Ceramics Handbook

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Walker Ceramics - Feeneys Clay - Cesco

Revised April 2013
Table Of Contents..
Retail Locations 4
Introduction 5
12th Edition
History 6
Introduction To Clay 7
MELBOURNE
2/21 Research Drive, Croydon South,
Victoria 3136 Australia.
Telephone 03 8761 6322
Fax 03 8761 6344
Prepared Clay Bodies 8-10

Clay Bodies Technical Data 11-23
Specialty Bodies 24-26
ABN 30 456 822 810
Casting Slips and Powders 27-31
Email sales@walkerceramics.com.au
Website www.walkerceramics.com.au
Raw Materials 32-35

Raw Material Technical Data 36-40
Contacts:
Raw Material Alternatives 41
SYDNEY
Toll Free 1800 OZCLAY (1800 692 529)
Email: sales@walkerceramics.com.au
Miscellaneous Materials 42-43

Frits 44
Introduction to Ceramic Colours 45
CANBERRA
289 Canberra Avenue, Fyshwick, ACT 2609
Fax 02 6280 5705
Email: act@walkerceramics.com.au
Glazes 46-62
Stains 63-67
Lustres and Onglazes 68
Wunder and Design Colours 71-73
Frequently Asked Questions 74
QUEENSLAND
Toll Free 1800 OZCLAY (1800 692 529)
Flux Extenders 75
Cesco Underglazes 76
Colour Application Techniques 77
Special Decoration Techniques 78-79
Faults and Remedies 80-82
Conversion Charts 83
Postal Orders accepted, both nationally and

internationally.
Trade Enquiries welcome.
Health and Safety 84-86

Videos 87-88
Studio Accessories 89-90
Tools 91-97
Brushes 98-99
Setting up a Workspace 100
100% Australian Owned
Choosing a Pottery Wheel 101

Studio Equipment 102-103
Kiln Furniture and Cones 104-106
Kiln Fittings and Kilns 107-109
Spray Equipment 111
Books and Magazines 112
Educational Resources 113-114
Tiles, Bisqueware and Moulds 115-116
Glossary 119-123
Conditions of Sale 124
Index 125-127

Materials
All materials should be sample tested for suitability before use.
It is important to prove their effectiveness under the particular conditions that
they are to be subjected to.
Descriptions and Specifications
All descriptions and specifications, including drawings and particulars of
weights and dimensions submitted in writing or stated verbally, and the
descriptions and illustrations contained in this handbook are intended merely
to present a general idea of the goods described. In accordance with our
policy of constantly improving products, we reserve the right to change the
specifications or delete items from our inventory without prior notice.
Performance
All performance figures given by us are based on experience and are
expected upon testing. We accept no liability if these are not obtained.
Revised April 2013
Locations
Melbourne
Phone / fax / email orders
for delivery or collection
2/21 Research Drive Croydon VIC 3136
Phone 03 8761 6322
Facsimile 03 8761 6344
www.walkerceramics.com.au
Canberra
Walker Ceramics
289 Canberra Avenue Fyshwick ACT 2609
Phone 02 6280 5700
Shop Hours 8.30 - 4.30 MON - FRI and 9 - 12 SAT
New South Wales
Queensland
Cesco has now moved to Melbourne

Cesco: 02 96044888
Diverts to Melbourne Toll Free
Melb Toll free 1800 69 25 29
Phone 03 8761 6322
Feeneys - Ipswich
Please call Melbourne...
Toll free 1800 OZCLAY (1800 692 529)
Visit our website www.walkerceramics.com.au

Email us at sales@walkerceramics.com.au
Toll Free 1800 OZCLAY (1800 692 529)

Walker Ceramics products are also available via our postal service or
from our distributors around Australia, Singapore and United Kingdom.
Revised April 2013
Introduction
At Walker Ceramics, Feeneys Clay and Cesco our aim is to use, from Australian sources, the best quality raw materials to produce our
own range of bodies, glazes and colours for all aspects of ceramic production. We have extended our clay production with special bodies for production potters, particularly plastic vitreous porcelains, stoneware's and White Midfire all as white as Australian materials will
permit.
Our Imperial Porcelain 4317 (named after Geoffrey Walker) is our world class, fully ball milled, white, plastic, translucent Porcelain for
all methods of production. We also produce low temperature white casting bodies, and middle and high fire vitreous and translucent
casting bodies.
The colour range includes Design Colours - Liquid Colour Concentrates with the latest addition of a bright and vibrant Fire Crab Red
FK25. There are 25 bright and exciting colours in the range that are superb at Earthenware and unrivalled at Stoneware. For Opaque
Liquid Underglazes check out our Wunder Colour Range - clay based underglazes that are like poster paint for clay. In the ceramic
worlds continuous search for bright reds at stoneware we now have the Fire Crab Red as well as the Potters Colour Fire Engine Red
FW5327. These colours are magnificent at Stoneware and very stable under a vast majority of glaze formulations.
Rare Earths - Just added to our range Erbium, Neodymium and Praseodymium Oxides for those extra special results ... Providing a
stunning range of colours - Pinks for Erbium, Blues and Lavenders for Neodymium and Yellows to Lime greens for Praseodymium ...
Try the new sample kit to broaden your palette ....
New to Walker Ceramics production line are the well known Cesco colours. An extremely well known, extensive range of glazes and
underglazes, they are now produced solely by Walker Ceramics in Victoria.
Studio equipment includes a full range of Australian made Venco pug mills and pottery wheels, dual drive slab rollers, banding wheels
and stainless steel hand extruders.
The laboratory - staffed with fully ceramic qualified personnel, is continuously developing new glazes and colours to add to our hobby,
industrial and educational range and are pleased to be consulted to satisfy your requirements.
Our production and service is aimed at excellence and our company expects to provide this standard. Consultations by appointment to
schools can be arranged both in Melbourne and Canberra. Enquiries for any product or information not included in this website are
welcomed.
BSc (Honours) Ceramics

Stoke on Trent (U.K.)
Walker Ceramics (Australia)
Edgar E. Walker and staff of the original family company - The Australian Brick and Tessellated Tile Company in 1908.

Revised April 2013
History
The Walker name has been synonymous with ceramics in Victoria for more than one hundred years. When Edgar E. Walker founded and
later owned the Australian Tessellated Tile Company in Mitcham in 1885, he began a family tradition in clay which continues today, four
generations later, with Walker Ceramics at Croydon (Victoria, Australia). The family commitment to fine quality clay manufacture began
with Edgar E. Walker, his four sons and grandson, Geoffrey Walker.
They established the tile company which was, at one time, the largest tile producing plant in the Southern Hemisphere. Importantly, it had
also always supplied Technical Colleges and potters with fine quality clays, glazes and ceramic materials.
Walker Ceramics was established in 1955 by Geoffrey and Constance Walker. Geoffrey studied ceramics in the years before and after the
Second World War at Stoke Technical College and later worked in the UK and USA before building the factory in Wantirna. Production
began with glazed porcelain functional ware, then specialized floor tiles, electrical and acid-proof porcelains, architectural ceramics, refractories and salt glazed quarry tiles. Despite a fire which completely destroyed the factory in 1962, the company went on to produce stoneware and porcelain bodies, often to potter's own specifications.
In the 1960's Walker Ceramics commenced manufacture of its first filter pressed white earthenware bodies for commercial potteries and art
suppliers. During this time, the Walker Ceramics' factory at Wantirna became not only a place to source an increasing range of ceramic
supplies and quality clay bodies and glazes, but a busy and lively meeting place for potters exchanging information.
By the mid 1970's more than 25 bodies were being produced and the market had expanded interstate and to New Zealand. In the 1980's
Walker Ceramics in association with Greg Daly, produced the first series of instructional video tapes, detailing many different ceramic
techniques presented in Greg's workshops. In 1982 David Walker completed an Honours degree in Ceramic Technology from the North
Staffordshire Polytechnic in Stoke-on-Trent (UK) and returned to Australia to join the business.
Today Walker Ceramics produce and sell in excess of 60 Ceramic bodies, 200 plus glazes, Liquid Opaque Underglazes, Design Colour
Concentrates and all the tools and equipment the pottery market requires. As well as their own shop in Canberra, the distribution network
extends to all major centres of Australia and Singapore, Indonesia and the United Kingdom - where the pottery community are appreciating
the specialist qualities of Australian made and developed ceramic bodies, glazes and colours.
When Walker Ceramics moved to the Wedgwood factory in Croydon in 1988, they completely re-built and enlarged the clay production
facility established at Wantirna. A new laboratory was equipped and specialist staff were trained for Research and Development and for
quality control. This began at the clay pits with testing and stockpiling and continued in the laboratory. All clays are continuously checked
in the laboratory for plasticity, colour, shrinkage and porosity by gradient furnace firing and most importantly, the testing of all bodies for
expansion standards to ensure the matching of glazes.
In 2005 David Walker was approached by John Feeney of Sandisons in Queensland, with an offer to continue the Feeney Clay tradition.
A new company called Feeneys Clay was started, then moved from the Wulkuraka site, completely re-furbished and upgraded and then
established in a "new" factory at West Ipswich.
The business then went under further changes in 2008 - David Walker decided to continue the Walker tradition in Ceramics and purchased
Walker Ceramics outright. A new manufacturing facility was set up for all the Walker White bodies when the business moved from Lusher
Road in Croydon. Once the Sales and Distribution factory was established in Croydon South the traditional fireclay based bodies were
reformulated to be made at the new Feeneys Clay plant in West Ipswich in Queensland. This range is now out in the marketplace and
already gaining loyal support.
Cesco colours became part of Walker Ceramics production in 2010 when Jerry Tonkavic of Ceramic Supply Company in Sydney decided
to retire and invited David Walker to continue with the Cesco tradition and produce all Cesco Colours and Glazes. On top of this Ferro
decided to cease production in Australia and import all colours and frits from their manufacturing plants overseas and also invited Walker
Ceramics to continue their ball milled glaze production for their customers. In May 2010 a lease on the factory next door was completed
and extension of the current glaze room area was commenced in preparation of fitting in both the Cesco equipment and some ball mills
from Ferro. With the changes in Ferro all the colour and glaze ranges needed to be reformulated to suit the new stains and frits. Preparation has now commenced on an equivalents chart to make substitution of new frits and colours as painless as possible.
Between 1977 and 1996 Walker Ceramics presented a Walker Ceramic Award annually to Graduating Ceramics students from around
Australia. This was exhibited at the prestigious Victorian Arts Centre from December to January each year and enabled the students to
have an opportunity to exhibit their talents to a broad range of public from throughout Australia and overseas. The Walker Ceramic Award
Collection of all the winners and carefully selected pieces from each years exhibition were on permanent display in the Walker ceramic
Gallery in Croydon, Victoria until 2008, when David Walker placed the entire collection on Permanent Loan to Manningham Art Gallery in
Doncaster. This enables ceramists, students and the public at large to view this wonderful collection in this public space.
Revised April 2013
Introduction to Clay
Clay - the essential ingredient for pottery and ceramics. Taken from the earth, processed and refined it becomes, in the artists
hands, capable of producing objects of extreme beauty. Walker Ceramics has been producing clay for over well over 100 years.
The Process Of Making Clay
The management and staff gather to welcome home Edgar E. Walker from one of his overseas trips in 1923.
The raw clay arrives from the quarry

and is loaded into a crusher and then
conveyed to the storage bins.
The crushed clay is then loaded into a blunger where

the other raw materials and water are added. The
mixture is then mixed until a slurry is formed.
The slurry is then pumped out of the

blunger and passed over powerful
magnets which remove any metallic
elements.
The time that the slurry remains in the filter press

will vary according to the clay body. The moisture
content is reduced to about 22%. The clay is
removed from the press in the form of cakes
weighing from 20 to 45 kg.
The clay slurry is then passed through a

sieve to remove any oversized particles.
From here it is pumped into large storage
vats called arks to await further processing.
Pumps and a network of
pipes feed the slurry into
high pressure filter presses.
The cakes are stored for ageing and then fed
through a de-airing pugmill which removes any
air and homogenizes the clay. The extruded
clay is cut into 10 kg and 12.5 kg blocks and
bagged into long life polythene bags.
The packs are stacked on pallets ready for despatch.

