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Only a part of that 21 grams is actual stain powder; it is mixed with a powder medium (a 16oz jar of another color yielded 190g, slightly more economical). Before considering cost, note that the high water content of these is actually a benefit; the thixotropic gel has excellent brushing properties, enabling very thin layering. However, more than one layer is needed to achieve opacity and even color.
But the elephant in the room is price. In one scenario, using encapsulated red stain and assuming 50% in the underglaze recipe, I calculated a 1500% saving making my own (assuming the same specific gravity)! But it gets better. I make mine with a higher specific gravity for better coverage (which raises the cost) but a lower stain percentage (which lowers it back down). And I fine-tune the degree-of-melt and glass-bonding by adjusting the feldspar. And I optimize bisque hardness, and thus overpaintability, by adjusting the clay percentage. With my setup, I can weigh and make a 1-pint jar of brushing glaze/underglaze in ten minutes. When I notice ways it could be improved, I edit the notes in its recipe record in insight-live (and adjust the procedure or recipe next time I mix a jar).

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Although I promote DIY dipping glazes, you can also make DIY brushing glazes. Let's make a low SG version of G2934BL. Weigh out a 340g batch of dipping glaze powder. Include 5g Veegum (to gel the slurry to enable more than normal water) and 5g CMC gum (to slow drying and impart brushing properties). Measure 440g of water initially (adjusting later if needed). Shake-mix all the powder in a plastic bag. Pour it into the water, which is blender mixing on low speed, and finish with 20 seconds on high speed. This just fills a 500ml jar. In subsequent batches, I adjust the Veegum for more or less gel, the CMC for slower or faster drying and the water amount for thicker or thinner painted layers. Later I also assess whether the CMC gum is being degraded by microbial attack - often evident if the slurry thins and loses its gel. Dipping glaze recipes can and do respond differently to the gums. Those having little clay content work well (e.g. reactive and crystalline glazes). If bentonite is present it is often best to leave it out. Recipes having high percentages of ball clay or kaolin might work best with less Veegum. Keeping good notes (with pictures) is essential to reach the objective here: Good brushing properties. We always use code-numbering (in our group account at Insight-live.com) and write those on the jars and test pieces. This is so worthwhile doing that I make quality custom labels for each jar!

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Potters often encounter the problem shown here. These pieces are fired at cone 6. They are decorated with underglazes made from a mix of porcelain powders and stains. The transparent glaze works over certain colors (e.g. the light blue), but over others, it is full of microbubbles and pinholes. The potter has not had success finding a transparent overglaze that works consistently. As can be seen here, stain types used in underglazes behave differently; they are not just inert powders. Also, stain manufacturers do not mix stains with porcelain to making underglazes.
So, although closer control of the transparent glaze thickness or a more fluid melt glaze recipe might help, the real solution lies with the underglaze recipes used here. An ideal bisque-stage underglaze is sinter-bonded but not sealed, accepting glaze water. An ideal fired underglaze also has controlled maturity: enough glass development to bond well to the body and promote glaze acceptance, but not so much that edge-bleeding and opacity loss occur. This state of 'controlled maturity' is also more likely to match body thermal expansion. The cost savings and the potential to fine-tune each color to your exact needs can be powerful motivations to use DIY underglazes.
| Glossary |
Underglaze
Understand pottery underglazes: Why they brush differently, how they fire, why clears fail over them, and how to make your own recipes. In technical rather than art language. |
| Glossary |
Brushing Glaze
Hobbyists and increasing numbers of potters use commercial paint-on glazes. It's convenient, there are lots of visual effects. There are also issues compared to dipping glazes. You can also make your own. |
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