WC-141 Desert Skye Cone 5, Pint
Cone 5/6
Item#: PWC141
MPN: GWC141
- Desert Skye is a aqua blue translucent crackle glaze. Hues of red appear over texture. Glaze puddles to a darker tone.
** Glaze looks best over a white smooth clay body.
Designer Effects
(Please note these glazes are not food safe.)
CRACKLE ^5
* These glazes fracture light and show off color like you won't believe.
* These glazes are lead free and non toxic, but due to the fractured glaze surface, they are not offered as dinnerware safe.
Guidelines for Using Laguna Glazes
Cone 5 Glazes
*always test before using in production.
* Most of the lead free Cone 5 glazes Laguna offers are formulated to be fired in oxidation.
* Each has its own distinct surface quality, which will change in relation to the clay body you choose and method of application you employ.
* If you find the glaze is too thick straight from the container, Laguna recommends portioning what you intend to use into another container and thinning with water to the desired consistency.
* Always test your application and firing method when using new glazes and clay bodies.
* Laguna's Moroccan Sand liquid glazes are formulated for brushing and have been the standard for Cone 5 glazes since the 1970's.
* This mature series features over 100 glazes in a wide variety of colors and surfaces-all are lead free, certified non toxic and dinnerware safe if fired properly on a compatible clay body.
* Many will give a reduction fired look to oxidation fired pieces.
* Laguna's Specialty Art Glazes, Crackle Glazes, Crystal Blossom Glazes, and Mystic Glazes offer a stunning variety of texture, mobility and mottling.
* Within each group, Laguna offers the base glaze for a head start on a unique signature glaze to set off any one of our Cone 5-6 Clays and porcelains.
** All of these glazes are lead free and certified non toxic.
** Crackle glazes are not considered dinnerware safe due to the possibility of bacterial growth in the cracks.
Cone 10 Oxidation
* Most stoneware glazes can be fired in oxidation.
* Cone 10 oxidation firings come into play when more controlled, stable and reliable results are needed.
* Many commercial manufacturers employ high fire oxidation to produce durable ware with consistent results.
* Items like fine dinnerware, jewelry and sanitary ware are often fired in this range and atmosphere
DRY GLAZE MIXING INSTRUCTIONS
* Laguna’s dry (powder) glazes are formulated for spraying or dipping over bisque.
* To adapt these glazes for brushing, add brushing medium (find in Raw Materials Section) to the dry glaze powder.
** Read carefully before mixing, write out your stepwise instructions before starting, formulate and mix per your glaze choice and specific application as indicated below.
** Wear appropriate gloves and mask while mixing your glaze.
* Approximately 8 to 11 ounces of water per pound of dry glaze will be needed, but the amount needed varies per glaze. Add additional water if glaze is too thick immediately after mixing.
* Some glazes gel when left undisturbed, mix aggressively before adding water during subsequent uses.
Low tech instructions (mixing with a dowel or narrow board)
1. Measure 2/3rds of water into a clean plastic bucket. Reserve the other 1/3 of the water in a container which will allow you to pour it easily.
2. Slowly sift (do not dump in all at once) dry glaze into 2/3rds of the water in the bucket while continuously mixing. Scrape the sides and bottom of the bucket often and mix thoroughly.
3. Check viscosity by dipping your gloved fingers and assess for appropriate thicknesses as described below.
- clear dipping glazes (half and half consistency)
- color dipping glazes (whole milk)
-spraying (heavy cream consistency)
brushing (yogurt consistency) mix brushing medium with dry glaze prior to water or replace a portion of the water with gum solution Add the remainder of the water in portions. Stir and assess the thickness between each addition and do not add any more water after the desired thickness is obtained.
4. Screen through the appropriate mesh after blending with water to achieve the desired results. (Typically, 80-100 mesh sieves.) Disregard if specific glaze instructions state not to sieve.
5. For best results allow to sit for a period of 24 hours before being remixed and then applied.
Power mixer instructions (mixing with a variable speed drill and a mixing attachment)
1. Measure 2/3rds of water into a clean plastic bucket. Reserve the other 1/3 of the water in a container which will allow you to pour it easily.
2. Slowly sift (do not dump in all at once) dry glaze into 2/3rds of the water in the bucket while continuously mixing. Scrape the sides and bottom of the bucket often and mix thoroughly. Add the remainder of the water in portions. Stir, shut off the drill and assess the thickness between each addition by dipping your gloved fingers and assess for appropriate thicknesses as described below.
-color dipping glazes (whole milk)
-clear dipping glazes (half and half consistency)
-spraying and 60-65 for brushing. (Heavy cream consistency)
3. When you see the approximate desired thickness check viscosity with a hydrometer. The hydrometer reading should be approximately:
-55 for color dipping glazes
-46-47 for clear dipping glazes
-60 for spraying -65 for brushing.
(Measuring a very thick material with a hydrometer can lead to a misleading result.)
4. Screen through the appropriate mesh after blending with water to achieve the desired results. (Typically, 80-100 mesh sieve) Disregard if specific glaze instructions state not to sieve.
5. For best results allow the mixed glaze to rest for a period of 24 hours before being remixed and then applying.
Mixing MS 125-134
* Moroccan Sand Satin Texture Glazes For best results add water and mix Satin Texture Glazes right before use.
* Due to the chemical composition of these glazes, they are best used right after they are mixed with water.
** When left sitting overnight after the water has been added, it is our experience they will 'jell up'.
** If water is added after 24 hours to correct the thickness, the glaze tends to crawl.
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