Revised April 2013
Plastic Clays - Practical Information

All Walker Ceramics and Feeneys clays are formulated for the craft potter and are usually supplied in plastic condition in either 10 kg or
12.5 kg polythene bags with approximately 22% moisture for throwing consistency and 17-18 % moisture content for "RAM" TM pressing
consistency. Special bodies for industry are also available. Our production of moist clays is controlled by our desire for consistency.
Controlling the production from receipt of bulk crude clays to the final blending of the recipes in wet form and then storing of filter cakes
prior to extruding in de-airing pugmills enables us to ensure there is consistency from batch to batch. The following hints may prove helpful
to some potters, especially those with no previous experience of Walker Ceramics clay bodies. Comments refer to both stoneware and
earthenware clays unless otherwise stated.
Ageing will dramatically improve the working qualities of any clay therefore it is an advantage to keep a 3-6 month supply on hand, if
space and finances permit.
All Walker Ceramics clay bodies are extruded through porcelain and de-airing pugmills. This eliminates the need for time consuming
preparation before throwing. As a block is cut into pieces of the required size each ball can be formed by gentle kneading on a clean
bench top. Lengthy time in kneading on an absorbent surface is only necessary if the clay is too soft. When reclaiming leftovers, the clay
should be kneaded for a short time and then wedged until even in consistency. Faulty wedging is the cause of splits and cracks that can
occur on any part of a pot during throwing, drying or firing.
Air pockets can cause splits, cracks and bloats. These are easily noticeable during throwing - clay with any air pockets should be rewedged - however if only one or two appear in a pot they can be pierced with a pointed tool to allow the air to be gently pressed out with
the fingertips.
S Cracks: To eliminate "S" cracks from the base of the pots (this occurs mainly with open stoneware clays), the following hints could
prove helpful. When centering, the clay should be formed into a cone as high and as narrow as possible and then pressed onto the wheel
head into a flat perfectly centered ball. This practice, like wedging, helps to even out consistency and also arranges the small particles into
a spiral that gives extra strength when the ball is opened out into a cylinder. Next the base must receive the same amount of compression
as the walls. So when the ball is opened out the fingertips should be run over the base firmly several times before further attention is given
to the sides. Any water in the bottom of the pot should be removed as soon as possible. If allowed to collect there and saturate the thin
base, star and "S" cracks can result.
When compressing the base, an effort should be made to eliminate the small "nipple" of clay that can form in the centre of the base as this
is usually the cause of small "S" cracks. The thickness of the base is also crucial. A good guide is to make the base of even the largest
pots as thin as possible. As soon as the ware is firm enough it should be turned. After the necessary amount of clay has been turned out
of the base, it can be further compressed from the outside (care should be taken not to press your fingers right through). However, the
tension resulting from pressing the base slightly inwards (especially on closed in forms) will give extra strength and further eliminate the
possibility of "S" cracks.
Drying: Finished pots should be dried upside down or on their sides out of draughts or direct sunshine. Too quick or uneven drying can
cause distortion and cracks. (Special attention must be given to the Feeneys Clay range in this respect while on the other hand No.10 and
PB103 hardly ever suffer from forced drying.) To avoid warpage, flat ware (bowls, platters, etc) should always be thrown on batts and not
handled until dry enough to turn.
Throwing "off the hump" may be a problem with most stoneware bodies, however No.10 Stoneware and PB103 have both proved quite
successful . This technique makes it impossible to give the base the necessary compression, thus causing heavy losses due to "S" cracks.
For the same reason, goblets with solid stems in most stoneware bodies could prove to be a disappointment. Appendages such as knobs,
spouts, handles, etc. should be attached as soon as the bases are turned. Both surfaces should be roughened, then water or slip of the
same clay applied before the parts are pressed firmly together and finally modelled to give a neat appearance.
Knobs are frequently turned from the "waste" clay leftover from bowl-shaped lids. This practice can cause "S" cracks across large bulky
knobs. To overcome this problem, knobs can be thrown from a small ball of clay attached to the lid in the usual manner, yet even thrown
knobs can cause problems - if air is trapped between the knob and the lid, the knob can fall off during either drying or firing. A small hole
drilled from the inside of the lid into the knob is a good safety measure.
Unusually long and fine handles tend to dry out and shrink long before the pot that they will be attached to. To avoid broken handles a
thin strip of plastic should be wrapped around them - this will even out the drying. The plastic can be left in position until the bisque firing.
Over-sponging ware during throwing will expose grog and result in an unpleasant sandy finish - this can be annoying on the rims of
drinking vessels as well as possibly causing shelling of glazes. By finishing off edges with a small piece of chamois, a smooth finish will
result.
Bodies such as White Pottery, White Earthenware, Superwhite Earthenware, Auscraft Ultra White, White Midfire, Superior White Porcelain,
No 10 and PB103 are all suitable for fine work because their small particle size giving a smooth finish.

Revised April 2013
Plastic
Information
PlasticClays
Clays- -Practical
Practical
Information
Turning can also cause a rough finish but this can be smoothed out by running a modelling tool or thumbnail over the pot while it is still rotating on the wheel.
Marbled and striped effects are usually achieved by wedging bodies of different colours together. The clay thus prepared is re-wrapped and
allowed to stand for some time before use. However, cracks can occur due to the differences in shrinkage. A safer way of achieving the same
results is to use the same body - staining part of it and leaving the rest its natural colour. If correctly wedged, no separation should result using
this method e.g. Buff Stoneware (BSW), Red Stoneware (RSW) and Dark Stoneware (DSW) can all be successfully marbled.
Finally, most losses during the bisque fire can be eliminated with a little patience. A rate of 50C per hour during the early stages of firing and
150C during the later part is recommended. Also remember pots that are not completely dry or are too heavy are a danger to all other pots
around them.
To many potters, glazing requires as much care and thought as the actual making of pots. Even the most highly recommended glazes should
be tested to see how they behave in your own kiln before being applied to pots.
We draw supplies from large open cut mines from many sites, which enables us to provide a unique selection of clay bodies. Our entire production is based on flexibility and although we have over 60 different clay bodies in stock we are always ready to produce clays to our customer's recipes or to meet specific requirements. Our fully equipped Laboratory enables us to develop clays to customer specifications.
Types of Prepared Clays:
Slip House Bodies - These are prepared in large batches in slip form that is then finely sieved and passed over rare earth magnets. The slip
is pumped into filter presses for water removal prior to pugging. Slip housing gives clay uniformity and virtually guarantees freedom from contamination.
Hand Building Bodies - Hand building bodies are produced by our hammer milled method. These clays are produced in our Feeneys plant in
Queensland. All materials are hammer milled and dry classified to approximately 14 mesh, then de-aired and pugged.
This gives excellent and reliable control of grog and water content, but it is more open to occasional inclusion of larger or extraneous particles
arising in the ingredients or during processing.
TESTING AND FIRING
Testing Procedures - As prepared bodies are made from naturally occurring clays they are inevitably subject to small variations from batch to
batch. To take this into account, customers are advised to test the clay from a new batch on a small scale before putting it to full use.
Firing Procedures - A glazed ceramic product can be achieved by a number of different firing routines, the commonest of which are:
(a)
Twice-firing: In this procedure the dried clay pot is first heated to a temperature above 1000C - the biscuit fire. Then the glaze
is
applied and the piece is fired again to the glaze/body maturing range.
(b)
Once-firing: In this procedure glaze is applied to the unfired pot and then, in one firing cycle, the glaze and body are matured
together. This process does require test work by the user as problems can arise. The gases in the greenware must be expelled; i f
there is glaze covering the entire pot the escaping gas can easily cause pin holing in the glaze finish.
Slip Cast Lamp Base

By Calder Lighting
(White Earthenware Casting Slip)

Revised April 2013
Plastic Clays
Information
Plastic
Clays- -Practical
Practical
Information
Clay is one of the most satisfying materials to work with. It consists of millions of tiny plate-shaped particles. Water enables these
particles to slide over each other without breaking. When a clay body is about 20% water it is easily moulded. Man has used clay
throughout the centuries to produce both functional and decorative wares.
There are various types of clay bodies: Raku, Earthenware, Stoneware, Bone China and Porcelain. Blends of these clay types are also
produced. Each has its own unique characteristics and uses.
Raku
Originating in 16th century China, this type of clay body is very coarse and has very good thermal shock qualities i.e. it can handle sudden
changes in temperature. It fires at low temperatures starting at 800C and is suitable for saw dust or wood fired kilns as well as normal
pottery kilns.
Earthenware
The primary type of clay used for pottery throughout the centuries. It is fired at low temperatures so that the ancient cultures were able to
use basic firing techniques to produce very functional and durable pottery. The texture of earthenware bodies can vary from very coarse
through to very smooth.
Stoneware
This type of clay body fires at a much higher temperature than earthenware. It produces hard, strong pieces and therefore is good for oven
-to-table ware and other functional wares.
Bone China
This clay body is very white but fires at lower temperatures than porcelain. Developed by Josiah Spode, it was used to produce less
expensive white translucent ware.
Porcelain
Fine, white, translucent ware is made from ball clay, china clay, silica and feldspar. Originating in China, this body is renowned for its
whiteness and purity. Ideal for fine tableware, it has excellent strength and is traditionally fired only once, but most craft potters nowadays
follow the bisque/glaze fire process.
Quality Control
Walker Ceramic pride ourselves on the quality of our products and after-sales-service. We provide full technical backup and we are happy
to assist clients to develop products to their specific requirements. All of our products are tested in our laboratory prior to release for sale.
Testing Procedures
We use the following testing procedures to maintain our high standards.

Test Room: Batches of clay and glaze are routinely tested thoroughly before distribution.
Dilatometer: The expansion of the body or glaze is automatically graphed whilst the sample is heated at a set rate. The samples are
small bars which have been pre-fired to the recommended firing temperature. This test confirms clay/glaze fit.
Moisture Content Tester: To rapidly determine the percentage of moisture content of a material.
Gallenkamp Torsion Viscometer: To test the fluidity and thixotropy of slips. This is a very important test to ensure the slips will pour,
cast and drain well.
Gradient Furnace: This is to test bodies and glazes over a temperature range to a maximum of 1325C in the one firing. The rate of
temperature rise and soaking time is automatically controlled. The kiln fires 10 separate samples with about 30C temperature difference
between each, thereby we have an accurate firing history of water absorption, shrinkage and colour over a 300C range to over the bodys
maximum temperature. The test samples are then compared to our standard results.
Other test equipment includes an Automatic Drier, Ford Cup and Walker Fluidity Cylinders, Ball Mills, High Speed Rapido Mills, High
Speed Shear Agitators, Sieve Testing Screens and three test kilns: one for high speed firing, one Electric Kiln for normal firing and a gas
Reduction Kiln. Standards for all clays, glazes, colours and raw materials are kept for reference. An important part of the daily program in
the laboratory is time spent in research and development.
The late Geoffery Walker, the founder of Walker Ceramics, with his son David in the laboratory.
10
Revised April 2013
Plastic Bodies - Walker Ceramics

Note
The recommendations made herein are based on our research and the research of others, and are believed to be accurate. However, no guarantee of their
accuracy is made and the products discussed are sold without warranty, express or implied, and upon such condition that purchasers shall make their own
tests to determine the suitability of such products for their particular purposes.
Likewise, statements concerning the possible use of these products are not intended as recommendations to use these products in infringement of any patent.
Please Note
All firing and shrinkage tests were carried out under laboratory
conditions but we recommend testing prior to use.
Clay packs are approximately 10 kg unless otherwise stated.
IMPERIAL PORCELAIN 4317

The ultimate in porcelain - pure white, plastic, translucent
Firing range 1220-1300C
AA1
% Shrinkage wet to dry: 3.3 Dried to fired: 9.9@1280
Mesh size: Ball milled

Texture: Extremely smooth
Fired colour (oxidation): White

Fired colour (reduction): White
SUPERIOR WHITE PORCELAIN

Snow white translucent , very plastic body suitable for throwing, hand building, RAM pressing and much, much more!
Firing range 1280 - 1300C
Mesh size: Ball milled

Fired colour (oxidation): Snow white

AA10
FEENEYS WHITE STONEWARE

AA21
Beautifully plastic, classic white throwing body with great glaze fit . Ideal for all forming methods
Mesh size: 120
Texture: Very smooth

NO.10 STONEWARE
AA100
Robust white stoneware. Very suitable for oven-to-tableware and great for production throwing and hand building.
Mesh size: 80
Texture: Smooth
Fired colour (reduction): Light grey-white
PB103 WHITE PORCELAINEOUS STONEWARE Also available as PAPER CLAY

Beautifully plastic, versatile white production body with great glaze fit . Ideal for throwing, hand building, etc
Mesh size: 120
AA103 / AGA103PC

SPECIAL STONEWARE
AA210
General domestic production body suitable for a multitude of techniques.
Mesh size: 60
Fired colour (oxidation): Creamy grey mottle
Texture: Smooth to medium
Fired colour (reduction): Grey with buff speckle
LIMOGES TM10 WHITE PORCELAIN

20kg Pack
Extremely white, fine, French ball milled body. Wonderfully translucent qualities.
Firing Range 1260-1300C
% Shrinkage wet to dry: 3.0 Dried to fired 16.3@1280
Mesh size: Ball Milled
AU500
Colour codes for firing ranges of clay bodies

Stoneware
Earthenware to Stoneware

Earthenware to Middle Fire

11
Earthenware Only
Revised April 2013
Plastic Bodies
Ceramics
Plastic
Bodies- Walker
- Walker
Ceramics
Please Note
Clay packs are approximately 10 kg unless

otherwise stated.
WHITE POTTERY .
Very plastic, fine body. Ideal for all pottery techniques
Firing Range 1060 - 1300C
AA215
% Shrinkage wet to Dry: 3.0 Dry to fired: 1.0@1060 9.0@1300

Texture: Smooth
Fired colour (reduction): Very light grey-beige
SCHOOL EARTHENWARE/STONEWARE
AA220
A good general purpose throwing and hand building body. Ideal for beginners.
Texture: Medium
% Shrinkage wet to dry: 3.2 Dried to fired: 1.0@1060 3.3@1250 5.8@1300

Fired colour (reduction): Light grey-white
WHITE HAND BUILDING EARTHENWARE/STONEWARE

A good general purpose hand building body.
Texture: Medium / Coarse
AA225
% Shrinkage wet to dry: 2.8 Dried to fired: 1.0@1060 4.2@1300
Fired colour (oxidation): Off white
Fired colour (reduction): Light grey mottle
WHITE MIDFIRE
Vitreous, white, smooth, plastic, forgiving. Suits most standard earthenware glazes.
AA175
Mesh size: 80
Texture: Smooth
WHITE EARTHENWARE Also available as PAPER CLAY

Functional white earthenware suitable for production. Suits most standard earthenware glazes.
AA300 / AGA300PC
% Shrinkage Wet to Dry 2.3 Dried to Fired 1.1@1100 6.0@1225
Mesh size 80
Texture Smooth to Medium
SUPER WHITE EARTHENWARE
Super white version of our classic White Earthenware
Fired colour (oxidised): White

AA295
Option 1 Bisque 1060-1080C. Gloss 1000-1060C
Mesh size: 120

Fired colour (oxidation): Extremely white
AUSCRAFT ULTRA WHITE
AA450
Extremely white plastic body for throwing and hand building. Suits all hobby glazes.
Mesh size: 80
Texture: Smooth
Fired colour (oxidation): Ultra white
SCHOOL TERRA COTTA .

