Glazing with Clayscapes Glazes

hey everyone welcome back to clay share con day five am so excited for this next tutorial we have lined up we have don seymour and drew seymour from clayscape's pottery who will be joining us and they're going to teach you how to glaze with clayscape's pottery glazes and i have a few of clayscape's pottery glazes right here before me this is my spearmint and my lake blue dipped and overlapping and then here is my cobblestone on a dark clay with a spearmint rim see the clay there's the dark clay i don't usually use dark clay but you can see texture so i want to share those those are glazes you can get from clayscape's pottery and we're going to throw it on over to don and drew because we can't wait to see what they're going to do today for us hey don hi drew hi drew hi jess hi play sherkon welcome we're back at clay escape's pottery and we're going to do some glazing with our dip and pour glazes this morning while mid mid morning and i'm going to teach you about this combination here this has got a cream done in stripes here and then our coastal blue over the top and we've got some tips and tricks that will make it so that you can get this glaze combination to work nicely for you one of the things we'd like to talk about is the consistency of the glazes in the bucket and we have a little youtube video on our playscapes pottery glaze and i don't want to go through that with you this morning and take up that time but go to the clayscapes pottery youtube channel we have one video there it talks about getting the consistency correct so that you're getting a proper application of your wet glazes um so first thing i'm going to do is we're going to go out of order a little bit because we are on a limited time basis i've prepared all the glazes ahead of time to make sure check them for consistency and first thing i'm going to do is i'm going to wax the bottom of this platter here and one of the things that's nice i think is nice about the way i trim my foot on these is so we've run out of cabinet space to store platters and bigger plates so now what i do is i undercut the foot so that this can hang on the wall and you put a flathead screw in and it will hang right on the back of this clip here and so it hangs just like that no wires no disc attachments hanging out nice clean application so when you take it down you're not going to scratch the table and also prior to coming on i've gone through my bisquare and i use a little silicon carbide grinding stone to take any burrs or sharp edges off i got this at a hardware store it's a part of a bench grinder wheel and just break it off into little bits so i'm going to sponge this wax i like to use a sponge elf in here sponge and i cut it so it has some flat sides and you'll see the advantage of that and so sponging for me is a lot quicker i can get then using a brush and come down come down a little bit okay so i can just rub that wax right on there because i'm gonna dip this in a bucket of glaze so this is a pretty quick process here have to be good at catching your work someone someone asked would you have to worry if you slam a door really hard that the plate could fall off the wall no um i have these hanging up all over my house in the shop here doors get slammed all the time doesn't come off the wall as long as you put it on the wall right on the wall proper and so you see this application with a sponge goes right around the foot of the plate uh waxing people often ask if you get wax on the piece how do you where you don't want it how do you get it off uh what i do is i let the wax dry real well and then i would go in with my silicon carbide grinding stone and just um rub that off one of the things when you do what clay are you using everybody wants to know what clay that is this is uh miller laguna number 75 it's a brown toasty stoneware that is uh has five percent fine bragging one thing you want to do with your sponge or brush if you use a brush uh rinse your sponge out get the wax out with warm water real quick afterwards so it doesn't set up and ruin your applicator if you don't have running water use a bucket so we're going to switch over here to the bucket of water drill yep just like the cooking show i got my fashionable towel on i want to use a towel wrapped around me so that i can what wipe my hands quick so one of the things that people ask me about is application of our glazes and you all have homework homework it's the key today right working at home and so i just use a red solo cup to teach this and it helps if you practice this technique so that when you go to the glaze you're not spilling your glaze all over your piece and applying it clumsily so what i do is i take a cup of water and i'm going to fill my red solo cup almost up to the top actually up to the top you can see that all right and this way i'm not putting half a cup in and then spilling the glaze out so i'm going to think of the surface of a clock i'm going to dump that 11 o'clock and rotate around and that's going to coat the whole interior of my piece so i'll show that technique again so if you again if you do this then when you come to your glaze and you put a little bit of glaze in and you try to pour it out you're not going to now you got to go back in and put more glaze in and you're getting excess glaze on even application so fill it up i'm holding my left hand dump that 11 rotate it around and that's going to coat the whole interior