate article on <a href="http://pottersfriend.co.uk/p.php?page=Raku" target="_blank">Raku making</a>.<br />
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<h2>
Summary</h2>
Clearly, choosing the right clay body for you poses a number of technical questions. It is more difficult than is immediately obvious. However I recommend you talk to your clay body suppliers in the first instance and not just search the internet. Their vast knowledge of their products will make the whole process of selection of suitable body and glaze just that much easier.<br />
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Good Luck<br />
Happy potting!<br />
The Potters Friend<br />
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More information and other technical articles on pottery and ceramics can be found at my website <a href="http://www.pottersfriend.co.uk/p.php?page=Home">The Potters Friend</a>.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkVsfn2wJuZA-o-tYdkGJ8trQDI3G1bjWIxZMssiePY5jCM1ZUdY4_pk7nCAIpsAZ2RJ1Zeu4CcID_VO_1j7QdGeYEVPZ0yPLCeSPYBBiB_pjUPZelknyYpShs31gwqj12yLA7N558xz4n/s1600/front+loader+gas+kiln+from+Kilns%2526Furnaces.gif" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkVsfn2wJuZA-o-tYdkGJ8trQDI3G1bjWIxZMssiePY5jCM1ZUdY4_pk7nCAIpsAZ2RJ1Zeu4CcID_VO_1j7QdGeYEVPZ0yPLCeSPYBBiB_pjUPZelknyYpShs31gwqj12yLA7N558xz4n/s1600/front+loader+gas+kiln+from+Kilns%2526Furnaces.gif" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">K&F front loader</td></tr>
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Making a kiln purchase is a big step for many potters. It is probably the biggest financial outlay you have as a potter and you would expect a new kiln to last 10 years or more depending on frequency of use. Most pottery beginners start by attending pottery classes and having their ware fired by the tutor. After developing your skills and with a long term commitment to pottery making you are in a better position to decide your needs:-<br />
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<h3>
Set your Budget</h3>
Decide your budget. Make it realistic and include cost of delivery and installation. Also don't forget internal shelves and supports are not usually supplied as part of the kiln and need to be purchased separately. Include a good temperature controller. A kiln is only as good as the controller! Remember planning permission maybe required for some external installations? Decide whether you want to buy new or second hand. Although this will vary considerably as a rule of thumb a good quality second hand kiln is often about 20% cost of new.<br />
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<h3>
Select the energy source</h3>
Decide what type of kiln energy source you will use. Often the type of ware and pottery you intend to make can determine this. For example reduction firing of glaze will require gas or oil firing whilst decal firing is better done in electric firing. It is worth noting that, in general, electric is a cleaner and more controllable fuel than gas but more expensive. Other fuel sources such as Oil, LPG, and wood vary tremendously depending on location and availability.<br />
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<h3>
Identify kiln size and site and type</h3>
Decide what size and where it is to be located, does it need special ventilation? How many pieces do I want to fire now? and the future? What size or weight will they be? Will I fire bisque and glost and decoration?<br />
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Whether to choose a front loading or top loading kiln often depends on the size and number of the pieces you wish to fire. Generally top loading kilns are smaller than front loading kilns which are easier on the back for placing and unloading.<br />
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<h3>
Visit showrooms or research online</h3>
There is no substitute for seeing the kiln you want to buy in person. This will give you a real sense of size and ease of use. A good supplier of kilns will have a range of kilns for display purposes and talk you through many of the decisions you need to make. However as a general rule you need to know the following before you talk with your supplier<br />
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What size and shape of pieces you wish to make and how many?<br />
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What temperature you wish to fire glost or bisque or decal<br />
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Whether you have refractory shelving and supports for the pieces you want to make.<br />
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Whether you have 2 or 3 phase electric supply. Domestic supplies are predominantly 2 phase.<br />
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Whether you have mains gas supply or other<br />
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<h3>
Calculate firing costs</h3>
It is possible to work out the firing costs using the KWH rating or gas usage as a guide. For smaller hobby kilns the difference in costs between gas and electric may not be high but for bigger kilns this needs to be factored in to your buying decision. Again a good kiln supplier will be able to advise you on this.<br />
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<h3>
Choose both for now and the future</h3>
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Make your selection based on your plans for the foreseeable future. Agree the price for everything including the set up of kiln in its final location not just to your doorstep. Unless it is a simple domestic plug in kiln, employ a professional electrician or gas fitter to ensure your kiln is installed correctly. This gives you peace of mind as well as meeting any legal requirements.</div>
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<h3>
Test out the kiln </h3>
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Once you have your new kiln installed test it out first with known tried and tested body and glaze. New kilns can take a while (a few firings) to settle as the refractories are more porous than a used kiln and the gasses from firing soak into the brickwork.</div>
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<h3>
Happy Potting!</h3>
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Enjoy the new sense of freedom having your own kiln brings and good luck!</div>
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More information and other technical articles on kilns, pottery and ceramics can be found at my website <a href="http://www.blogger.com/blogger.g?blogID=9011734377029009832" http:="" www.pottersfriend.co.uk="">The Potters Friend</a>.<br />
<br />
Go now to sign up for my free <a href="http://www.pottersfriend.co.uk/mailings/add_subscription.php">newsletter</a>.<br />
<br />The Potters Friendhttp://www.blogger.com/profile/05345030874426727684noreply@blogger.com2tag:blogger.com,1999:blog-9011734377029009832.post-46017763627708304192013-10-02T16:42:00.001+01:002013-12-31T10:33:56.466+00:00Starting out in Pottery? Read this first!<h3>
Making pottery is just like baking a cake but more complex!</h3>
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I can tell you one thing about pottery that is in-disputable. It is diverse and more complex than you could ever imagine. Think of it as being like baking a cake. There are literally thousands of different recipes and baking instructions, including the one your grannie used to make! Many of the cake recipes make great cakes but they are all slightly different.</div>
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Clay bodies and glazes are just the same but even more complicated! This is what many potters find fascinating. They can develop their own clay body, glaze and process in a way that makes them special and their pottery products unique. Please remember that!<br />
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However for the novice all this complexity creates confusion. Listening to more experienced potters providing a snippet of knowledge is not always good for you. Beginners try to relate it to their needs and often it results in failure.<br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"> <i>So here is what the beginner really needs to know and not forget.
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<h3>
</h3>
<h3>
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<h3>
</h3>
<h3>
Start with a pottery class</h3>
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<h3>
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Start with a pottery class. Here you can learn the basics with the support of a tutor. You can meet new friends and even take comfort in that you are not alone in your struggles to learn a new skill! A good tutor will not only guide you but provide material recommendations to allow you to reach the next stage of working alone.</div>
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<h3>
Choose a Quality Clay and Glaze supplier</h3>
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<tr><td style="text-align: center;"><a href="http://www.dick-blick.com/items/305/17/30517-1050-1-2ww-m.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="181" src="http://www.dick-blick.com/items/305/17/30517-1050-1-2ww-m.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Clay Body</b></td></tr>
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If you must go it alone there are many suppliers out there who can help you make the right choice of initial materials. They have the experience and knowledge of a wide range of clay bodies and glazes.
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Tell them what you want to make and how. For example. "I want to make pottery by using a potters wheel. I want to glaze it with a white glaze by dipping and I have a pottery kiln that has a maximum temperature of 1250C. "<br />
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They can then provide a clay and glaze that are compatible which when processed correctly will give you the best possibility of success.<br />
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<h3>
Process the clay and glaze as recommended by the supplier </h3>
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<tr><td class="tr-caption" style="text-align: center;">Orton Cones</td></tr>
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The making and firing process used to make the pottery is as important as the clay and glaze materials. Therefore process the clay and apply the glaze as recommended by the supplier. Fire the clay and glaze in the kiln as recommended by the supplier. Firing is often controlled by a firing cycle input into an electronic controller and/or Orton cone values. For more information on firing read my detailed article <a href="http://pottersfriend.co.uk/p.php?page=Firing" target="_blank">how to properly fire your pottery.</a><br />
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Once you are happy with the finished result repeat it several times. This proves the process you have used will work consistently as well as giving you confidence in your skills.<br />
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Make a note of the clay body, the glaze, the firing schedules and take a photo of the fired appearance. In this way you will always have a record of how to reproduce your great work of art!<br />
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<h3>
Only once skilled add your own artistic flair</h3>
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Making pottery is a combination of art and science. The art to design something unique and the science to make it into a product. Only when you have the basic pottery skills and can repeatedly create the same basic product should you become focused on artistic flair.</div>
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<h3>
Developing your own style and delight in making something unique</h3>
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<tr><td style="text-align: center;"><a alt="raku firing by Lori Duncan" href="http://t0.gstatic.com/images?q=tbn:ANd9GcTlTiywDYlYQVdtjq08p3WWwgs9u_PaOux09p8UVhcsxLC6mnmDZQ" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;" title="Lori Duncan Raku jar"><img border="0" src="http://t0.gstatic.com/images?q=tbn:ANd9GcTlTiywDYlYQVdtjq08p3WWwgs9u_PaOux09p8UVhcsxLC6mnmDZQ" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Lori Duncan Raku</td></tr>
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Potters are often most satisfied when they have developed their unique style or products. Using baking as analogy, top bakers often specialise in making bread, cakes or pastries and have their one stand out dish. Likewise potters specialise in stoneware, raku or wood firing or other depending on their influences.<br />
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However they develop this over many years of making and studying pottery. </div>
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So do not rush to specialise too early. What all master potters have in common is a strong basic knowledge of clay, glaze and firing.</div>
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<h3>
Keep on learning and enjoy</h3>
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<br /></div>
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Pottery making is meant to be enjoyable so make sure this happens. One way to do this is to continue to learn new things. In pottery making this is relatively easy as the subject is so diverse and changing that you never become a master of all.<br />
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Once adept at basic skills look at all elements of what you do not just the making technique. Using materials such as colour creatively can open a whole new spectrum of ware. For example if you only made plain glossy white, look at making some coloured glazed pieces.<br />
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One way to do this successfully is to enrol on a pottery course specialising on one type of technique. For example studio potters often run courses to help others develop their knowledge of raku or wood firing or sculpting etc. For more information see my <a href="http://www.pottersfriend.co.uk/p.php?page=Classes" target="_blank">list of pottery courses/classes</a> available in the UK<br />
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Above all enjoy!<br />
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Good Luck<br />
Happy Potting<br />
The Potters Friend</div>
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<br />The Potters Friendhttp://www.blogger.com/profile/05345030874426727684noreply@blogger.com0tag:blogger.com,1999:blog-9011734377029009832.post-6564704205268148182013-06-05T13:37:00.000+01:002016-01-07T11:52:42.612+00:00Self cleaning plates and lego style brick houses? Are these ceramics of the future? <div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEZuLPSPq1RRimbXKOsqVUnMi1lanzqXvpgGrtewvXZvABJmYBl5rKLBEuxPSsY-nfD94-s4NrCqpernre06N4S35YUUcJxadkn0dauIG20-ENqfstjIQSDXmnIrukFG0R3U2-98sMGt5v/s1600/Trafalgardetail_legoland_Copyright2003KTai+(2).jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="238" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEZuLPSPq1RRimbXKOsqVUnMi1lanzqXvpgGrtewvXZvABJmYBl5rKLBEuxPSsY-nfD94-s4NrCqpernre06N4S35YUUcJxadkn0dauIG20-ENqfstjIQSDXmnIrukFG0R3U2-98sMGt5v/s320/Trafalgardetail_legoland_Copyright2003KTai+(2).jpg" width="270" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Legoland By Copyright © 2003 Kaihsu Tai <br />
via Wikimedia Commons</td></tr>
</tbody></table>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGP-9WNfJ5dBiEjWP9o1-yxQ-a9QFCxVElTq1kK1YXeOPiG-jU9_wI7FJmRrTGK8WkWPMBCd6Lp00HT_iJDauNmTIsr0D65xBKOKH0Y8bLIwnQDhoPIIvZ041LNx4VisrBdvb-bsc_DKbZ/s1600/easy+clean+glass.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="238" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGP-9WNfJ5dBiEjWP9o1-yxQ-a9QFCxVElTq1kK1YXeOPiG-jU9_wI7FJmRrTGK8WkWPMBCd6Lp00HT_iJDauNmTIsr0D65xBKOKH0Y8bLIwnQDhoPIIvZ041LNx4VisrBdvb-bsc_DKbZ/s320/easy+clean+glass.jpg" width="270" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Self cleaning Glass</td></tr>
</tbody></table>
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I recently read an article about the possible future of textiles. Designers were predicting the living shoe and the strawberry plant that grows lace. Whilst fanciful such ideas have a slim chance of becoming reality.<br />
<br />
That made me think about ceramics. What will be the future of our beloved ceramics in 50 years from now? Perhaps it will be self cleaning plates and lego style brick houses? Again these may seem far fetched to most but they are already possible in a small way.
