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Interesting informational pages to peruse.

  • How to make crystal glazes
  • Working With FiberClays
  • Working with Mica Clay- Make a Bowl!
  • How to use the Fiberclays Sheepdog and Taxidermy
  • Lesson Plans for teachers
  • NMClay clay descriptions
  • Information about Lusters
  • Casper Porcelain new translucent cone 6 porcelain
  • Need a present for a potter? check out these suggestions
  • Earthen Plaster- smear clay on your wall for a cool ancient look
  • Cone Temperature Charts in F and C
  • How to paint a tile
  • instructions on how fire your kiln.
  • Kiln Cooking for holidays.
  • Skutt Error Codes
  • Silver-Clay? Clay made of Silver?
  • Gerstley Borate some history
  • BOINC World Community Grid


    Join team New Mexico, Use the power of your computer for the good of the world, i have, since 2004. The processing only happens when you are not using your computer.

    About Us 

    World Community Grid enables anyone with a computer, smartphone or tablet to donate their unused computing power to advance cutting-edge scientific research on topics related to health, poverty and sustainability. Through the contributions of over 650,000 individuals and 460 organizations, World Community Grid has supported 31 research projects to date, including searches for more effective treatments for cancer, HIV/AIDS and neglected tropical diseases. Other projects are looking for low-cost water filtration systems and new materials for capturing solar energy efficiently.

    Advancing scientific discovery
    World Community Grid has enabled important scientific advances in cancer treatment and clean energy. Our research partners have published over 35 peer-reviewed papers in scientific journals and have completed the equivalent of hundreds of thousands of years of research in less than a decade. World Community Grid is the biggest volunteer computing initiative devoted to humanitarian science, and is as powerful as some of the world's fastest supercomputers.

  • Slipmaking

    Slipmaking 101 or how to make lowfire ceramic slip

    This is for a ceramic slip, compatible with all Duncan, Amaco & Mayco low fire glazes. Bisque is cone 04, Most glaze fire to cone 06

    We sell it premixed in 1 gallon bottle, ups shipment only.

    White Slip Recipe (cone 04)


                The first time you make slip it all seems mysterious, it is very important that you measure carefully and keep a written record of what you have done. There are seasonal variations in the ingredients; so it is important to know what you have done in the past and be consistent. First figure out how many gallons your slip mixer will hold. It is easiest to make 25 or 50 gallons as you will not have to weigh the slip components. Test slip with a hydrometer, or scale, it should read 1.75, and weigh 14.5 lb. per gallon.


    1.      WATER ----- 27 GALLONS the warmer the better.

    2.      SODA ASH -----4 OZ. DRY

    3.      Dissolve Soda in hot water and add to water and allow to stir with mixer running add your Clay.

    4.      KT 1-4 Ball Clay----- 250 LBS. 5 BAGS

    5.      Wilco kaolin From Old Hickory ----- 50 LBS. 1 Bag.

    When the mix seems too thick start adding the Sodium Silicate a little at a time

    6.      SODIUM SILICATE --12 to 32 OZ. LIQUID

    7.     Dolomite ----- 50 Lb.

    8.    MAGNESIUM SILICATE ----- 150 LBS. 3 BAGS add the MAGNESIUM SILICATE with the mixer running. If it clogs up at the top, Turn the mixer off and use a stick to help mix it in.

    9.      Let the mixture mix for as long as possible and then rest overnight.


    1.      WATER ----- 27 GALLONS the warmer the better.

    2.      SODA ASH -----4 OZ. DRY

    2.5  BARIUM CARBONATE ____4 Oz. Dry

    3.      Dissolve Soda and Barium in hot water and add to water and allow to stir with mixer running add your Clay.

    4.     REDART CLAY  --- 400 LBS. 8 BAGS

    When the mix seems too thick start adding the Sodium Silicate a little at a time

    6.      SODIUM SILICATE --12 to 32 OZ. LIQUID

    8.    MAGNESIUM SILICATE ----- 100 LBS. 2 BAGS add the talc with the mixer running. If it clogs up at the top, Turn the mixer off and use a stick to help mix it in.

    9.      Let the mixture mix for as long as possible and then rest overnight.


                WHAT THE COMPONENTS DO:
    Soda Ash and Sodium Silicate are DEFLOCCULANTS. `They make the particles of clay all repulse each other (like two north poles on a magnet). Proper deflocculation allows the use of less water to make the slip a liquid, this keeps the molds from getting too wet.

    Barium prevents white scumming on the bisque.

    CLAY: The 1-4 and Kaolin are clays, they are the actual clay in the formula.

    magnesium silicate and DOLOMITE function to prevent the glazes from crazing and to make the bisque white.

    Testing your slip

















                There are two properties of slip that we want to test frequently. They are specific gravity and viscosity. Specific gravity means how much more than water does the slip weigh. For instance: A gallon of water at 70 degrees weighs 8.3 lb. Lets say we weight out a gallon of slip and it weighs 14.4 lb. Simply divide 14.4/8.3= 1.73.This is a ratio, it is generally accepted that 1.75 is good for slip casting. So our slip is a little light at 14.4 lb. per gallon, water weighs less than clay so we have too much water in our slip, we can’t take it out so we have to add more dry materials. (if the slip was too heavy we could have added water.) Okay, now we weigh the slip again and it is 14.5 pounds plus a little. Do the math and you can tell that you are right at 1.75.

     Unfortunately 1/10 of a pound is not as accurate as we would like so we use grams (1/10 lb. = 45.4 grams)

                The Viscosity refers to how thick a liquid is. With slip we like to change how thick it is by adding more deflocculant (Sodium Silicate) NOT by adding water.

                How thin do you want the slip to be? It depends on what you are making.  Hollow beads or tiny miniatures require thin slip, large items require thicker slip.

    Measure viscosity by how long it takes (in seconds) to drain out of a container with a small exit hole. The best thing to do is find some slip you like, then time it using a viscosity meter how long it takes until the flow changes from constant to drips..

    Each time you do this test try to do it exactly the same way.


    If the slip is too thick and the specific gravity is right, then you can add some deflocculant, or some special slip thinner. These are very powerful in their action add only 2-3 drops per gallon.


    Other Qualities.

    Absorption: How porous the bisque is determines how easy the glaze is to apply, it changes by what cone the slip is fired to, and the composition of the slip.

    Thermal expansion: Determines glaze fit, a too tight fit and the glaze falls off (shivering ), too loose and the glaze crackles (crazing). Glaze fit is determined by the amount of talc in the slip and the bisque temp.

    Shrinkage: Is complicated to control, but it is useful to know so that you know how to size the molds, more water in the slip gives increased shrinkage and increases cracking in the mold.

    Over deflocculation: Slip casts slow, inside of cast appears sharp and greenware is brittle, hard. Noses and other high points may turn brown when dry.

    Under Deflocculation: Slip casts fast, seems soft and flabby, molds get wet sooner. inside of casts look smooth.

  • Firing Services

    Firing Prices Effective 2020

      Low Fire cone 04-06 High Fire cone 4-6

    Individual Pieces  Sorry only whole kilns at this Covid time.

    Whole Kiln Prices  

    Low Fire cone 04-06 High Fire cone 4-6

    Duncan Artist kiln  9” x 11” $    5.00       $       6.00

    Glaze Tech 14.5"w x 9"d        $14.00       $     16.80

    Skutt km818 kiln, 17”x18” $     27.00 $     32.40

    Skutt km1027 kiln, 23”x27” $     85.00 $   102.00

    Skutt KMT1022,   22”x22” $     63.00 $     75.60

    Skutt KMT 1222 22” 26” $     88.00 $   105.60

    Skutt km1227 kiln, 27.5”x26” $   108.00 $   129.60

    Slow sculpture firings will be  charged  $4.00           $6.00  EXTRA!

    Tile Prices    

    4”x4” -$1.00

    6”x6” -$1.25

    8”x8” -$1.85

    8”x12”- $3.00

    Gas Kiln 39" wide 26" Deep 48" tall $110.00 $120.00 to $130.00

    ^6 to ^10  Gas Kiln firing depends on a lot of factors, price is variable, gas price is ever changing… You Load You Fire, All day!

    Silver-Clay $6.50        BRONZclay & COPPRclay $10.50

    other fees....

    Candling Fee $5.00

    Stilting Fee (20+ Pieces) $5.00

    Panicking Fee $5.00 Includes Got to have it tomorrow..