Very plastic body. Ideal for beginners. Suits all general uses
AA325
% Shrinkage Wet to dry: 4.6 Dry to fired: 2.4@1060

Fired colour (oxidation): Terra Cotta
Texture: Medium to coarse

COCKTAIL
A mix of all of our clays. Ideal for stretching the budget.
Firing Range +/ - 1250C
AA400
% Shrinkage variable
Fired colour (oxidation): Variable
Fired colour (reduction): Variable
Texture: Variable

Stoneware


12
Earthenware Only
Revised April 2013
Plastic Bodies Feeneys Clay

Please Note
Clay packs are approximately 10 kg unless

otherwise stated.
Terra Cotta (TC) Also available as PAPER CLAY

AR1 / AGR1PC
A good basic Terra Cotta Claysuits all Earthenware glazes.
1100C
Fired colour : Straw to deep red brown
Texture: Medium
Hand Building (HB)
AR6
A sandy biscuit coloured medium textured body. Superb for hand building, tiles, etc.

Fired colour (oxidation): Biscuit Light brown occasional flecks
Fired colour (reduction): Light Grey Mottle
Red Raku (RR)

Groggier version of Red Midfire Colour and texture for throwing, slabs, handbuilding, sculpture and Raku
Recommended Firing Range 1000-1150C
AR7

Fired colour (oxidation): Red Terra Cotta
Fired colour (reduction): n/a
Texture: Coarse
Buff Raku Sandy (BRS)
Buff colour, coarse sandy texture, suits hand building and sculpture
Recommended Firing Range 1000-1100C
Texture: Coarse
Buff Raku Trachyte (BRT)
Beautiful strong plastic body for handbuilding & sculpture.
AR8

Fired colour (oxidation): Cream Pink Buff
Fired colour (reduction): Warm buff/brown mottle with small iron spots
AR9
Texture: Coarse
Fired colour (oxidation): Dark speckled mottle

Fired colour (reduction): Dark brown mottles with iron blebs
Red Midfire (RM)

Good plastic clay for throwing and handbuilding
AR23
% Shrinkage Wet to dry: 6.2 Dry to fired: 1.9@1060 3.2 @ 1240
Fired colour (oxidation): Terra cotta

White School Clay
General purpose & economical. Great school clay
AR221
% Shrinkage wet to dry: 3.2 Dried to fired: 0.8@1080 11@1300
Fired colour (oxidation): off white 1080 Grey/white 1300
Texture: Medium
Fired colour (reduction): Light grey beige mottle
Raku
AR240
For hand building small through to large pieces. Excellent thermal shock resistance.
Texture: Very coarse
Fired colour (oxidation): Cream buff mottle

Fired colour (reduction): Brown mottle with iron blebs
olour Codes
Colour
codesFor
for Firing
firing ranges
RangesofOfclay
Clay
bodies
Bodies
Stoneware


13
Earthenware Only
Revised April 2013
Plastic
PlasticBodies
Bodies Feeneys
FeeneysClay
Clay
Please Note
Clay packs are approximately 12.5 kg

unless otherwise stated.
White Raku (WR) Also available as PAPER CLAY

Throw, handbuild, slab, polish, tiles, etc. Polishes and re-fires beautifully. ..even Raku!!
AR242 / AGR242PC

Fired colour (oxidation): Off White Cream Mottle
Fired colour (reduction): Dappled grey/cream
Raku Gold (RG)

Colour and texture for throwing, slabs, handbuilding and Raku
AR244

Fired colour (oxidation): Buff Cream Mottle
Fired colour (reduction): Golden brown mottle with small iron blebs
AR330

Hand Building Terra Cotta (HBTC)
A groggier version of Terra Cotta. Great for hand building
% Shrinkage Wet to dry: 2.0 Dry to fired: 2.0@1060

Fired colour (oxidation): Terra cotta

Feeneys Fine Blend (FFB)
Off White - Throw, hand build, slab, coil, earthenware, stoneware
AR500

Fired colour (reduction): Dappled grey/cream
Buff Stoneware (BSW)
AR525
Throw, hand build, slab, wood/pit fire, raku, large pots and sculpture
1300C
Texture: Medium
Fired colour (oxidation): Light cream buff mottle

Fired colour (reduction): Toasted buff/brown mottle
Dark Stoneware (DSW)

AR556
Throw, hand build, slab, wood/pit fire, raku, large pots and sculpture with Manganese Dioxide
Fired colour (oxidation): Grey brown with salt & pepper speckle
Texture: Medium
Fired colour (reduction): Warm brown with salt & pepper speckle
Red Stoneware (RSW)
AR559
Throw, hand build, slab, wood/pit fire, raku, large pots and sculpture with Red Iron Oxide.
Fired colour (oxidation): Sage grey with buff grain
Fired colour (reduction): Rich warm red/brown with buff grain
Texture: Medium
AR 330 Hand Building Terra Cotta
By: Gargoyles & Dragons

Stoneware


14
Earthenware Only
Revised April 2013
Clay Bodies - Fired results

Walker Ceramics Clays - Fired Results
Body
Code
1100oC
1200oC
1280C
Oxidation
1280C
Reduction
Imperial Porcelain 4317

AA1
Superior White Porcelain
AA10
No 10 Stoneware
AA100
PB103
AA103
PB103 Paper Clay
AGA103PC
White Midfire
AA175
Feeneys White Stoneware
AA21
Special Stoneware
AA210

15
Revised April 2013
Clay
- Fired
results
ClayBodies
Bodies
- Fired
results
Walker Ceramics Clays - Fired Results
Body
Code
White Pottery
AA215
School EW/SW
AA220
White Hand Building EW/SW
AA225
Super White Earthenware
AA295
White Earthenware
AA300
White Earthenware Paper Clay
AGA300PC
Auscraft Ultrawhite
AA450
Bennetts Terra Cotta
AT320
Cocktail
AA400

1100C
1200C
n/a
variable
16
variable
1280C
Oxidation
1280C
Reduction
n/a
n/a
n/a
n/a
n/a
n/a
variable
variable
Revised April 2013
Clay
- Fired
results
ClayBodies
Bodies
- Fired
results
Feeneys Clays Fired Results
Code
Body
Terra Cotta
AR1
Terra Cotta Paper Clay
AGR1PC
Hand Building
AR6
Red Raku
AR7
Buff Raku Sandy
AR8
Buff Raku Trachyte
AR9
Red Midfire
AR23
White School Clay
AR221
Raku
AR240

17
1100oC
1200oC
1280C
Oxidation
1280C
Reduction
Revised April 2013
Clay
- Fired
results
ClayBodies
Bodies
- Fired
results
Feeneys Clays Fired Results
Body
Code
White Raku
AR242
White Raku Paper Clay
AGR242PC
Raku Gold
AR244
Hand Building Terra Cotta
AR330
Feeneys Fine Blend
AR500
Buff Stoneware
AR525
Dark Stoneware
AR556
Red Stoneware
AR559

18
1100C
1200C
1280C
Oxidation
1280C
Reduction
Revised April 2013
Clay
- Fired
results
ClayBodies
Bodies
- Fired
results

19
Revised April 2013
Clay Specifications - Walker

All materials should be sample tested for suitability prior to bulk use
P
O
W
D
E
R
Code
M
E
T
H
O
D
M
E
S
H
S
I
Z
E
T
E
X
T
U
R
E
Shrinkage
% @ C
WET
TO
DRY
Uses
Fired Colour
Oxidised
Fired Colour
Reduction
Vitrified
Temp
(C)
<2%
DRY
TO
FIRED
Imperial Porcelain
4317
IP4317 AA1
BM N/A
FP
3.3
9.9 1280
a,b,d
Super white,
translucent
White
1210
Limoges White
Porcelain TM10
TM10
AU500
FP N/A
BM
3.0
16.3 1280
a,b
Snow White,
Translucent
White
1240
Superior White
Porcelain
SWP
AA10
FP
N/A
2.3
10.2 1300
a,b
Snow White,
Translucent
White
1220
PB103 Fine
White Stoneware
PB103 Paper Clay
103
AA103
FP
120
3.4
8.0 1300
a,b,d
White
White
1260
Feeneys White
Stoneware
FWS
AA21
FP
120
3.5
8.0 1300
a,b,d
White
White
1225
10
AA100
FP
80
3.1
8.0 1300
a.b.c
White
Light grey white
12601300
White Midfire
WMF
AA175
FP
80
3.3
9.5 1200
a,b
White
Special
Stoneware
SSW
AA210
FP
60
2.0
8.5 1300
a,b,c
Cream grey mottle
Grey with
buff speckle
1280
White
Pottery
WP
AA215
HM
60
3-4
3.0
1.0 1060
9.0 1300
a,e
White
Off White
Light grey beige
12601300
School
Earthenware
Stoneware
SES
AA220
HM
30
3.2
1.0 1060
3.3 1250
5.8 1300
a,c,e
Off white
Off white
Off white
Very light
Grey / beige
12801300
White Handbuilding
Earthenware
WH
AA225
HM
30
2.8
1.0 1060
4.2 1300
c,e
Off white
Off white mottle
Light grey mottle
1300
Superwhite
Earthenware
SWE
AA295
FP
120
3.4
1.0 1120
a,b
Extremely white
1250
White Earthenware
WE
AA300
FP
80
2.3
1.2 1100
6.0 1250
a,b
White
Grey White
1250
HM
30
6.0
2.5 1080
a,b,e
Rich Terra Cotta
FP
120
3.2
1.3 1060
a,b,c,e
Ultra White
No.10
Stoneware
AGA103PC
White EW Paper Clay
AGA300PC
School Terra Cotta
STC
Auscraft
Ultra White*
AC
AA325
AA450
1210
N/A
N/A
1180
Legend to Prepared Bodies Properties Table

T = Texture
Suggested Uses
Mfg Code
1 - Extremely smooth
a = General, throwing, hand building, coiling & thin walled ware
Method of Manufacture
2 - Very smooth
b = General production domestic ware & detailed work
FP = Filter pressed
3 - Smooth
c = Large pots & decorative plates
MM = Machine mixed
4 - Medium
d = Casting
BM = Filter pressed & ball milled
5 - Medium to coarse
e = Hand building especially large ware, sculpting, slab work & tiles
6 - Very coarse
f = Raku, black ware, burnishing & wood firing

20
Revised April 2013
Clay Specifications - Feeneys Clay

All materials should be sample tested for suitability prior to bulk use
Code
T
E
X
T
U
R
E
Shrinkage
% @ C
WET
TO
DRY
Uses
Fired Colour
Oxidised
Fired Colour
Reduction
DRY
TO
FIRED
Vitrified
Temp
(C)
<2%
Feeneys Hammer Milled Clays - All Feeneys Clays are Hammer Milled, sieved and magnetted.
Terra Cotta
TC
AR1
AGR1PC
6.0
2.5 1080
a,b,e
Rich Terra Cotta
N/A
N/A
Hand Building
HB
AR6
3.7
2.2 1080
4.8 1250
5.3 1300
a,c,e,f
Off White
Light grey mottle
>1320
Red Raku
RR
AR7
2.8
0.9 1080
a,c,e,f
Red Terra Cotta
NA
>1320
Buff Raku Sandy
BRS
AR8
2.3
0.6 1080
2.0 1250
2.3 1300
a,c,e,f
Cream Pink/buff
Warm buff/brown mottle

with small iron spots
>1320
Buff Raku Trachyte
BRT
AR9
2.2
1.0 1080
3.8 1250
4.0 1300
a,c,e,f
Dark speckled
mottle
Dark brown
mottles with iron blebs
>1350
Red Midfire
RM
AR23
6.2
1.9 1080
3.2 1240
a,c,e
Red terra cotta
NA
>1350
WSC
AR221
3.2
0.8 1080
10.3 1250
11.0 1300
a,c,e
Off white
Light grey beige

mottle
1280
AR240
1.5
1.1 1080
3.6 1250
4.4 1300
a,c,e,f
Cream/buff mottle
Buff mottle with iron
blebs
Brown mottle with iron

blebs
>1350
AR242
2.0
0.6 1080
4.3 1250
4.9 1300
a,c,e,f
Off white
Cream mottle
Dappled grey cream
>1320
White School Clay
Raku
White Raku
White Raku Paper Clay
WR
Raku Gold
RG
AR244
6.5
2.5 1080
5.7 1250
6.3 1300
a,c,e,f
Buff cream mottle

Golden buff
Buff mottle
Golden brown mottle with

small iron blebs
>1320
HBTC
AR330
4.6
1.6 1080
a,e
Rich Red Terra Cotta
NA
NA
Feeneys Fine Blend
FFB
AR500
3.7
2.1 1080
8.2 1220
8.5 1280
a,b,c,e
White mottle
Off white mottle
Off white mottle
Light grey beige

with some specks
1250
Buff Stoneware
BSW
AR525
3.1
6.7 1280
a,b,c,e
Light cream
buff mottle
Toasted buff/brown
mottle
1330
Dark Stoneware
DSW
AR556
6.5
5.7 1280
a,b,c,e
Grey brown with

salt & pepper speckle
Warm brown with

Salt & pepper speckle
1260
Red Stoneware
RSW
AR559
6.5
5.6 1280
a,b,c,e
Sage grey with

Buff grain
Rich warm red/brown

with buff grain
1260
Hand Building Terra Cotta
AGR242PC
Legend to Prepared Bodies Properties Table

T = Texture
Suggested Uses
Mfg Code
1 - Extremely smooth
a = General, throwing, hand building, coiling & thin walled ware
Method of Manufacture
2 - Very smooth
b = General production domestic ware & detailed work
FP = Filter pressed
3 - Smooth
c = Large pots & decorative plates
MM = Machine mixed
4 - Medium
d = Casting
BM = Filter pressed & ball milled
5 - Medium to coarse
e = Hand building especially large ware, sculpting, slab work & tiles
6 - Very coarse
f = Raku, black ware, burnishing & wood firing

21
Revised April 2013
Plastic Bodies
Feeneys Clay
CODE
Approx.12.5 kg per pack
FEENEYS Australian Made
Firing Range
Description
Biscuit 1020
Minimum
AR1
AGR1PC
Terra Cotta (TC)

Terra Cotta Paper Clay (TCPC)
Basic Terra Cotta. Medium texture. Suits all earthenware glazes.