of the cup so what happens if i use my right hand to hold the container well if i dump that 11 and rotate it around in the same motion i can't get all the way around because my arm doesn't turn that way so you got to go the opposite direction so i'm gonna i'm gonna dump at one o'clock i'm gonna rotate around and it's gonna coat the whole interior of the cuff in this case a cup could be a cup could be a bowl so i'm going to dump it one rotate all the way around that's going to coat the whole interior and one of the things i think people are intimidated by dipping and pouring glazes is because they don't people we sometimes don't think about the whole process when you're making a piece i'm also thinking about how i'm going to glaze the piece so it's a totality of piece as opposed to making the forming process and then a separate glazing process just a little tip um so we've waxed our plate and now um to teach this segment i'm going to get some cream glaze and i'm going to apply it to some of my best square so i'm gonna go over here i need my cup i'm moving around with the camera everybody so these are our buckets these are our glaze buckets um our more popular glazes are in these bigger buckets 20 gallon buckets they hold 80 pounds of plate of glaze so i got that stirred up just a cup of that so i don't have to keep coming back and stirring and i got a brush and you can use any type of brush that you want or you could use a glaze applicator or under blaze applicator and i found that if i apply the cream glaze in a vertical motion when i put the coastal blue over it it's going to run really hard you can see that this is where i applied the cream glaze and you got this slide on it so if i did it vertically it'd run off the bottom of the piece and i also keep the i don't glaze right down with the cream to the bottom again because it will move and slide so i try to keep it up from the bottom a little bit so now if i hadn't taken this little cup of glaze out of the big bucket i'd have to go back in with my arm and stir the glaze because particles settle so this way i can just take a small amount on the brush and i do it in a horizontal kind of diagonal stripe it's kind of random but it's done with intention so i get multiple stripes there that's great i'm gonna do a bowl it's kind of random but again she's an intention and i'm going to do a mark 2. so now a key point to this application is i found through trial and error in much thrown out pottery i need to let this set for about 20 minutes if i went over and applied my coastal blue glaze right now while it will stick to the piece during the glaze firing it actually slides right off and it runs right off the piece if i let it set for an hour it absorbs too much glaze and i get blistering and pinholing and it runs so i'm 20 minutes is a key time to let this combination set what about a question everybody wants to know what kind of brush are you using what brush is that this is i need that brush this is a handmade uh this is a bamboo it's a deer tail brush and it's a deer tail handmade deer tail brush you could also use a uh just for the folks wondering another brush you could use in sub if you don't want a handmade or can't find a handmade deer tail brush you could use a large sumi s-u-m-i brush absolutely absolutely any type of brush will work um it's just i like this one because it was made for me and uh it's kind of fun it's uh 11 28 just so you know um what would happen is this so you have to let this combination you know the cream sit for 20 minutes um but we've found that other combinations you don't want that's right that's right and i'm going to grab another bowl excuse me oh getting this done and so other glazed combinations we'll go over here and we'll do this one real quick through sure while we're waiting for that to set up so i'll be right back let me grab this bowl so this combination is our turquoise rain over smoky purple and this so this is one glaze over the top of another glaze and it's a much different application i'm not wait going to wait in between and so what i'm going to do is i'm going to stir i'm going to put my smoky purple on first so i'm going to stir my smoky purple last okay because i don't want to put my hand in the glaze rinse put my hand in the other ways rinse come back and have to stir the glaze again so i'm going to stir up my turquoise rain and again i've stirred this previously this morning so it's the proper consistency i don't have to start too long it hasn't settled out too much what's up so if coastal blue is coming out more of like a brown or a tan um it's because the glaze is too thin and so coastal blue ranges from like brown to blue depending on how heavily it's applied so you definitely want to make sure when you have coastal blue you have two coats and we will um we will be showing you that uh when we get to dipping it so i'm going to apply my smoky purple gonna fill my bowl up i'm gonna go right around coach that hole inside in out no holding no counting shake off the rim so there's no drips so that when i write it there's no dripping down the side there's no perk to me if it drips on the side you're applying another coat of waste now i stirred you saw previously so i'm just going in and getting it mixed up again this piece the water has dissipated it's now time to apply the second coat of the glaze so it's very quick i did set it down in between where's that motion in out shake get those drips