    Please read the kiln firing policy on the back of the firing ticket!

    Next day firing is NEVER Guaranteed!

  • Gift Certificates!

    Gift Certificates! For Potters.

    Everybody needs a gift sometimes and you say to yourself

     "I don't know what a potter or clay artist might want"

    2 Kinds one paper and one for online use.

  • Working With FiberClays

    Sheepdog White Earthenware with Fiber 04

    Sheepdog lowfire earthenware with fiber, our version of paper clay! Our fiber doesn't rot, and will fit most commercial glazes. These clays are a Low fire sculptural body that fits commercial glazes when Bisqued to 04. The glazes should be fired to cone 06. It contains 5% fine white sand and our superfine nylon fiber.

    Why Fiber Clay?

    Mixing fiber into clay gives the clay many new and exciting properties. You can allow the clay to dry out and then make attachments, adding bone dry to bone dry. You can build sculptures that would be impossible with plain clay.

    Because these fibers cling to, rather than absorb, water they better promote the movement of the water through the mix.  Fibers such as cellulose or "paper fibers" are actually less desirable because the water they absorb does not move any further; only once the individual fiber has absorbed all the water it can hold does the remaining water move on through the mix. This may be why Nylon has proven to be an acceptable choice for fibered clay; it is slightly absorbent, but not exceptionally so.

     Another point about the cellulose fibers is that they swell when wet. This means as the fibers dry, they will shrink and leave voids in the clay, creating weakness and the potential for cracking. On the other hand, nylon fibers will promote crack resistance and strengthen the mix.

    How to work with Fiberclay

    If you work in fiber clay and don't change the way you work, you are not taking advantage of the clay. The advantages are that you can build your sculpture in parts, let them dry, as my friend Graham Hay says "Bone Dry”. This means you don't need an armature to build large pieces.

    Attachments: Make a slip out of the clay, the easy way is to make a bunch of "potato chips" and let them dry. Then when you add them to water they will dissolve quickly.

    To attach dry to dry, slather both sides with slip, roll out a thin rope of clay dip it in the slip, this is the "denture cream" that fills in any gaps. Push the pieces together and hold till you feel it grab!



    You don’t have to fire!

    Many people are building sculptures using armatures made of wood or rebar. You can keep adding on to your sculpture until you are happy with the result then finish with Acrylic Paint, Artzee Sealers* or Powertex products* or we have Aleens Fabric Stiffener.

    How to fire Fiber Clay

    Fiber clay is easy to fire as it is very forgiving, EXCEPT! There will be smoke and bad smells up to 900 degrees F.
    I suggest you fire in a well ventilated space, leave the lid propped open a couple inches and leave the bottom peephole open. The idea is to allow the fiber to burn out (oxygen is needed for this). Fire like this until the smoke stops and then close the lid. At some point your pieces will be black, this is normal. The carbon will burn off as it reacts with the oxygen to burn.
     Panicking and turning off the kiln will not help.

    Taxidermy Clay self hardening with fiber.

    Introducing Taxidermy Clay from New Mexico Clay

    Taxidermy Clay is great for models over an armature; sculpt it, even 2 inches thick it will not crack. It will stick to almost anything even glass. Contains a non-toxic waterproof glue. Dries hard, paintable, not-toxic and not water proof.

    This clay works great for assembled sculpture, make all the parts and let them dry, all the way, then; paint a slip (made of Taxidermy Clay) on both surfaces to be joined. Roll out a thin coil of Taxidermy Clay (to act as denture cream) Paint all surfaces including the coil press together and hold.  Our fiber doesn't rot.

    Taxidermist sculpts the muscles, eye sockets, ear bases out of this clay. Smearing the clay on a foam armature that approximates the animal whose skin they have. Then they pull the skin over the armature for a lifelike natural look.


  • lesson

    Lesson Plans for Teachers.

    Using Taxidermy no-fire clay in the classroom.

    Sticks to an armature.

    FiberClay creatures made of Sheepdog Fiberclay

    Make parts one day assemble the creature on another day.

    Mica Clay Lesson Plan

    Make a bowl

    Fiberclay Sculpting Lesson Plan

    Learn to work the paperclay way of attaching dry to dry with a slip and some clay.

    Sheepdog Fiberclay that doesn't rot.

    Monsters! From Pinch Pots

    Sheepdog Fiberclay pinch pot  monsters.pdf

    Action Figures with Sheepdog Fiberclay


  • Working with Mica Clay

    Micaceous Clay Bowl

    Created by Brant Palley of New Mexico Clay


    Mica Red Clay (2-3 lbs each)


    Metal Rib Kemper S4 (scraping tool) Clay Cutter Kemper K35

    Puki (Bowl mold) (a Tewa Word) Plastic spoon, 1oz of water


    Welcome to the Northern New Mexico native tradition of micaceous clay cooking and serving vessels.

    You will make a bowl measuring 7.5-6”x3” using the techniques of coiling in a puki.

    Use your hands to make something from a formless lump of clay. And experience the Vocabulary: Mica, Micaceous, Puki, coil, polish, burnish, vessels.


    Cut clay into orange-size balls and keep wrapped in plastic bags.

    Puki may be any bowl shape, lined with a paper towel to keep the clay from sticking.

    Fill SMALL containers with water, set out spoons and scraping tools.



    All over the world people cook in clay pots. In North Africa they used pots called “Tagines” because they had no ovens. By doing this they could cook on a campfire and get oven like results (long slow moist cooking). The same goes for beans. Beans must cook slowly for at least two hours without scorching hence the Bean Pot. The mica in the clay acts to slow down the heat. The bowl is very important as a way to eat stew; you have to serve it in something!


    Roll out clay and form coils.

    Start by forming a round disc to fit in the bottom of the puki (which is a mold to shape the bottom of the pot). The disc should be 3/4” thick and fill 2/3’s of the bottom of the puki.

    Next take a lemon sized piece of clay and shape it into a ball, then squish it flat trying to keep the shape round with an even thickness. This goes into the bottom of the puki and will be the bottom of the bowl.

    Next roll out a coil long enough to go around the disc (try to make it even with the same thickness as the disc). If the clay seems dry, put a small amount of water around the disc and attach the coil by pressing lightly. With your finger or thumb work your way around the coil smearing the coil and the disc together. Continue this process maybe 4-5 times until the bowl is um… bowl shaped, and about 3” tall.

    Now comes the smoothing. Using the metal scraping tool on the outside first smooth out any sign of the coils. Then using the edge of the rib start to gently scrape the exterior to thin the walls and make them even. Afterwards do the interior, scraping away excess material thinning and shaping the bowl. Now is the time to even out the rim by marking a level line around the top and shaving away the irregularities.

    When the bowl is firm enough you can remove the puki. You may have a puki line which should be scraped away with the rib. Continue scraping until the pot is of even thickness and has no sign of the coils. If there are holes they can be filled in with a small amount of clay.


    Polishing is accomplished by rubbing the clay with your finger or a plastic spoon, this takes time.

    Traditionally we would further refine the shape by sanding with a piece of sandstone or sandpaper. However the only part of the clay that is toxic is the dry dust when inhaled. Also, the sanding scratches up the surface so we would have to go back and apply a finishing slip (4 coats). The slip would then be polished as above.


    Firing: Fire to cone 010 a very low temperature of 1657 F. Any hotter and the shine will go dull.



    Disclaimer: This whole process as traditionally taught, requires many years of long apprenticeship where you would learn to dig the clay, make an offering of thanks, process the clay, and pursue perfection. Every motion of your fingers would be dictated by tradition. Here we are just scraping the surface, and just approximating the experience and results.



    1.              Ortega, Felipe

    2.              New Mexico Clay’s website about mica clay

    3.              All the works featured in this lesson plan were by Clarence Cruz. (Khuu Khaayay) from the Pueblo of San Juan/Ohkay Owingeh.

    Optional:For more lesson plans ideas, visit


  • Zinc Ortho-Silicate Crystal Glazes

    Crystal Glazes & Recipes

    True Cone 10 Zinc Crystal glazes have fascinated potters for the last hundred years. One major advance, digital controllers, put Crystal glazes in reach of any potter. In this short article, I will outline the basics and give some recipes.

    Clay: use a smooth, white clay for cone 10; such as New Mexico Clay' s Domestic, CK-mix, or any cone 10 porcelain. Try making plates or tiles at first, as crystal glazes are VERY runny*. If you wish to make a vase you must throw a little dish to fire your pot on; after bisquing, glue the dish and the vase together with alumina hydrate.

