Amaco® Ceramic Clays Comparison Chart

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AMACO® CERAMIC CLAYS COMPARISON CHART Suggested Firing Temperature Type Moist Dry Color Suggested Shrinkage Absorption Form Form Range Bisque Glaze Alternate Glazes Cone 05 Cone 04 Cone 04 Cone 04 Cone 05 Cone 06-5 6.4% 14.6% No. 20 NA Bright White 1971°F 1911°F 1855°-2205°F Low Fire Versa Clay Cone 02 1077°C 1044°C 1013°-1207°C Cone 05 Cone 02 Cone 02 Cream 6.1% 13.6% Cone 04 Cone 05 Cone 05-3 No. 25 Cone 05-3 1971°F 1911°F 1911°-2138°F Low Fire Cone 04 Cone 04 White Art Clay White 1077°C 1044°C 1044°-1170°C Cone 05 6.3% 13.7% Cone 05 Cone 04 Cone 04 No. 27 Cone 04 Cone 05 Cone 05-5 7% 16% Off White Sculpture/ NA Off White 1971°F 1911°F 1911°-2205°F Low Fire Raku Clay Cone 5 1077°C 1044°C 1044°-1207°C Cone 05 Cone 5 Cone 5 Cream 9% 10% Cone 05 Light Cone 04 Cone 04 No. 29 Cone 04 Cone 05 Cone 05-5 5% 11.8% Brown Stone NA Speckled Brown 1971°F 1911°F 1911°-2205°F Low Fire Earthenware Clay Cone 5 Dark 1077°C 1044°C 1044°-1207°C Cone 05 Cone 5 Cone 5 Speckled Brown 6.8% 6.9% Cone 05 Cone 06 Cone 06 Cone 04 Cone 05 Cone 05-02 11.7% 7% No. 67 Red 1971°F 1911°F 1911°-2052°F Low Fire Sedona Red Clay Cone 02 Rich 1077°C 1044°C 1044°-1122°C Cone 05 Cone 02 Cone 02 Red Brown 13% 9.2% Cone 05 Cone 04 Cone 04 No. 77 Cone 04 Cone 5 Cone 05-5 6.75% 9% Terra Cotta NA Terra Cotta 1971°F 2205°F 1911°-2205°F Cone 5 Stoneware Clay Cone 5 Rich Red 1077°C 1207°C 1044°-1207°C Cone 5 Cone 5 Brown 10.5% 0.9% Cone 5 Cone 5 Cone 5 Cone 04 Cone 5 Cone 5-10 12% 1.8% No. 46 Buff 1971°F 2205°F 2205°-2381°F Cone 5 Buff Stoneware Clay Cone 10 1077°C 1207°C 1207°-1305°C Cone 10 Cone 10 Soft Gray 13.2% 0% Cone 5 Cone 5 No. 48 Cone 5 Warm Cone 04 Cone 5 Cone 5-10 11.3% 6.0% Stoneware Body Buff Peppered 1971°F 2205°F 2205°-2381°F Cone 5 with Grog with Dark Specks 1077°C 1207°C 1207°-1305°C Cone 10 Cone 10 11.7% 2.9% Cone 5 Cone 5 No. 480 Cone 5 Warm Cone 04 Cone 5 Cone 5-10 10.6% 5.2% Stoneware Body NA Buff Peppered 1971°F 2205°F 2205°-2381°F Cone 5 without Grog with Dark Specks 1077°C 1207°C 1207°-1305°C Cone 10 Cone 10 10.8% 1.9% Cone 5 Cone 5 No. 58 Cone 04 Cone 5 Cone 5-7 14.2% 3% Warm Brown NA Cone 5-7 1971°F 2205°F 2205°-2295°F Cone 5 Stoneware Clay Warm Brown 1077°C 1207°C 1207°-1257°C Cone 7 Cone 7 14.4% 0.4% White (oxid.) Cone 5 Cone 5 Cone 04 Cone 10 Cone 5-10 13% 7% No. 38 NA Gray (reduct.) 1971°F 2381°F 2205°-2381°F Cone 10 White Stoneware both Peppered 1077°C 1305°C 1207°-1305°C Cone 10 Cone 10 w/Gray Specks 15% 1.4% Cone 5 Cone 5 Cone 5 No. 11 White Cone 04 Cone 5 Cone 10 11.2% 7.03% A-Mix NA 1971°F 2205°F 2381°F Cone 5 White Stoneware Cone 10 1077°C 1207°C 1305°C Cone 10 Cone 10 Dark Buff 12.9% 1.6%.