Colour from straw to deep red brown
1060-1160C
AR6
Hand Building (HB)
Handbuilding clay or for large thrown pieces. Medium texture.

Sandy, biscuit colour developing flecks from 1100C
Up to 1280C
AR7
Red Raku (RR)
Groggier version of Red Mid Fire. Good for handbuilding or sculpture.

Coarse texture. Biscuit minimum 1020C
1000-1150C
AR8
Buff Raku Sandy (BRS)
Handbuilding and sculpture. Coarse sandy texture. Buff colour.
1000-1150C
AR9
Buff Raku Trachyte (BRT)
Strong plastic body, suits handbuilding or sculpture. Coarse texture.

Dark and very highly speckled. Also useable at E/W and Mid fire temperatures.
1000-1280C
AR23
Red Midfire (RM)
Good plastic clay for throwing and handbuilding. Medium texture.

Terra cotta red at mid fire in oxidation.
1060-1200C
AR221
White School Clay (WSC)
General purpose, economical - great school clay.

Off white at EW, grey/white at SW
1000-1280C
AR240
Raku (R)
Hand build, slab, sculpture, large works, raku, earthenware, stoneware

Buff / Off white EW, Warm toasted buff brown mottle with iron blebs SW reduction
900-1300C
Throw, handbuild, slab, polish, earthenware, stoneware, refire even raku

White/cream at EW, dappled grey/beige cream at SW
800-1300C
AR242
White Raku (WR)
AGR242PC White Raku Paper Clay (WRPC)
AR244
Raku Gold (RG)
Colour and texture for throwing, handbuilding, slabs and raku

Buff cream at EW to buff/gold mottle at 1200-1300C
800-1300C
AR330
Handbuilding Terra Cotta (HBTC)
A good basic grogged terra cotta clay. Suits all earthenware glazes.
Colour from straw to deep red brown.
1060-1160C
AR500
Feeneys Fine Blend (FFB)
Throw, handbuild, slab, coil, earthenware, stoneware. Medium texture.

White/cream at EW, dappled grey/beige cream at SW.
1000-1280C
AR525
Buff Stoneware (BSW)
Throw, handbuild, slab, wood/pit fire, raku, large pots and sculpture.
Medium texture.
Cream buff speckle at EW. Toasted buff brown mottle at 1300C reduction
AR556
Dark Stoneware (DSW)
Throw, handbuild, slab, wood fire, raku, large pots and sculpture. Medium texture. 1000-1280C
Grey/beige salt/pepper speckle at EW. Cinnamon warm brown speckle at 1300C
AR559
Red Stoneware (DSW)
Throw, handbuild, slab, wood fire, raku, large pots and sculpture. Medium texture. 1000-1280C
Cream buff speckle at EW. Toasted buff brown mottle at 1300C reduction.

22
1000-1280C
Revised April 2013
Plastic Bodies
Keanes Clays
Approx.12.5 kg per pack
Code Earthenware
AS2520 White Earthenware 37
Fine, good glaze fit
Temp.Range
Up to 1100C
AS2524
White Earthenware 37G
Small addition of fine grog
Up to 1100C
AS2525
Terra Cotta
Fine light terra cotta colour
Up to 1100C
AS2530
Red Terra Cotta
Fine rich red terra cotta colour
Up to 1100C
AS2500
Earthenware No.1
Orange terra cotta, fine grog
Up to 1100C
AS2505
Earthenware
Terra cotta colour, fine grog, excellent school body
Up to 1100C
AS2515
Earthenware Grogged
Coarse grog, tile mix
Up to 1100C
AS2615
KC1 Art Clay
White, suits hobby ceramics glazes
1060-1120C
AS2609
Polar White Art Clay
Bright white, suits hobby glazes
1060-1120C
AS2585
White Raku
Excellent plasticity, all purpose clay
1100-1300C
AS2580
Raku T (Buff)
Toasty speckle in stoneware reduction
1100-1300C
AS2582
Toast
Light terra cotta to golden chocolate with iron spots
1100-1300C
AS2595
Special K
White, coarse grog, ideal for large sculptural work
1100-1300C
Code Stoneware
AS1540 SW 5
Temp. Range
Fine and plastic buff clay with pepper iron fleck
1280-1300C
AS1545
Stoneware 5B
SW5 plus 10% fine grog
1280-1300C
AS1555
Stoneware 7
Multi purpose, fine white plastic clay
1280-1300C
AS1560
Stoneware 9
High iron content
1280-1300C
AS1575
Stoneware 33
Large iron speckle in reduction
1280-1300C
AS1590
Porcelain
Fine, white, good size fit
1280-1300C
AS1591
One Eighty One
Porcelain production body
1280-1300C

23
Revised April 2013
Air Hardening Clays

Australian Sun Clay
Air hardening clay - no need for firing - Dries Hard under the Australian Sun!!!
We now stock two types of Sun Clay White and Terra Cotta
Self hardening artist clay for school, home, arts and crafts. Safe, multi-purpose and economical. Just like other
high quality Walker & Feeneys Clay, Sun Clays are great for modelling, throwing, sculpting and thousands of
hobby projects. The cure for shrinking school budgets, Sun Clays self-hardening formula saves the hassle and
expense of kiln firing, while producing a finished product which dries leather hard in 24 hours and rock hard within
several days (actual drying time varies with temperature, humidity and thickness of clay). Decorate with acrylic
paints. Must be sealed with a commercial water sealant to waterproof.
AF1 - White Sun Clay
AF2 - Red Sun Clay
Suitable for throwing, coiling and sculpting.

Allow for some shrinkage.
Air dries quite well.
Do not Fire!
Store in an air-tight container until work is completed.
Uniform thickness is desirable.
Not suitable for functional ware
Finish with acrylic paints.
Must be sealed with a commercial water sealant to waterproof.
Dries White to Light Grey or Red / Brown

24
Revised April 2013
Paper Clays
PAPER CLAY is a specialty body made from paper pulp and clay, making it extremely plastic due to the wet mix and de-airing manufacturing process. The bisque firing temperature should be at least 1050C. Paper clay can be used as an air drying clay. Excellent for use in
the class room.
Paper fibres added to the clay body give the clay a unique quality. As paper clay dries the physical strength of the raw clay increases and
gives the potter greater flexibility in the way the clay is worked. Paper clay can be used in a wide range of hand built, thrown and moulded
techniques.
There are several advantages to using paper clay that include:
A clay product that is lighter in weight as some of the clay is substituted cellulose fibre.
The clay wall can be thinner as the paper fibres form a strong bond resulting in a high degree of unfired physical strength.
Many people using paper clay find that it is possible to work with clay in unique ways. Some find that joining at any stage, including bone
dry, is possible and that cracks can be repaired with a paper clay slip. It is recommended that you bisque fire the paper clay prior to the
application of Design Colours, Cesco Underglazes and Wunder Colours. The bisque firing temperature should be at least 1050C. Paper
clay may be suitable for pit firing.
Walker Ceramics and Feeneys Clay - Paper Clays

All Walker Ceramics and Feeneys Clay Paper Clays are made using virgin cellulose paper fibre (not recycled) to
give the ability to produce by any forming method. Walker Ceramics Paper Clays are filter pressed as well to
minimize salts. All our paper clays can be thrown, turned, hand built and dried very easily.
No special care needs to be taken in drying, biscuit or glaze firing.
AGA
Walker Ceramics Filter Pressed Paper Clays
Approx 10 kgs per pack
Temperature Range
AGA103PC
PB103 Paper Clay - Fine White Porcelaineous Stoneware
1280 - 1300C
AGA300PC
White Earthenware Paper Clay - suits all Earthenware Glazes
1060-1250C
AGA
Walker Ceramics Filter Pressed Paper Clays
Temperature Range
AGR1PC
1060-1160C
AGR242PC
White Raku Paper Clay - Ideal for all hand building techniques
900-1300C
*****************
Blackwattle Paper Clays are available as White Earthenware, Grogged White Earthenware/Stoneware, and White Stoneware and
are made using local Australian raw materials and recycled paper.
AG
PAPER CLAY
AG1000
Blackwattle White Stoneware
AG2000
Blackwattle Grogged White Earthenware/Stoneware
AG3000
Blackwattle White Earthenware
Keanes Paper Clays are a traditional pottery clay mixed with recycled cellulose fibre. There are five different clays available, ideal
for hand and wheel applications. The fibres are minute and can be smoothed by rubbing or stoning. These clays are becoming increasingly suitable for the classroom. The paper fibres add greenware strength once dry. Joining can be achieved at leather hard stage with
carefully applied wet paper clay reinforced with coils. Repairs can be made with paper clay slip even after bisque firing.
AS
PAPER CLAY
Temperature Range
AS7522
White Earthenware
1050-1100C
AS7527
Terra Cotta
1050-1000C
AS7587
White Raku
1050-1000C
AS7557
White Stoneware
1050-1285C
AS7597
Porcelain
1050-1285C

25
Revised April 2013
Egyptian Paste & Engobes

Egyptian Paste
The principle of a self-glazing clay originated in Ancient Egypt and now Walker Ceramics brings it to you in the form of Egyptian Paste
(Product Code BA335).
Egyptian Paste has unusual properties that permit the salts to leach to the surface of the clay during drying and firing stages. When fired
at low temperatures the salt fuses with the silica in the clay body to create a coloured glaze. You need only the colouring agents, a few
lengths of nichrome wire, an electric kiln and your own imagination to create an endless collection of beads, buttons, scarabs, pendants
and other jewellery.
Egyptian Paste is supplied in the form of white powder and with the following recipes you can create the colors you desire. The recipes are
based on the use of 1 kilogram of Egyptian Paste.
Method
Orange
Potters Colour Stain FW5808
30 grams
Spread 1 kilogram of Egyptian Paste on a clean, flat nonabsorbent surface.
Yellow
30 grams
Blue
Cobalt Carbonate BA220
10 grams
Spread selected colouring agent over the paste.
Mix with a palette knife.
Black
Manganese Dioxide BA620
30 grams
Blue/Green
Copper Carbonate BA250
10 grams
For glazing, take the required amount of powder and add

water until a plastic dough-like consistency is reached.
Green
Chrome Oxide BA180
30 grams
Do not mix more mixture than required at any one time.
Red
Red Iron Oxide BA490
30 grams
Grey
10 grams
Things to remember
Egyptian Paste is not like normal plastic clay. As little handling as possible is advised as the salt content is diminished with excess work
resulting in no glaze effect when fired. The body that the paste creates is short and open and provides little plasticity, it has little green
strength and is therefore easily breakable.
Egyptian Paste may be thrown but only for small pieces and water must be used to lubricate the clay. It is normally shaped by hand, rolled
with a rolling pin or pressed into moulds.
Always allow for complete, slow drying and if possible thread the pieces onto nichrome wire (Product Code NP3). This makes for ease of
handling and firing.
Fire the pieces between 850 - 950C and the colours will be vivid and bright.
Engobes
White Earthenware / Stoneware
An engobe is a liquid clay that is primarily used for brushing or spraying over greenware and bisque fired pots to give a high quality finish,
or simply used for decorating. It is also excellent for slip trailing, marbled effects and sgraffito.
The Terra Cotta engobe is especially useful when you don't want to risk contamination between white and terra cotta clays. Sprayed or
brushed on it gives a rich terra cotta appearance.
Firing Temperatures:
White Engobe EW/SW AE21 1060 - 1280C.
Cesco Base Coat AE5139
Refer page 63 for staining recipes.
RECIPE FOR COLOURED ENGOBE.