    The glaze: After trying many different glazes, I recommend one based on Ferro Frit 3110. Herbert Sanders book on Glazes for Special Effects (sadly, out of print) lists this as Glaze #3. 

    • FF3110--- ---------------------52%   
    • Calcined Zinc Oxide------------24%
    • Silica 325 mesh-----------------24%
    • To this base glaze add:
    • Rutile ----------------- 2%
    • Bentonite------------- .75%
    • Epsom salts--------- .3%
    • CMC------------------- .5%

    Notice that this glaze is very high in Zinc and contains no Alumina. The excessive amount of Zinc crystallizes into Zinc Orthosilicate crystals in the glaze, the same way sugar when super saturated in water will turn into rock candy. Low alumina allows the necessary fluidity* that the crystals need to be able to grow.

    For color add these oxides to base glaze:

    Cobalt Carbonate .75% to 1% for dark blue crystals with a lighter background.

    Iron Oxide 4% for brown crystals.

    Nickel Oxide Green 4% for blue green crystals on brown background.

    Manganese Dioxide 1% to 4% for lavender on tan.

    Uranium Oxide 6% to 10% for yellows and golds.

    Praseodymium Oxide for white with yellow edges.

    Apply the glaze by spraying onto bisque, as it contains no clay and is horrible to brush on. Try layering the glazes, as opposed to mixing the oxides, for interesting varied colors.

    Firing: In general fire to cone 10, cool the kiln to 2000 degrees and hold for 3 to 5 hours in-between 2000 and 1800 degrees. 

    With a digital kiln a firing would go like this:

    Ramp 1: rate 250°, to 1000° no hold.

    Ramp 2: rate 500°, to 2320° hold 15 minutes. (00.15)

    Ramp 3: rate 500° (to 9999 to cool faster), to 2000° hold for 03.00 hours.

    Ramp 4: rate 500°, to 1800° hold for 01.00 hours.

    Let cool, no peeking!

    Brant Palley

    *These glazes are very runny. A catch plate is a base you throw that matches the bottom of the pot, it is then glued onto the bottom of the pot with a mixture of alumina hydrate and elmers glue. After firing the catch plate is removed and the bottom is ground to a nice finish. That is why I just made plates and bowls, not vases.

    The Sandia Mountains - Plate by Brant Palley Cone 10 crystal glazes 1988

  • Clay Descriptions

    New Mexico Clay Pugged Clay Bodies

    Clay, Low Fire Cone 04

    WHITE EARTHENWARE WLO: A smooth white clay. Our most popular clay with schools and teachers.  Excellent for all types of modeling projects.  Compatible with all commercial glazes.
    We go to great effort to make this clay smooth.

    CREAM WARE: A new talc free smooth clay that feels really smooth and fires a cream color. 

    WHITE EARTHENWARE WITH SAND: A very smooth body  better for kids work than the WLO Same as above but added fine white sand provides strength for larger forms. Compatible with all commercial glazes

    SHEEPDOG  lowfire earthenware with fiber, our version of that Papered Clay! Our fiber doesn't rot, and will fit most commercial glazes. lowfire sculptural body 04-06. It contains 5% fine white sand and our superfine nylon fiber.

    TAXIDERMY Non firing, air dry clay with fiber. Will adhere to armatures, let dry, cover or paint.

    SHEL’S Outdoor sculpture body has an absorption rate of .3 % at cone 02. Great for colorful outdoor sculpture. 

    W.E.S. White earthenware for sculpture: Finally a low fire white clay for sculpture that fits all Duncan and Mayco Glazes.

    STORYTELLER (APSW): A light tan to pink colored earthenware . An excellent plastic throwing body. Compatible with all commercial glazes.

    RED EARTHENWARE RL6: A smooth red clay. Perfect for hand building. Fires from an orange at Cone 016 to a red at cone 06 to a brown at 02.  Beautiful when burnished.  

    APS RED: Similar to RL6 in color, but with the addition of 90 mesh sand, this clay body is more rugged and  better suited for  wheel work. Perfect for functional ware.

    JONIES CLAY: Same as APS Red with 5% grog for working larger.

    MANZANO : Manzano Red clay is one of the first real N.M. Clays. It is mined from the Manzano Mountain area, it is then ground and airfloated. The Manzano clay body also contains 10% fine sand from Placitas, the sand has been screened and washed. There is some talc, from south of El Paso Texas, to help with glaze fit. And  1% Mica for pretty. Unfired clay is green color

    MICA WHITE AND MICA RED Two new clays similar to Indian pottery from around New Mexico, Mica historically was mined near Taos. Can be glazed if bisqued to 04. Burnish and fire to cone 010.

    RAKU 2000*: A rough white clay body designed to take the rigorous handling of Raku firing.  This body throws well and is perfect for large sculpture or slab work. Contains Kyanite and grog. For best results bisque to 08

    CLEANOUT CLAY: White or Red , we don’t know what is in it exactly, but they are fine for most kid’s projects. If you try some and like it better buy the whole ton. 

    Clay, Mid-Range Cone 5-6

    PECOS PORCELAIN: NEW formula- True porcelain with good plasticity suitable for throwing SMALL useful and  serviceable tableware.  It has good translucency at cone 6 and is great for wind chimes or jewelry.  

    CASHMERE: A smooth throwable porcelain. New Mexico Clay's  version of all those B-Mixes out there. Same body as Cashmere slip. 

    MAGIC CLAY A new product from New Mexico Clay, Magic Clay is a fibered Cone 6 smooth, plastic, porcelaneous body. The fiber is extremely fine and burns out in the firing. Works like paper clay but doesn’t rot.

    COLUMBINE: A cream white clay that is easy to throw and form. Excellent glaze results. Smooth porcelain texture contains extremely fine sand you can’t feel. Pugged soft.

    WHITE STONEWARE WH8: midrange white stoneware with 10% sand.  An excellent plastic throwing body.

    WHITE STONEWARE ROUGH WH-Rough for tile . A Tile clay that your glazes will not craze on. 

    OCHRE: A plastic throwing body, also good for  small sculpture and hand-building.  Based on goldart stoneware clay, adapted from a Richard Zakin formula.

    SUPER SCULPT 2000!: New buff sculpting clay, not too rough but toothy, contains pyrophillite for excellent strength and has a wide firing temp from 5-10, even stands up to wood firing at cone 11.

    ANASAZI 5: Cone 5 version of original cone 10 ANASAZI it  is an outstanding, all purpose, medium texture, moist clay. Durable and affordable, good for professional or student. Reduces a warm orange/brown, light tan to yellow in oxidation. 

    ANASAZI 5X same as above however the addition of a larger amount of red clay gives it a warm brown color.

    SANDIA RED : Semi smooth red body with sand. Fires paver tile red in oxidation at cone 5, more chocolate in reduction

    MARILYN’S BOD. A red brown stoneware excellent for throwing and functional ware.

    TERRA-COTTA TC: Similar to red Earthenware in color at 04* but lighter, chocolate brown at cone 5, with good quality grog and fire clay, this clay body is more rugged and  better suited to large sculptural pieces. Cone 04-5.

    RED SCULPTURE:  A sculpture, tile and throwing body, very plastic that fires red-er at cone 5 to red-brown at cone 6. Can be used for sculpture at cone 04. Glazes will fit this clay at cone 6. 

    ChoCoLate: A Dark Hershey brown smooth clay, almost black, glazes look cool and fit! Best results fire medium speed to cone 5 and hold for 10 min. 

    * Glazes will craze at normal firing temp. Not food safe.   

                     Vase By Gary Parker


    Clay, High Fire Cone 10


    SRUBEK: All Grolleg kaolin NO ball clay. 2-5 formula.  Genuine Japanese style porcelain translucent and white.

    DOMESTIC: A new NO ball clay porcelain, Throws great, has a nice white color and fair translucency. White as the grolleg porcelains, but is 30% cheaper and throws way better! We used 3 kaolins and 2 plasticizers to create this new body. Best for crystal glazes.

    CK-MIX : A cream white clay that is easy to throw and form. Excellent glaze results. Fires off white in reduction lighter in oxidation. Smooth porcelain texture. Our version of B-mix

    CK-MIX WITH PURE SILICA SAND: This is a nice cone ten white stoneware, perfect for dinnerware. Throws great, feels smooth before and after it is fired. Fires a pleasing white to gray. Will show off bright glaze colors.