</div>
<br />
<br />
<h3>
The next 50 years in ceramics - my vision</h3>
<div>
My vision is based mostly on what is possible now but not necessarily in ceramics</div>
<div>
<br /></div>
<h3 style="text-align: left;">
100% Recycling</h3>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnLiB_oQdjp0HRU6i_0VYKcsboISMOtK62RtAFupCaCsHDGOgy8uc_9Yutyg97wP_J7OGjL4ZLv0jMNdn5jxOdTAFlafVEfN3aCsvj2i5tISGXvkPSm4AYFDFws7aNUx-x7VCvrGMC3JYV/s1600/waste+pottery.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="206" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnLiB_oQdjp0HRU6i_0VYKcsboISMOtK62RtAFupCaCsHDGOgy8uc_9Yutyg97wP_J7OGjL4ZLv0jMNdn5jxOdTAFlafVEfN3aCsvj2i5tISGXvkPSm4AYFDFws7aNUx-x7VCvrGMC3JYV/s320/waste+pottery.jpg" width="320" /></a></div>
<div>
<br /></div>
<div>
Without doubt ceramics will be recycled in a more comprehensive and systematic way. Recycling points will be readily available in every part of the country. Ceramics will be reprocessed by barcode or other tracer systems which will allow them to be separated for more economic recycling or re-use.</div>
<div>
<br /></div>
<h3 style="text-align: left;">
</h3>
<h3 style="text-align: left;">
Greater personalisation in Design</h3>
<div>
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYgKvrurMMFzzAQtDuM2k9oV1-0G_adiSOjh-dncERPRVIj8ufZbQ5VKOWj56oPyTKFfKqJFremMvCKky_ZmibQMEAG2bg8xQlFGj3klOm3EKIalg4pgaXxcC4_hcII57G_oKFv1NnN_95/s1600/pink-rim-ruby-rose-150.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYgKvrurMMFzzAQtDuM2k9oV1-0G_adiSOjh-dncERPRVIj8ufZbQ5VKOWj56oPyTKFfKqJFremMvCKky_ZmibQMEAG2bg8xQlFGj3klOm3EKIalg4pgaXxcC4_hcII57G_oKFv1NnN_95/s320/pink-rim-ruby-rose-150.jpg" width="320" /></a>The changes in pottery fashion are more rapid now than at any other time. This trend is likely to continue. Changes to our dining habits, less formal dining and more casual dining, is reflected in the ceramics we buy. Ceramics are now mostly considered a disposable item and need to fit more closely with our lifestyles. This has led to a wider choice of colour and shape. For example a whole range of ware may be used for dining instead of a single dinner plate.<br />
<br />
The future however is likely to bring us even more personalisation in design. Designs will be agreed at the point of sale or online and products will leave the factory 24 hours later. Scope for designing your own tableware is not far away now and will be common place in the future. Personalisation is already available in a small way but this will grow exponentially as technology progresses.<br />
<br />
<h3 style="text-align: left;">
Lightweight strong ceramics</h3>
<div>
<br /></div>
<div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhR4CrsVVxj1fdMKTqCrPOIps5s_QSpxvw-5K7wW-sHYSxULA7-iRqkdm3XdfBY7fupyr93Ysk5L4fF-JScjomD0sbdM-5UU6nbI0Aof8iJYlYQx_P1dJHNROFL4gW0WRtJtgXaL5crHJ0m/s1600/lightweight+ceramic.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="148" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhR4CrsVVxj1fdMKTqCrPOIps5s_QSpxvw-5K7wW-sHYSxULA7-iRqkdm3XdfBY7fupyr93Ysk5L4fF-JScjomD0sbdM-5UU6nbI0Aof8iJYlYQx_P1dJHNROFL4gW0WRtJtgXaL5crHJ0m/s320/lightweight+ceramic.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span class="img-title" style="background-color: white; border: 0px; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px; font-weight: bold; line-height: 15.390625px; margin: 0px; outline: 0px; padding: 0px; text-align: left; vertical-align: baseline;">Abalone Armor </span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px; font-weight: bold; line-height: 15.390625px; text-align: left;"></span><span class="img-summary" style="background-color: white; border: 0px; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px; line-height: 15.390625px; margin: 0px; outline: 0px; padding: 0px; text-align: left; vertical-align: baseline;">Paper-thin armor courtesy of nature </span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px; font-weight: bold; line-height: 15.390625px; text-align: left;"></span><span class="pic-credit" style="background-color: white; border: 0px; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px; font-style: italic; line-height: 15.390625px; margin: 0px; outline: 0px; padding: 0px; text-align: right; vertical-align: baseline;">Andreas Walther</span></td></tr>
</tbody></table>
Ceramics will become lighter and stronger! Lightweight ceramics have already been developed for military purposes but ultimately these ceramics will become part of the pottery scene. The advantages of light weight and strength are significant not only to the carbon footprint but also to manufacturing and transport costs.<br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq9k6iXUxf2Ob-XG8yKiEdjbpzme0LUffYdUWAekmBSzVBJEjNGWBJ8yJDWm1auR86q4rrPX48VGe83aRN7eZ_30VRddNDRONZjNuB3oDoXpKl57CpnlY0jQ1ZxhsoJWyzkxIFuqHEEvUv/s1600/eggshell+porcelan.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="126" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq9k6iXUxf2Ob-XG8yKiEdjbpzme0LUffYdUWAekmBSzVBJEjNGWBJ8yJDWm1auR86q4rrPX48VGe83aRN7eZ_30VRddNDRONZjNuB3oDoXpKl57CpnlY0jQ1ZxhsoJWyzkxIFuqHEEvUv/s200/eggshell+porcelan.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Egg shell porcelain courtesy <br />
of Victoria and Albert museum</td></tr>
</tbody></table>
A good example of ultra thin ceramics is <a href="http://www.britannica.com/EBchecked/topic/180266/eggshell-porcelain"><i>Eggshell porcelain</i> </a>, a delicate porcelain often decorated with a watermark-like image dating back to the Ming dynasty (1402-1424). Nevertheless because of lack of strength it has not found widespread use for dinnerware. Future ultra thin ceramics will have sufficient strength to make them suitable for a wide range of ceramics.<br />
<br />
Imagine drinking from a paper thin highly decorated mug that is heat retaining but virtually unbreakable?</div>
<div>
<br /></div>
<h3 style="text-align: left;">
Warm self cleaning sanitaryware</h3>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhByd7tjTLm8wEgoaEbXw4Q7-DgYnPQYEFgjX0i-jlszrmyn7UueDbEg2CjfzEkXPQID_Mq5pgFd94o8cdZFtnotLCHDao8WredhDbx8xufxAqHRFp9bPvmLa06kXLkMipT3NDlBz05iwjb/s1600/bathroom+ceramics.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="280" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhByd7tjTLm8wEgoaEbXw4Q7-DgYnPQYEFgjX0i-jlszrmyn7UueDbEg2CjfzEkXPQID_Mq5pgFd94o8cdZFtnotLCHDao8WredhDbx8xufxAqHRFp9bPvmLa06kXLkMipT3NDlBz05iwjb/s320/bathroom+ceramics.jpg" width="320" /></a></div>
Composite materials are mixtures of materials eg ceramic and plastic which when combined give superior properties when compared to the individual materials alone. Such type of materials are common place in the military and aerospace industry. However they are less well used in domestic applications. Nevertheless car windshields are often a composite of glass and plastic. Here a layer of plastic is embedded in between two layers of glass to give extra strength and toughness.<br />
<br />
In time other composite materials will emerge in household products. I can imagine a bathroom where the ceramic composites used are warm to the touch, with antibacteral surfaces that are virtually self cleaning. Water is recycled at point of use via ceramic composite filtering systems.<br />
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<h3 style="text-align: left;">
3D Digital printing- or how to doodle your own cup and plate!</h3>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMqLJQpQlKSw4NNru2OJck7fKJ0aQFrcPCSdZceoOfS-KGuf4sX5v9aRvxTP3nUf4zn_6FVE3_stbgtuFTDm6OQG9JVRG6hjqZ3t2WjH9vFQE2QWQ-_RPoAeaWLx8J_yHiU1W5E6X58YTP/s1600/Pugin+coaster3.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMqLJQpQlKSw4NNru2OJck7fKJ0aQFrcPCSdZceoOfS-KGuf4sX5v9aRvxTP3nUf4zn_6FVE3_stbgtuFTDm6OQG9JVRG6hjqZ3t2WjH9vFQE2QWQ-_RPoAeaWLx8J_yHiU1W5E6X58YTP/s1600/Pugin+coaster3.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">2d digital printing of colour</td></tr>
</tbody></table>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVzEbeOlV1_7YHgYrJ5iRV77T9JXtzmzDp4wfqJiflfbEZBW9U-K4QzLe-4quyGnadmzWsNOzPKfTr5X9-3TB6fCmuC6RTo31rGTUbilknSFKiupzuqK3fgl94HSe5J2ZFd2NqsEF3JdIP/s1600/sugar_bowl+3d+printed.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVzEbeOlV1_7YHgYrJ5iRV77T9JXtzmzDp4wfqJiflfbEZBW9U-K4QzLe-4quyGnadmzWsNOzPKfTr5X9-3TB6fCmuC6RTo31rGTUbilknSFKiupzuqK3fgl94HSe5J2ZFd2NqsEF3JdIP/s1600/sugar_bowl+3d+printed.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">3d digital printing of a sugar bowl</td></tr>
</tbody></table>
Digital 2d colour printing is already well established for printing of coloured images on to paper. It is already making significant inroads for the decoration of tiles and tableware. In the case of ceramics the 4 colours used in ink jet photocopier type machines are replaced by up to 10 ceramic coloured inks. These are then used to decorate ceramics directly or via an intermediate stage such as paper transfers. The result is a high quality image in rapid time using an amazingly flexible system. But digital printing does not stop there! 3D printing of ceramics is in its infancy. Greater design possibilities as well as the personalisation already discussed above will become the norm.<br />
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But what does this all mean? In essence a 3d computer design will create a 3 dimensional object via a robotic system by building a series of 2d layers. A good analogy would be building a wall brick by brick but at particle or even molecualar level.<br />
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Already there is a <a href="http://www.psfk.com/2013/02/3d-printing-pen.html">3d printing pen</a> that transfers what you draw into a 3d object in plastic. If you had a pen that would allow you to doodle a 3d object of the future what would you draw?<br />
<h3>
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<h3>
</h3>
<h3>
Eco Style Ceramic bricks and panels</h3>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5vzaoYQ0vy4bKppsa-N75cyxUF2RCS2dalbeJuvQIfe7boQRQirsemG2dIZpDY7K1iVbCxgKNzn3KXGMxbhQkDpxslehxxxeoivaDxHeH1Qb24l2NulYtgHMCda0fNuERy9Hl30iMVL1p/s1600/fertighaus_oslo_1.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="157" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5vzaoYQ0vy4bKppsa-N75cyxUF2RCS2dalbeJuvQIfe7boQRQirsemG2dIZpDY7K1iVbCxgKNzn3KXGMxbhQkDpxslehxxxeoivaDxHeH1Qb24l2NulYtgHMCda0fNuERy9Hl30iMVL1p/s320/fertighaus_oslo_1.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Eco house from</td></tr>
</tbody></table>
<div>
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<div>
Although the detail of design, decoration and processes used in brick making has changed greatly in recent years, the basic idea of shaping raw clay into rectangular blocks remains much the same. Ceramic bricks have changed little in hundreds of years. In many ways this is cost driven so will need radical changes in house construction for this concept to change. </div>
<div>
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However this is happening albeit slowly as more eco houses are being constructed (in part) off site and delivered to site for final assembly. This trend will continue. The idea of coventional bricks will change as this type of housing grows. It is not too stretching an idea to believe that strong lightweight ceramics in the form of legotype bricks or panels could be used in all future house construction. </div>
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Who knows the eco <a href="http://www.guardian.co.uk/money/gallery/2011/jun/26/eco-houses-off-site-construction">house of the future</a> could be manufactured entirely off site and only services and fixings completed on site! </div>
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<h3>
What do you think?</h3>
So whilst far fetched I believe many of the above have a reasonable chance of becoming reality. What do you think of my ideas? Do you have some (better) ideas of your own? I look forward to hearing all about them.<br />
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More information and other technical articles on pottery and ceramics can be found at my website <a href="http://www.pottersfriend.co.uk/">The Potters Friend</a>.<br />
<br />
Go now to sign up for my free <a href="http://www.pottersfriend.co.uk/mailings/add_subscription.php">newsletter</a>.
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The Potters Friendhttp://www.blogger.com/profile/05345030874426727684noreply@blogger.com0tag:blogger.com,1999:blog-9011734377029009832.post-40421354468612984762013-04-29T08:40:00.000+01:002015-06-15T16:18:57.341+01:00How to Choose a Pottery Wheel<table border="0" cellpadding="1" cellspacing="1" style="height: 1000px; width: 600px;">
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<td><div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdopgSSxC8TeYQh3l3KWG1eEXCKAXuroGzHlzxcZ6XR5bGmxXyMS32iFwoPd9BxQL0kQXfrGv1tKmL2ID55fQJynPWfYhoyPeKI0sKnXuZ9Vvhg20VCLSwqnxrHCQyigoTP_ScF6_oETKi/s1600/04_pot.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdopgSSxC8TeYQh3l3KWG1eEXCKAXuroGzHlzxcZ6XR5bGmxXyMS32iFwoPd9BxQL0kQXfrGv1tKmL2ID55fQJynPWfYhoyPeKI0sKnXuZ9Vvhg20VCLSwqnxrHCQyigoTP_ScF6_oETKi/s1600/04_pot.png" /></a></div>
Buying a pottery wheel can be quite an expensive issue.<br />
Whilst second hand wheels exist it is difficult to judge their state of repair and future reliability. Therefore make sure you make an informed choice. <br />
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So what factors should you consider when buying your pottery wheel?<br />
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<h3>
Weight of clay</h3>
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When choosing a pottery wheel the weight of clay you intend to throw decides the power of the motor you will need for a power driven wheel.<br />
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Typical weights are as follows:<br />
<ul>
<li>¼ HP for small pottery items 20lbs (10kgs approx) max for beginners</li>
<li>½ HP for medium sized items up to 100lbs (25 kgs approx) max suitable for most commercial potters</li>
<li>1 HP for large items 200lbs (50kgs approx) for experienced potters making very large items.</li>
</ul>
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<h3>
Quality and ease of operation</h3>
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Quality of wheel can be an issue as it comes at a price. However you should also consider at least:<br />
<iframe align="right" frameborder="0" hspace="10" marginheight="0" marginwidth="0" scrolling="no" src="http://rcm-na.amazon-adsystem.com/e/cm?lt1=_blank&bc1=000000&IS2=1&bg1=fc1=000000&lc1=0000FF&t=thepotfri-20&o=1&p=8&l=as1&m=amazon&f=ifr&ref=tf_til&asins=B0009F76BM" style="height: 240px; width: 120px;"></iframe> <iframe align="right" frameborder="0" marginheight="0" marginwidth="0" scrolling="no" src="http://rcm-uk.amazon.co.uk/e/cm?t=wwwpottersfri-21&o=2&p=8&l=as1&asins=1600592449&ref=tf_til&fc1=000000&IS2=1&lt1=_blank&m=amazon&lc1=0000FF&bc1=000000&bg1=&f=ifr" style="height: 240px; width: 120px;"></iframe>
<br />
<ul>
<li>Noise-older type wheels can be quite noisy whilst some recent models are whisper quiet</li>
<br />
<li>Smoothness of pedal operation</li>
<br />
<li>Smoothness of wheel particularly at low speeds- a jerky transition of speed can cause difficulties -important for delicate shaping</li>
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<li>Reversability-can it be used by left and right handed people?</li>
<br />
<li>Electric or kick-wheel operation? Foot pedal or hand lever operation?