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Color in Salt Glaze
Portland State University PDXScholar Dissertations and Theses Dissertations and Theses 8-1-1967 Color in salt glaze Daniel Lee Stevens Portland State University Follow this and additional works at: https://pdxscholar.library.pdx.edu/open_access_etds Let us know how access to this document benefits ou.y Recommended Citation Stevens, Daniel Lee, "Color in salt glaze" (1967). Dissertations and Theses. Paper 561. https://doi.org/10.15760/etd.561 This Thesis is brought to you for free and open access. It has been accepted for inclusion in Dissertations and Theses by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. AN ABSTRACT OF THE THESIS OF Daniel Lee Stevens for the Master of Science in teaching in Cerami~s 'presented 0:0 August 7, 1967. Title: COLOR IN SALT GLAZE. , Abs tract approved: This thesis endeavors to bring a brief history of salt glaze to the reader, following i~s ge~esisin Germany to England and the American colonies and its continuation to the prese~t day. In order to conduct research on color in salt glaze~ a kiln had to be built for this purpose, meeting all the requirements 'that this tech- nique demands. Studies were ~ade on clay bodies to determine their throwing qualities as well as their ability to take a salt glaze. Finally, research was carried out 'in many serfes of tests studying the reactions of'various engobes and other coloring materials when ,fired in the salt glaze kiln. \ .' COLOR IN SALT GLAZE by Daniel Lee Stevens A THESIS submitted to .Portland State College, in partial fulfillment of the requirements for the degree of Master of Science in Teaching August 1967 \ I PORTLAND STATE COL~EGE LIBRARY' .
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9. Ceramic Arts
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64997 Frontier Loriann
[ FRESH TAKE ] Thrown for a Loop factory near his Staffordshire hometown, Stoke-on-Trent. Wedgwood married traditional craftsmanship with A RESILIENT POTTERY COMPANY FACES progressive business practices and contemporary design. TRYING TIMES He employed leading artists, including the sculptor John Flaxman, whose Shield of Achilles is in the Huntington by Kimberly Chrisman-Campbell collection, along with his Wedgwood vase depicting Ulysses at the table of Circe. As sturdy as they were beautiful, Wedgwood products made high-quality earthenware available to the middle classes. his past winter, Waterford Wedgwood found itself teetering on the edge of bankruptcy like a ceramic vase poised to topple from its shelf. As the company struggles A mainstay of bridal registries, the distinctive for survival, visitors to The Tearthenware is equally at home in museums around the world, including The Huntington. Now owned by an Irish firm, the once-venerable pottery manufactory was founded Huntington can appreciate by Englishman Josiah Wedgwood in 1759. As the company struggles for survival, visitors to The Huntington can appre - what a great loss its demise ciate what a great loss its demise would be. A look at the firm’s history reveals that the current crisis is just the most recent would be. of several that Wedgwood has overcome in its 250 years. The story of Wedgwood is one of the great personal and Today, Wedgwood is virtually synonymous with professional triumphs of the 18th century. Born in 1730 into Jasperware, an unglazed vitreous stoneware produced from a family of potters, Josiah Wedgwood started working at the barium sulphate. It is usually pale blue, with separately age of nine as a thrower, a craftsman who shaped pottery on molded white reliefs in the neoclassical style.
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Holds the Key Ingredient... Contents
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