    Stoneware Clays Cone 10

    NMSOL: All California fireclays give this versatile clay body a pleasing sunny California  toasty warm color in reduction. Our sand doesn’t pop out giving the body a smooth texture after firing.

    HIGH HILLS II: Our version of the popular Missouri fireclay, Goldart, ball clay and grog type stoneware. Very forgiving and throwable clay for production potteries. Tan to gray brown in reduction, medium texture. Jeff Zamik approved body

    STILLETO:  High Hills with no extra iron so it has a slightly lighter look.

    ANASAZI 10: An all purpose orange brown to yellow firing clay. Anasazi has a beautiful color whether fired in an electric kiln or gas, did great in the Anagama kiln, with no sign of bloating, and beautiful flashing form the flame. DON’T OVER REDUCE!!!

    SUPER SCULPT 2000!: Buff sculpting clay, not too rough but toothy, contains pyrophyllite  for excellent strength and has a wide firing temp from 5-10, even stands up to wood firing at cone 11.

    ANN’S SODA AND WOOD FIRED WHITE STONEWARE:  Our Cone 10 soda and flashing body contains 2 Kaolins (Helmers is one) for whiteness, and stoneware and sagger clays for flashing, also has 10% fine grog. A creamy color in oxidation, a grey color in light reduction.

    Laguna Clay Pugged clays

    Laguna Cone 5-6 

    B-MIX CONE 5: A smooth cream-white colored throwable porcelain 

    Frost Porcelain: Finally a white translucent porcelain for cone 6, looks amazing and is expensive.

    AMADOR-5X: Cone 6 version of original cone 10 AMADOR with extra iron. 5X is an outstanding, all purpose, orange brown, moist clay. Durable and affordable, good for professional or student. Reduces a warm orange/brown, light chocolate in oxidation.

    SPECKLED BUFF a buff clay with pronounced speckles that bleed into a glaze. Smooth texture.

    S-B RED: Medium texture bright red body with sand and grog. Fires paver tile red in oxidation at cone 5, more chocolate in reduction

    B-3 BROWN: A pliable BLACK clay with smooth grog and color from Manganese and Iron. Fires black when reduced, and a pretty good black in oxidation. 

    WESTSTONE II: Excellent general purpose clay, Slightly coarse texture, yellow-brown in oxidation, warm brown in reduction. 

    SANTA FE: Medium coarse, excellent throwing body a golden tan adobe color. 

    WS-5: A gray white body with 70 mesh sand. Fires a textured gray/white in reduction and a buff/white mottled surface in oxidation. Care should be taken when used for functional ware, not vitrified in most cone 5* firings. Glazes may craze. Can be fired to cone 10.

    Laguna Cone 10

    SOLDATE 60: Soldate 60 is a gray clay with a high sand content and is pugged firm which makes it an ideal choice for large thrown pieces and sculptural forms. Fires to a yellow brown under medium reduction, it has a coarse texture.

    AMADOR: Is an inexpensive, all purpose, orange brown, moist clay. Durable and affordable, good for professional or student. Reduces a warm orange/brown, lighter in oxidation. 

    LB BLEND: Long Beach Blend is an excellent, very fluid throwing clay, which is also extremely popular for throwing open forms, small to large. It is brownish pink in its raw form, light brown reduced and buff in oxidation. Includes iron and 60 mesh sand

    B-MIX : A cream white clay that is easy to throw and form. Excellent glaze results. Fires off white in reduction lighter in oxidation. Smooth porcelain texture. 

    B-MIX W / SAND  with 10% 90   mesh sand for texture and speckle.


    FROST PORCELAIN 10: Finally a white translucent porcelain from New Zealand kaolin, looks amazing and is expensive. Imported. Cone 10

    COLEMAN  porcelain from Aardvark, Cone 10, The whitest most translucent formula possible, NO ball clay, contains new secret plasticizer

    Clay, Custom Blending

    We will custom blend your own clay body, (Or one of our clays harder or softer, smoother or rougher)  at no extra charge. One ton Minimum. (1000 lbs minimum when we are making that clay.) Allow 6 weeks time. Try to use the raw materials we stock when formulating a custom clay body, some east coast ingredients or older recipes are not available.

  • Skutt KM Kiln Error Codes

    What Are Skutt Kiln Error Codes?

    All Skutt kilns with KilnMaster Controllers are programmed to generate Error Codes when something goes wrong during a firing. These not only give you an indication of what the problem may be, they also often will shutdown the firing to protect your ware or the kiln itself. When an Error Code is generated it will appear in the display and, depending on your controllers age and the code, trigger the alarm. On older units it is important to make note of the code before you press any key to stop the alarm and clear the code. On newer boards you can go to the Diagnostic Menu and access the ERTF feature to see the last Error Code to occur along with the temperature it occurred at, the amount of time into the firing at which it occurred, and in addition it will run a full Diagnostic test.


    Error Codes will display when the controller senses something is wrong with the kiln. If the error detected has the potential to damage the ware, the kiln, or or the safety and property of the owner, the controller will stop the firing. On certain occasions an artist may want to turn off some of the error codes to avoid triggering an error when performing a certain technique (such as raking fused glass). Below is a list of the possible errors that may be displayed.

    These Errors Will Only be Detected If Error Codes Are On:

    E-1  --  Kiln temperature increasing slower than 12° F per hour when ramping up. The slow rate must persist for 22.5 minutes. Firing will be stopped. For some reason the kiln does not have the power it needs to reach temperature.

    Possible Causes

    • ·         Element is broken
    • ·         Relay is burned out
    • ·         Voltage is low
    • ·         Firing to a temperature beyond the kilns maximum rating

    E-2  --  Kiln temperature 50° F above hold temperature. Condition must persist for at least 18 seconds. The kiln is unable to turn off one or more of the elements. Possible Causes Stuck relay


    E-3  --  Kiln temperature 50° F below hold temperature. Condition must persist for at least 18 seconds. For some reason the kiln lacks the power to maintain a hold temperature.
    Possible Causes :

    • Elements are wearing out
    •  Element is broken
    • Relay is burned out
    • Voltage is low.
    • Firing to a temperature beyond the kiln’s maximum rating

    E-4   --  Kiln temperature 50° F above previous hold temperature when ramping down. Condition must persist for at least 18 seconds. The kiln is unable to turn off one or more of the elements.

    Possible Causes  Stuck relay

    E-5 --  Kiln temperature 50° F below traveling set point when ramping down. Condition must persist for at least 18 seconds. The kiln lacks the power to maintain a slower rate of cooling.

    Possible Causes:

    • Element is broken
    • Relay is burned out
    • Voltage is low
    E-d  -- Kiln temperature 50° F above traveling set point. Condition must persist for at least 18 seconds. The kiln is

    unable to turn off one or more of the elements.

     Possible Causes:

    • Stuck relay
    • Loose connection in the thermocouple circuit
    PF  -- Indicates a long term power outage to the controller while a program was running. Program was stopped to avoid possible damage to the ware caused from too much heatwork. Temperature dropped more than 250° F. Press ENTER to clear the message.

    Possible Causes: Temporary power outage while the kiln was firing

    ErrP  -- Indicates a short term power outage to the controller while the kiln was firing. The temperature to the kiln did not drop 250° F or more from the traveling set point from the time of the outage. The program continues when the power is restored. Press ENTER to clear the message.

    Possible Causes: Temporary power outage while the kiln was firing



    The Error Code On/Off Setting Does not Affect These Errors:

    E-0 -- Indicates a software error

    Possible Causes:

    • Failed hardware from electrical surge
    • Electrical noise in power supply or from arcing relay
    E-6 -- This error indicates that the electrical leads from the thermocouple have been reversed somewhere in the circuit.

    Possible Causes:

    • Replacement thermocouple put in backwards
    • Thermocouple lead wires reversed on thermocouple block, terminal strip, or controller.

    Error 6 (E-6) is usually triggered when a thermocouple is installed backwards. A thermocouple has a positive and negative side just like a battery. Unlike a battery, the negative side is indicated by the color red and the positive side is indicated by the color yellow. At Skutt we mark the negative side of the thermocouple with red dye. When you are replacing your thermocouple make sure it is installed in the thermocouple block so the red leg is on the same side as the red thermocouple wire.