Whilst kick wheel models may be cheaper they can take some getting use to if you are already used to an electric powered</li>
<li>Wheel head size and predrilled holes- The wheel head size dictates the max diameter of clay piece which can be thrown. Holes in the wheelhead allow a bat (special disc) to be used. Pins allow release of the bat, holding the thrown piece, from the wheelhead. The thrown piece can then be removed easily for drying while a new piece is thrown.</li>
</ul>
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<h3>
Mobility</h3>
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Some wheels are very light in weight and designed to be portable whilst others are meant to be static. Consider if you want to move the wheel between different locations. Heavy powerful wheels can be more durable and long lasting.<br />
Examples of different wheel types are:<br />
<br />
<h4>
A Tabletop Wheel</h4>
<span class="Apple-style-span" style="color: #0000ee;"> </span><img alt="" border="0" src="http://www.lduhtrp.net/image-3925330-10495307" height="1" width="1" /> <a href="http://www.jdoqocy.com/click-3925330-10495307?url=http%3A%2F%2Fwww.dickblick.com%2Fproducts%2Fshimpo-aspire-pottery-wheel%2F%3Fwmcp%3Dcj%26wmcid%3Dfeeds%26wmckw%3D30042-1001&cjsku=30042-1001" target="_top"><img align="right" alt="Shimpo Aspire Pottery Wheel" border="0" src="http://www.dick-blick.com/items/300/42/30042-1001-2ww-m.jpg" hspace="2" title="Buy a Shimpo Aspire Pottery Wheel" vspace="2" /></a><img alt="" border="0" src="http://www.lduhtrp.net/image-3925330-10495307" height="1" width="1" />
<br />
The Shimpo Aspire can handle your most creative challenges. Its lightweight, compact design makes it easy to transport, and a 20 lb centering capacity makes it a practical addition to any studio or classroom. The Aspire features a 1/3 HP, 100W DC motor, a 7" alloy wheel head, and a removable one-piece splash pan. The wheels speed ranges from 0–230 rpm, controlled by a hand lever. Also included are two 9¾" bats. It measures 9" H × 14½" W × 20" L and weighs 25 lb . Amazing, affordable, accommodating … Aspire! Shimpo’s Aspire Pottery Wheel includes a two-year limited manufacturer’s warranty. <br />
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<br />
<h4>
A Powerful model suitable for seated use</h4>
<ul><a href="http://www.tkqlhce.com/click-3925330-10495307?url=http%3A%2F%2Fwww.dickblick.com%2Fproducts%2Fbrent-model-b-and-c-power-wheels%2F%3Fwmcp%3Dcj%26wmcid%3Dfeeds%26wmckw%3D30007-0000&cjsku=30007-0000" target="_top"><img align="right" alt="Brent Model B" border="0" src="http://www.dick-blick.com/items/300/07/30007-0000-4-2ww-m.jpg" title="Buy Brent model B" /></a><img alt="" border="0" src="http://www.tqlkg.com/image-3925330-10495307" height="1" width="1" /> </ul>
Brent wheel Model B is designed to fill the needs of schools and studio potters. Competitively priced, this wheel is quiet and solid under 150 lb (68 kg) loads of clay. A 1/2 HP motor provides the power and weight necessary for school use. A splash pan and 12" Plasti-Bat are included. Shipping weight is 112 lb (51 kg). Truck shipment is required. 10-year limited warranty. CE-certified.<br />
<br />
<br />
<h4>
Super quiet model for seated use-The Shimpo's Whisper</h4>
<ul>
<a href="http://www.kqzyfj.com/click-3925330-10495307?url=http%3A%2F%2Fwww.dickblick.com%2Fproducts%2Fshimpo-rk-whisper-potters-wheel%2F%3Fwmcp%3Dcj%26wmcid%3Dfeeds%26wmckw%3D30028-4012&cjsku=30028-4012" target="_top"><img align="right" alt="Shimpo RK-Whisper Potter's Wheel" border="0" src="http://www.dick-blick.com/items/300/28/30028-4012-2ww-m.jpg" title="Buy Shimpo RK-Whisper Potter's Wheel" /></a><img alt="" border="0" src="http://www.tqlkg.com/image-3925330-10495307" height="1" width="1" /> </ul>
Potter's Wheel is extremely responsive, with high torque at all speeds. It's powerful, and by far the quietest pottery wheel on the market. The ½ HP, brushless DC motor has a direct drive (no belt) system and a broad speed range for optimum control. A fixed foot pedal with hand lever operates the electronically controlled motor. The motor is reversible for lefthanded and righthanded users. The 12" wheelhead and two-piece splash pan are standard. Centers up to 100 lbs. The wheelhead also turns freely, so it can be used as a banding wheel at 0 rpm.<br />
<img alt="" border="0" src="http://www.lduhtrp.net/image-5010545-10495307" height="1" width="1" /></td>
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<tr>
<td><h3>
Warranty and Cost</h3>
Warranty and cost often go hand in hand. A warranty can be anything between 1 and 10 years and cost will be upward of $350 dollars for a new wheel. It is worth asking if it can be repaired locally within the warranty if anything goes wrong..</td>
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<div>
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</div>The Potters Friendhttp://www.blogger.com/profile/05345030874426727684noreply@blogger.com0tag:blogger.com,1999:blog-9011734377029009832.post-24703553354611020782013-02-19T16:22:00.000+00:002016-03-11T10:25:52.041+00:00Digital printing of ceramics<h2>
<span style="color: black;">Digital printing of ceramics and decals</span></h2>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMqLJQpQlKSw4NNru2OJck7fKJ0aQFrcPCSdZceoOfS-KGuf4sX5v9aRvxTP3nUf4zn_6FVE3_stbgtuFTDm6OQG9JVRG6hjqZ3t2WjH9vFQE2QWQ-_RPoAeaWLx8J_yHiU1W5E6X58YTP/s1600/Pugin+coaster3.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMqLJQpQlKSw4NNru2OJck7fKJ0aQFrcPCSdZceoOfS-KGuf4sX5v9aRvxTP3nUf4zn_6FVE3_stbgtuFTDm6OQG9JVRG6hjqZ3t2WjH9vFQE2QWQ-_RPoAeaWLx8J_yHiU1W5E6X58YTP/s1600/Pugin+coaster3.jpg" /></a>Digital printing of decals and ceramic tiles is already well established. Computer generated images can be printed directly onto ceramic tiles via special inkjet systems. Alternatively a photocopier type system can be used to print onto decal paper. Of course both these systems require special machines and ceramic inks or toners to produce optimum results. Nevertheless these systems are causing a revolution in the ceramic tile industry.
<br />
<h2>
<span style="color: black;"><b><br /></b></span></h2>
<h2>
<span style="color: black;"><b>The detail of decal printing</b></span></h2>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOteWOlhFUPtDRu7OPNCaxupEyXkF7eeF__uwX-26rwv4F3cK7hGiT1HL9Myp6mAyF_kcinoVOia0IRleLylogOl9_CrIkZ9ZMfl-UJcUbcAMTzEReo7qYROKo_Eu1gZKUmKQC2UcTktjy/s1600/ricoh+desktop+ceramic+printer.png" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOteWOlhFUPtDRu7OPNCaxupEyXkF7eeF__uwX-26rwv4F3cK7hGiT1HL9Myp6mAyF_kcinoVOia0IRleLylogOl9_CrIkZ9ZMfl-UJcUbcAMTzEReo7qYROKo_Eu1gZKUmKQC2UcTktjy/s320/ricoh+desktop+ceramic+printer.png" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ricoh desktop ceramic printer</td></tr>
</tbody></table>
<br />
In the case of digital decal, you can either create a drawing or photograph and then convert it to a digital image suitable for printing on to decal paper. The image is produced as a decal by a photocopier type machine. After printing the image is sealed to the paper with a covercoat and allowed to dry. The decal can then be applied in the same way as conventional decals by a water slide method. Decorators have the choice of either outsourcing decals (small quantities) or for large quantities buying a machine and toners and printing themselves..<br />
<br />
<h2>
<span style="color: black;"><br /></span></h2>
<h2>
<span style="color: black;">The detail of ink jet printing of tiles</span></h2>
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<td class="MsoNormal" rowspan="1" style="background-color: transparent; border-bottom: #ece9d8; border-left: #ece9d8; border-right: #ece9d8; border-top: #ece9d8; padding-bottom: 0.75pt; padding-left: 0.75pt; padding-right: 0.75pt; padding-top: 0.75pt;"><div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<b><span style="font-size: small;"><span style="font-family: "times new roman";">Pigment </span></span></b><span style="font-size: small;"><span style="font-family: "times new roman";"><o:p></o:p></span></span></div>
</td>
<td rowspan="1" style="background-color: transparent; border-bottom: #ece9d8; border-left: #ece9d8; border-right: #ece9d8; border-top: #ece9d8; padding-bottom: 0.75pt; padding-left: 0.75pt; padding-right: 0.75pt; padding-top: 0.75pt;"><div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<b><span style="font-size: small;"><span style="font-family: "times new roman";">System </span></span></b><span style="font-size: small;"><span style="font-family: "times new roman";"><o:p></o:p></span></span></div>
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<td rowspan="1" style="background-color: transparent; border-bottom: #ece9d8; border-left: #ece9d8; border-right: #ece9d8; border-top: #ece9d8; padding-bottom: 0.75pt; padding-left: 0.75pt; padding-right: 0.75pt; padding-top: 0.75pt; width: 75pt;"><div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<b><span style="font-size: small;"><span style="font-family: "times new roman";"> Temperature<br />
</span></span></b><span style="font-size: small;"><span style="font-family: "times new roman";"><o:p></o:p></span></span></div>
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<td rowspan="1" style="background-color: transparent; border-bottom: #ece9d8; border-left: #ece9d8; border-right: #ece9d8; border-top: #ece9d8; padding-bottom: 0.75pt; padding-left: 0.75pt; padding-right: 0.75pt; padding-top: 0.75pt; width: 75pt;"><div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<b><span style="font-size: small;"><span style="font-family: "times new roman";">Colour</span></span></b><span style="font-size: small;"><span style="font-family: "times new roman";"><br />
<o:p></o:p></span></span></div>
</td>
</tr>
<tr style="mso-yfti-irow: 2;">
<td style="background-color: transparent; border-bottom: #ece9d8; border-left: #ece9d8; border-right: #ece9d8; border-top: #ece9d8; padding-bottom: 0.75pt; padding-left: 0.75pt; padding-right: 0.75pt; padding-top: 0.75pt;"><div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: small;"><span style="font-family: "times new roman";"> Yellow <o:p></o:p></span></span></div>
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<td style="background-color: transparent; border-bottom: #ece9d8; border-left: #ece9d8; border-right: #ece9d8; border-top: #ece9d8; padding-bottom: 0.75pt; padding-left: 0.75pt; padding-right: 0.75pt; padding-top: 0.75pt;"><div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: small;"><span style="font-family: "times new roman";"> Zr-Si- Pr <o:p></o:p></span></span></div>
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<td style="background-color: transparent; border-bottom: #ece9d8; border-left: #ece9d8; border-right: #ece9d8; border-top: #ece9d8; padding-bottom: 0.75pt; padding-left: 0.75pt; padding-right: 0.75pt; padding-top: 0.75pt;"><div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: small;"><span style="font-family: "times new roman";"> 1250 °C <o:p></o:p></span></span></div>
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<td style="background: #f5df0a; border-bottom: #ece9d8; border-left: #ece9d8; border-right: #ece9d8; border-top: #ece9d8; padding-bottom: 0.75pt; padding-left: 0.75pt; padding-right: 0.75pt; padding-top: 0.75pt; width: 75pt;" width="100"><div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
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</td>
</tr>
<tr style="mso-yfti-irow: 3;">
<td style="background-color: transparent; border-bottom: #ece9d8; border-left: #ece9d8; border-right: #ece9d8; border-top: #ece9d8; padding-bottom: 0.75pt; padding-left: 0.75pt; padding-right: 0.75pt; padding-top: 0.75pt;"><div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: small;"><span style="font-family: "times new roman";"> Red Magenta <o:p></o:p></span></span></div>
</td>
<td style="background-color: transparent; border-bottom: #ece9d8; border-left: #ece9d8; border-right: #ece9d8; border-top: #ece9d8; padding-bottom: 0.75pt; padding-left: 0.75pt; padding-right: 0.75pt; padding-top: 0.75pt;"><div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: small;"><span style="font-family: "times new roman";"> Zr-Cd-Si-Se <o:p></o:p></span></span></div>
</td>
<td style="background-color: transparent; border-bottom: #ece9d8; border-left: #ece9d8; border-right: #ece9d8; border-top: #ece9d8; padding-bottom: 0.75pt; padding-left: 0.75pt; padding-right: 0.75pt; padding-top: 0.75pt;"><div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: small;"><span style="font-family: "times new roman";"> 1250 °C <o:p></o:p></span></span></div>
</td>