Suggested recipe for 1 litre of base engobe.
Slip Trailers
There are two types of slip trailers that can be used for applying engobe; the
rubber bulb (JU7254) or the Decorator Slip Trailer (Product Code JU7267) (see
page 96). The application technique is the same.
The advantages of the kit type is that they have stainless steel nibs, are easy to fill,
the bottles do not need to be emptied as they have screw caps and a variety of nib
sizes are available, making them very versatile.

26
Blend a cup of base engobe and the

required stain or oxide in a pestle and mortar
until a smooth paste is obtained.
Add this mixture to the remainder
of the litre of engobe.
Pass through an 80 mesh sieve twice to
minimize specking.
Revised April 2013
Casting Slips
We strongly recommend that casting slips should be tested for suitability prior to bulk use. All slips are available in 5 litre, 10 litre, and bulk
quantities for your own production. Slips may be coloured with the addition of stains suitable for clay bodies.
Imperial Porcelain 4317 IP (AB1)
The ultimate in porcelain slips - this body is super white and translucent.
Bisque at 1000C. Gloss to 1220 - 1300C.
Superior White Porcelain SWP (AB10)
A fantastic new AUSTRALIAN-made porcelain. All Australian materials. Superb whiteness and strength. Proven throughout Australia as
a throwing, pressing, casting and hand building body. Renowned for its consistency and workability.
Bisque at 1000 - 1060C. Gloss 1280 - 1300C.
No.10 Stoneware 10 (AB100)
Fires between 1240 - 1300C. A long-standing, reliable, white production body that is excellent for oven to table ware.
It is suitable for both middle fire and stoneware glazes. Excellent glaze/colour development is achieved on this body.
Bisque at 1000 - 1060C Gloss 1240 - 1300C.
White Midfire WMF (AB175)
A smooth, vitreous, white forgiving body. Fires white.
Bisque at 1000C. Gloss to 1200 - 1240C.
White Earthenware Middlefire WEMF (AB300)
Superb standard earthenware body. It suits all standard earthenware and middle fire glazes.
Bisque at 1000 - 1060C. Gloss 1060 - 1250C.
Auscraft Ultra White AC (AB450)
This body has excellent pouring and working properties and high green strength. Fires to ultra white.
Bisque at 1060 - 1100C. Gloss to 1000 - 1060C.
Suits all hobby ceramic glazes especially EE400 or EL400 Clear Gloss.
Bone China BC (AB505)
Fine quality AUSTRALIAN-made bone china. Beautiful whiteness and translucency second to none!!
Bisque at 1000 - 1060C. Gloss to 1250C.
When using slips and powders we always recommend the use of our Litre Weight Bottle and Chart (Product Code HC80) refer page 89.
The Litre Weight Bottle enables you to produce accurate and consistent casting slip. Keeping detailed litre weight records will help build a
history of your experiences with slip and serve as an invaluable reference for future use.
Porcelain Vases in
by Alistair Whyte
Imperial Porcelain 4317 carries on our tradition of ceramic
expertise by combining the skill and craftsmanship of body
development with the highest quality ingredients. We have
created a fine, white and translucent porcelain perfect for
throwing or pressing.
Examples shown here demonstrate both the translucence and
vitreous qualities of this beautiful porcelain body.
27
Revised April 2013
Casting Powders / Slips

Walker Ceramics has a range of powders suitable for casting. They are available in 25 kg bags except for Terra Cotta Concentrate, which
comes in 12.5 kg bags. Preparation of casting slip from powder involves only the addition of measured amounts of water and deflocculants
in a suitable mixer.
When purchasing pallet lots of our casting powders a current recipe will be attached to the outside underneath the plastic wrapping.
The colour of the paper the recipe is printed on is an indication of the current deflocculation recipe. Due to occasional very slight
variations in Australian raw materials, the required amounts of water and deflocculants can vary. If the colour of this recipe changes you
will be able to see at a glance any variation of the recipe from your last delivery. Use this change as a guide to alter your own existing
recipe. Our recipes are issued as a guide only as water and local casting conditions may vary around Australia. Follow the recipe mixing
instructions to attain the best possible casting slip from your mixer. Slip should be run through an 80 mesh sieve prior to use to ensure the
highest quality results.
Check the litre weight using Walker Ceramics Litre Weight Bottle and Chart for accuracy (Product Code HC80). We suggest using our
slip mixing records and charts for permanent historical records of slip recipes and solutions to mixing problems. We strongly recommend
that casting slips should be tested for suitability prior to any bulk use.
Slips may be coloured with the addition of stains suitable for clay bodies.
No.10 Stoneware (AC100)
Excellent glaze colour development on this white body. It is suitable for both middle fire and stoneware glazes.
Bisque at 1000-1060C. Gloss 1240-1300C.
White Midfire (AC175)
This body has been designed for those clayworkers who want porcelain/stoneware strength with the brightness of earthenware colours at
earthenware temperatures.
White Earthenware / Middle Fire (AC300)
This body is suitable for use with our earthenware and middle fire glazes. Available in 25 kg bags.
Bisque at 1000-1060C. Gloss 1060-1250C
Auscraft Ultra White (AC451)
This body has excellent pouring and working properties and high green strength.
Suits all hobby ceramic glazes and our earthenware fritted lead glazes. Especially EQB6400/ELB6400 Clear Gloss.
Terra Cotta Concentrate (BA854) (Old Code AC406)
10% added to standard earthenware bodies to fire to a beautiful rich red terra cotta colour. Fires from 1000-1100C.
Body
Slip
Water
Absorption %
<2.0
<2.0
<0.5
16
1
3.6@1100
5@1225
Additive Only
12
0
Ultra white @1100

Ultra white @1250
Powder

AB1
Superior White Porcelain AB10
No. 10 Stoneware
AB100
White Midfire
AB175
White Earthenware
AB300
AC1
AC10
AC100
AC175
AC300
Auscraft Ultra White

Bone China
Terra Cotta Concentrate
AC451
n/a
AC406
AB450
AB505
Shrinkage
%@C
9.9@1280
10.2@1300
12.5@1300
9.9@1200
2.8@1060
8.8@1250
Oxidised Conditions
Fired Colour @ C Vitrified
Temp C
White
1210
White
1220
Grey white @1300
1260
White
>1210
White @1060
1250
Grey white @1250
CESCO CASTING OR DECORATING EARTHENWARE SLIPS
Firing range 1000-1180C
AD4976
Terra Sigillata Brush On Terra Cotta (S4976) **
AD5144
Pastel Green (CS5144)
AD5138
Tan (CS5138)
AD5145
Charcoal (CS5145)
AD5139
Brown (CS5139)
AD5147
Deep Blue (CS5147)
AD5140
Primrose (CS5140)
AD5148
Pink (CS5148)
AD5141
White (E/W) (CS5141) **
AD5149
Black (CS5149) **
AD5142
Wedgewood Blue (CS5142)
AD5332
Rose (CS5332)
AD5143
Green (CS5143)

1250
Suggested
Temp C
1280-1300
1280-1300
1240-1300
1060-1200
1060-1250
1000-1100
1225-1250
Available in 1ltr, 5ltr and some ** 10ltr buckets.
28
Revised April 2013
Mixing Casting Powders

At Walker Ceramics we help take the guesswork out of mixing casting slip. The Litre Weight Bottle & Chart (Product Code HC80) along
with the slip mixing record on the following page provide a consistent and accurate method of creating batch after batch of casting slip.
The plastic bottle comes with its own precise chart that details litre weights and gross weights, taking the hard work out of this process.
Should you ever have a problem with your slip that you cannot remedy, by having a Walker Ceramics Litre Weight Bottle and Chart we can
solve your problems through our technical support team as we use exactly the same method for creating our own casting slips.
TECHNICAL INFORMATION
Deflocculants
The amounts of Sodium Silicate or Dispex added to a casting slip are very critical and either too much or too little may result in the slip
being too thick. If this happens, take a 1 litre sample of the slip and add one or two drops of Dispex. If the slip becomes thinner after
stirring then this shows that more is required to achieve good fluidity. If the slip becomes thicker then this shows that too much has been
added already. Therefore more clay and water needs to be mixed into the slip in the same proportion as given in the casting recipe no
more Sodium Silicate or Dispex. The recipe quantities can depend on the quality of the water supply, which may vary from one location to
another, and may also be affected by minor variations in the bodys raw materials.
Maturing the slip
On standing overnight the slip may thicken up slightly. This will easily re-blend when mixing is resumed, even by hand. We recommend
that a film of water, approximately 2 mm thick, is placed on top of the slip after mixing. This will reduce water evaporation from the mix,
especially in warmer weather.
Litre Weight Checks
The most important part of successfully mixing casting slips is getting the correct litre weight. For easy, accurate litre weight measurement
contact Walker Ceramics for a Litre Weight Bottle and Chart (HC80). (Refer page 89)
Recycling Scrap
Great care is needed to avoid contamination, particularly from plaster moulds. All scrap should be kept in sealed containers in a plastic
condition. Dry scrap will promote air inclusion in the slip. Recycle by adding a maximum of 20% of scrap. More than 20% can effect the
quality of the slip. We recommend adding barium carbonate (BaCO 3) (BA80) to the slip to remove sulphates, which may cause peeling
faults. The amount of barium carbonate to add should be 0.1% (25 gm per 25 kg bag) of the total dry weight of clay and scrap.
Faults and Remedies
Everybody who casts suffers from time to time from some form of casting trouble. Experience throughout the industry, combined with the
extensive work done on casting slips in our laboratory, has enabled us to connect the various faults with measurable properties of the slip.
Of course, other factors besides slip properties can cause casting faults but usually they can be easily noticed, for example, wet moulds
causing slow casting, careless filling causing 'pinholes' or 'casting-spot', etc.
The table below gives a brief description of some common troubles and the suggested remedies. This only gives the direction in which to
move and it is up to the individual to determine how far they need to go. For example, say you were incurring flabbiness and when you
increased the Dispex addition to correct this you found that your ware became brittle with casting spot, then you would know you had gone
too far.
In all our slip recipes we recommend a maximum of sodium silicate - adjustment should only be made to Dispex. Before making
any adjustments make sure the litre weight is within the stated limits for the body. Use our easy Litre Weight Bottle and chart.
Fault
Description
Cause
Remedy - Always check Litre weight first!
bad draining
slip failing to drain from narrow sections;

uneven surface on slip side of cast piece
fluidity too low or

too high (slip thickens too quickly)
brittleness
difficult to fettle or cut giving jagged edges
thixotropy too low (slip too fluid)
decrease Dispex addition
decrease Dispex addition or

decrease water addition
casting spots discoloured patches appearing on the mould side

scumming
of the article after firing; scum on surface of slip
cracking
small cracks on edges or where handles join the
body of the article
flabbiness
soft casts difficult to handle without distortion
pin holing
slow casting
small holes just beneath the surface on the

mould side of the article
casting time too long
wreathing
small uneven ridges on the slip side of the article
thixotropy1

thixotropy too high
(slip thickens too quickly)
fluidity too low air in slip
fluidity too high or thixotropy
too low (slip too fluid)
increase water addition (if litre weight is

too high) or increase Dispex addition
increase Dispex addition

increase water addition (if litre weight is
too high) or increase Dispex addition
decrease water addition or
Thixotropy is the property of slips becoming thicker when they are at rest i.e. thixotropy too high means that the slip thickens
up very quickly!