off that's a very quick process i found i used to be a production potter i'm still a potter but i used to do this for a living making functional wear and so i didn't want to when i formulated my glazes i want the most efficient way possible and so i found if i had to glaze one coat put it down pick up another piece glaze it put it down you know if you're doing 20 50 pieces that becomes very time consuming so applying your glaze one right after the other you handle the wear much less frequent frequently so it's much more efficient so now i can go and put this down so he's going to clean up for a second while we still wait on these guys um but you can see that brown on the coastal blue so where the coastal blue pulls that cream down you get that purple but then it also leaves that brown that kind of so what about using a mixer um a drill to mix the glaze instead of um you know um yeah you can do that i just found using my hand and is uh quicker and easier and electricity with the drill and wetness doesn't always work out real well um in the beginning in the beginning of the day we do use a mixer to get it stirred up but then when we're going through and glazing the actual work just a quick stir with the hand it's all about finding what works for you and speaking of that um no speaking of finding what works for you is i often tell a story of success through failure and you have to find what works for you and the only way to do that is to do work and to do testing you know test is a four letter word but it's not a dirty word it's a very good word and so when i first started with my own blazes many years ago and i was making mugs and i started with this combination and um i had a whole load of mugs 60 mugs and everyone ran and stuck to the kiln shells and so you know i didn't throw my hands up and give up i went i learned from that success through failure what do i need to do differently and i adapted and found solutions to make it work questions nope go ahead okay so we're live [Music] i still need to wait a little bit to apply this glaze okay um i can do the brush on let's do the brush on oh i'm gonna do it hey guys i'm gonna flop this around blink hey it's me drew um i'm going to apply uh while we wait for these um lake blue which is one of the new glazes that is made formulated by jessica button phillips and we will be releasing here well they are released for pre-order um it should be ready to ship late next month um and i'm gonna brush for you so this is lake blue i've already added water to it measured it to the consistency that i find i that it works put it through a screen all that good stuff so we can see inside here it's nice and goopy much thicker much thicker than for dipping in porn and i am gonna show you oh how i do my glazing so here's my glaze jar and when i apply brushing glaze on my piece i do what i call floating a glaze so i'm going to pull a huge amount of glaze on my brush and see how thick and voluptuous that brush full of glo glazes and then instead of brushing it i almost lay the brush down and let it float off there's no brush action to it very much just kind of bloop and let it run um i'm not going back and forth and and you know because what we want is we want a nice even coat so we're brushing on the lake blue just a big goopy go we've got a question if they order the brush on glazes and a bunch of other things and the glazes aren't shipping out for a while will they get the thing the other things sent to them and then the brushes when they're available yeah so what we would do in that case is i would probably send anything that we have in stock is going to go out and then when the brush-on glazes become available we would then send out a second package to you so i'm just covering this whole thing and you can look at it as i'm as i'm brushing this on it is drying already and you can see how it's drying here so you know for these glazes i'm going to wait for this to dry and once it's completely dry this will probably take another five minutes to dry i will go in and put another coat on and then it'll take another couple hours to dry and i'll go put a third coat on and i will do that with all of these uh glazes now you definitely want that two to three thick heavy coats so now i'm going on the inside while we wait for the outside to dry and i'm just just like jess does just kind of lay it in there thick so we have a good question um which is one that i could answer but i've got to have you do it so this person says their test tiles with dipping glazes haven't been giving them the same results as the test tiles from the store how should i troubleshoot i'm pretty sure the water ratio used is correct so [Music] it's a little confusing so they have uh used our glazes oh so their test tiles that they have at home don't look like the samples we have in the store exactly okay um practice and application and thickness have everything to do with it the other thing that you also have to take into account is your kiln and what size it is how full it is how quickly it heats up how quickly it cools down all of these things play a role in what your glaze looks like um jessica you have uh one of my dad's um things right there yeah the you can tell the tone on that it's more of like a pastel pale blue um and then and the exact same thing right here it's it's darker right you know it's the same thing that they were made these are probably made from the same batch of uh what are