<td style="background: #d11e25; border-bottom: #ece9d8; border-left: #ece9d8; border-right: #ece9d8; border-top: #ece9d8; padding-bottom: 0.75pt; padding-left: 0.75pt; padding-right: 0.75pt; padding-top: 0.75pt; width: 75pt;" width="100"><div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<br /></div>
</td>
</tr>
<tr style="mso-yfti-irow: 4;">
<td style="background-color: transparent; border-bottom: #ece9d8; border-left: #ece9d8; border-right: #ece9d8; border-top: #ece9d8; padding-bottom: 0.75pt; padding-left: 0.75pt; padding-right: 0.75pt; padding-top: 0.75pt;"><div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: small;"><span style="font-family: "times new roman";"> Cyan <o:p></o:p></span></span></div>
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<td style="background-color: transparent; border-bottom: #ece9d8; border-left: #ece9d8; border-right: #ece9d8; border-top: #ece9d8; padding-bottom: 0.75pt; padding-left: 0.75pt; padding-right: 0.75pt; padding-top: 0.75pt;"><div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: small;"><span style="font-family: "times new roman";"> Zr-V-Si <o:p></o:p></span></span></div>
</td>
<td style="background-color: transparent; border-bottom: #ece9d8; border-left: #ece9d8; border-right: #ece9d8; border-top: #ece9d8; padding-bottom: 0.75pt; padding-left: 0.75pt; padding-right: 0.75pt; padding-top: 0.75pt;"><div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: small;"><span style="font-family: "times new roman";"> 1250 °C <o:p></o:p></span></span></div>
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<td style="background: #008db4; border-bottom: #ece9d8; border-left: #ece9d8; border-right: #ece9d8; border-top: #ece9d8; padding-bottom: 0.75pt; padding-left: 0.75pt; padding-right: 0.75pt; padding-top: 0.75pt; width: 75pt;" width="100"><div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<br /></div>
</td>
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<tr style="mso-yfti-irow: 5; mso-yfti-lastrow: yes;">
<td style="background-color: transparent; border-bottom: #ece9d8; border-left: #ece9d8; border-right: #ece9d8; border-top: #ece9d8; padding-bottom: 0.75pt; padding-left: 0.75pt; padding-right: 0.75pt; padding-top: 0.75pt;"><div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: small;"><span style="font-family: "times new roman";"> Black <o:p></o:p></span></span></div>
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<td style="background-color: transparent; border-bottom: #ece9d8; border-left: #ece9d8; border-right: #ece9d8; border-top: #ece9d8; padding-bottom: 0.75pt; padding-left: 0.75pt; padding-right: 0.75pt; padding-top: 0.75pt;"><div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: small;"><span style="font-family: "times new roman";"> Fe-Cr-Co-Ni <o:p></o:p></span></span></div>
</td>
<td style="background-color: transparent; border-bottom: #ece9d8; border-left: #ece9d8; border-right: #ece9d8; border-top: #ece9d8; padding-bottom: 0.75pt; padding-left: 0.75pt; padding-right: 0.75pt; padding-top: 0.75pt;"><div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: small;"><span style="font-family: "times new roman";"> 1250 °C <o:p></o:p></span></span></div>
</td>
<td style="background: black; border-bottom: #ece9d8; border-left: #ece9d8; border-right: #ece9d8; border-top: #ece9d8; padding-bottom: 0.75pt; padding-left: 0.75pt; padding-right: 0.75pt; padding-top: 0.75pt; width: 75pt;" width="100"><div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<br /></div>
</td>
</tr>
<tr colspan="4"><td class="tr-caption" style="text-align: center;">Primary 4 colours used in ink jet printing</td></tr>
</tbody>
</table>
<br />
In the case of ink jet printing, the digital image is converted to a ceramic image using a specially adapted ink jet printer and special inks. The ceramic tile passes beneath the printer head and the ink jet colour nozzles deposit the image on the tile.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEho_RicEhKUCGeCwdkvprvjPbKsYPWUrwNYGeT6xRs5AxZ-mbGfHzldXklx8HwThBC8-YqvyNv_WAlRT_AyrvsUalPhROvOvpREnPKTI2PlztpZyFaUP-cfzR6u6IMrIzcibFY0GafPR3ll/s1600/Gamma75HDS-Detail-472_01.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="160" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEho_RicEhKUCGeCwdkvprvjPbKsYPWUrwNYGeT6xRs5AxZ-mbGfHzldXklx8HwThBC8-YqvyNv_WAlRT_AyrvsUalPhROvOvpREnPKTI2PlztpZyFaUP-cfzR6u6IMrIzcibFY0GafPR3ll/s320/Gamma75HDS-Detail-472_01.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Gamma Ink Jet Tile Printer</td></tr>
</tbody></table>
Typically up to 10 ceramic colours are used to produce high quality digital images, 4 similar to the primary colours shown above plus additional spot colours. Browns, coral reds and white are commonly used to fill gaps in the colour space. Special printer heads are used to cope with the highly abrasive ceramic inks. For maximum definition and colour intensity special glazes are sometimes used as the base for printing the coloured image. The printed item can be fired almost immediately after drying.<br />
<h2>
<span style="color: black;"><br /></span></h2>
<h2>
<span style="color: black;">3d Printing of Ceramics</span></h2>
<b></b>
<br />
I am constantly amazed at the ceramic challenges I see each year. Whilst making pottery and ceramics is an ancient tradition, new industrial processes and products (or the re-introduction of many older techniques) continue to stretch the imagination.<br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVzEbeOlV1_7YHgYrJ5iRV77T9JXtzmzDp4wfqJiflfbEZBW9U-K4QzLe-4quyGnadmzWsNOzPKfTr5X9-3TB6fCmuC6RTo31rGTUbilknSFKiupzuqK3fgl94HSe5J2ZFd2NqsEF3JdIP/s1600/sugar_bowl+3d+printed.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVzEbeOlV1_7YHgYrJ5iRV77T9JXtzmzDp4wfqJiflfbEZBW9U-K4QzLe-4quyGnadmzWsNOzPKfTr5X9-3TB6fCmuC6RTo31rGTUbilknSFKiupzuqK3fgl94HSe5J2ZFd2NqsEF3JdIP/s320/sugar_bowl+3d+printed.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">3d printed sugar bowl</td></tr>
</tbody></table>
Both in the UK and USA, 3 dimensional digital printing is one such technique. Developed initially for rapid prototyping of plastic objects it is now being used for small special ceramic parts. The potential to build up a ceramic mug layer by layer from a computer image is certainly feasible.<br />
I have seen the initial prototypes which have been glazed and fired. Many technical challenges remain for this process to be viable commercially but I have no doubt that in the long term this will happen.<br />
For more information about this technique see the link project below:-<br />
<a href="http://www.ahrc.ac.uk/News-and-Events/Watch-and-Listen/Pages/3D-Printing-in-Ceramics.aspx">University of Bristol project</a><br />
<br />
<h2>
<span style="color: black;">3d printing using liquid clay syringe</span></h2>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIzY07YYtRY3LBcPfzldggeaF5o418lCoVXDmdRhctXKmY4aLu1XouWxPDmY_xkYWHLOubNTc4GjGTXkcc3ldxmJOKd7lxkNtc99Az1PJDYWSC1RCTCHlfe933OzHvrYEclv2SKn2QLcdl/s1600/IMG_2221_preview_featured.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIzY07YYtRY3LBcPfzldggeaF5o418lCoVXDmdRhctXKmY4aLu1XouWxPDmY_xkYWHLOubNTc4GjGTXkcc3ldxmJOKd7lxkNtc99Az1PJDYWSC1RCTCHlfe933OzHvrYEclv2SKn2QLcdl/s320/IMG_2221_preview_featured.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">3d extruder printing</td></tr>
</tbody></table>
This type of printing is also in the early stages of development for ceramics. Many questions remain particularly control of rheology and removing air pockets and machine development.. However the picture on the right shows how the process works. An air powered syringe forces liquid clay out of the nozzle to build up the object in layers. The head could be computer controlled to map out a digital design.<br />
Potentially the ceramic designer can be creative in designing complex forms as well as simple shapes.<br />
Picture and link to more information kindly provided by Ceramic 3D Extruder (<a href="http://www.thingiverse.com/thing:28965" property="cc:attributionName" rel="cc:attributionURL">FabLabZuidLimburg</a>) / <a href="http://creativecommons.org/licenses/by-nc/3.0/" rel="license">CC BY-NC 3.0</a><br />
<br />
<br />
<h2>
<span style="color: black;">So what does this mean to the hobby or studio potter?</span></h2>
The opportunity to make low cost efficient designs which can be personalised to meet your customer needs. Digital ceramic decals are already established and widely available. But keep following the progress of 3d printing as the potential is endless. Perhaps now is the time to look at ways these techniques can expand your opportunities?<br />
<br />
More information and other technical articles on pottery and ceramics can be found at my website <a href="http://www.pottersfriend.co.uk/p.php?page=Home">The Potters Friend</a>. Go now to sign up for my free <a href="http://www.pottersfriend.co.uk/mailings/add_subscription.php">newsletter</a>.The Potters Friendhttp://www.blogger.com/profile/05345030874426727684noreply@blogger.com13tag:blogger.com,1999:blog-9011734377029009832.post-58062545154885771712012-12-01T12:17:00.000+00:002014-01-21T14:52:31.147+00:00Shiny Pottery Without The Glaze!<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7CnngTyukakMdeACSEA6_raFOIixJzo1lgx7D5x4tGPk91m84IYqvacTOVDKfrjLE8U0DLwY171qewgIC9SWvfzh3GaG0U7yspLXwrOaX1_Loay_v5XAU181VvaBaqu6a3Vh1LP25_Lan/s1600/800px-Roemerhalle_Kreuznach_Sigillata.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7CnngTyukakMdeACSEA6_raFOIixJzo1lgx7D5x4tGPk91m84IYqvacTOVDKfrjLE8U0DLwY171qewgIC9SWvfzh3GaG0U7yspLXwrOaX1_Loay_v5XAU181VvaBaqu6a3Vh1LP25_Lan/s320/800px-Roemerhalle_Kreuznach_Sigillata.jpg" height="212" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="background-color: #f9f9f9; font-family: sans-serif; font-size: 11px; line-height: 15.833333015441895px; text-align: left;">Roman red gloss </span><i style="background-color: #f9f9f9; font-family: sans-serif; font-size: 11px; line-height: 15.833333015441895px; text-align: left;">terra sigillata</i><span style="background-color: #f9f9f9; font-family: sans-serif; font-size: 11px; line-height: 15.833333015441895px; text-align: left;"> bowl with relief decoration<br />Photo from Museum Römerhalle Bad Kreuznach</span></td></tr>
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<h2>
<span style="color: #0c343d;">
Terra Sigillata</span></h2>
After reading about burnishing recently I researched the technique even more and came across<span style="color: #0c343d;"> </span><b><span style="color: #0c343d;">Terra Sigillata</span> </b>which literally means 'clay with little pictures'. This definition makes sense if you look at many of the early pots made using this technique which feature figures in relief. However later pots similarly described do not contain figures. So Terra Sigillata has come to be known as pottery manufactured with surface slips which when fired produce a glossy surface ranging from a soft lustre to a brilliant glaze-like shine. Samian ware is also sometimes used to describe all varieties of terra sigillata including undecorated ware.<br />
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<h2>
<span style="color: #0c343d;">The history</span></h2>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhS2a9Zez7WsL14e0qJ-WpA4qltqnn_zsKYXb-QBCaI0pNEQevH9K5LWMmnqcVVD4LTeYLuAAJBp2oxizpHmPvojL2b0WTaMZRRnY2yMlIPNzrkZThzDdnMoZ8nCrFVOyZDM-PpXs1lf9yG/s1600/amphora_5.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhS2a9Zez7WsL14e0qJ-WpA4qltqnn_zsKYXb-QBCaI0pNEQevH9K5LWMmnqcVVD4LTeYLuAAJBp2oxizpHmPvojL2b0WTaMZRRnY2yMlIPNzrkZThzDdnMoZ8nCrFVOyZDM-PpXs1lf9yG/s320/amphora_5.jpg" height="320" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="cap" style="background-color: white; color: #7d7d7d; font-family: Verdana; font-size: 10px; line-height: 13px; margin-bottom: 0.5em; max-width: 100%; padding: 0px; text-align: left; text-decoration: inherit;">
Ancient Greek pottery neck amphora showing a swordsman.</div>
<cite style="background-color: white; color: #7d7d7d; display: block; font-family: Verdana; font-size: 10px; line-height: 13px; margin: 0px 0px 0.5em; max-width: 100%; padding: 0px; text-align: left; text-decoration: inherit;">Image Courtesy of Marie-Lan Nguyen</cite></td></tr>
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Most well known for its use in ancient Greek ware Terra Sigillata now describes specific types of plain and decorated tableware made in Italy and in Gaul (France and the Rhineland) during the Roman Empire. These vessels have a range of glossy surfaces and are often found in their characteristic colour range of pale orange to bright red.They were produced in standard shapes and sizes and were manufactured on an industrial scale and widely exported.