    There are 3 places in the thermocouple circuit where a reversal can take place:

    Thermocouple to block

    Thermocouple wire to block

    Thermocouple wire to kiln side of the terminal strip

    E-8 -- Indicates that the temperature is dropping during the last segment of a Cone Fire Mode Program

    Possible Causes:

    • Element is broken
    • Relay is burned out
    Kiln-Sitter has stopped the program on a Kiln-Sitter kiln equipped with a KM-1 wall mounted controller.

    E-9  -- Indicates the hardware and software settings for thermocouple type are not in sync. When a type S thermocouple is installed, a jumper pin needs to be installed on the circuit board and the controller settings need to be changed. If you change one without changing the other, you will get this message.

    Possible Causes: Changed thermocouple setting without changing pin placement on circuit board.

    E-20  -- Did not receive lock on Clock Generator Module

    Possible Causes: Contact Skutt Technical Support

    E-21 -- On-chip a2d not responding.

    Possible Causes: Contact Skutt Technical Support

    E-22  -- On-chip a2d not responding.

    Possible Causes: This error code sometimes is triggered by loose connection in the thermocouple wiring or a crack in the thermocouple. If everything in this circuit seems okay contact Skutt Technical Support.

    E-23  -- SPl not reponding or is having problems.

    Possible Causes: Contact Skutt Technical Support

    E-24 -- EE access while in write cycle.

    Possible Causes: Contact Skutt Technical Support

    E-25  -- a2d not responding during power up.

    Possible Causes: Contact Skutt Technical Support

    E-E  -- EE miscommunication or failure.

    Possible Causes: Contact Skutt Technical Support

    E-t -- A hardware error has been detected by the controller software.

    Possible Causes: Contact Skutt Technical Support

    E-A  -- Invalid program variable. The controller has conflicting instructions.

    Possible Causes:  One possible cause of this is if you set a Max Temp in the Configuration Menu that is lower than a value that has already been entered in a Ramp/Hold Program. When you go to run that particular Ramp/Hold Program the controller will generate this error. In order to run the program you will need to reset the Max Temp to a value higher than the highest temperature in your program. If this does not appear to be the cause of this error contact Skutt Technical Support.

    StUc  -- This error indicates that the touchpad has a key that is stuck.

    Possible Causes: Sometimes when a touchpad gets overheated or exposed to extreme cold, the membrane over the circuit board can become distorted and cause keys to stick. Sometimes you can get them to unstick by blowing it with a hair dryer (no closer than 8”). If this does not work the whole control board will need to be replaced.

    E-bd  -- The board temperature has exceeded the temperature limit setting. This setting is designed to protect the circuit board from overheating when the kiln room gets too hot. The kiln will shut down and display this message.

    Possible Causes: The kiln room got too hot. This could be caused by a number of factors. The most common is inadequate ventilation in the room. Ideally the kiln room ventilation system should be designed to keep the room under 100 ° F when the kiln is at it’s maximum rated temperature. An HVAC professional can calculate the amount of the ventilation needed based on the size of the room and the BTU rating of the kiln. You can try using a box fan pointed at the controller if updating the room ventilation is not a realistic option. Another possible cause is that the kiln does not have adequate clearances from the walls or other kilns and the heat is radiating back on the controller. There should be a minimum of 18” of clearance from walls and 36” from

    other kilns. If there is more than one kiln in the room, try rotating them so the controllers are not facing other kilns.

    If these suggestions do not work you can call our Technical Support Team and they can raise the temperature limit that causes the error.

    E-H  -- Analog to Digital Converter do not pass the self check diagnostic test on reset.

    Possible Causes  Contact Skutt Technical Support


    FAIL  -- This error is triggered by a break in the thermocouple circuit. If the display is flashing it means that one of the thermocouple circuits on a Zone Control kiln has failed.

    Possible Causes:

    As thermocouples age they oxidize and the metal gets thinner and thinner. Eventually the thermocouple will develop a crack between the 2 dissimilar metals that make up the thermocouple and break the circuit. If changing the thermocouple does not solve the problem, look at all of the connections in the thermocouple circuit and make sure they are secure. Pay special attention to the screws that hold the thermocouple in place on the thermocouple block. These can loosen over time with thermal cycling or when the kiln is moved.

    E-/  -- Division by 0 detected.

    Possible Causes: Contact Skutt Technical Support

    E- -- -- Power loss during EE write. Possible Causes: Contact Skutt Technical Support

    E-R  -- Ram and EE do not match Possible Causes: Contact Skutt Technical Support

    E-U -- RInvalid user number, Possible Causes: Contact Skutt Technical Support


    Elements are wearing out - As elements age they increase in resistance, lessening the potential power to the kiln. If you have noticed that your firing times are getting longer and longer or you are firing to a higher cone than usual when the error occurs, this is most likely the cause of the error. Use an Ohm meter to check the resistance of the elements and compare them to the readings listed for your Model, Voltage and Phase. Replace the elements if they are more than 5% above the recommended resistance.

    Element is broken - Occasionally an element can break. On a newer element this can be caused by a poor electrical connection or contamination from bits of clay or glaze on the element. Check the resistance of the element in question. If the resistance reading is 0, there is a break somewhere in the element and it needs to be replaced. If you do not have access to a meter you can program the kiln to fire hot enough for the elements to glow (between 600° F and 1000° F degrees depending on the light in the room). Look into the kiln through the peep holes using #3 green or gray welders glasses to protect your eyes. If one element is not glowing, it is likely a broken element. If the element is broken because it is old and brittle, it may be time to replace all of the elements.

    Relay is burned out - Relays have a useful life and will eventually burn out. If a relay is burned out it will usually cause a whole section two fail to heat up.

    Failed Relay

    The power to your elements is regulated by your relays turning on or off to achieve the desired heating rate. Like the brake pads on your car, these relays have a limited life and will eventually need to be replaced as part of regular maintenance. Your kilns controller reads the temperature from the thermocouple and, based on the program you are running, tells the relays to cycle on or off to achieve the proper heating rate. Most KilnMaster Kilns use mechanical relays which are rated for hundreds of thousands of cycles.This seem like a lot but depending the programs you run and how often you fire you could easily hit this range in several years of firing. Excessive heat, loose connections and dust build up can severely reduce the potential life for relays.For most Skutt Kilns each relay controls 2 elements or one section of the kiln. When a relay has failed in the open position (off) that section it is controlling will not glow when the kiln his heated to 800F. A section will also fail to glow if an element is broken in kiln designs where 2 elements are wired in series. This makes it difficult to diagnose whether the Error one was caused by a bad relay or a broken element just by a visual test. One thing you can do is to switch the relay controlling the section that is not glowing with a relay controlling a section that is glowing. If the problem follows the relay, than it is a bad relay and needs to be replaced.Since relays normally have similar cycle lifespans, most people will elect to just go ahead and change out all the relays at once. When you are changing the relays check for tight connections and damaged connectors and/or wires. It is possible to replace a relay and have it burn out prematurely from a poor connection. This brings up another good point. If you feel your relays are not getting the lifespan they should, look for the root of the problem. it is usually associated with excessive heat caused by poor circulation or bad connections. Long hold times will also cause more cycling and therefore fewer firings between relay changes.

  • Overglazes and Lusters

    Overglazes and Lusters

    Information about the use of ceramic overglazes and lusters or third fired colors.

    Paint with precious metals like gold, and platinum!  Apply over fired glaze to add brilliant accents that’ll make your project look like a billion bucks!

    Metallic Overglazes for the brilliance of gold and white gold, and lusters for a rainbow of hues like the pearl of an oyster shell.

    Overglazes are an accent product that are applied over a fired glaze and then kiln fired to a relatively low temperature. They are sometimes referred to as "third fire" glazes.

    Mother of Pearl is a luster, an overglaze; it is applied over a shiny fired glaze of any color. (Copper glazes should not be used). Any natural hair brush will work, it should be clean. Apply MOP in swirls, just one thin coat. You want to see brushstrokes; they will be the swirls in the finished piece. Fire to cone 020. 

    Click here for Duncan's  Overglaze Information Guide

    Buy a dozen bottles of Duncan Gold and get 40% discount!

    Discount will show in the cart good on Duncan Brand Lusters, Mother of Pearl and essence.

                                            Click here to shop

  • Casper Porcelain

    Casper Porcelain Slip

    Scary White and Translucent at Cone 6

    Our new super white, scary translucent cone 6 porcelain slip, made from a clay from New Zealand called a halloysite. It is great for nightlights, and other small objects that benefit from translucency and whiteness.