these we want to uh here if we let's let's just hold yours up drew and then we're going to quickly flip to me and i'll hold mine up and so you can everybody can see um you know the variants that happen when we fire i have one of dawn's pieces glazed exactly the same way as he's glazing the piece today and exactly the same way that the piece was glazed that drew has and there are variations no no two firings are going to come out exactly the same they're going to be different um so that's just something if you look at a test tile uh also ingredients change over time everything um adjusts you know so we go back to drew now yeah so i mean it's it's very much um but if your tiles or your test tiles are uh vastly different than what you see in the store contact us you know with anything new there's a learning curve you're on now and we don't want people to be out there struggling and trying to hurdle these hurdles without assistance in throwing up their hands again with anything new there's a learning curve we're here for technical support and we can get you through that learning curve and make you help make you successful in the work that you make we're good to do the coastal blue we're good to do the coastal zone yep so it's been about 20 minutes since we've applied the cream so we're going to take these pieces over and he's going to show you how he applies the coastal which is i'll here this out of the way for you i'll be back with more work i'm running i'll get it okay [Music] we have a question on uh so how come you have to fill more layers with a brush on place than a dip on place so go ahead go ahead go ahead okay so the reason that you have to put on more layers with a brush on lace than a dipping glaze is because there are compounds in the dipping glazes if we took a brushing glaze and or excuse me if we took a dipping glaze and put the brush in the glaze and put it on the piece it would stick it does the glaze wouldn't flow off the brush and so there's compounds in the brushing glaze to make the glaze flow off the brush but by doing that it also thins down the amount of glaze you're putting on so in an effort to make it flow there's compounds to make it flow but then because of that aspect it thins the actual glaze even though it doesn't seem like it and so then you have to put on two or three coats does that make sense yeah okay i apologize for my shoddy camera work go ahead all right so we're going to this is our coastal blue and this is a two-dip glaze two dips of the same glaze versus before i did one dip of smoky purple and then a dip pretty quick of turquoise ring so this is going to be two dips and it's a different application in some respects to make it successful so i'm going to grab my piece by the foot here i'm going to go in i'm going to stir my glaze and i got this stirred up before but it settles out so go to the bottom and you need to not just stir in a circle but you need to go down and stir up because the particles that cause color are dense and heavy and they'll settle to the bottom so if you're just stirring in a circle you're not getting the glaze homogeneous okay so i'll take it and i'll get some glaze now i'm going to fill my cylinder my vas my base i'm going to fill it right up all right right to the top and i'm going to dump twist i'm gonna go in and dunk it and pull it out and i'm gonna twist it so i'm not leaving it in there counting to three because your three count may be one two three in my three count maybe one two three and we're going to get a different application so i shook it to get all the drips off when i write it there's no drips running down and so while this is setting up on the piece the water is going to start to dissipate and you'll see it start to dry you'll see it change surfaces right now it's kind of tacky if i touched it i'd pull it off pull the glaze off i'm stirring all right now it's starting to set up you can see it's not real wet the bottom is dry yeah so now i'm going to go up if i put just one scoop in i'm going to have a hard time coating the whole inside so we have a question i think you're going to want to answer people are asking but what about finger marks what about fingers so now i'm going to shake this and with this combination i found i need to wipe the rim i'm going to wipe the rim because if i don't there'll be too much glaze there it will bubble and blister so that's just a gentle white to get the excess glaze off i'm going to write this now finger marks some people personally i like finger marks it shows me that it's handmade when i was out on the show circuit most people didn't like the finger marks so i adapted and i get some glaze some paste off the side of the bucket and i'll just dab that on there and blend it in with the glaze and i'm going to show you something here of the fire piece that we've been looking at earlier and then i got one on the other side where my thumb was and then i can set this down on the table just like that now this one you can see right there was a finger mark but it doesn't really it's not a bare spot and there's a there's another one so it shows up a little bit but it definitely covers it so that is not bare bear into a bowl next i'm gonna do a bowl so my bowls i make with a nice foot on it so that i can hold it you know and that's done in the forming process in the trimming process so that i was talking before i'm a production potter and how do i get my bowls glazed in the most efficient