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The sigillata industries grew up in areas where there were existing traditions of pottery manufacture, and where the clay deposits proved suitable. The products of the Italian workshops are also known as Arretine ware, and have been collected and admired since the Renaissance.<br />
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<h2>
<span style="color: #0c343d;"><br /></span></h2>
<h2>
<span style="color: #0c343d;">
What is a Sigillata slip made of?</span></h2>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXbi49L9W3hai4sKgcHT35w3Pn1-zaR-EKUtVp9Th24fOhY0sVYsEP0zs68Tj9q-EFh07pOOIai6AHFaupHYpKoVr4hZRpjVj8vm_b3NDXBYCl2y7oGWGdg-gCggK3YK3baG9_U5gObl8i/s1600/Kaolin+particles.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXbi49L9W3hai4sKgcHT35w3Pn1-zaR-EKUtVp9Th24fOhY0sVYsEP0zs68Tj9q-EFh07pOOIai6AHFaupHYpKoVr4hZRpjVj8vm_b3NDXBYCl2y7oGWGdg-gCggK3YK3baG9_U5gObl8i/s320/Kaolin+particles.jpg" height="230" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Refined Kaolin particles</td></tr>
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Terra Sigillata, is made up of finely separated clay particles in water. The clay particles are mostly composed of kaolinite crystals which have a flat plate-like structure. These particles therefore have a high width to height ratio, called the aspect ratio making it easy for them to fit together in a stack just like a pack of cards.The platelet however are tiny and at less than 2 microns wide can only be viewed using at high magnification microscope. To put this in perspective a human hair measures approx 70 microns in diameter-35 times the size!.<br />
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<h2>
<span style="color: #0c343d;">
How Does it Work?</span></h2>
When the slip is applied to the surface of a clay article as several very thin layers, the flat plate-like particles align naturally to give a smooth reflective finish. The application process is critical as applying one thick layer is likely to cause the layer to crack as it dries and shrinks. The slip can be successfully applied to leatherhard or fully dry clay. However the best results are reported as being by applying to it to dry ware that has had the surface roughened using 120 grit sandpaper.<br />
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For a shinier appearance a quick polish of the surface with a piece of chamois or plastic film or even with a finger tip is effective. This increases the fraction of platelets laying flat on the surface thereby creating increased reflected light.<br />
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<h2>
<span style="color: #0c343d;">
How does this differ from burnishing?</span></h2>
Polishing and <a burnishing-unfired-clay-pottery.html="burnishing-unfired-clay-pottery.html" href="http://www.blogger.com/href" http:="http:" thepottersfriend.blogspot.co.uk="thepottersfriend.blogspot.co.uk">burnishing </a>can give a highly reflectively surface finish but it is a highly labour intensive process. It requires the potter to compress the clay with a polished rock or the back of a spoon in small circles for hours on end until the whole surface has been compressed. This process causes the clay platelets on the surface to lie flat, while all the other coarse particles are pressed down into the surface. However it creates a very smooth, highly reflective surface.<br />
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In contrast, <span style="color: #0c343d;"><b>Terra Sigillata avoids the laborious polishing process</b> </span>by naturally laying down a thin layer of aligned clay platelets. Minimal polishing is required to achieve the same high shine as hours of burnishing.<br />
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<h2>
<span style="color: #0c343d;">
Making the slip</span></h2>
You can make terra sigillata slip from almost any raw clay or clay body that contains kaolinite. However, only a portion of the starting material will contain sufficient fine clay particles to make a good Terra Sigillata. It is therefore important to use a separation process to split the 'good' clay from the 'bad'. This involves first mixing the clay then allowing it to sediment before decanting off the good material.The yield and performance of the slip will be influenced by the particle size of the clay. Therefore in general finer starting clays produce better slips and yield.<br />
<h2>
<span style="color: #0c343d;">
Details</span></h2>
The first step is to make a highly fluid de-flocculated suspension of the clay of SG 1.15. A mix of sodium silica/soda ash deflocculant and water is used. After sedimenting for approx 20 hours the ultra fines are decanted off to be used to produce the slip. The suspension at this stage is very watery and needs to be concentrated by evaporation or gentle heating of slip. Approximately 10% of the initial starting material suspension will remain to be used as slip.The slip needs to be approx SG 1.15 for best application.<br />
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<h2>
<span style="color: #0c343d;">
Applying the slip</span></h2>
Application is made to the dry clay body by using a wide, thick soft brush heavily loaded with slip. Long flowing strokes should be used and drips should be avoided. if a drip appears remove it immediately with your brush. Work around the piece, building up thin coats until I the surface begins to conceal the sanded texture. If available a potters wheel can be used to give an even application. Overall, it needs a very fine coat of slip to avoid cracking and peeling of the layer.The success of this process is a matter of experience-as different slips require layer thickness for optimum effect.<br />
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<h2>
<span style="color: #0c343d;">
Polishing of the applied Slip Surface</span></h2>
As soon as the the slip layer looks touch dry the surface is polished with a piece of grocery bag plastic or soft material. Amazingly the surface should develop a bright shine in just one polish.<br />
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<h2>
<span style="color: #0c343d;">
Firing of the slip applied ware</span></h2>
Like burnishing, the terra sigillata surface needs to be low fired for best results but this depends on the clay slip and the underlying body used. Whilst a true burnished surface is recommended for firing at less than cone 012 (875C), a terra sigillata-coated surface lightly polished can sometimes be fired as high as cone 02 (1125C).<br />
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Red terra sigillata also changes colour as well as gloss as the temperature is increased. Starting with orange red then brick red, it will finally turn red-brown before fusing due to the high iron and flux content.<br />
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Other clays like stoneware, ball clay and china clays will give white to a light tan depending on their source and chemistry.<br />
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<h2>Colouring of the Terra Sigilatta</span></h2>
Fine oxides or finely ground ceramic stains can be mixed with the slip to create a wider range of fired colours. However in general the greater the addition of stain the lower will be the gloss on the finished product. Best practice requires the stains to be thoroughly dispersed using a ball mill process. However very finely divided oxides like copper carbonate or cobalt carbonate can be added in small quantities without significant loss of shine.<br />
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<h2>
<span style="color: #0c343d;">Summary</span></h2>
Clearly the making of Terra Sigilatta is a skilful but labour intensive process. The decanting process is critical to obtaining the highly decorative glossy finish. However the quality of finish with the soft buttery feel is worth the effort. Indeed many alternative effects have been obtained using the sigilatta slip in underglaze or combination with other potting methods. It still amazes how the ancient potters developed such sophisticated pottery effects over 2000 years ago. Modern pottery continues to learn from the past by application of our greater scientific understanding! Long may it continue!<br />
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More information and other technical articles on pottery and ceramics can be found at my website <a href="http://www.blogger.com/href" http:="http:" www.pottersfriend.co.uk="www.pottersfriend.co.uk">The Potters Friend</a>. Go now to sign up for my free <a href="http://www.pottersfriend.co.uk/mailings/add_subscription.php">newsletter</a>.The Potters Friendhttp://www.blogger.com/profile/05345030874426727684noreply@blogger.com0tag:blogger.com,1999:blog-9011734377029009832.post-68201786478312674302012-10-30T09:59:00.000+00:002015-08-18T11:05:23.337+01:00Burnishing unfired clay pottery<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfSCBdhzLqnF_EmLGsc98nzdjEH9sEp2TxFZ1QGpFkCIdLepU0-eSTqKjZl71mHYfvraDvotUevfrGzthF9L23KwOq62EyfVYgSmXgMJIVhDYyEpampqWl98E5ttJAoJrgGzs1Wdfqs88i/s1600/David+Greenbaum+pottery.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="168" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfSCBdhzLqnF_EmLGsc98nzdjEH9sEp2TxFZ1QGpFkCIdLepU0-eSTqKjZl71mHYfvraDvotUevfrGzthF9L23KwOq62EyfVYgSmXgMJIVhDYyEpampqWl98E5ttJAoJrgGzs1Wdfqs88i/s1600/David+Greenbaum+pottery.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Burnished ware by David Greenbaum</td></tr>
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I recently came across the term 'beeswax pottery' and wondered what it meant. I discovered that it was a form of burnishing clay pottery to give it a smooth attractive mainly waterproof finish. Previously, to me, burnishing was just a term for the polishing of gold decoration used for the decoration of pottery. <br />
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It reminded me that you never stop learning with pottery. It is such a wide subject which continues to grow as new techniques are invented (or old ones re-invented!).<br />
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<b>History of clay burnishing </b><br />
Many ancient potters used burnishing to make their pottery harder and more waterproof before they discovered the use of glazes. Nowadays, modern potters choose to finish their work by burnishing because of the subtle, but beautiful finish achieved using this method. A burnished pot often has a soft, tactile quality all its own. However modern potters also need to know that this type of pottery should be used for decorative purposes only and not for ware intended for contact with food or drink.<br />
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Health and safety considerations are now a more important part of our modern life!<br />
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<b>So What is Burnishing and how is it done?</b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjr4phyEGx0KtCPj0m7ov6xAMRZfX-OCuvz2GXldc2t_DDqw7dB8Yl722f4KcVZJG6iO4D4_8J46gn_RUZOhZMis4r4G83vpRG9Y1Gjd6rvU0x8D1VJRXtewXOj8li9frwuYCwLpiUobsFv/s1600/Burnishing-Willys-Pottery-Guatil-Santa-Cruz-Guanacaste-Costa-Rica.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjr4phyEGx0KtCPj0m7ov6xAMRZfX-OCuvz2GXldc2t_DDqw7dB8Yl722f4KcVZJG6iO4D4_8J46gn_RUZOhZMis4r4G83vpRG9Y1Gjd6rvU0x8D1VJRXtewXOj8li9frwuYCwLpiUobsFv/s1600/Burnishing-Willys-Pottery-Guatil-Santa-Cruz-Guanacaste-Costa-Rica.jpg" width="150" /></a></div>
Burnishing is basically rubbing the surface of the clay piece until it becomes glossy. To achieve a satisfactory finish it often takes several hours for even a small pot. Skill and practice are required for this technique as it is highly influenced by the state of drying. The best stage to burnish is usually at the later stage of leatherhard. However many potters burnish the piece more than once to achieve the ultimate finish.<br />
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Working in very small areas, applying a little lubricant at a time to the piece, rubbing in different directions will gradually create a sheen. Care is needed as sufficient force is needed to compress the surface but not create a hole or flake. After firing the sheen is mostly retained and can be improved by polishing with beeswax or other types of wax.<br />
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Some key factors to consider when using this technique include:-<br />
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<b>Choose your clay wisely</b><br />
Burnishing requires either a very fine clay body, or fine clay engobe. Clay bodies which contains grog or sand are therefore not recommended for this technique.
Low firing clay bodies such as earthenware are also recommended as higher firing bodies can give rough texture after firing. <br />
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<b>Choose your shapes wisely</b><br />
Pots with smooth flowing surfaces are easier to burnish and look so much better when fired. Complex shapes with sharp corners or surface features will be almost impossible to burnish properly.<br />
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<b>Choose your tools wisely</b><br />
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The burnishing tools you use need to be smooth, hard and easy to hold. As burnishing is a very time consuming process comfort is an important factor and this is a personal thing. However most potters use the backs of spoons or polished stones for this technique. Some potters carry out a secondary burnish using smooth plastic or other materials.<br />
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<b>Choose your burnishing oil wisely.</b><br />
To aid the burnishing process the use of a burnishing lubricant is recommended. The lubricant allows the clay to densify and give an even smoother finish after firing. .
Lubricants that are often used include vegetable oils, lard, and water. Although the choice of lubricant is subjective, water is the least recommended as there is a tendency for it to soak into the body or flake the surface as it is pressed.<br />
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<b>Firing </b><br />
Firing of the ware after burnishing is important and can alter the texture of the surface significantly. Low firing clay bodies appear to work best.<br />
<b><br /></b><iframe align="right" frameborder="0" marginheight="0" marginwidth="0" scrolling="no" src="http://rcm-uk.amazon.co.uk/e/cm?t=wwwpottersfri-21&o=2&p=8&l=as1&asins=1408106361&ref=tf_til&fc1=000000&IS2=1&lt1=_blank&m=amazon&lc1=0000FF&bc1=000000&bg1=E7F9FF&f=ifr" style="height: 240px; width: 120px;"></iframe>
<b>Post firing polishing </b><br />
Firing gives the burnished ware a lovely, tactile soft feel. In ancient times, animal fat, oil, and wax were often used to make it more waterproof and to restore the pre-firing high gloss.
Today, most potters use a form of wax. Paraffin wax, candle wax, and beeswax, have all been used successfully. By applying the wax to a small area of heated ware and polishing a high sheen can be achieved. The result is an outstanding piece of decorative ware that often looks as though it has been glazed but feels so different!<br />
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If you found this article of interest make sure you read about <a href="http://thepottersfriend.blogspot.co.uk/2012/12/shiny-pottery-without-glaze.html" target="_blank">Terra Sigallata </a>a method for making shiny ware without the polishing stages!<br />
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Of course more information and other technical articles on pottery and ceramics can be found at my website
<a href="http://www.pottersfriend.co.uk/p.php?page=Home">The Potters Friend</a>. Go now to sign up for my free
<a href="http://www.pottersfriend.co.uk/mailings/add_subscription.php">newsletter</a>.The Potters Friendhttp://www.blogger.com/profile/05345030874426727684noreply@blogger.com8tag:blogger.com,1999:blog-9011734377029009832.post-36729369891249949592012-09-28T13:52:00.000+01:002014-01-21T14:42:53.111+00:00How to Choose a Pottery Class<h2>
<b>The Benefit of Classe</b>s</h2>
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Learning how to make pottery whilst enjoyable in its own right, can be enhanced by professional teaching and sharing of experience with other students.<br />
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Classes help people learn quicker and provide the right learning environment to enjoy the experience as well as make friends. This should not be underestimated as many frustrations will become apparent along the way..There are both studio potters who run classes in evenings and weekends as well as local colleges who run part time and full time courses.<br />
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<h2>
<b>Be clear on your needs</b></h2>
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<a href="https://www.blogger.com/blogger.g?blogID=9011734377029009832" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a>One question you need to ask yourself is "do I want to learn the practical skills such as throwing on a wheel or do I want to have a good scientific/artistic understanding?" Knowing this will help define your teaching requirement.<br />
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I recently read a debate about when should you call yourself a potter? It was interesting to note that most people shared my view that "you never stop learning in pottery". As pottery making is such a wide subject, you can be an expert in part of it and a mere novice in another area.<br />
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Therefore at which point you become expert or call yourself a potter is purely arbitrary.</div>
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This point is important as you need to find an expert teacher in the area of pottery in which you want to learn more. </div>
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<h2>
<b>Choose the right teacher and class</b></h2>
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Choosing the right pottery class is not always easy. For example, if you have an interest in learning the basics of pottery making then joining a class learning about Raku firing is less useful. Similarly if you purely want to learn artistic skills such as hand painting of china as a hobby, there is no need to learn about slip casting of bone china. Clearly it is important to ask the right questions to make sure a class meets your specific needs.</div>
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<iframe align="right" frameborder="0" marginheight="0" marginwidth="0" scrolling="no" src="http://rcm-uk.amazon.co.uk/e/cm?t=wwwpottersfri-21&o=2&p=8&l=as1&asins=1840923636&ref=tf_til&fc1=000000&IS2=1&lt1=_blank&m=amazon&lc1=0000FF&bc1=000000&bg1=E7F9FF&f=ifr" style="height: 240px; width: 120px;"></iframe>
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<h2>
<b>Some helpful links</b></h2>
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The following links and brief details of classes may be helpful. Unfortunately I cannot make recommendations as there are so many of which I am not personally familiar. Therefore when making an enquiry please ask for references from previous satisfied clients and ensure that the classes meet your needs etc<br />
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Good Luck and enjoy!<br />
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<div>
<a href="http://www.pottery-classes.us/"><span style="color: #3366ff;">Pottery Classes in USA</span> </a><br />
Directory of Pottery Classes, Courses, Lessons, Events, Workshops, Free Classes, in USA<br />
<a href="http://www.artcourses.co.uk/subj/sub14.htm"><span style="color: #3366ff;">Pottery classes and Art courses in UK</span></a><br />
Directory of Pottery,arts and crafts classes, workshops and painting holidays in Britain and Europe.<br />
<br />
More details of individual classes and workshops can be found below:-<br />
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<span style="color: #3366ff;"><a href="http://pottersfriend.co.uk/p.php?page=Classes">Details of UK pottery classes</a></span><br />
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More information and other technical articles on pottery and ceramics can be found at my website <a href="http://www.blogger.com/href" http:="http:" www.pottersfriend.co.uk="www.pottersfriend.co.uk">The Potters Friend</a>. Go now to sign up for my free <a href="http://www.pottersfriend.co.uk/mailings/add_subscription.php">newsletter</a>.