    Formula includes ingredients from, Canada, Kentucky, New Zealand, Oklahoma and Wyoming! Made here in New Mexico

    16.6 % shrinkage 0% absorption

    Casper porcelain white and translucent

    Buy Now click here

  • Top 10 Presents For Potters

    Top 10 Presents For Potters.

    Everybody needs a gift sometimes and you say to yourself

     "I don't know what a potter or clay artist might want"

     Well here are a few suggestions!

  • Aliz Earthen Clay Plasters

    Earthen Clay Plaster and Aliz

    What is old is now new! The 5 thousand year old process of finishing the inside walls of your home by smearing clay on the walls is enjoying a new renaissance. The idea is simple the natural materials used: mud, sand, straw, are free of the more than thousands of  chemicals that can be used in conventional paints; many of which are newly created chemical components with little research conducted regarding their long-term effects on both humans and the environment.[1]

    You use your own clay, sand, and straw to begin the process of finishing your walls. Wall surfaces should not be previously painted, straw bales, adobes, even sheetrock is okay (paint the drywall first with a mix of 10 parts hydrated or homemade wheat paste, 1 part fine sand and 1 part clay. Let it dry and don't wet it down before you plaster it. The mix varies with the look you want, change the smoothness or texture and color. Start with a rougher mix and then use a smoother mix for the finish coat.

    The Rough Mix: [2]  Earth plaster (still wet) clay is Hawthorne Bond 35

    1.5 parts water

     2.5 parts sifted clay soil (or a mix of your soil and our clay like Hawthorne 35)

    1.25 parts sand

    2 to 3 parts (3/4 inch) chopped straw

    Apply the rough mix with a trowel, not too thick, smooth it out with the trowel, allow to get leather hard. Then polish it with the edge of the trowel for a finished look. If you intend to finish with a smoother coat, go back with a large wet sponge and expose the grain of the sand.

    The rough mix is what the Landers use as a  final mix when they are doing a high straw content wall with the exposed straw look. The really rough mix would have much longer length straw, up to full length. Also the 2.5 parts sifted clay soil proportion was worked out by the Steen's for the Lander's particular soil  in Kingston which they believe is about a 30 percent clay content so people at home need to experiment with their soils or if buying bagged materials work out their own recipe

    Color chart of unfired clay colors

    olor chart of unfired clay colors

    The Finish Coat or Aliz:

     The final coat or finish coat is a much finer mixture of kaolin such as 6-tile or EPK, Redart or ball clay or even your own local clays. The choice of the clay you use will determine the color and texture of the wall.  This earthen clay plaster has a little iron oxide for a gentle pink color. This coat can be considered a clay paint or Aliz.

    The Final mix

    • 1 part Kaolin (or other clays)
    • 1 part fine (90 mesh) white sand or Mica or a mix of both.
    • 2 parts water 

    Mix to the consistency of paint (you will apply this with a brush)

    It is a good idea to use wheat paste (flour boiled in water) to act as a glue, you could use Elmer s glue, egg whites, CMC gum, or Additive A. Imbed found objects, finely ground straw or large mica for more visual interest. Most walls require two coats, the last being finer and smoother.

    Color Chart of non-toxic iron based pigments  

    Color Chart using Only Non-Toxic Iron Based Permanent Pigments.

    For this color chart the base Earthen Clay Plaster was: By Weight                    Click Here for Prices

    50% Kaolin 6 Tile , 25% 90 Mesh Pure Silica Sand and 25% 60 mesh Mica


    Hands on Classes.

    Earth Plaster and Earthen Floor Workshop  

    More reading:

    Earth Plasters and Aliz  CAROLE CREWS

     For Love Of Mud by Keely Meagen

    Plasters & Strawbale         Cedar Rose

    [1] Bioshield Paint

    Wheat Paste (or Wallpaper Glue)

    Prepare 1 cup (2.4 dl) of very hot water. Make a thin mixture of 3 tablespoons (45 ml) of white flour and cold water (just enough to wet all the flour and make it liquid enough to pour). Pour the cold mixture slowly into the hot water while stirring constantly. Bring to a boil. When it thickens, allow to cool. Smear on like any other glue.


  • Orton Cone Chart in Farenheight

    Orton cone chart in Fahrenheit

    Cone Prices Click here
    We stock the cones with turquoise background as shown below.
    Self Supporting Cones Large Cones
    Regular Regular
    Heating Rate (degrees F/hr)
    Cone 108 270 108 270
    022 1087 1094
    021 1112 1143
    020 1159 1180
    019 1252 1283 1249 1279
    018 1319 1353 1314 1350
    017 1360 1405 1357 1402
    016 1422 1465 1416 1461
    015 1456 1504 1450 1501
    014 1485 1540 1485 1537
    013 1539 1582 1539 1578
    012 1582 1620 1576 1616
    011 1607 1641 1603 1638
    010 1657 1679 1648 1675
    09 1688 1706 1683 1702
    08 1728 1753 1728 1749
    07 1789 1809 1783 1805
    06 1828 1855 1823 1852
    05.5 1859 1877 1854 1873
    05 1888 1911 1886 1915
    04 1945 1971 1940 1958
    03 1987 2019 1987 2014
    02 2016 2052 2014 2048
    01 2046 2080 2043 2079
    1 2079 2109 2077 2109
    2 2088 2127 2088 2124
    3 2106 2138 2106 2134
    4 2124 2161 2120 2158
    5 2167 2205 2163 2201
    5 1/2 2197 2237 2194 2233
    6 2232 2269 2228 2266
    7 2262 2295 2259 2291
    8 2280 2320 2277 2316
    9 2300 2336 2295 2332
    10 2345 2381 2340 2377
    11 2361 2399 2359 2394
    12 2383 2419 2379 2419
    13 2428 2458 2410 2455
  • Orton Cone Chart in Centegrade

    Celsius Orton Cone chart  by Orton

    Need a chart in Fahrenheit? Click here
    or download an Adobe Acrobat  PDF version in Celsius or Fahrenheit.

    Cone Prices Click here
    We stock the cones with turquoise background as shown below.

      Self Supporting Cones    Large Cones
        Bars Small Cones    Regular
      Heating Rate C/hr)
    Cone 60 150 60 150
    022 586 590 N/A N/A
    021 600 617 N/A N/A
    020 626 638 N/A N/A
    019 678 695 676 693
    018 715 734 712 732
    017 738 763 736 761
    016 772 796 769 794
    015 791 818 788 816
    014 807 838 807 836
    013 837 861 837 859
    012 861 882 858 880
    011 875 894 873 892
    010 903 915 898 913
    09 920 930 917 928
    08 942 956 942 954
    07 976 987 973 985
    06 998 1013 995 1011
    05 1/2 1015 1025 1012 1023
    05 1031 1044 1030 1046
    04 1063 1077 1060 1070
    03 1086 1104 1086 1101
    02 1102 1122 1101 1120
    01 1119 1138 1117 1137
    1 1137 1154 1136 1154
    2 1142 1164 1142 1162
    3 1152 1170 1152 1168
    4 1162 1183 1160 1181
    5 1186 1207 1184 1205
    5 1/2 1203 1225 1201 1223
    6 1222 1243 1220 1241
    7 1239 1257 1237 1255
    8 1249 1271 1247 1269
    9 1260 1280 1257 1278
    10 1285 1305 1282 1303


  • How to Paint a Tile

    How to Paint Ceramic Tile

    By Donna Nilles

      When starting a tile project, I always wipe each tile off with a clean soft cloth.  This removes all the dust and particles that accumulate while packed in the case.  If there are stains that you aren't sure what are, you can always fire the tile before working on it.  This should remove the stain. tile by Donna

       Pick a pattern that isn't too complicated.  It isn't easy to get glaze into tiny areas.  I transfer the pattern with carbon paper or you can also freehand a pattern with a pencil.  I usually lay a piece of paper over the area of tile I'm not working on so I don't smear the pattern with my hand.

        There are a few ways to outline your pattern.  You can use  wax or wax resist.  Both of these methods will let the color of the tile show through when fired.  If you want it outlined in black, use the Waxline pen or you mix Duncan's EZ012 Cobalt Jet Black and wax resist. This is mixed to a brushing consistency and used to outline the pattern.  I always apply this with a brush.  This mixture repels the glaze and holds it in place when firing.