manner so that i don't like to use dipping tongs because they leave marks sometimes so i make a bowl that i can actually hold so it's a totality of the process as opposed to just thinking of it in a separate you know forming and then a little glazing i'm gonna fill my ball i'm gonna dump that eleven all the way around and then i'm gonna dunk it i'm gonna pull it out no counting no waiting shake so i get all the drips off the rim shake shake shake sorry drew someone wants to know do you ever use tongs i don't use tongs um i find them personally i find them awkward in terms of getting it then i have to wax everything so that was one of the reasons i didn't like using tongs it you have to wax the bottoms because you're going to dunk the whole thing so it eliminates wax so you can see that the moisture is dissipated i'm going to fill this piece so we have a question why not do a complete immersion dip when you're doing that so why not hold the bowl sideways and just dip the whole thing again i'd have to wax the bottom yeah so just to avoid it's all about the um what's the word the efficiency of the application process based on a production pottery what about we got a question um i get a bubble plop when dipping a mugger bowl how do you avoid that you know the air bubble that comes out i can answer that on this next poll here so the way you avoid that if you put your piece in and it's not level it's not horizontal with the surface of the glaze there's going to be an air bubble and if it plops or bloops that's the air bubble coming out so to avoid that put it in completely level and then it you it won't bloop or block up into the inside of the bowl you want me to make it blue make it blue so i'm going to do the inside here and if i go like this and i hear that yeah right there because i tilted the piece while it was in under the surface of the glaze so that's going to put an additional coat on the inside of the of the pot so i'm not going to pour the inside again because it's already got a second coat of glaze on it but i will dip it again did you want me to make it poop again no so the idea is you're using the negative pressure of the seal when you put it straight on to keep air inside the pot so you're not applying a second coat of glaze on the inside of the pot so when that is in the bucket completely straight there's air inside that that's preventing more glaze from getting put on the inside listen to mr physics the guy who did science in high school i love it um we have a question can you apply clayscape's brushing glazes over your dipping glazes yes yes our uh our glazes whether they be dipping and pouring or brushing um work with any cone five six glazes out there they're compatible with echo glazes and amigos amico glazes and laguna blazes and we've had people use all kinds of glazes and they're compatible the reason being is that when you're firing cone five six there's a commonality of materials that are used so if we're if you had a low fire glaze with a mid fire glaze a lot of times that's not going to be compatible because the low fire glaze is going to when it's brought up to cone 5 6 is going to run it's going to make the chrome 5 six blades raw so there's a commonality of materials used across commercial makers lines and we've had great success utilizing our glazes in combination with potter's choice um celadons the mako stonewares i'm going to do this plate under the plate we don't have a ton of times up here okay and some and folks are saying they want to see what the coastal blue does over my cranberry glaze oh i'm not have you i've been tested that i'll have to yeah it's gonna look good i will tell you that yeah i think it'll look amazing yeah we have a glaze um that's called clinton pottery red it's quite red and the coastal blue it's a real hairs hairspray look over the top of that and i'm sure it's going to be very very sweet over the cranberry taking a note so for my next glaze test batch i had applied a little bit of cream afterwards to this plate and you can see that i'm going to hold this by the undercut foot and by the lip i'm going to submerge it in the bucket and pull it out okay and people may have a question on the thumb print and i can show you that on another piece so i got that stirred this is going in the bucket quick coming out and it's just dripping off i'm giving it a little bit of a hand so that i get all that excess off and then you can see the wax on the back resists the glaze this is good you can see it's starting to set up the water's dissipating i'm not going to wait too long i've got a thumb print here i'm going to show you how i deal with that i'm going to paste it again and stick my arm in here in and out this thing here i'm just wiping that rim not applying a lot of pressure just gliding my hand over the surface so that it helps those drips come off and the fact that his right hand is covered in glaze makes it so that when he wipes the rim the glaze wants to travel off the pot it slides so what i'm going to do is i'm going to take a little paste from the side of my bucket and i'm just going to dab that like i did with the cylinder with the wine cooler and i've got a plate that we've raised the other day i'll go set this down pick up that plate yeah so we have a um a question uh jim says she finds that when she dips just chun over cream it crawls is this juice because they're both thick or would it help to let the cream dry for the 20 minutes