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The Potters Friendhttp://www.blogger.com/profile/05345030874426727684noreply@blogger.com0tag:blogger.com,1999:blog-9011734377029009832.post-408261881953700832012-08-27T13:31:00.000+01:002012-08-28T10:58:42.538+01:00How To Teach Children about Pottery<b>Make it Fun</b>
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You make their first contact with pottery a fun enjoyable experience. Once they have the interest then you might want to add a little practical knowledge. Of course you want your children to be safe so only use safe materials and provide basic hygiene equipment, and instructions such as -wash your hands, and don't put anything in your mouth.<br />
<b><br /></b>
<b>Where should you start?</b>
<iframe align="right" frameborder="0" marginheight="20" marginwidth="20" scrolling="no" src="http://rcm-uk.amazon.co.uk/e/cm?t=wwwpottersfri-21&o=2&p=8&l=as1&asins=B001GAP4YA&ref=tf_til&fc1=000000&IS2=1&lt1=_blank&m=amazon&lc1=0000FF&bc1=000000&bg1=E7F9FF&f=ifr" style="height: 240px; width: 120px;"></iframe>
<br />
Most children are familiar with playdo or plasticine. They have probably moulded these into shapes before. So let them use their imagination to form something that means something to them. Air drying or oven bake modelling clay products (suitable only for age over 3 years) similar to plasticine can be used which allow the pieces to be hardened into permanent shapes.<br />
<b><br /></b>
<b>What next?</b>
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Once stimulated you might want to demonstrate how to roll a ball and make a sausage of clay and coil it to make a circular shape. Let them experiment making shapes themselves. Once adept at creating coils you might want to show them how to stack the coils to make a bigger shape. Plastic cutters such as used in cookery can be used to cut out shapes from a flattened out clay just like cutting shapes out of pastry.<br />
<iframe align="right" frameborder="0" marginheight="0" marginwidth="0" scrolling="no" src="http://rcm-uk.amazon.co.uk/e/cm?t=wwwpottersfri-21&o=2&p=8&l=as1&asins=B00264GE7G&ref=tf_til&fc1=000000&IS2=1&lt1=_blank&m=amazon&lc1=0000FF&bc1=000000&bg1=E7F9FF&f=ifr" style="height: 240px; width: 120px;"></iframe>
<b><br /></b><br />
<b>What about painting colours?</b>
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Many of the items once air hardened or oven baked can be painted with acrylic paints. This allows children to learn a painting skill. The use of different size or shape of tip on brushes can help with children of different skill levels or ages. These skills can then be readily adopted and used with ceramic paints as the child progresses to making real pottery.<br />
<b><br /></b>
<b>What about older children?</b>
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Older children need more to keep their interest so create a project and set them a challenge of making an item such as a coin tray. The same materials can be used as for younger children.<br />
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<iframe align="right" frameborder="0" marginheight="0" marginwidth="0" scrolling="no" src="http://rcm-uk.amazon.co.uk/e/cm?t=wwwpottersfri-21&o=2&p=8&l=as1&asins=B003U4GB7Y&ref=tf_til&fc1=000000&IS2=1&lt1=_blank&m=amazon&lc1=0000FF&bc1=000000&bg1=E7F9FF&f=ifr" style="height: 240px; width: 120px;"></iframe>
Alternatively get some real pottery clay and get them used to its feel and how water affects it and allows it to be smoothed or reprocessed when it dries out.. Of course this might become more messy but that's all part of the fun. Learn that large sections of clay crack on drying and why!<br />
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Sculpting tools can be used to allow even more skills to be developed and create a personalisation of the work.<br />
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It is important to note that all items produced from the above information should be considered as purely decorative. Under no circumstance should they be used as food contact items.<br />
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<b>Real pottery</b>
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In order to make real functional pottery special ceramic materials, glaze and colour need to be used as well as firing in a pottery kiln at very high temperatures (greater than 1000C). This requires some specialist knowledge and expertise. Pottery classes would be recommended at this stage to progress in a safe and friendly environment.<br />
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Acrylic paints and a domestic oven WILL NOT produce functional pottery.<br />
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More information about getting children to work with clay can be found at '<a href="http://http//k-play.com/pdf/_I%20Am%20Clay%20How%20To.pdf">Teaching Tips for clay</a>'
Even more information and other technical articles on pottery and ceramics can be found at my website <a href="http://www.blogger.com/href" http:="http:" www.pottersfriend.co.uk="www.pottersfriend.co.uk">The Potters Friend</a>. Go now to sign up for my free <a href="http://www.pottersfriend.co.uk/mailings/add_subscription.php">newsletter</a>.
The Potters Friendhttp://www.blogger.com/profile/05345030874426727684noreply@blogger.com0tag:blogger.com,1999:blog-9011734377029009832.post-67743770724312522922012-07-26T10:48:00.000+01:002015-02-20T12:47:58.630+00:00Art Deco Ceramics<h2>A time of great design or merely time for a change?</h2>
Art Deco ceramics are commonly associated with specific designers such as Clarice Cliffe, Susie Cooper and Charlotte Rhead whose striking designs changed the face of modern pottery. However the term covers a much wider range of pottery styles as well as architecture and fashion. But was it truly a time of great design or merely time for a change? Let us examine the evidence.....
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<br />
<h2>The history of Art Deco</h2>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://www.blogger.com/blogger.g?blogID=9011734377029009832" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfjHr86-uySsvKFlBX85BlV73_DXa7Ij7ac-U8B0_Y0ZM8q8ujMwnTlRLuHlwJZcRzmkIC1s40CX1DQr1kNTMyBNxJU6NOPYG6I4SJOHFLpHmpwcTOKxqu3bcs9P6AAXtiIgwtsnPKVQyd/s1600/220px-Ravel_Conical_coffee_ware+clarice+Cliffe.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfjHr86-uySsvKFlBX85BlV73_DXa7Ij7ac-U8B0_Y0ZM8q8ujMwnTlRLuHlwJZcRzmkIC1s40CX1DQr1kNTMyBNxJU6NOPYG6I4SJOHFLpHmpwcTOKxqu3bcs9P6AAXtiIgwtsnPKVQyd/s1600/220px-Ravel_Conical_coffee_ware+clarice+Cliffe.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ravel conical ware by Clarice Cliffe<br />
Photo by Leonard Griffin</td></tr>
</tbody></table>
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Art Deco is said to have begun in France in the 1920s and developed internationally especially in Europe and America until the late 1930's. However it was not until the revival in the 1960s that the term 'Art Deco' was introduced. Until that time it was called 'Arte Moderne' or 'Arte Decoritif'. Since that time many modern potteries have developed patterns based around similar principles.
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The advent of Art Deco changed the face of pottery in the UK at the time. The bright colours and geometric shapes of Clarice Cliffe especially, was a long way removed from many of the chinese inspired pottery designs that had gone before. However many shapes and designs were influenced by Mexican and Egyptian styles. A revolution in design was in the making! In the UK the popularity was aided by young new designers and and the advent of advertising and to a degree mechanisation. Designer labels grew as a marketing trend and women designers had phenomenal success. It became a necessity for small potteries to find new designs to beat off the threat of imports from Germany and Czechslovakia and Japan.
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<h2><b>Clarice Cliffe</b></h2>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixjgQNEeWWqHXhFfCzDdjbM_B1V1eNxnK4IM1cXa5q5AlhUyym878fyyp4XTKECoRa8ZUpPiRrel99ZQnmZwfK9fV_43WNEs6M9JQ6JybNDMawfYbNM0sgBJb_dmLOJv7TqhF1HOKY1jcy/s1600/ClariceCliffBizarreJug2.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixjgQNEeWWqHXhFfCzDdjbM_B1V1eNxnK4IM1cXa5q5AlhUyym878fyyp4XTKECoRa8ZUpPiRrel99ZQnmZwfK9fV_43WNEs6M9JQ6JybNDMawfYbNM0sgBJb_dmLOJv7TqhF1HOKY1jcy/s200/ClariceCliffBizarreJug2.jpg" height="150" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Original Bizarre on Athens Shape<br />
Original Picture by Harvey</td></tr>
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Clarice Cliffe, probably the name most associated with Art Deco style, was born in Tunstall, Stoke on Trent in 1899. She joined Royal Staffordshire Pottery aged just 17 and briefly studied art at the Royal College of Art in London. Her skill was such that she rapidly became a top designer of ceramics and was probably the first to design both the shape and decoration of UK commercial tableware. Cliffe produced some of the most exciting designs of the times ware adorned with bright colours such as Original Bizarre.
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiesVlX4xMRRneBZpBfBMEHviu_psvT08E6HCEHpUe1EdwpthwOZ-yTpDMwxJrjdposBo_JLtEErNlOBsqRPdLjMOnK_Xm8F5ks_SqFNsAYHGxvNCYS2-SLM-0ZUG0K6VwlzUHPUhXIzyNS/s1600/800px-Clarice_cliff_titcomb.JPG" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiesVlX4xMRRneBZpBfBMEHviu_psvT08E6HCEHpUe1EdwpthwOZ-yTpDMwxJrjdposBo_JLtEErNlOBsqRPdLjMOnK_Xm8F5ks_SqFNsAYHGxvNCYS2-SLM-0ZUG0K6VwlzUHPUhXIzyNS/s200/800px-Clarice_cliff_titcomb.JPG" height="119" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Crocus pattern<br />
Photograph by
<span style="line-height: 19px; text-align:center;">Andy Titcomb</span></td></tr>
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Her success resulted in numerous designs being release in commercial volumes between 1927 and 1939. However it was the more conservative 'Crocus' pattern which was regarded as her signature pattern.
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Pieces of Clarice Cliffe are now highly collectable and include such striking designs as the conical ginger sifters. Collecting is made easier by the fact that virtually all Clarice Cliffe pieces are clearly marked with her name using a rubber backstamp or litho.
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<br />
<h2>Susie Cooper</h2>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwHDxj2ANxqfupNQn_kH7SER5jtt66JsF3WDqcfJ15q-3Y4iJD6ZKNWicc5NauWa44wLcnwyD7X9SToFcacSBeLEVJfEAi_7OwOwEbd473zHBnqj647L6Gdzj4chorQlt-Eck80OsaeWf3/s1600/susiecooperkestrel.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwHDxj2ANxqfupNQn_kH7SER5jtt66JsF3WDqcfJ15q-3Y4iJD6ZKNWicc5NauWa44wLcnwyD7X9SToFcacSBeLEVJfEAi_7OwOwEbd473zHBnqj647L6Gdzj4chorQlt-Eck80OsaeWf3/s1600/susiecooperkestrel.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Kestrel pattern<br />
From National Museum Wales</td></tr>
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Born in 1902 in Stoke on Trent, she entered the pottery industry at A.E. Gray & Co in 1922 and trained under Gordon Forsyth. Brightly coloured abstract geometrics and cubist patterns were her trademark and she developed some stunning designs such as Kestrel and the cube shape galaxy pattern. By 1929 she had left Gray and started her own pottery painting business and this initiated a long and distinguished design career spanning 60 years. Her designs were highly practical with 'fitness for purpose'being a common theme. A black triangular back-stamp with the words Susie Cooper Productions was used until about 1932. After this time a variety of signatures was used.
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<br />
<h2><b>Charlotte Read</b></h2>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqQg0Atc4UGzZvcBtqIyilYMKLRwvE9UPZ6gTOwne4igOPFzT87w4lEW5ymZweW5zKDE7aQUC_B2D0jsYX3BiFCk18YI9973f7rwXCcWw8-RVyocsptuBr7WOXdkIzcX6KkIIkwj4Sq69R/s1600/800px-Charlotte_Rhead_plate_(C_Bertram).jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqQg0Atc4UGzZvcBtqIyilYMKLRwvE9UPZ6gTOwne4igOPFzT87w4lEW5ymZweW5zKDE7aQUC_B2D0jsYX3BiFCk18YI9973f7rwXCcWw8-RVyocsptuBr7WOXdkIzcX6KkIIkwj4Sq69R/s320/800px-Charlotte_Rhead_plate_(C_Bertram).jpg" height="240" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Tube lined plate by Charlotte Rhead<br />
Photo by
<span style="font-family: sans-serif; line-height: 19px; text-align: -webkit-auto;">Chris Bertram.</span></td></tr>
</tbody></table>
Born in 1885 into an artistic family in the potteries town of Burslem, Charlotte Rhead studied art at Fenton School of Art. Working for a local company Wardle and Co she learned the skill of tube lining. It was this skill and the influence of her time at Wood and Sons which set her career apart as a designer. Later in 1926 working for Burgess and Leigh she mainly produced ornamental or luxury pieces using her tube lining skill.
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<h2><b>Other Art Deco ware</b></h2>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRCjy93IZOlkKkF-uvmJTgvNG8Ju6WDKJ-gmnZ5wEYjNQs4E5Iy3CtJo6LPhmxdX8hxcpqWOVV36j-UcwcY-pXI-MVXzjd9miEcmfgVNth6RGDkdGBmT2qmeb0ZwL8OmIfzGjtNYaegTAl/s1600/220px-shelleyArt_Deco_Vogue_shape_designed_by_Eric_Slater_1930.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRCjy93IZOlkKkF-uvmJTgvNG8Ju6WDKJ-gmnZ5wEYjNQs4E5Iy3CtJo6LPhmxdX8hxcpqWOVV36j-UcwcY-pXI-MVXzjd9miEcmfgVNth6RGDkdGBmT2qmeb0ZwL8OmIfzGjtNYaegTAl/s320/220px-shelleyArt_Deco_Vogue_shape_designed_by_Eric_Slater_1930.jpg" height="233" width="220" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: sans-serif; font-size: 12px; line-height: 19px; text-align: -webkit-auto;">Shelley Vogue shape cup and saucer, designed by Eric Slater 1930</span>
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</tbody></table>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-rftyKGpPN1Prp5D1DmFec44U-22BrY4R55djCex3D9S1ls9YarxwxFKKHdPDyHtLJyK6e_jfgnexdV37TDEUJS7h3PZTWlgIyvnhs6PgR3oNN-v9uSBzB01bDqISH6WfXbz8Bc5R5iSu/s1600/185px-Harmony_Art_Ware_ginger_jar_-_Eric_Slater_1932.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-rftyKGpPN1Prp5D1DmFec44U-22BrY4R55djCex3D9S1ls9YarxwxFKKHdPDyHtLJyK6e_jfgnexdV37TDEUJS7h3PZTWlgIyvnhs6PgR3oNN-v9uSBzB01bDqISH6WfXbz8Bc5R5iSu/s200/185px-Harmony_Art_Ware_ginger_jar_-_Eric_Slater_1932.jpg" height="200" width="154" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="background-color: #f9f9f9; font-family: sans-serif; font-size: 11px; line-height: 15px; text-align: left;">Harmony Art Ware ginger jar - Eric Slater 1932</span>
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</tbody></table>
The <b><i>Shelley Family</i> </b>was a highly acclaimed producer of Art bone china in the art deco style. Apart from the elegant 'vogue shape' it produced highly decorative vases such as<br />
'Harmony Artware'. Eric Slater was the designer responsible for many of the hugely successful designs. <br />
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The <b><i>Wedgwood family</i></b> also produced a range of ware in art Deco style. Using a range of designers such as Keith Murray, Skeaping, Makeig-Jones, and Ravilous they continued to create outstanding designs throughout the 1930's. Makeig-Jones in particular changed the image of Wedgwood ware with her inspirational 'Fairyland Lustre' range of patterns.<br />
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<h2>The Modern Era</h2>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOHi_glPCkyzTqD0h-PZMPmHQ4DV4vKiXmqpJXAi8v096Pp0y0HGhU-At8px5RbRU14XhDvguVagssQ2ZxqOY31I4v5ro9V8dnH4Vn2N5egz3lzAdnq3LsPopYk9WB8dW_-cBVXNR0r_n1/s1600/Wedgwood-Jasper-Conran-Kilim,01668_1.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOHi_glPCkyzTqD0h-PZMPmHQ4DV4vKiXmqpJXAi8v096Pp0y0HGhU-At8px5RbRU14XhDvguVagssQ2ZxqOY31I4v5ro9V8dnH4Vn2N5egz3lzAdnq3LsPopYk9WB8dW_-cBVXNR0r_n1/s200/Wedgwood-Jasper-Conran-Kilim,01668_1.jpg" height="190" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Wedgwood Jasper Conran</td></tr>
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Clearly many of the Art Deco designs of early period have inspired post year 2000 patterns. Classic, timeless and elegant, almost all top pottery brands have some element of Art Deco in their range. Wedgwood, Portmeirion, Dudson and Steelite each include high coloured decorative patterns or striking geometric shapes. This is not by accident and I can only conclude that the Art Deco period was truly a time of great design!
