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3D Print a Test of the Beer Bottle Neck
3D Printing a Clay Cookie Cutter-Stamper
A 3-minute Mug with Plainsman Polar Ice
A Broken Glaze Meets Insight-Live and a Magic Material
Accessing Recipes from "Mid-Fire Glazes" book in Insight-Live
Adjusting the Thixotropy of an Engobe for Pottery
Analysing a Crazing, Cutlery-marking Glaze Using Insight-Live
Compare the Chemistry of Recipes Using Insight-Live
Connecting an External Image to Insight-Live Pictures
Create a Synthetic Feldspar in Insight-Live
Creating a Cone 6 Oil-Spot Overglaze Effect
Design a Triangular Pottery Plate Block Mold in Fusion 360
Designing a Jigger Mold for a Bowl Using Fusion 360 CAD
Downloading and 3D-Printing a 3MF file
Draw a propeller in Fusion 360 for use on an overhead propeller mixer
Drawing a Mug Handle Mold in Fusion 360
Enter a Recipe Into Insight-live
Entering TestData Into Insight-Live
Getting Frustrated With a 55% Gerstley Borate Glaze
How I Formulated a Cone 6 Silky Matte Glaze Using Insight-Live
How to Apply a White Slip to Terra Cotta Ware
How to Paste a Recipe Into Insight-live
Importing Data into Insight-live
Importing Desktop Insight Recipes to Insight-live
Importing Generic CSV Recipe Data into Insight-Live
Insight-Live Meets a Silica Deprived Glaze Recipe
Insight-Live Quick Tour
Liner Glazing a Stoneware Mug
Make a precision plaster mold for slip casting using Fusion 360 and 3D Printing
Making ceramic glaze flow test balls
Making test bars for the SHAB, LDW and DFAC tests
Manually program your kiln or suffer glaze defects!
Mica and Feldspar Mine of MGK Minerals
Predicting Glaze Durability by Chemistry in Insight-Live
Preparing Pictures for Insight-live
Replace Lithium Carbonate With Lithium Frit Using Insight-Live
Replacing 10% Gerstley Borate in a clear glaze
See the magic of thixotropy as I mix a 20kg batch of G2926B glaze
Signing Up at Insight-live.com
Signing-In at Insight-live.com
Slip cast a stoneware beer bottle
Substitute Ferro Frit 3134 For Another Frit
Substituting Custer Feldspar for Another in a Cone 10R Glaze Recipe
Thixotropy and How to Gel a Ceramic Glaze
Use Insight-live to substitute materials in a recipe
We Developed the G2926B Transparent Glaze by Doing Four Unique Things

See the magic of thixotropy as I mix a 20kg batch of G2926B glaze

I mixed 20kg of glaze powder into 20kg of water, turned out super watery. Yet the specific gravity was 1.46, too high. How? But, IInstead of more water, I added Epsom salts—and boom: A perfect thixotropic gel. It glides on smooth, no drips, no thickness issues.

In this video, I mix 20kg of glaze powder into 20kg of water using our powerful propeller mixer. The resulting slurry is like water, absolutely unusable. Yet on measuring the specific gravity (using a hydrometer because it floats freely) I find that it is too high, I actually have to add more water! How is that even possible? Instead, I add Epsom salts and mix again and the slurry gels and hangs on in a perfectly even layer when I dip the spatula. This is a thixotropic gel, it will apply evenly to bisque ware yet not go on too thickly. We normally recommend a specific gravity of 1.44 for this glaze, but in this case, it seemed watery enough at 1.46 (on use, it will become clear if 1.46 is OK e.g. if it goes onto the ware too thick). If that happens I'll just add water to 1.44 (and more Epson salts if needed). Based on online pricing at this time, coverage is minimum six times and as much as twenty times less expensive than buying jars of transparent brushing glaze (considering both the total powder weight and the specific gravity difference between this and commercial glazes we use).

Links

Materials Epsom Salts
Glossary Thixotropy
Thixotropy is a property of ceramic slurries of high water content. Thixotropic suspensions flow when moving but gel after sitting (for a few moments more depending on application). This phenomenon is helpful in getting even, drip-free glaze coverage.

Pure feldspar applied as a glaze: Possible because of the magic of thixotropy.


Suspending feldspar in water

This picture has its own page with more detail, click here to see it.

These are pure Custer feldspar and Nepheline Syenite. The coverage is perfectly even on both. No drips. Yet no clay is present. The secret? Epsom salts. I slurried the two powders in water until the flow was like heavy cream. I added more water to thin and then started adding the Epsom salts (powdered). After only a pinch or two, they both gelled. Then I added more water and more Epsom salts until they thickened again and gelled even better. The result is a thixotropic slurry. They both applied beautifully to these porcelains. The gelled consistency prevented them from settling in seconds to a hard layer on the bucket bottom. Could you do this with pure silica? Yes! The lesson: If these will suspend by gelling with Epsom salts, then any glaze will. You never need to tolerate settling or uneven coverage for single-layer dip-glazing again!

See the magic of thixotropy as I mix a 20kg batch of G2926B glaze


Mixing 20kg of pottery glaze

This picture has its own page with more detail, click here to see it.

In this video (see link below), I mix 20kg of glaze powder into 20kg of water using our powerful propeller mixer. The resulting slurry is like water, absolutely unusable. Yet on measuring the specific gravity (using a hydrometer because it floats freely) I find that it is too high, more water is needed - how is that even possible? Instead, I add Epsom salts and mix again and the slurry gels and hangs on in a perfectly even layer when I dip the spatula. This is a thixotropic gel, it will apply evenly to bisque ware yet not go on too thickly. We normally recommend a specific gravity of 1.44 for this glaze, but in this case, it seemed watery enough at 1.46 (on use, it will become clear if 1.46 is OK e.g. if it goes onto the ware too thick). If that happens I'll just add water to 1.44 (and more Epson salts if needed). Based on online pricing at this time, coverage is minimum six times and as much as twenty times less expensive than buying jars of transparent brushing glaze (considering both the total powder weight and the specific gravity difference between this and commercial glazes we use).

By Tony Hansen
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