like you do with the coastal blue justice over the cream okay when i did just this ton over the cream it crawls the cream is probably too thick okay i'll show you in a minute but here's a plate i did the other day and you can see i think that's the dab mark from my finger so you know it's a little it's there mark it's there but it's minimalized is that a word minimalized word um i want to go back to the cream and show the consistency in the bucket sure let me the brush-on jars can they be shaken instead of stirred they can be shaken i find that when you shake a glaze versus stirring it or drilling it it creates a lot more air bubbles and you're not going to get as much um of a blend straight out of the dry so the dry powder wants to uh the dry powdered particles when you get them wet they stick to each other and so when you shake it you may break it up a little bit but that stir that drill mixer is really what is going to break it up the other thing that really helps is the sieve so things like things that may have a coarse ingredient in them need to be put through a screen and that's kind of one of the reasons where that's holding up the um the brush and glazes we have the sieves coming in so that you guys can get a nice homogeneous mix so so i have a question on cleanup if you don't uh i don't know if you're going to talk about it but someone wants to know any tips on cleaning or disposal of these glazes um or do you have to have a commercial studio to do that no no these are fine i'm i'm making a mess because i'm trying to run through things but no you don't need a commercial studio um i used to work out of my home studio and i would i didn't have running water i just used buckets of water that i filled up at the faucet transported to the studio and you know i would have like three buckets of water i'd have a dirty bucket that would just like if i put my hand in glaze and i'd rinse it in that first i'd go through the middle bucket as like a secondary rinse and then i'd have a clean water bucket to get any of the last particles off and so when i'm glazing you know i'd have those three buckets if i'm cleaning the bottoms of work i'd have two buckets you know one to clean the sponge because it's getting the the first run of the glaze off and then a clean water bucket so works just fine um one thing people ask about putting your hands or arm in place health wise there is nothing detrimental or nothing dangerous there's nothing that's going to permeate the skin of our glazes yes um the other thing that i reason i like to use my hand is i can tell the consistency of the glaze and i'll show you that when i put my arm in here and i stir this and i'm going all the way to the bottom here too because this is settled on a little bit because you can see there's a little bit of thickness there all right and so i want to make sure all that is stirred in and homogeneous all right so i don't have anything left down there so i take my hand out i can see all the details of my hand the wrinkles fingernails the hairs on my arm so and i know that from doing this for many many years that that's the consistency i want my cream glaze to be at and so we teach people with a hydrometer method because if you don't know this learning with a hydrometer gives you a baseline so that you can get the same solution consistency from one batch to the next batch to the next batch and consistency and solution is going to make your application process go smoother so if i stuck my hand in the glaze and i come out and i can't see this kind of detail and it feels kind of like a glove your glaze is too thick you'll get it over applied and with this square it'll create running blistering other glaze issues does that make sense okay it's weird not having like people yeah so the uh how big is that plate john did a little while ago how large is that plate uh this one here is probably 11 12 inches this is an 11 and a half inch hydrometer so let me hold it this way so it's 11 and a half 12 and a half maybe 13 inches okay we'll say 13 inches so that would fit perfectly in an e 14 s it sure would so i got a couple more months here that i want to glaze up and and some folks have asked how do you get the best results with aurora with aurora um it's two quick dope quick two quick dips just like the coastal blue you don't want one heavy thick dip and you don't want to wait in between dips so you can't dip it set it down dip another one set it down you have to you dip it hold it in your hand let it dry dip it again just like we're about to do with this mug all right you're gonna see it here you go in action here we go stir by glaze pour fill it up tip it dump it dunk it out shake shake shake shake so that when i write this i don't have any drips running down if you need to you can just get that last one with your fingers flip it up it's going to take 30 seconds a minute maybe not even see the glossiness on the inside there start to mat out as it dries yes and uh we do have a question about demoing a hydrometer properly how to use it correctly okay i'll do that do we have time for that jess kevin i have time for that so i'm going to leave this just oh we got 12 minutes okay my k my uh my clocks are off then so while don brings a hydrometer over for coastal i'm gonna run and grab the example of the finished lake blue actually we're probably going to go back to the cream because it will be easier to see for the hydrometer okay okay let me go