<br />
<div>I would love to hear your comments?</div>
<br />
More information and other technical articles on pottery and ceramics can be found at my website
<a href="http://www.pottersfriend.co.uk/p.php?page=Home">The Potters Friend</a>. Go now to sign up for my free
<a href="http://www.pottersfriend.co.uk/mailings/add_subscription.php">newsletter</a>.
<br />
The Potters Friendhttp://www.blogger.com/profile/05345030874426727684noreply@blogger.com0tag:blogger.com,1999:blog-9011734377029009832.post-23990987201202888502012-05-31T13:07:00.000+01:002014-01-21T14:36:07.036+00:00How to make a Pottery Glaze<table align="center" cellpadding="1" cellspacing="2" style="width: 600px;" summary="Pottery Glaze">
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<tr>
<td><h1>
<span style="font-size: medium;"><span style="color: black;">The Glaze Recipe</span></span></h1>
There are literally thousands of different types of glaze depending on the clay body used and the firing cycle and condition. A virtually unlimited number of colours, textures and designs are also possible. Applying more than one glaze to the piece just multiplies the possibilities. <br />
Each glaze needs its own specific recipe, making process and testing for optimum performance.<br />
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However for ease of understanding I shall give the recipe and outline process for a transparent glossy glaze firing at 1050C.<br />
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<div>
<div class="separator" style="clear: both; text-align: center;">
</div>
A typical glaze recipe includes:<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="http://www.pottersfriend.co.uk/files/image/Frit2.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="Frit" border="0" src="http://www.pottersfriend.co.uk/files/image/Frit2.JPG" height="140" hspace="75" title="Frit" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Borax Frit</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="http://www.pottersfriend.co.uk/files/image/China%20clay2.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img alt="China Clay" border="0" src="http://www.pottersfriend.co.uk/files/image/China%20clay2.JPG" height="140" hspace="0" title="China Clay" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">China Clay</td></tr>
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Transparent borax frit 90 parts<br />
China clay 10 parts<br />
<a href="https://www.blogger.com/blogger.g?blogID=9011734377029009832" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a>Water 50 parts<br />
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<h1>
<span style="font-size: medium;"><span style="color: black;">Glaze milling</span></span></h1>
(particle size reduction)<br />
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In order to melt a glaze rapidly and produce a high gloss finish it is necessary to reduce the particle size to a powder and ensure that it is well dispersed in water. For this to be achieved the particles of the frit and clay are ground to an average size of 5 microns-less than 1/10<sup>th</sup> the size of a human hair. Overall a distribution in the range 60-70% less than 15 microns is targeted.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivqPPbHc4GtWqgPH45svah_ITVjO4pmO6mibawtwdLIcAQ1wCn-mPK7Zt6DTnx45HXKTrgFk8C-cAgnQ88qdOTE42RACVxM0oZfc3NyXCUoO3nbwktBrLb2uEYDeyUUsdAC76eqFQCnZDx/s1600/ball+mill+diagram.JPG" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivqPPbHc4GtWqgPH45svah_ITVjO4pmO6mibawtwdLIcAQ1wCn-mPK7Zt6DTnx45HXKTrgFk8C-cAgnQ88qdOTE42RACVxM0oZfc3NyXCUoO3nbwktBrLb2uEYDeyUUsdAC76eqFQCnZDx/s200/ball+mill+diagram.JPG" height="140" hspace="40" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Glaze Mill</td></tr>
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Ball mills are traditionally used to grind the materials to make the glaze. The ball mill is a metal cylinder lined with hard alumina or silica blocks. The mill is filled with graded ceramic balls with a max size of 5cm. to approx 50% apparent volume of the internal space. This allows efficient grinding of the glaze. The glaze materials occupy approx 1/3 the volume. The glaze is sampled after set time periods eg 12 to 20 hours until the required particle size distribution is achieved.<br />
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<h1>
<span style="font-size: medium;"><span style="color: black;">Glaze Processing</span></span></h1>
Once the average particle size is achieved the glaze slurry is poured out of the mill into a storage vessel via a coarse sieve. This removes large glaze particles and remnants of the grinding balls from the glaze. Typically a 60 mesh sieve is used.<br />
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The glaze is then processed further by passing the slurry over thro a fine sieve typically less than 100 mesh and a strong magnet. The magnet can be rare earth magnets or electromagnets. This cleansing process removes more of the coarse residue and contaminants that can give faults after firing.<br />
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<h1>
<span style="font-size: medium;"><span style="color: black;">Glaze Quality Controls</span></span></h1>
A few simple tests are used to assess the quality and suitability of a glaze for use and include:-<br />
<br />
1. Glaze appearance after firing- by glazing a tile of standard body and firing<br />
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<br />
2. Particle Size measurement and distribution</div>
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</div>
<div>
<br />
3. Solids content of slip = slip density</div>
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</div>
<div>
<br />
4. Slip fluidity = Slip viscosity</div>
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Additional tests may be carried out depending on the end use. For example for hotelware the physical and chemical durability may be assessed.<br />
<h1>
<span style="font-size: medium;"><span style="color: black;">Rheology Control</span></span></h1>
The glaze slip rheology is controlled according to the application method required eg dip, spray or brush etc.<br />
This is achieved by control of density, viscosity and thixotropy. A torsion viscometer and density can are often used to measure and control these key properties of the slip.<br />
<br />
Addition of binders and other chemical additives are usually necessary to achieve the optimum properties for specific application methods.<br />
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</div>
<h1>
<span style="font-size: medium;"><span style="color: black;">Supply and Packaging;</span></span></h1>
Glaze can be supplied in containers suitable for use from 500ml jars for brush on glaze, 5 to 50 litres for dip glaze and 5 to 1000 Litre tanks for spray glaze.<br />
<br />
For industrial use tankers containing 10000 litres may even be used. However for overseas or long distance supply the glaze is often supplied as a dried powder. In this case the user needs to mix up the glaze and control the slip characteristics themselves.<br />
<br />
More information and other technical articles on pottery and ceramics can be found at my website <a href="http://www.blogger.com/blogger.g?blogID=9011734377029009832" http:="" www.pottersfriend.co.uk="">The Potters Friend</a>. Go now to sign up for my free <a href="http://www.pottersfriend.co.uk/mailings/add_subscription.php">newsletter</a>.
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The Potters Friendhttp://www.blogger.com/profile/05345030874426727684noreply@blogger.com0tag:blogger.com,1999:blog-9011734377029009832.post-73689205548646935942012-04-30T11:55:00.000+01:002012-05-04T09:06:43.453+01:00The Elusive Red Pottery Glaze <b>Symbolism of Red</b>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGeEbCmsNjEpPUGYxIRcTgVyor2YXj1eLTgrUdbQiOGt2IPJcXQwY_U8Ms9yMG23T79XdMEKeINO4g28jGpZ8SulXKiiPor5uLCgTWmZaisAbvDHMyzEY73SJJ0FBEi7enPCFC7GeMXCbM/s1600/poppy+flower3.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="149" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGeEbCmsNjEpPUGYxIRcTgVyor2YXj1eLTgrUdbQiOGt2IPJcXQwY_U8Ms9yMG23T79XdMEKeINO4g28jGpZ8SulXKiiPor5uLCgTWmZaisAbvDHMyzEY73SJJ0FBEi7enPCFC7GeMXCbM/s200/poppy+flower3.jpg" width="200" /></a></div>
Red is one of the most popular colours to be used worldwide. The color red is associated with lust, passion, love, beauty, and danger. In Asia it is a symbol of courage, loyalty, honor, success, fortune, fertility, happiness, passion, and summer.<br />
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Consequently many types of asian pottery including the beautiful chinese red glazes of the Sung Dynasty and the exquisite Japanese Imari porcelain feature red as the main colour.
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<br />
However in more recent times the demand for mass produced red pottery of high intensity and consistent colour has created a real challenge for ceramic engineers involved in pottery manufacture.<br />
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<b>Japanese Red</b><br />
Imari porcelain is the name for Japanese porcelain wares made in the town of Arita, in the former Hizen Province, northwestern Kyūshū. They were exported to Europe extensively from the port of Imari, Saga between latter half of 17th century and former half of 18th century.<br />
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="http://upload.wikimedia.org/wikipedia/commons/thumb/b/b0/ImariA.JPG/220px-ImariA.JPG" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="220" src="http://upload.wikimedia.org/wikipedia/commons/thumb/b/b0/ImariA.JPG/220px-ImariA.JPG" width="220" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo of Imari by George Le Gars</td></tr>
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Though there are many types of Imaris, Western Europes conception of Imari is associated with the type of Imari produced and exported in large quantity in mid-17th century. This type is called Kinrande and is coloured porcelain with underglaze cobalt blue and onglaze red and gold.<br />
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The blue is rich in colour and hue and is based on a cobalt containing pigment. The red colour, however, whilst remarkably bright and interesting is not such a clean hue and is produced using iron oxide or iron based ceramic pigments.<br />
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Iron ochres and natural red clays are some of the earliest pigments used by man and continue to be used today particularly in hand crafted pottery of rustic nature.<br />
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<b>Rouge Flambe</b><br />
Similarly many of the early ceramic red colours and glazes used on European pottery were not always pure in colour and were based on copper or gold in colloidal form. These colours were used to copy original Chinese patterns and glazes perfected in the 18th century.<br />
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="http://www.liverpoolmuseums.org.uk/picture-of-month/graphics/small/glazes.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="http://www.liverpoolmuseums.org.uk/picture-of-month/graphics/small/glazes.jpg" title="Rouge Flambe" width="224" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Rouge Flambe by Royal Doulton Co</td></tr>
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Interest in reproducing flambe glazes began in about 1855 in France but soon spread across Europe, particularly to England and Germany.<br />
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In Britain, the Staffordshire potter Bernard Moore used experimental and highly accomplished red flambe glazes on Chinese-inspired shapes to wonderful effect. Requiring a special glaze formula, firing cycle and condition they were expensive to manufacture and difficult to reproduce.<br />
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Shown here is a vase made by Royal Doulton decorated with the spectacular Rouge Flambe glaze.<br />
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<b>The Challenge of Pillar Box Red</b><br />
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<tr><td style="text-align: center;"><a href="http://www.freefoto.com/preview/905-31-5553/Royal-Mail-red-pillar-box" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEpEc582cxRgglR7CDYYESf1ReYocdj6bIfI8QsgLGV1ythmtSkFhKSVgm_e3iLiGWi9ye1dEmc1-hQ3cPEw0rPh-cATJXGkqEsVysSydWp-4R1AUVqxP6dQ2Q1QJCRgY95fKg79m6Klwt/s1600/9909_05_5553---Royal-Mail-red-pillar-box_web.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="background-color: white; font-family: Verdana, 'MS sans serif'; font-size: 11px; font-weight: 600; line-height: 14px; text-align: left;">Red Pillar Box by Ian Britton </span><br />
<span style="background-color: white; font-family: Verdana, 'MS sans serif'; font-size: 11px; font-weight: 600; line-height: 14px; text-align: left;">FreeFoto.com</span>
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The development of a reproducible pillar box red glaze and decoration has been an elusive challenge for potters and ceramic engineers through the ages.<br />
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In particular the large scale development and manufacture of pillar box red colour and glaze for pottery is believed to have taken over eight thousand years to achieve. It was not until the twentieth century that true pillar box red glazes and onglaze colours became widely available for decoration of pottery.<br />
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<b>Cadmium Sulpho-Selenide Red Glazes</b><b></b><br />
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</div>
Red glazes and colours based on cadmium have been available for about 50 years. The early glazes and colours of this type depended heavily on cadmium being added to the glaze as a pigment mixed crystal Cadmium sulphoselenide (CdSSe). However glazes of this type lacked temperature stability above approx 800C.<br />
<br />
To overcome this the cadmium was added to the frit batch and subsequently melted into a glassy state. In many cases the frits also contained lead, sulphur and selenium. This type of glaze required firing in a specific way to achieve optimum results. The firing time and the kiln
atmosphere were both critical. The best results were obtained using a short firing cycle to a peak temperature of approximately 1000C. Good air circulation in the kiln, and a good separation of pieces were also recommended. Ideally Cd/Se fritted glazes should be fired separately from other types of ware, because fumes from other coloured glazes can affect the colour achieved.