29
Revised April 2013
Mixing Casting Powders

Using the slip mixing record set out below enables you to refer back to your previous batches and maintain the consistency and quality of
your casting slips.
Note 100 mL of sodium silicate = 140 gm
100 mL of Dispex = 133.3 gm
Slip Mixing Record

EXAMPLE
Date
No of 25 kg
powder clay
bags
2 / 1 / 2000
8
4/ 1/ 2000
/ /
/ /
9 / 1/ 2000
/ /
Totals
Water
(litres)
96
96
N42
N40
Aim litre
Comments
sodium
Dispex
weight
silicate
672 mL
360 mL
1725
Litres of slip produced : 20 per 25 kg bag @ 1720 gm/L
Additions
448
240
1740
reduce litre weight to 1725 still thick
3.3
1725
1725
1725
1725
120
99.3
448
80
440
still thick, increase Dispex

good fluidity
thickened up, increase Dispex
good
CALCULATION TO REDUCE LITRE WEIGHT

Current litre weight Aim litre weight
x Number of litres (work on 20 litres per 25 kg bag)
Aim litre weight 1000
EXAMPLE
1740 1725 x 160 = 3.3 litres
1725 1000
Date
No of 25 kg
powder clay
bags
Water
(litres)
N42
sodium
silicate
N40
Dispex
Aim litre
weight
Comments
/
Litres of slip produced : 20 per 25 kg bag
Additions

30
Revised April 2013
Casting with Slip

Casting slip consists of very fine clay powder, water and deflocculants, which help
keep the clay in suspension.
When poured into moulds made of potters plaster the slip can produce very
intricate and delicate ware. Moulds may range from a simple one piece plate to a
20 piece animal mould.
The casting slip is poured into the mould, left to form a thin layer or cast, the
excess clay is then poured off and the cast is allowed to set. Once the cast has
set sufficiently it can be removed from the mould, dried, fettled, decorated and
fired in the usual manner.
Casting Procedure
Make sure the prepared slip is thoroughly mixed. Use a glaze stirrer fitted to an
electric drill to ensure a smooth mixture.
Sieve the slip through an 80 mesh sieve.
Place the mould on a stable, level surface.
Pour sufficient slip to fill the mould into a jug.
Commence pouring the slip into the mould. The mould must be filled in one
smooth operation ensuring an equal distribution of slip to all parts of the mould
and preventing casting marks.
Ensure that the head of the mould is filled completely to the top. Check the mould
after a few minutes. It may be necessary to top up the head. The absorption that
may have occurred results from the moisture within the slip being taken up by the
plaster.
Allow sufficient time for the thickness of slip, approximately 5 mm, to build up.
This will vary according to the clay used, the age of the mould, the atmospheric
temperature and intricacy of the design. Carefully tilt the mould to an angle of
between 50-60 to test the skin thickness.
When the cast has reached the desired thickness the excess slip is poured out.
The mould can now be turned upside down to drain over a bucket. This may take
ten to fifteen minutes after which the mould can be stood the right way up.
When the "shine" has disappeared from the surface of the cast it is possible to
clean up any drops or spills from the top of the mould.
Set the mould aside to dry sufficiently to shrink and allow easy removal of the
mould.
Once the cast is leather hard it can be trimmed, fettled and sanded, ready for
decorating or glazing. When finishing the surface of the cast it is recommended
that a dust mask is worn.
Moulds
Walker Ceramics stocks a full range of slump, drape and casting moulds. The casting moulds are all functional ware ranging from cups,
plates and bowls through to large platters and soup tureens.
See pages 115/116 for full details.
31
Revised April 2013
Raw Materials
This range of materials covers the requirements of both the studio potter and schools to make up clay bodies and glazes. Some of the materials could be
poisonous if not used in the prescribed manner. All raw materials considered to be potentially hazardous are labeled accordingly. For chemical formulae
for our raw materials, please see our typical analysis charts.
We are happy to provide Material Safety Data Sheets for any of these products. Care should taken when handling all raw materials, with strict attention to
hygiene and protective apparel requirements. See our Health and Safety notes for more details.
Any raw material listed succeeded by a (BA.) number code is currently stocked. Other listed materials are for reference only.
ALUMINA CALCINED 100 MESH Al2O3 (BA10)
ALUMINA CALCINED 300 MESH Al2O3 (BA20)
When used as a direct source of alumina in glazes, alumina has the effect of increasing glaze viscosity and firing range and resistance to crystallization.
The crawling tendency of glazes with high clay content is reduced by introducing alumina as part replacement for clay. A melting point of 2050C makes
alumina useful in batt washes, etc.
ALUMINA HYDRATE Al2O33H2O (BA30)
Occasionally the preferred source of alumina in a glaze because it remains in suspension for a longer time.
BARIUM CARBONATE (S6 Poison) BaCO3 (BA80)
A secondary flux in stoneware glazes, up to 10%, but most frequently used to produce a satin-matt surface, between 10-20%. Small quantities (.05-2%)
are used in bodies to prevent scumming.
BENTONITE Al2O3.4SiO2.2H2O (BA110)
Also known as Fullers Earth in some glaze recipes. A highly plastic volcanic colloidal clay, used as a suspending agent in glazes (2-3%) but it must be
added to the dry ingredients. When added to the clay body, it improves its plasticity. It has a high shrinkage rate at stoneware temperatures.
BORAX (CALCINED) (S5 Warning) Na2O.2B2O3
A very useful glaze ingredient having strong fluxing power, comparable to lead oxide or sodium oxide. It intensifies the effect of colouring oxides but in the
presence of lime it may cause precipitation giving an opalescent milky-blue white colour. It is soluble in water and therefore normally used in the fritted
form.
BORAX (FINE) (S5 Warning) Na2O.2B2O3.1OH2O (BA130)
Fine form of borax with the properties mentioned above.
BONE ASH (NATURAL) Ca3(PO4)2 (BA150)
The essential ingredient of a bone china clay, instrumental in producing its characteristic translucency. Also used as a secondary flux in glazes giving a
milky quality.
BONE ASH (SYNTHETIC) Ca3(PO4)2 (BA160)
Also called Tricalcium Phosphate. It is a readily available replacement, of consistent quality, for the natural bone ash at a much cheaper price. Will work
well in low and high fire glazes.
BURNT UMBER. Fe2O3 / MnO2 / Al2O3 / SiO2
Colouring for glazes. Both a pigment and a colour. The dark brown pigment is made by heating umber, a clay containing oxides of iron and manganese.
CALCITE (OMYA 10) CaCO3
A purer form of crystalline Whiting. (BA170)
CHINA CLAY - Refer KAOLIN, ECKAGLAS or ECKALITE.
CHROME OXIDE CrCO3 (BA180)
A versatile and high firing pigment, dark green in the unfired state and generally producing an opaque green. In the presence of calcium it produces a
grass green and with cobalt and magnesium, a blue-green. In high alkaline tin glazes it gives a deep pink (chrome tin) developing to purple if boron is
present. At low temperatures (<950C) in high lead, low alumina glazes, red to oranges are obtained often with a crystalline structure; if soda is introduced the colour is modified to a bright yellow. In the presence of zinc the predominant colour is brown. Black under reducing conditions (1-3%)
BALL CLAY CA1 / FX Al2O3.2SiO2.2H2O (BA200)
Highly plastic sedimentary clays used in bodies to improve workability and in glazes to introduce silica and alumina. It aids suspension and adhesion. It is
quarried at Axedale in Victoria. Refer FIRECLAYS, CHINA CLAY and KAOLIN for similar materials.
BALL CLAY R Al2O3.2SiO2.2H2O (BA210)
Same properties as above but quarried at Rowsley in Victoria.
CLAY CERAM (BBR) (BA213) now called Star Cast 38 (BA214)
Highly plastic white firing clay used in bodies and glazes. Created to replace the original Cresta BB & BB4. It is blended from materials from various
sources to ensure the consistency of the plasticity and whiteness of a body.
COBALT COMPOUNDS
Cobalt carbonate is a fine grained material that gives more even distribution of colour than cobalt oxide. Produces an evenly textured blue glaze (1-3%)
which is less intense than the oxide. Cobalt almost always produces blues, which may vary somewhat with glaze composition, high zinc glazes tending to
give greenish blues (especially if titanium is present) and high magnesium glazes tending to produce lilac or pink hues. Cobalt is quite soluble in glazes,
consequently it has little or no opacifying effect in the amounts normally used (rarely more than 1-2%). Cobalt is an active flux and it may be necessary to
take this into account when using it in some glazes, as it may increase their fusibility quite considerably. Like other raw oxides (or carbonates) of copper,
manganese and nickel, cobalt may cause blisters or bubbles in some glazes due to changing oxidation state during the firing cycle.

32
Revised April 2013
Raw Materials
Raw
Materials
COBALT CARBONATE CoCO3 (BA220)
COBALT OXIDE (72% COBALT) Co3O4 (BA230)
COLEMANITE (Boro-calcite) 2CaO.3B2O3.5H2O
Insoluble form of boron i.e. a natural frit. Used in all types of glazes, it also reduces the crazing tendencies. Colemanite develops opalescence typical of
boron compounds and in large quantities a broken mottled surface. The effects can be variable and for consistency we suggest the use of colemanite frit.
An alternative for some glazes can be Gerstley Borate.
COPPER COMPOUNDS
Copper gives green in most fritted glazes, the colour being darker and richer in lead bearing glazes. In alkaline type glazes, the colour tends to blue, as is
also the case in emulsion opacified high boron glazes, sometimes called boron blues. Large amounts of copper in glazes, especially lead glazes, give
metallic effects and even graphite-type matts. Copper is an active flux and it may increase glaze melt fluidity; it may also cause crazing, due to its thermal
expansion. In certain glaze compositions, under controlled reducing conditions, copper compounds can produce the reduced reds of rouge flamb and
sang-de-boeuf; however these are difficult to obtain reliably. Since beautiful reds can now be reliably made with cadmium-selenium glazes, there is no
longer any necessity to produce the reduced copper reds. Copper carbonate ensures a more evenly distributed colour.
COPPER CARBONATE CuCO3 (S5 Warning) (BA250)
COPPER OXIDE (BLACK) CuO Cupric Oxide(S5 Warning) (BA260)
COPPER OXIDE (RED) Cu2O Cuprous Oxide
Cresta BB, Rampant BB & BB4 - See CLAY CERAM (BBR)
CORNISH STONE (SYNTHETIC) (BA280)
This material is a blend of selected minerals (no fluorine) that have a chemical analysis very similar to that of the naturally occurring stone. Cornish stone
is an alternative to, though not direct replacement of, feldspar as a high temperature flux, having slightly less fluxing power. It can be used as a secondary
flux in low temperature glazes.
CROCUS MARTIS (IRON OXIDE PURPLE) Fe2O3 (BA290)
An impure form of iron oxide often producing speckled effects (4-8%)
CRYOLITESodium Aluminium Fluoride Na3AIF6
A secondary fluxing material and a natural source of sodium used to produce the characteristic alkaline colours.
DOLOMITE (NATURAL) CaCO3MgCO3 (BA310)
A natural material which combines calcium and magnesium carbonates. Generally used as a flux in stoneware glazes although in combination with other
fluxes it can be effective down to 1060C. Above 5% it begins to opacify and will eventually produce a matt glaze.
DOLOMITE (SYNTHETIC) CaCO3MgCO3 (BA320)
High quality natural Australian dolomite is not always available and is often variable. This synthetic material is an excellent replacement.
ECKALITE 1 (KAOLIN SUPERIOR GRADE) Al2O3.2SiO2 (BA330)
In some recipes known as China Clay. Primary clay which is pure, highly refractory and fires white in colour. A source of alumina and silica in glazes and
a constituent of many clay bodies where whiteness is desirable e.g. bone china.
ECKAGLAS (KAOLIN) Al2O3.2SiO2 (BA331) Now replaced with WLC32 or CP1100
In some recipes known as China Clay. Primary clay which is pure, highly refractory and fires white in colour. A source of alumina and silica in glazes and
a constituent of many clay bodies where whiteness is desirable This is a less pure, less refined version of Eckalite 1.
FELDSPAR POTASH K2O.Al2O3.6SiO2 (BA350)
FELDSPAR SODA Na2O.Al2O3.6SiO2 (BA340)
Feldspars are major fluxes in clay bodies (up to 15%) and the principal materials and fluxes in high temperature stoneware glazes (up to 50%). They are
low temperature secondary fluxes and can be regarded as natural frits.
FIRECLAY (HALLAM CRUDE) (BA360)
Refractory clay used as an additive to bodies to produce roughness and an open texture. Also reduces the risk of warping and cracking during drying.
This particular fireclay contains a large percentage of the original granite minerals, approx. 30% of +30 mesh minerals, primarily quartz and micas. Useful
in blending stoneware bodies. Fires to a flecked buff colour.
FIRECLAY (ROWSLEY N0.2-MILLED) (BA370)
A secondary clay useful for blending in stoneware bodies. Has a small percentage of oversize quartz. Fires to a grey colour at 1300C.
FIRECLAY FEENEYS - BP22 - As for FIRECLAY HALLAM (BA361)
This particular fireclay is a finer version of Hallam and contains a large percentage of the original granite minerals, approx. 30% of +30 mesh minerals,
primarily quartz and micas. Useful in blending stoneware bodies. Ideal for Pizza Ovens when mixed with Refractory cement. Fires to a flecked buff colour.
GERSTLEY BORATE 2CaO.3B2O3.5H2O (BA390)
A calcium borate containing the minerals colemanite and ulexite.
GROG (COARSE, RED - 8 +30 Mesh) (BA420)
GROG (FINE, WHITE 30 MESH) (BA430)
GROG (MEDIUM, WHITE -16 +60 MESH) (BA440)
Grogs are used to produce openness of texture in clay bodies, aid drying and reduce shrinkage and warping (usually up to 20%). The texture is modified
according to the mesh size of the grog used. Red grog is used as a low temperature flux which helps prevent crazing. It is only for use in earthenware.
ILMENITE SAND FeO.TiO2 (BA460)
Used in small quantities (2%) in conjunction with rutile to assist in developing the characteristic rutile break in glazes. Used in this form ilmenite sand can
directly produce specks in bodies and specialized glazes.
IRON CHROMATE Fe2O3Cr2O3
Used in glazes to produce shades of grey, brown or black (2-5%)