ahead grab it'll be easier to see the cream hydrometer reading because it's white and the bucket of glaze is fuller as opposed to this being down in so far we have a question is that that you had a little speck on the plate that you dipped and some folks wonder will those little specks show like sometimes you dip you get a little in this like something uh and the one that you just dipped that you did a few minutes ago there was a little speck on the plate i think it's just a little blob of glaze i will remove that before i put it in the kelp okay during the cleaning process that's a little bit of glaze paste from the side of the bucket that fell down into the glaze that was the other question i had some folks want to know if you ever scrape down the sides and you know scrape the sides down we refill the bucket of glaze so when that okay when i put another 20 or 30 pounds of glaze in here before we do that we'll scrape the sides down just to get that stuff out and then a little bit of paste here why don't you show them the lake blue yep i'm going to show you like blue so uh we're going to go over to the cream blaze but in the meantime the lake blue so this is the lake blue that i've brushed on the 75 you can see where it's a little thinner we have we can see through it a little where it's real thin on the inside here i just did like an easy quick one-two coats you can see the clay through it but i got that and then the lake blue and these are both brushed on applications three heavy coats wowzer that lake blue is popping and yep and you can see on the white where it's um where it's pulling you can see the clay through but yeah this is three heavy coats it's really really glossy this is a high gloss if you were to apply a thinner coat especially over like a texture you'll be able to get like that semi-gloss feel to it but yeah so now we're going to look at the hygrometer we bisque fired a cone o6 um if you bisque fire to a different temperature like if we bisk the o6 and ubisk to o4 it is going to change the application how glaze it is going to absorb into your piece so just be aware it's just a it's just another point of potential difference that's all and if you if some people to o8 which is going to make the bisque more open so then it's going to absorb more glaze so there's a lot of factors in the application but again if you have any questions in your own home studio let us know we can help you overcome hurdles yeah and folks are asking can you order the lake blue you can those are the lakes you can get dipping now but the brush and pore are coming the brush on are coming out the dip and pour is available now and the brush on is coming out but you can pre-order it yes and um got another question how do you prevent thinning on the rim thinning on the room well i think the natural way a glaze breaks the question i don't i think that's the answer right if you want to explain why is the glaze thinner on the rims for example this uh coastal blue you see where it's got this brown thinner application on the rim it's a that's because this coastal blue blaze is a moving glaze it doesn't stay exactly put and so when i thin that with my finger it takes a little bit of excess glaze off and then it moves so you get that break on the rim i personally like it it's the look i'm going for the other thing about this particular glaze coastal blue is if it's too thick it'll blister and so thinning that i eliminated any possible problems with blistering on the rims the hydrometer is we there's two different sizes there's an eleven and a half inch hydrometer and there's a six inch hydrometer i prefer the eleven and a half inch hydrometer it's a little easier for me to use and handle uh these are very fragile if you drop them they break so just be cautious with that and you can see the uh there is a two scale scale that is what you would use to measure uh is what we're going to use to measure there's a second scale on the 11 and a half so there's two different scales so we have certain numbers that we're aiming for cream we measure to a 45 no we measure a 55. one two five five yeah so the um six inch hydrometer it has like from 60 to 40 which is where we're going to be in all of our blazes uh the 11 and a half inch has a larger scale so if we dipped it in something really thick it'd be at 2.0 it wouldn't submerge if we dipped it in something really thin like water it'd be at 1.0 okay so we're going to go into the middle here and i need to stir my glaze and you guys are going to see what we're talking about when we say it's going to be at right so the hydrometer is going to float you can't just drop it because if you drop it it'll bob and then it will cover the scale so i'm going to put it in my glaze and i'm going to let it settle okay and some glazes have more of a tolerance than others uh this place has some tolerance to it you can't be uh this is at 1.5 a i believe which is fine um if my coastal blue was at 158 it would be too thick it would run it would blister that coastal blue is a one four five so it's about a a point um thinner so even though even though the glaze this looks thinner than the coastal blue but it's because of the materials that are in the glaze there's heavier denser materials than this so it actually needs it looks thinner it feels thinner thinner but it's actually thicker but it's thicker how's that for science well when you look at the hydrometer now here the close-up of the hydraulic