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<b>First generation Zircon/ Cadmium Red Glazes</b><br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoyyLkGE6Ki09erKwbeXHJNsqv_s2h8JcFHeb38U3unXtX5qmAcOT6Q9solxiUFS1z-l27PWwqkk4fMdVptDtErTvNRtqyetgSjqI3XgIWX0pB42wmtpeY8oU_JKYKEUL5JJXtvfiYCCeT/s1600/Cadmium+Red+colour+required+pale.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoyyLkGE6Ki09erKwbeXHJNsqv_s2h8JcFHeb38U3unXtX5qmAcOT6Q9solxiUFS1z-l27PWwqkk4fMdVptDtErTvNRtqyetgSjqI3XgIWX0pB42wmtpeY8oU_JKYKEUL5JJXtvfiYCCeT/s1600/Cadmium+Red+colour+required+pale.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Actual Red</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJJDHaBEa3AH14QAocX1r2YXqx4XIev4Muw9MBPk7i6JkXTWurgw2AqV9tj2OOydHEW3Nt0Jv2Ab2_JO8MpKiiSLlBn_gISuGGmBmR0U_s81e2UbSns6FvvDjv6biqk7zGr98Vg15pBY-Z/s1600/Cadmium+Red+colour+required.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJJDHaBEa3AH14QAocX1r2YXqx4XIev4Muw9MBPk7i6JkXTWurgw2AqV9tj2OOydHEW3Nt0Jv2Ab2_JO8MpKiiSLlBn_gISuGGmBmR0U_s81e2UbSns6FvvDjv6biqk7zGr98Vg15pBY-Z/s1600/Cadmium+Red+colour+required.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Target Red</td></tr>
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In the 1970s ceramic engineers in Europe developed a new generation of red colours and glazes. These were totally different in nature as they were based on a zircon encapsulated cadmium pigment. These were patented in 1973 by Broll et al of Degussa.<br />
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Briefly encapsulation means that at microscopic level the cadmium is surrounded by the zircon crystal. This gives two major advantages. The pigment is more temperature stable up to 1200 celsius and more chemically stable thus giving lower cadmium release after firing and exposure to acids. These types of red glaze could be used on a variety of firing schedules and were infinitely more flexible in use.<br />
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However these pigments had a serious drawback which limited their widespread use. They lacked intensity and consequently needed high pigment loading to give any degree of colour saturation.<br />
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<b>Second and third generation Zircon/ Cadmium Red Glazes</b>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAHkqaqDSCI_-S_IAFYBlYyaiUtQ6lwSvggwvGrZkloy08xcGYTe5c8nbKESGRAbkD9RqRBiqjqYFfrXIzJ7a2p0aIBuFRo9Q7PTewSp-D0LOZSjbqCJXt0dL_Jmt1n03w6FdRpeSwi3Im/s1600/newland+pottery2.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAHkqaqDSCI_-S_IAFYBlYyaiUtQ6lwSvggwvGrZkloy08xcGYTe5c8nbKESGRAbkD9RqRBiqjqYFfrXIzJ7a2p0aIBuFRo9Q7PTewSp-D0LOZSjbqCJXt0dL_Jmt1n03w6FdRpeSwi3Im/s1600/newland+pottery2.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Red Vase by Newland Pottery BV</td></tr>
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In the last 20 years or more the encapsulate type of pigment has been developed further to the stage where intense pillar box red coloured glazes (see target above) are now possible. These pigments have allowed more stable sanitaryware glaze colours to be produced where high temperatures in excess of 1250C are used. In addition they are suitable for use in a range of glaze and onglaze colours as they are mixable with other non cadmium based colours.<br />
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China is the major manufacturer of these types of pigment as they have proven to be a lower cost supplier of intense encapsulate pigments.<br />
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The challenge of the stable pillar box red glaze now appears to have been met by ceramic engineers. The stable cadmium encapsulate pigment is being used by most pottery manufacturers and appears to meet current legislation in many parts of the world. However cadmium is still an emotive word for many being considered a toxic element in much the same way lead. So who knows? Will the journey to find a new pillar box red start all over again? What do you think?<br />
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This article was inspired by the recent publication of a book entitled <a href="http://thedefiantred.com/">THE DEFIANT RED</a> by my friend the highly respected ceramic expert Leen W Baaij.
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More information and other technical articles on pottery and ceramics can be found at my website <a "http:="" href="http://www.blogger.com/blogger.g?blogID=9011734377029009832" style="color: #1900ff;" target="new" www.pottersfriend.co.uk="">The Potters Friend</a>. Go now to sign up for my free <a "http:="" add_subscription.php"="" href="http://www.blogger.com/blogger.g?blogID=9011734377029009832" mailings="" style="color: #1900ff;" target="new" www.pottersfriend.co.uk="">newsletter</a>.The Potters Friendhttp://www.blogger.com/profile/05345030874426727684noreply@blogger.com0tag:blogger.com,1999:blog-9011734377029009832.post-25638470383097023462012-03-19T12:56:00.002+00:002014-11-10T09:42:35.341+00:00How to Buy Your Ceramic Dinnerware<b>Fashion is a strong reason to buy</b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiecGXMaEwJZQs7E-LQqA1kSbtZiAEhQGRQYcsxbn_6cGFGilJmpIIbDH_28c3EHmCT5a-S16Rgv5DB4ceegbywW96lhfyySEin2AQDWy5HQxajApTiLzkArxEzntS4t-RhO1130R6WjgQ_/s1600/1c63e9df-319f-4551-bf9a-28ba2b5675be.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;" title="Portmeirion dinnerware"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiecGXMaEwJZQs7E-LQqA1kSbtZiAEhQGRQYcsxbn_6cGFGilJmpIIbDH_28c3EHmCT5a-S16Rgv5DB4ceegbywW96lhfyySEin2AQDWy5HQxajApTiLzkArxEzntS4t-RhO1130R6WjgQ_/s200/1c63e9df-319f-4551-bf9a-28ba2b5675be.jpg" height="173" width="200" /></a></div>
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For the discerning shopper selection of dinnerware is primarily based around fashion. In today's fast moving world, where casual dining has become the norm, our dinnerware often reflects our taste in food or the environment in which we use it. For example Mexican food might well be served in brightly coloured dishes decorated with peppers, spices and other vegetables reflecting the type of food we might eat..However the technical issues are a lot harder to assess and should also be valued highly!<br />
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<b>What is ceramic dinnerware?</b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMJFi7aQkdiB7tGJLTeI836Rwu22McdqTiEMVi7qohq8P_JBPcql0BeYMpdtdAVXeUfB7ZKxs-86HBEO9fDOcJpc3gpbpOUmUYGNNaNvG3yxlf7YIax7zwDKC7UD8zstRzNfHQjWON_rtl/s1600/452px-Blue_and_white_vase_Jingdezhen_Ming_Yongle_1403_1424.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMJFi7aQkdiB7tGJLTeI836Rwu22McdqTiEMVi7qohq8P_JBPcql0BeYMpdtdAVXeUfB7ZKxs-86HBEO9fDOcJpc3gpbpOUmUYGNNaNvG3yxlf7YIax7zwDKC7UD8zstRzNfHQjWON_rtl/s200/452px-Blue_and_white_vase_Jingdezhen_Ming_Yongle_1403_1424.jpg" height="200" title="ming vase" width="151" /></a></div>
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The word ceramic was derived from the greek word 'Keramos' meaning 'earthen vessel'. The word has now been applied to a wide range of products from terracotta to the finest bone china. Dinnerware and tableware are just two of the categories often used by stores to describe the end use of this range of ceramics.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCsXBFVqpSWqsKCFHj4YMxtnyB2YRNr5JnJZT5kIDpSKqq_ROiro6hKDbE80mWQIrHrfH5hY_00IUftuRmJmPdgzeeQTGwGIUFLvlocqT6JAgqbSJHTBJXjZ_707LgjrNxIygOvXySC9UL/s1600/combo6.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCsXBFVqpSWqsKCFHj4YMxtnyB2YRNr5JnJZT5kIDpSKqq_ROiro6hKDbE80mWQIrHrfH5hY_00IUftuRmJmPdgzeeQTGwGIUFLvlocqT6JAgqbSJHTBJXjZ_707LgjrNxIygOvXySC9UL/s200/combo6.jpg" height="168" title="variety of dinnerware" width="200" /></a></div>
<b>What type of ceramic is it?</b><br />
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Many types of ceramic are on display in shops and stores. These include terracotta, earthenware, stoneware, porcelain and bone china.<br />
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Often it just says china on the box but this means nothing as it is just another broad term implying it is a ceramic! But we already know that!<br />
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<b>So just how do we identify the different types of pottery?</b><br />
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One way is to look at the colour of the body under the shiny glaze. The best place to do this is under the foot of the item as this is often unglazed. In order of pure whiteness the following is a generalised guide to the colour.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_sbYhT3BrKjiP9L_CG2_N6BA_pMta3ovJ4XTNxMsjrwYjLSBIMVisM3ydqcszyDgSU4YN9WRzcNhbZbXTUoFRMkJJARQ4fsazyJ6hAgCjhgH5bdIdZOpiA9yX1rreP4e0gaDAIUXZUvXS/s1600/potterytypes2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_sbYhT3BrKjiP9L_CG2_N6BA_pMta3ovJ4XTNxMsjrwYjLSBIMVisM3ydqcszyDgSU4YN9WRzcNhbZbXTUoFRMkJJARQ4fsazyJ6hAgCjhgH5bdIdZOpiA9yX1rreP4e0gaDAIUXZUvXS/s200/potterytypes2.jpg" height="200" title="clockwise from top left stoneware bone china earthenware porcelain" width="200" /></a></div>
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Terracotta bright red to red brown body colour<br />
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Stoneware pale brown to buff colour<br />
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Earthenware ivory to off white<br />
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Porcelain off white to blue white<br />
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Bone China creamy pure white<br />
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<b>Bone China and Porcelain</b><br />
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Porcelain and bone china can be more easily differentiated from the rest by their translucency. This means that they they let light transmit through the piece. If you hold a delicate piece of bone china or porcelain up to the light, and wave your hand between the plate and the light, you can see a shadow of your hand through the piece<br />
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<b>The technical stuff</b><br />
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<b>What does it all mean?</b><br />
Once you know the type of ceramic you have some idea of the technical properties. Firstly it is a guide to the strength of the piece and means resistance to chipping,cracking and breakage. Secondly it is a guide to the cost. High quality bone china and porcelain manufacturers use highly refined materials and processes to 'design in' the whiteness,translucency and strength required by consumers. Consequently the cost is higher. However because of the inherent strength you might expect this type of pottery to last longer in use!<br />
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As in life things are never quite so simple. The manufacturers of other types of dinnerware (terracotta, stoneware,and earthenware) compensate for their lack of inherent strength by making chunkier pieces. All types of ware can be highly decorated with colour so this is not the differentiator. <br />
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So the shopper has a choice of chunkier less white designs or whiter more delicate designs!</b></i><br />
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<b>What about dishwashing?</b><br />
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The chemical resistance to acids and washing detergents is also worth considering. Generally higher fired glazed tableware such as porcelain and stoneware have a higher intrinsic chemical durability and are 'unleaded' but this is not always the case. <br />
Top brands now indicate their testing to BS or FDA standards and indicate their quality by labelling with 'dishwasher safe' and 'unleaded' or 'lead-free'. The Kite mark is also used as a sign of quality manufacture in the UK manufacture. The astute shopper therefore needs to look for these labels in determining value for money.<br />
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<b>Fashion and technical performance are both important</b><br />
In summary,shopping for dinnerware can be an enjoyable experience! Armed with a little technical knowledge it can be so much easier! Give at least equal weighting to to the technical performance as to the fashionable design in choosing your ceramic tableware.<br />
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More information and other technical articles on pottery and ceramics can be found at my website <a href="https://www.blogger.com/blogger.g?blogID=9011734377029009832" http:="" www.pottersfriend.co.uk="">The Potters Friend</a>. Go now to sign up for my free <a href="http://www.pottersfriend.co.uk/mailings/add_subscription.php">newsletter</a>.The Potters Friendhttp://www.blogger.com/profile/05345030874426727684noreply@blogger.com2tag:blogger.com,1999:blog-9011734377029009832.post-27976982105819657492012-02-03T16:13:00.002+00:002014-01-21T14:32:45.874+00:00Cheadle's Pugins Gem<div class="separator" style="clear: both; text-align: center;">
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One of my favourite places</h2>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-k1LqZ1_iq8VqIW8JQ4M9B2poPNSFAbe5LYXcgFgFMOE0_32flFSV9s-PUDxxV6QS1sbzU0OxEfwbriW5cSqlaHngWbtgH0bwC85IFx9S6L_m3kkzJS1XFv1EUjZe-UxAFJ3Wtu-n2Ejd/s200/st-giles3.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-k1LqZ1_iq8VqIW8JQ4M9B2poPNSFAbe5LYXcgFgFMOE0_32flFSV9s-PUDxxV6QS1sbzU0OxEfwbriW5cSqlaHngWbtgH0bwC85IFx9S6L_m3kkzJS1XFv1EUjZe-UxAFJ3Wtu-n2Ejd/s200/st-giles3.jpg" height="200" width="195" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-k1LqZ1_iq8VqIW8JQ4M9B2poPNSFAbe5LYXcgFgFMOE0_32flFSV9s-PUDxxV6QS1sbzU0OxEfwbriW5cSqlaHngWbtgH0bwC85IFx9S6L_m3kkzJS1XFv1EUjZe-UxAFJ3Wtu-n2Ejd/s200/st-giles3.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=9011734377029009832" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a>
Once upon a time in a small market town in Staffordshire, England, an amazing church was built by a not so famous architect. The same man also designed the Houses of Parliament and Big Ben. St Giles RC church, because of its beauty and spectacular gothic architecture, became known as Pugin's Gem and has featured on both the BBC and Channel 4 in recent years.<br />
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That man was Augustus Welby Northmore Pugin, and he is now regarded as being responsible for the revival of Gothic architecture in the UK in the nineteenth century. In a recent BBC documentary, his influence on architecture was likened to that of Darwins influence on science.<br />
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2012, was the Bicentennial of the birth of Pugin and it was celebrated in style in Cheadle, a relatively unknown town that sits on the edge of the beautiful Staffordshire Peak District. A series of events,workshops, tours and exhibitions were staged throughout the year based around the church, the nearby Pugin Centre,and other local Pugin buildings. The legacy is the Pugin discovery and heritage centre which is sited at the centre of the High St.<br />
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The church itself is open to visitors most days and really should not be missed. Put a coin in the slot, sit back and be amazed as the church is revealed in all its splendour. You will not be disappointed. To appreciate the church in full obtain an audio guide first from the Pugin Centre and allow it to guide you around the features of the church.<br />
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If you are travelling close to Staffordshire Peak District this year why not spend a little of your precious time to visit the not to be forgotten Pugin's Gem. There's also a chance to discover more of the Secrets of Cheadle, which lies only a few miles from Alton Towers resort and the scenic Churnet valley with its Steam railway and excellent country walks.<br />
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To find out more about Cheadle and how to get there why not visit the Cheadle,Staffordshire website <a href="http://www.cheadlestaffordshire.co.uk/">Cheadle Staffordshire</a>
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