33
Revised April 2013
Raw Materials
Raw
Materials
IRON OXIDE COMPOUNDS Fe2O3
Iron oxides generally give a wide range of honey yellow, brownish reds, browns and blacks and are extremely popular colouring pigments for glazes and
bodies. 3-8% gives yellows with yellow ochre, browns with haematite, red-browns with red synthetic, greys with iron chromate and black with magnetite or
ferrous oxide. Speckled effects can be obtained with crocus martis. Warm colours obtained in lead glazes and cooler ones in lead free and alkaline
glazes especially. Mottled creams can be obtained in the presence of tin. The final colour obtained with iron oxide varies with the type of glaze, firing
temperature and kiln atmosphere. Iron oxide is also an active flux in glazes and even in small amounts will make a glaze noticeably more fluid. Synthetic
red is very fine and produces more even shades from honey to dark brown (2-10%).
IRON OXIDE (SYNTHETIC RED) Fe2O3 (BA490)
IRON OXIDE (NATURAL RED) Fe2O3 (BA501)
(BA500)
Natural form of oxide which can sometimes
be unstablebe
andunstable
inconsistent
and inconsistent
in its results.inFerric
its results.
oxide.Australian Primox Grade. Ferric oxide.
IRON OXIDE (BLACK) FeO (BA510)
Having a higher iron content than red iron oxide, it produces darker shades of colour (4-8%). Ferrous oxide.
IRON OXIDE (YELLOW) Fe(OH)3 (BA520)
A pure chemically processed iron which gives yellow to brown colours (3-8%). Iron hydroxide.
KAOLIN - Refer BALL CLAYS, CHINA CLAY and FIRECLAYS. Highly plastic fine sedimentary clays used in bodies to improve workability and in glazes
to introduce silica and alumina. Aids suspension and adhesion
LEPIDOLITE (Li NaK)2 (F.OH)2 Al2O3.3SiO2
A lithium based material which has a lower fusion point than most high temperature fluxes. This material is used in medium to high temperature glazes
but can sometimes cause pitting due to the presence of fluorine.
LITHIUM CARBONATE Li2CO3 (BA560)
Alkaline and insoluble, a powerful flux but with a lower rate of expansion and contraction than either sodium or potassium. Used as a replacement for
either of these materials, it produces a more stable glaze without affecting either the gloss or colour.
MAGNESIUM CARBONATE (HEAVY) MgCO3 (BA590) Dypingite (4MgCO3.Mg(OH)2.4H2O)
MAGNESIUM CARBONATE (LIGHT) MgCO3 (BA600) Hydromagnesite (4MgCO3.Mg(OH)2.5H2O)
Available in either the light or heavy form, it is a flux in high temperature glazes (up to 10%) used to produce a smooth buttery surface. Used in excess a
semi-matt surface may be produced and very large quantities may cause pin holing and crawling. In low temperature glazes it reduces fluidity. Used in
conjunction with cobalt and manganese it produces interesting colour effects. References to light and heavy magnesium carbonates actually refer to the
magnesium hydroxy carbonates hydromagnesite and dypingite (respectively) [2].
MAGNETITE (IRON SPANGLE) Fe3O4
Used to produce blacks in glazes (1-5%)
MANGANESE DIOXIDE MnO2 (BA620)
A fine black powder which when used in conjunction with cobalt and iron produces black. In lead and low alkaline glazes it produces a dull brown, while in
high alkaline glazes along with tin, the colour is purple. In magnesium and barium glazes, colours ranging from lilac to violet will develop. With small
amounts of cobalt oxide, a deep violet can be obtained. Other interesting colour effects are obtained with copper in crystalline glazes (2-5%).
MANGANESE CARBONATE MnCO3 (BA640)
Used in ceramic glazes to produce pink to brown (0.25 - 5%).
MOLOCHITE (FINE 200 MESH) Al2O3.2SiO2 (BA660)
An alumino-silicate refractory aggregate. It is a non-plastic form of kaolin which, due to its low shrinkage, reduces the tendency to crawl in glazes with a
high clay content. Added to a body it will assist, due to its low expansion, in the formation of a fine craquelle effect in pooling glaze or frits.
NEPHELINE SYENITE (270 MESH) K20.3Na2O 4Al2O38SiO2 (BA670)
A very white feldspar having an unusually high proportion of sodium and potassium in relation to silica. Its lower melting point makes it useful as a body
and glaze flux where a lower maturing temperature and purity are required.
NICKEL OXIDE NiO (BA680)
A grey-green material which produces a grey colour in lead glazes and brown in glazes containing barium; in the presence of calcium the colour is tan
and in high magnesium glazes a bright green. With small quantities of zinc, a steel blue develops, while with larger quantities it is lavender blue, when in
stoneware glazes under reduction. Nickel is most often used to modify other colours (up to 5%).
OCHRE - YELLOW Fe2O3.H2O Yellow stained clay. Hydrated iron oxide.
PETALITE Li2O.Al2O3.8SiO2
A secondary flux in high temperature glazes. May also be used to lower the expansion of a glaze. In small quantities it will also heighten colour.
POTASSIUM CARBONATE (PEARL ASH) K2CO3
POTASSIUM DICHROMATE K2Cr2O7 (also known as Bichromate)
A true potash,
Soluble
crystalline
usedmaterial
in the preparation
with a brightof red-orange
frits.
colour. Used to introduce chromium oxide into low-temperature glazes. Because the chromium oxide
POTASSIUM
is
combined with
DICHROMATE
the potash, it Kis2Cr2O7
more effectively
(Bichromate)
dispersed in the glaze.
Soluble crystalline
POTTERS
PLASTER
material
CaSO
with
a bright
H2O (BA720)
red-orange colour. Used to introduce chromium oxide into low-temperature glazes. Because the chromium oxide
4.1/2
is combined
This
is a highwith
grade
the plaster
potash,mainly
it is more
used
effectively
for producing
dispersed
working
in the
moulds.
glaze. The water/plaster ratios differ for each method of casting and are approximately:
POTTERS
slip
casting PLASTER
- 5 litres toCaSO
6 kg: 4.slab
1/2 Hcasting
- 5 litres to 7 kg.
2O (BA720)
This is a high grade
PYROPHYLLITE
Al2plaster
O34SiOmainly
2 H2O used for producing working moulds. The water/plaster ratios differ for each method of casting and are approximately:
slip casting
Used
to develop
- 5 litre
special
to 6 porcelain
kg: slab casting
and refractory
- 5 litrebodies.
to 7 kg.
PYROPHYLLITE Al2O34SiO2 H2O
Used to develop special porcelain and refractory bodies.

34
Revised April 2013
Raw
Materials
Raw Materials
RUTILE SAND TiO2
Sometimes used as a speckle in bodies and glazes.
RUTILE FLOUR TiO2 (BA741)
The mineral is obtained from beach sands and usually contains about 95-97% titanium dioxide with impurities such as iron oxide, chromium oxide and
silica. In the high lead rutile glazes it usually constitutes about 10 -15% of the glaze recipe. Copper glazes containing rutile may show interesting mottled
effects, whilst in high zinc glazes it develops an orange-tan colour. In lead glazes rutile tends to matt the surface, even in small amounts, but in leadless
glazes much less so. In other respects, apart from colour, rutile behaves much the same as titanium dioxide.
SILICA (SiO2)
The most common component used in glazes and bodies. This material gives glazes their glassy appearance. It is available in various mesh sizes.
SILICA 200 MESH (BA770)
SILICA 350 MESH (BA780)
SILICA SAND 30 MESH (BA790)
SODA ASH - DENSE Na2CO3.1OH2O (BA810)
A source of sodium in glazes creating a brilliant colour response similar to that of potassium. Due to its high solubility however, it is more commonly used
in the preparation of frits. It is also used as a glaze constituent of Egyptian Paste. Sometimes used as a casting slip deflocculent.
SPODUMENE Li2O.Al2O3.4SiO2 (BA830) 325 mesh
An active flux usually used in small amounts in glazes. It is particularly useful where low expansion glazes are required. Also has been used in calcined
form to produce flame proof bodies
STRONTIUM CARBONATE SrCO3 (No longer available)
Most glazes will accept BA80 Barium Carbonate as a substitute. Glazes for low temperature vitreous bodies can be aided through the use of strontia.
Viscous zirconium containing glazes can be smoothed out with the addition of strontia. The added fluidity with strontia when replacing calcium and/or
barium promotes interface reaction, improving glaze fit, glaze hardness and scratch resistance.
TALC 3MgO.4SiO2.H2O (BA850)
Used as a flux in bodies, particularly those fired at a low temperature. A secondary flux in both high and low temperature glazes. In large quantities it
produces typical magnesium glaze effects i.e. opaque appearance with a matt surface. It also produces interesting colour variations with cobalt and
manganese.
TIN OXIDE SnO2 (BA860)
The most widely used and effective opacifying material, giving results that are consistently even. Produces a soft-blue-white in both low and high
temperature glazes. 4-7% additions will produce semi-opaque glazes and 8-10% will give full opacity.
TITANIUM DIOXIDE TiO2 (BA870)
A glaze additive producing a creamy white colour with a semi-matt surface. Slow cooling assists the crystallization which produces opacity. It is widely
used in crystalline glazes.
VANADIUM PENTOXIDE V2O5.
Vanadium Oxide is an orange solid compound, a rare metal oxide which gives a yellow colour in ceramic fusions.
WHITING CaCO3 No longer commercially, consistently available in Australiasee Calcite.
The main source of calcium in bodies and glazes and the most commonly used flux in high temperature glazes. It also lends hardness and durability but
used in excess it produces a dull matt or rough surface (30-50%) especially in low fired glazes. Under reducing conditions it assists in the development of
celadon colour.
WOLLASTONITE CaSiO3 (BA900)
A source of calcium in glazes, particularly the stoneware type
ZINC OXIDE - COLOIDAL ZnO (BA920)
Useful as a flux in the middle to high temperature ranges; in small amounts is very active, contributing to a smooth, even and trouble-free glaze.
However, glazes which rely mainly on zinc as a flux have a tendency to crawl and may also be subject to pitting and pin holing. When used in large
quantities it produces opacity, matt finishes and dryness of texture (5-15%). Zinc Oxide contributes greatly to opacity when used in conjunction with
zirconium (1-4%). A material that can have a number of effects on the performance of a glaze. It is the only source of zinc for glazes and in small
quantities can alleviate crazing problems and increases the firing range. In larger quantities it can be used to supplement opacifiers such as tin. Above
10% it develops a cool white, crystalline matt surface. It does not opacify those glazes containing boron.
ZIRCON FLOUR 200 MESH ZrSiO4
The 200 mesh grade of dry ground zircon is suitable for kiln batt washes and matt, crystalline and abrasion resistant glazes.
ZIRCOSIL 5 MICRON OPACIFIER ZrSiO4 ( BA960)
A much finer version of zirconium silicate, a 6-9% addition produces semi-opaque glazes.
Red Iron Oxide
Black Iron Oxide
Crocus Martis
Black Copper Oxide
Chrome Oxide
Manganese Dioxide

35
Revised April 2013
Raw Materials
Materials
Raw
Raw Materials Technical Data
This data has been compiled to enable you to select the correct material. Walker Ceramics supply only premium quality raw materials
and each product is laboratory tested prior to retail release.
TYPICAL ANALYSIS
SYMBOL
Bentonite
Ball Clay
Axedale
CA1 / FX
Clay Ceram
BBR
Starcast 38
Eckalite 1
(kaolin)
Eckaglas
(kaolin)
WLC32
CP1100
Gerstley
Borate
Molochite
200 Mesh
Talc
N325
Wollastonite
Product
Code
BA110
BA200
BA213
BA330
BA331
BA390
BA660
BA850
BA900
SiO2
60.6
61.5
52.6
46.0
47.0
54.5
57.0
48.7
Al2O3
21.2
25.1
32.3
38.0
37.0
42.0
3.5
0.66
Fe2O3
3.4
1.0
0.70
0.45
0.8
0.07
0.43
CaO
0.1
0.06
0.10
0.03
27.00
1.1
0.30
48.02
MgO
2.3
0.77
0.40
0.01
0.06
31.9
0.06
B2O3
51.0
TiO2
1.27
1.00
0.70
0.7
0.31
Na2O
2.3
0.16
0.20
0.05
0.3
0.1
0.02
K2O
0.5
2.88
0.50
0.11
2.0
0.11
Ignition
Loss
5.6
7.29
12.0
14.0
13.7
22.0
0.0
6.0
1.68
TYPICAL ANALYSIS
SYMBOL
Calcite
Omya 10
Cornish
Stone
Synthetic
Dolomite
Natural
Feldspar
Potash
Feldspar
Soda
Magnesium
Carbonate
Heavy
Nepheline
Syenite
Silica
Product
Code
BA170
BA280
BA310
BA350
BA340
BA590
BA670
BA761,
770, 780
SiO2
0.05
70.4
5.0
66.0
68.5
3.14
60.7
99.5
Al2O3
16.7
0.1
18.0
18.5
23.3
Fe2O3
0.1
1.5
0.6
0.2
0.2
0.10
0.07
0.1
CaO
99.0
1.4
4.02
0.7
MgO
0.1
44.24
0.1
K2O
5.8
12.0
0.2
4.6
Na2O
2.6
3.0
10.6
9.8
TiO2
0.2
P2O5
MgCO3
31.0
CaCO3
63.0
Ignition
Loss
1.3
0.8
0.3
48.5
0.7
0.2