so now we have the hydrometer did i smear it no that's where it floated right so we're floating at that mark so you can pull your hydrometer out and say okay we got a 1 6 almost so so that's how hydrometer is used in the bucket and the reason this gives you specific gravity i found that this was easier for the public to use a hydrometer than doing uh scale and weighing and then dividing uh numbers a lot of people don't like to do the math part of it so this is a real quick and easy way and so uh can you use a wine making hydrometer no no blind and beer have uh different readings on them they don't they won't float they give you the same accuracy as a glaze hydrometer now i rinse this off and it's wet if i if this wasn't the right consistency and i want to measure it again it would give me an inaccurate reading because it's wet so you need to make sure that when you put it back in that it's rinsed and dried so we have a question true about your 18-hour firing schedule what cone is that too uh o6 but you can make it to whatever cone you want um you just change the maximum temperature you fire to uh the important part of that program is not the final segment it's the segment before the final segment which is the long period of time between the thousand degrees and sixteen hundred um once you get up over sixteen hundred you know we go to o six you could go to o4 you know whichever you want it's that period of time between a thousand and sixteen hundred that the carbons are burning out and you need to it's not only the temperature that you go to but it's the length of time so you need to go through that thousand to sixteen hundred degrees slowly so that gives the time for the gases to escape hand me my mug finished mug there bud over here i wanna talk about the scraping sorry so one of the things that i learned the hard way in my 60 mug failure was that when i use this combination when i the glaze because it moves it can run down the inside of the handle move down the outside of the mug body and it collects right here at the joint right here at the joint and so what happened was it runs here and it runs here collects at the joint and then it runs around here and runs down and sticks right to the shelf runs off so what i do is i take a dental tool that i got from my friendly dentist and i scrape this back scrape this area back right here like this and that i scrape it right down to the bare clay and so what happens then is because there's no cook glaze there you'd think oh that's problematic but there's not because you can see that that's fired and it's glazed over and so the glaze ran down the inside of the handle the excess exterior of the mug and it filled in that section right there but it didn't run around and drip off this is the only glaze i have to do that with only glaze i learned that the hard way but you learn and you grow and you move on and uh any of our other glazes don't do that just coastal blue that's the course so i think we are sadly out of time thank you so much we're gonna thank you dawn thank you drew that was a fabulous fabulous love seeing you glaze so i have in front of me some of my glazes and some of you know don's glazes from clay escapes powder you can get all of these glazes from clayscapespottery.com and you can go to the clayscape shop and find them or just look under their glazes in the shop section right now during clay share con they're running a promo i have to do is write that clay share con promo just write cliche con in the comment section when you do an order all the different promos they have because they have more than one going on right now all the different promos or promos are listed on claysharecon.com go to sponsors and then you can go to the clayscape's pottery page just click on them and you can see what they are offering because they have a bunch of different things so again like my coastal um my sorry my cobblestone which is a dip and pour and also going to be a brushable my spearmint same thing that's on the rim over here this is my lake blue that dawn was showing actually drew was showing on a cup my lake blue and dippable my spearmint and dippable and then when they overlap and the spearmint's currently available right in brushable is a spearmint in brushable yet or is that going to be that's coming out they all are okay they're all available right now in brushable so and then this piece i just wanted to show you again is the one that was like what don was doing today so um everybody glazes differently you know if you glaze away and this isn't the way you glaze you might have found something really great in this tutorial that's going to change the way you glaze or or maybe you know you do it your way and you're happy with it that's fine everybody glazes differently i really got some great ideas for the next time i'm doing dip and pour glazing i gotta i gotta hit my dentist up for a little dental tool i use a needle tool but it doesn't doesn't get in so i'll i'll have to definitely get one of those but thank you so much to the folks at clayscapes they have been fabulous joining us for clay share con this year and being a sponsor and everybody else i will be back um we'll be back in about 15 minutes and then we'll have sharon hoppy on she's going to be doing luscious curves

Channel: Jessica Putnam-Phillips

Views: 3,400

Rating: 4.9402986 out of 5

Keywords:

Id: 5-8KgSFxUcY

Length: 62min 30sec (3750 seconds)

Published: Sun Feb 28 2021