       The glaze is applied with squeeze bottles.  This requires only one even coat instead of three when brushing glaze on.  If the glaze seems to be a little thick to apply out of a bottle, add a few drops of water to thin.  It may be necessary to use a pin tool, nail, or whatever to push the glaze into small areas that cannot be reached by the bottle tip.  You can use any Duncan or Mayco glaze that is for cone 06 and is opaque. Translucent glazes don't work well. We especially like Duncan's Concepts as they come in smaller jars and there are hundreds of colors.

       Two or more glazes can be blended in one area by applying the colors and before they dry, pushing them together.  This works well when doing flowers or anything that wouldn't be just one solid color.  It kind of gives a marbleizing effect.  When the glazes are dried, fire the tiles to cone 06.  After firing, the tile can either be framed, put on the wall with grout, or however you choose to decorate with them.

    Make a Mural for the Wall.

    Now that you have mastered making tiles, let's do a mural for the wall. Be sure to have a pattern that will fit theTile by Painted tiles by Pumpkin. Alvira (passed on) area that you have in mind. It will be helpful to lay out the finished tiles so you don't put the design up in the wrong place.

    The first thing you need to do is find the center of the wall. Mark it with a chalk line from top to bottom and from side to side. This will give you a plus sign in the middle of the wall. When you put the tiles on the wall, it is best to work from center out to avoid not having your pattern off center.

    You will need to mix up thin set cement. Just mix up enough for the immediate area that you are working on. If it starts to dry out, it becomes hard to work with. It is best to use a tool that has ridges to apply the thin set to the back of the tiles. This is called buttering the tiles. Make sure to get good coverage on the back of the tile before applying to the wall. Be sure to line up the tile with the chalk line. Most tiles have tabs on the sides for correct spacing. If need be , you can buy tile spacers or even use pennies.

    Nails can be nailed at an angle under the tiles to hold them in place. If working in a large area, you can nail a one by two board across the entire length of the wall and rest the tiles on the board. Let the thin set cure for twenty four hours before removing the nails and or board.

    You are now ready to apply the grout. The easiest way to do this is with your fingers. Mix the grout to a dough like consistency. Always wear latex gloves so the pigment in the grout doesn't absorb into your skin. Take a good size glob of grout and press in between the tiles being sure to get a good coverage. It is always a good idea to work an area then go back and clean the grout off the tiles with a damp sponge before it completely dries. After putting grout on the whole project, let the grout set up for at least twenty four hours. At this time, you can seal the grout. 

    Now you have a wall that will be the envy of your friends and family. Be prepared to have requests to do one at their homes.

    Have fun and enjoy!

    Buy tile click here

    Dryline Supplies

    Concepts Glazes for Bisque

  • Kiln Cooking

    Kiln Cooking in your

    Skutt Kilns and Paragon Kilns.

    Although Paragon kilns and Skutt kilns may not approve, these Kilns are really accurate ovens, and they are self cleaning.

    Turkey for Thanksgiving is really easy  Kiln Cooking.

    Place the kiln shelf near the thermocouple where the turkey will be easy to reach. 

    ( see photo below of Paragon kilns)

    Set the ramp to one segment, rate to 400 degrees per hour, temp to 325F and the hold to 3 1/2 hours depending on the size of the turkey! Skutt Kilns KMT-1022-3 with optional Turkey. Kiln cooking at it's best! (An instant read thermometer should read 165-180 f in the thigh)

    New York Steak  Kiln Cooking Roast for Christmas 1999! Skutt kilns  make Hmmmm roast beef. Good kiln cooking!

    Kiln Cooking a roast in Skutt kilns is exactly the same as cooking it in oven at home.  Purchase a whole New York state roast in a cryovac bag. Preheat Cooking kiln to 350 degrees. Rinse the roast and then dry, in the photo  I have been cut in half so it would fit in the pan and cook faster.  Season  the roast with lots of salt and pepper and perhaps a little garlic, roast in kiln at 350 degrees until it registers 120 degrees on instant read meat thermometer (for medium rare). Let rest for fifteen to 20 minutes. Degrease the pan  juices, and serve on the side. because the heat in the cooking kiln comes from all around  the roast the juices in the cooking pot do not boil, so they don't splatter. 

    It is not necessary to start the food at a higher temp to brown it. The side elements in the kiln act as an rotisserie and brown the food evenly.

    Disclaimer: Both Skutt Kilns and Paragon Kilns would tell you not to try this.  However I am sure my kiln is cleaner than your oven, really go look!

    Send us a kiln cooking recipe to be included in this page!

    From: THOMAS Z.

    This is a fun method of cooking and is sometimes referred to as "Beggars Chicken".

     After washing the chicken, salt and pepper inside and sprinkle thyme into the cavity. Place lemon skins in cavity.

     Mix lemon juice and honey together.  Free the skin from the meat by putting a finger between skin and meat and then put lemon juice-honey mixture underneath skin.  (You can also put lemon juice- honey in a baster with a needle tip and insert the mixture under the skin.)  Put any remainder of juice-honey mixture in the cavity.

     Baste the skin with olive oil and then salt and pepper to taste.

     Take heavy duty duty aluminum foil or parchment paper and cover and seal the chicken in the foil  or parchment package.

     Roll out 3/8 inch slab of clay dry enough so that it still is pliable and cover the entire foil package with clay and seal.  You can sculpt the clay in the form of the chicken underneath.  Place the form on a cookie sheet and put in the kiln at 150 degrees for 1 hour to dry the clay somewhat and then raise the temperature to 350 degrees for another hour and a half.  Remove the hardened clay form and then crack the clay covering with a hammer and remove.  Open up the foil to reveal the cooked chicken.  Serve with the juices accumulated at the bottom of the foil package.

     Bon appetit!

    Note: Use a groggy clay like a sculpting body or terra cotta.  I haven't tried this yet but I plan to!  BRANT

  • How to fire your digital kiln

    How To Fire

    By Steven Wilburn, ex-fireman for

    Firing your manual kiln

    Before loading your kiln be sure that it's not near anything combustible as the exterior becomes very hot. Most kiln companies recommend a 12" space between the kiln and the wall.

    Loading your kiln

    It is important to have a shelf in the very bottom resting on three 1" posts in a triangular arrangement. This allows air to flow under the ware and give them even heating. If additional shelves are used be sure that the posts supporting them are placed directly above the original 1" posts located under the first shelf in the bottom. This prevents warping or cracking.

    Determine what type of firing you will be doing. Clay or greenware being fired for the first time will require what is called "bisque" firing. This will remove carbon and other impurities that can cause problems in glazes. It also hardens the ware so that it can be handled and glazed more safely. Place your pieces in the kiln according to like sizes in order to increase efficiency of space. It is a good idea to put shorter pieces at the bottom and taller pieces at the top because tall posts tend to fall over easily, sometimes breaking things. Arrange your artwork evenly in the kiln to allow airflow to pass between everything, be especially careful not to have glazed pieces touching each other or they will stick together. Glazed ware needs to be at least 1/4" apart as when they are heated they can expand and touch. It is a good idea when firing glazes to have a thin layer of kiln wash on the shelves so that if glaze drips on them it can be easily removed. Also remember to put stilts under pieces that are glazed on the bottom to avoid sticking; this can only be done in low fire. Stoneware or porcelain pieces need to be dry footed (no glaze on bottom). Always be sure to use the proper cone for the type of firing you are doing and avoid the confusion commonly associated with cone 06 (low fire) and cone 6 (high fire). Always read labels on products. Manuel kilns require a bar cone in the sitter so that the kiln will shut off at a specified temperature, this temperature is determined by a cone number marked on the side of the cone (cone 06 approx.1830F,cone 04 approx.1940F, cone 6 approx.2232F). Digital kilns don't require a bar cone but it is important to use witness cones to determine if the kiln fired correctly. Slip cast ware or relatively thin walled hand built items can be fired on a medium to fast speed schedule, thicker pieces should be fired slowly. Digital controllers have pre-programmed schedules for different speeds (Fast-Fst, Medium-Med, Slow-SLO)

    A good schedule for firing pieces that are thin:

    (1/8") to medium (1/4") in a manual kiln is- 1. turn switch(s) to low for one hour, 2.go to medium for another hour, 3.then to high where it will stay until firing is done. After the firing is complete let the kiln cool till it is nearly room temperature, lifting the lid too early can cause cracking or damage to the kiln. If an explosion occurs during the firing, (usually due to air pockets or moisture), it is important to remove any fragments that may have fallen into the element grooves. Clay or glaze touching the elements will cause them to burn out. Sometimes an explosion can cause the sitter to get jammed, if this occurs the kiln will not turn off and the contents will melt down (total disaster). Don't be discouraged, many kilns come with a built-in safety timer that you can set for the estimated firing time, this will vary depending on the size of kiln and the density of the load. When the timer reaches 0 the power to the kiln will shut off. It is important to set the timer for more time than the firing takes, if the timer turns the kiln off before the sitter does, than the firing has not been completed. If this happens you can simply re-fire the load being sure the timer is set for more time than before. If your kiln doesn't have a timer you should check it when it should be turning off. If it goes a whole hour past the it's usual time then turn it off by hand and examine the ware and the sitter when it cools off. This is another good reason for using witness cones. Make records of your firings so you can get to know your kiln better, if you notice the results changing than it may need an adjustment or new elements.

    Firing thick walled pieces or sculptures.

    Thicker, heavier things need to be fired slow, especially in the earlier stages of the firing. As heat is applied to the ware moisture begins to escape, no matter how long a piece has been drying there still is water locked into the molecules of the clay. If the water is not gone when the clay reaches 212F (the boiling point of water) it will turn to steam and the clay will blow up. On a manual kiln the schedule will be similar to the one above except you'll want to keep it on low for two to three hours and medium for about two hours. You may even prop the lid up with a brick or post about 3" high till its ready to go to high, and then close the lid. If you are near the kiln during the firing and you hear something like the faint sounds of shoveled earth, most likely that was your stuff being blown to smithereens. Don't let this discourage you, its all just part of the learning process. Digital kilns have a slow program but sometimes it's not slow enough for some items. You may program a custom firing of your own that will be stored in the memory to be used when ever needed. Most digital controllers have similar features, What you'll need to look for is the Ramp/Hold button. Press Ramp/Hold and it will display USEr 1(most controllers can hold up to 6 custom programs) If this is your first program press Enter. Now it asks how many segments of the program you will need SEGS (most controllers can store as many as 8 segments) the schedule we recommend only uses 4.

    The following program has been successful for us:

    Heavy sculptural firing program:

    1.USEr 1, Enter, SEGS-4, Enter, rA 1-180, Enter,F1-195,Enter,HLd1-4:00,Enter rA 2-150, Enter, F2-450, Enter,HLd 2-2:00, Enter,rA3-300, Enter, F3-1000, Enter, HLd3-0, Enter, rA4-780, Enter, F4-Ending temperature(see cone chart) HLd4-0. This firing could take 12 to 14 hours to complete. When completed the display should read CPLt and flash the amount of time the firing took. Press enter or stop and the display should read the current temperature inside the kiln. If you want to put in another custom program press Ramp/Hold and USEr2. (When the display says USEr its asking what program you want to use). Keep a record of all your custom programs.(USEr1,USEr2,USEr3 etc.) When the display says rA it is asking what ramp or rate of temperature climb you want and when it says HLd it's asking how long you want to hold at that temperature. Each segment (SEGS) has a ramp and a hold.

    Cooking a turkey:

    USEr2, Enter, SEGS-1, Enter, rA1-350, Enter, HLd-4:00, Enter, start.




  • Safety Data Sheets MSDS

    Health and Safety SDS

    For your convenience we’ve provided these online SDS sheets and links in a PDF format for easy download. Locate the product about which you need SDS material; if the product lists more than one SDS, be sure to download them all.

    Safety Data Sheets

    “Safety Data Sheets” - SDS - have now replaced MSDS as of June 1, 2015.

    SDS are detailed information bulletins prepared by companies that describes the physical and chemical properties, physical and health hazards, routes of exposure, precautions for safe handling and use, emergency and first-aid procedures, and control measures.

    The information in an SDS must be presented in a uniform format using 16 headings in specific order.  The new SDS format is derived from GHS guidelines, which have been adopted by OSHA and are now included in the amended Hazard Communications Plan (OSHA 29 CFR 1910.1200 - Hazard Communication)


    New Mexico Clay Pugged Clays

    Casting Bodies
    Low Fire Pugged Clays
    Midrange Clays
    Chocolate Clay
    High fire clays

    Risk assessment of Ceramic Clay Bodies

    Duncan Products
    Please also note that you will need Adobe Acrobat Reader 5.0 or higher in order to open the files. The Reader software is free to download and the link is Adobe Reader download here

    Material Safety Data Sheets provide a comprehensive overview of our products, including Components, Physical and Chemical Properties, Handling and Storage, and First Aid Measures.

    call Duncan ...(i Love To Create 1-800-CERAMICS)

    Ceramics Products
    • Antique Glaze:  MSDS old
    • Art Glazes: 
      • AR600 & AR700 Series:  MSDS old
      • AR900 Series:  MSDS  old
    • Bisq-Stain Opaque Acrylics:  MSDS
    • Brush Cleaner: 
    • Brush-On Sealers:  MSDS
    • Concepts:  MSDS
    • Courtyard Art Glazes:  MSDS
    • Covercoats:  MSDS
    • Crackles:  MSDS
    • Crystals:  MSDS
    • Doll Composition:  MSDS
    • Envision Glazes:  MSDS
    • EZ Strokes:  MSDS
    • French Dimensions:  MSDS
    • Glitzy Sealers:  MSDS
    • Granite Stone:  MSDS
    • High Fire Glazes:  MSDS  old
    • Liquid Pearls:  MSDS
    • No-Fire Snow:  MSDS
    • Old World Crackle:  MSDS
    • Overglazes: 
      • Essence:  MSDS
      • Bright Gold:  MSDS
      • White Gold:  MSDS
      • Mother of Pearl:  MSDS
      • Pure Brilliance Clear Glazes MSDS
      • Premium Gold:  MSDS
    • Prep-Coat:  MSDS
    • Quik-Crackle:  MSDS
    • Satin Glazes:  MSDS  old
    • Sparklers Brush-on Glitter:  MSDS
    • Specialty Products: 
      • SY1024, SY1025:  MSDS  old
      • SY553, SY554:  MSDS  old
      • Patch-A-Tatch, SY545:  MSDS
      • Fired Snow, SY546:  MSDS
      • Dipping Glaze Thickener, SY556:  MSDS
      • Wax Resist, SY547:  MSDS
      • Mask 'n Peel, Write 'n Peel:  MSDS
    • Spray Sealers: 
    • Thin 'n Shade:  MSDS
    • Ultra Metallics:  MSDS
    •       Discontinued Products
    • Crystaltone Glazes:  MSDS
    • Stonewashed Glazes:  MSDS
    • Water-Based Antiquing Gels:  MSDS
    • Sandstars Textured Glazes:  MSDS
    • Red-Coat Opaque Underglazes:  MSDS
    • River Rock Glazes:  MSDS
    • Gallery Opaque Glazes:  MSDS
    • Concept Washes:  MSDS
    • Gloss Glazes:  MSDS

    Laguna clays SDS Sheets

    Following the links below you can download many of the MSDS for products we sell. If you are unable to find an MSDS on our website, email us and we will send you what you need.

      All sds pages are available in PDF format and require Adobe Acrobat Reader. Download Adobe Acrobat Reader for free here.


      Prepared Clays

      Western U.S. Prepared Clays

      Eastern U.S. Prepared Clays

      Casting & Porcelain Slips

      Non-firing Clays & Egyptian Paste


      Cone 06 Underglazes (EM-8000s)

      Cone 06 Glazes (EM-1000s)

      Cone 06 Creatable Colors (EM-2100s)

      Cone 06 Specialty Glazes (EM-1200s)

      Raku Glazes (Rs)

      Cone 5 Moroccan Sand Glazes (MSs)

      Cone 5 Specialty Glazes (WC-100s)

      Cone 5-10 High Fire Glazes (WC-500s, SGs, Vs)

      Raw Materials

      Dry Raw Materials

      Liquid Raw Materials

      Ferro Frits


      Plaster & Mold Making

      Plaster & Gypsum Cements

      Additives, Modeling Materials & Parting Agents

      Refractories & Firing Supplies

      Refractories & Firing Supplies

      Coyote Glazes

      Wet underglazes Click Here

      Wet Glazes-Click here

      Dry Glazes-Click Here

      Mason Stains  Click Here

      Spectrum Glazes  Click Here

      Mayco Products:

      Contact information:   Phone: 614-876-1171
      Mayco Colors
      4077 Weaver Ct S
      Hilliard , Ohio 43026 USA

      Mayco SDS Click Here

      click the above link to find the SDS from Mayco.