36
Revised April 2013
Raw Materials
Raw
Materials
Table of Properties of Ceramic Raw Materials
MATERIAL & PRODUCT CODE
FORMULA
MOLECULAR
WEIGHT
OXIDES
ENTERING
FUSION
MOLECULAR
WEIGHT OF
OXIDES
CONVERSION
FACTOR
MELTING POINT C
(M)
DECOMPOSITION
POINT C
(D)
SPECIFIC
GRAVITY
Alumina Calcined
100 mesh BA10
300 mesh BA20
Al2O3
101.9
Al2O3
101.9
1.0
M 2050
3.96
Alumina Hydrate 240# BA30
Al2(OH)6
156
Al2O3
101.9
0.654
D 300
2.42
Antimony Oxide
Sb2O3
291.5
Sb2O3
291.5
1.0
M 656
5.2
Ball Clay
BA200 Ball Clay FX (CA1)
BA210 Ball Clay R (CRH2)
Al2O3.2SiO2.2H2O
258.1
Al2O3
SiO2
101.9
60.1
0.395
0.466
D 610
M 1770
Barium Carbonate BA80 (S6)
BaCO3
197.4
BaO
153.4
0.777
D 900
M 1360
4.29
Bone Ash
Natural BA150
Synthetic BA160
Ca3(PO4)2
310.3
CaO
56.1
0.542
M 1670
3.2
Bentonite BA110
Al2O3.4SiO2.H2O
360.4
Al2O3
SiO2
101.9
60.1
0.283
0.667
D 600
M 1340
2.62
Borax Fine BA130 (S5)
Na2O.2B2O3.1OH2O
381.5
Na2O
B2O3
62
69.6
0.162
0.365
D-IOH2O.200
M 741
1.73
Boric Acid (S5)
B2O33H2O
123.7
B2O3
69.6
0.563
D 185
M 577
1.49
Boro-Calcite (Colemanite)
2CaO.3B2O3.5H2O
412
CaO
B2O3
56.1
69.6
0.271
0.51
Calcite-Omya 10 BA170
CaCO3
100.1
CaO
56.1
0.561
D 825
M 2580
2.71
China Clay
Al2O3.2SiO2.2H2O
Eckalite 1 BA330
Eckaglas/WLC32/CP1100 BA331
258.1
Al2O3
SiO2
101.9
60.1
0.395
0.466
D 610
M 1770
2.6-2.63
China Clay (Calcined)

(Molochite)
Al2O3.2SiO2
222
Al2O3
SiO2
101.9
60.1
0.46
0.54
M 1770
2.6
Chromium Oxide BA180
Cr2O3
152
Cr2O3
152
1.0
M1990
5.21
Cobalt Carbonate BA220
CoCO3
118.9
CoO
74.9
0.631
D to Co3O4
Cobalt Oxide (72% Cobalt)

BA230
Co3O4
240.8
CoO
74.9
0.933
D to CoO 900
Colemanite
2CaO.3B2O3.5H2O
411.0
CaO
B2O3
56.1
69.6
0.273
0.508
D 800
M 1472
Copper Carbonate BA250
CuCO3
123.6
CuO
79.6
0.645
D to CuO 200
Copper Oxide Black BA260
CuO
79.6
CuO
79.6
1.0
M 1326
6.45
Cryolite
Na3AIF6
210
Na2O
62
0.443
M 1020
2.95
2.6-2.63
2.95
6.07
2.3
3.6-4.0
* The conversion factor is used to calculate the weight of the oxides introduced by a given weight of material; for example, 2 kg of Alumina Hydrate will
introduce 2 x 0.654 = 1.308 kg of Al2O3.

37
Revised April 2013
Raw Materials
Raw
Materials
FORMULA
MOLECULAR
WEIGHT
OXIDES
ENTERING
FUSION
MOLECULAR
WEIGHT OF
OXIDES
CONVERSION
FACTOR
MELTING POINT C
(M)
DECOMPOSITION
POINT C
(D)
SPECIFIC
GRAVITY
Dolomite
Natural BA310
Synthetic BA320
CaMg(CO3)2
184.4
CaO
MgO
56.1
40.3
0.304
0.219
D 730-760
2.87
Feldspar Potash
(Gimpex) BA350
K2O.Al2O3.6SiO2
556
K2O
Al2O3
SiO2
94.2
101.9
60.1
0.169
0.183
0.648
M 1250+ / -
2.56
Feldspar Soda BA340
Na2O.Al2O3.6SiO2
524.3
Na2O
Al2O3
SiO2
62
101.9
60.1
0.118
0.194
0.688
M 1250+ / -
2.61
Flint (Silica) see Silica
SiO2
60.1
SiO2
60.1
1.0
M 1710
2.2-2.6
Fluorspar
CaF2
78.1
CaO
56.1
0.718
M 1330
2.97-3.25
Ilmenite Sand
FeO.TiO2
151.8
FeO
TiO2
71.9
79.9
0.474
0.526
M 1400
4.7
Iron Chromate
Fe2O3Cr2O3
312
Fe2O3
Cr2O3
159.7
152
0.516
0.454
M 1800 approx
4.5
Iron Oxide (Ferrous Oxide)

Black BA510
FeO
71.9
FeO
79.9
1.0
M 1420
Iron Oxide (Ferric Oxide)

Synthetic Red BA490
Natural Red BA500
Fe2O3
159.7
Fe2O3
159.7
1.0
M, D 1565
Iron Oxide (Iron Hydroxide)

Yellow BA520
Fe(OH)3
106.8
FeO
71.9
0.673
Iron Oxide (Ferroso-Ferric Oxide)
Fe3O4
231.5
Fe2O3
159.7
0.689
D 1538
Lead Bisilicate (DA4064)
PbO.2SiO2
343.3
PbO
223.2
0.65
M 815
Kaolin
Eckalite 1 BA330
Eckaglas BA331
Al2O3.2SiO2.2H2O
258.1
Al2O3
SiO2
101.9
60.1
0.395
0.466
M 1770
Lead Oxide
Pb3O4
685.6
PbO
223.2
0.975
D to PbO at 500
Lead Oxide
PbO
223
PbO
223.2
1.0
M 880
Lead Sesquisilicate
2PbO.3SiO2
626.9
PbO
223.2
60.1
0.712
0.288
M 690
Lepidolite
2Li2O.K2O.2Al2O3
6SiO22(F2H2O)
472
(LINaK)2O
Al2O3
61 (average)
101.9
60.1
0.128
0.216
60.1
M 1170
Lithium Carbonate BA560
Li2CO3
73.9
Li2O
29.9
0.405
M 273
2.11
Magnesium Carbonate
(Magnesite-C) Heavy BA590
Light BA600
MgCO3
84.3
MgO
40.3
0.478
D 350
2.96
Magnesium Sulphate
MgSO4.7H20
246.5
MgO
40.3
0.162
D 7H2O at 150
1.68
Magnetite (Iron Spangle)
Fe3O4
231.5
Fe2O3
159.7
1.035
D 1538
Manganese Carbonate
MnCO3
114.9
MnO
70.9
0.615
D to MnO2
4.96-5.4
5.24
5.0-5.4
4.5
2.6-2.63
9.1
8.7-9.5
2.8-3.3
5.0-5.4
3.125

38
Revised April 2013
Raw
Materials
Raw Materials
FORMULA
MOLECULAR
WEIGHT
OXIDES
ENTERING
FUSION
MOLECULAR
WEIGHT OF
OXIDES
CONVERSION
FACTOR
MELTING POINT C(M)

DECOMPOSITION
POINT C
(D)
SPECIFIC
GRAVITY
Manganese Dioxide BA620
MnO2
86.9
MnO
70.9
0.816
D 1/2 O2 535
D 1/2 O2 1080
M 1705
Molochite BA660
(Calcined China Clay)
Al2O3.2SiO2
222.1
Al2O3
SiO2
101.9
60.1
0.46
0.54
M 1770
Nepheline Syenite BA670
K20.3Na2O
4Al2O3.8SiO2
557.4
K2O
Na2O
Al2O3
SiO2
94.2
62
101.9
60.1
0.080
0.158
0.350
0.412
M 1200 approx
Nickel Oxide BA680
NiO
74.7
NiO
74.7
1.0
M 1990
6.67
Petalite
Li2O.Al2O3.8SiO2
612
Li2O
Al2O3
SiO2
29.9
101.9
60.1
0.049
0.167
0.784
M 1350
2.4-2.5
Potassium Dichromate
K2Cr2O7
294.2
K2O
94.2
0.32
M 400
2.69
Potassium Carbonate
(Pearl Ash)
K2CO3
138
K2O
94.2
0.683
M 896
2.3
Pyrophyllite
Al2O3.4SiO2.H2O.
360.3
Al2O3
SiO2
101.9
60.1
.283
.667
D 600
M 1800
2.8-2.9
Quartz (see Silica)
SiO2
00.1
SiO2
60.1
1.0
M 1710
2.65
Rutile
Sand
Flour BA741
TiO2
79.9
TiO2
79.9
1.0
M 1600
4.2
Silica
200 mesh BA770
350 mesh BA780
30 mesh Sand BA790
SiO2
60.1
SiO2
60.1
1.0
M 1710
2.65
Soda Ash BA810
Na2CO3.1OH2O
286.2
Na2O
62
0.217
D 10H2O 34
Sodium Carbonate
Na2CO3
106
Na2O
62
0.585
M 852
2.5
Sodium Nitrate
NaNO3
85.01
Na2O
62
0.365
M 310
2.27
Sodium Silicate CB188
Na2SiO3
122.1
Na2O
SiO2
62
60.1
0.508
0.492
M 1080
2.4
Sodium Sulphate
Na2SO4.1OH2O
322.3
Na2O
62
0.192
D 10H2O 100
Spodumene BA830
Li2O.Al2O3.4SiO2
372
Li2O
Al2O3
SiO2
29.9
101.9
60.1
0.081
0.274
0.645
M 1421
Strontium Carbonate
SrCO3
147.6
SrO
103.6
0.701
D CO2 1350
Talc BA850
3MgO.4SiO2.H2O
379.3
MgO
SiO2
40.3
60.1
0.318
0.634
Tin Oxide BA860 (Stannic Oxide) SnO2
150.7
SnO2
150.7
1.0
D 1127
6.95
Titanium Dioxide BA870
79.9
TiO2
79.9
1.0
M 1840
4.26
TiO2
5.026
2.6
2.5-2.6
1.441
1.464
2.6
3.7
2.5-2.8

39
Revised April 2013
Raw
Materials
Raw Materials
TABLE
TableOF
ofPROPERTIES
Properties of OF
Ceramic
CERAMIC
Raw MATERIALS
Materials
FORMULA
MOLECULAR
WEIGHT
OXIDES
ENTERING
FUSION
MOLECULAR
WEIGHT OF
OXIDES
CONVERSION
FACTOR
MELTING POINT C(M)

DECOMPOSITION
POINT C
(D)
SPECIFIC
GRAVITY
Vanadium Pentoxide
V2O5
181.9
V2O5
181.9
1.0
M 690
3.4
Whiting
CaCO3
100.1
CaO
56.1
0.561
D 825
M 2580
2.71
Wollastonite BA900
CaSiO3
116.2
CaO
SiO3
56.1
60.1
0.483
0.517
M 1545
2.8
Zinc Oxide BA920
ZnO
81.3
ZnO
81.3
1.0
M 1975
5.6
Zircosil Opacifier 5 Micron

BA960
ZrSiO4
183.3
ZrO2
123.2
0.672
M 2550
4.56
Zirconium Oxide
ZrO2
123.2
ZrO2
123.2
1.0
M 2700
5.5
Zirconium Silicate
Zircosil 5 Micron BA960
Sand BA930
ZrSiO4
183.3
ZrO2
SiO2
123.2
60.1
0.673
0.327
M 2550
4.56
* The conversion factor is used to calculate the weight of the oxides introduced by a given weight of material;
for example, 2 kg of Alumina Hydrate will introduce 2 x 0.654 = 1.308 kg of Al2O3.
Mesh Sizes
Microns are used for International Standard measurements.
2000 microns = 2 millimetres = approximately 1/12 inch.
Aperture
in Microns
UK
Mesh Number
USA
Mesh Number
Canada
Mesh Number
Germany
Mesh Number
2000
10
10
1000
16
18
18
500
30
35
35
12
355
44
45
45
250
60
60
60
24
180
85
80
80
150
100
100
100
40
125
120
120
120
90
170
170
170
75
200
200
200
80
63
240
230
230
53
300
270
270
110
45
350
325
325

40
Revised April 2013
Raw MaterialsAlternatives
This table suggests materials to test as possible replacements for imported and often hard to obtain items. The first column shows the
product name, the second column a brief description of the product and its uses and the third column the suggested alternative.
Product
Description & Uses
Suggested Alternative (s)
Barnard Clay
A silty material with very low plasticity, used in glazes as a source of iron.
65% Ball Clay R (BA210)

blended with 35% natural red
iron oxide (BA501)
Bell Dark Ball Clay
A very plastic ball clay used in clay and glazes.
Ball Clay FX / CA1 (BA200)

or Ball Clay R (BA210)
Buckingham Feldspar
A fine white feldspar used in clays and glazes.
Potash Feldspar (BA350)
Cedar Heights Fire Clay
A raw clay used in the formulation of middle fire and high stoneware bodies.
Fireclay #2 (BA370)
Custer Feldspar
A potassium feldspar, used as a flux in medium to high temperature glazes and bodies.
EPK Kaolin
A secondary water-washed kaolin mined in Florida. It is used to aid glaze suspension.
Eckalite 1 (BA330)
or Eckaglas (BA331)
Flint
A cryptocrystalline native silica with some calcium carbonate impurity.
Silica 350 mesh (BA780)
Frit 14
A leadless borosilicate used in glazes.
Frit 4508 (DA4108)
Frit Hommel 373
A frit with a very low melting temperature, used in glazes.
Frit 4064 (DA4064)
Feldspar G-200
A 200 mesh ceramic feldspar used in glazes.
Goldart Clay
A highly plastic stoneware body.
Ball Clay FX (BA200)

Greenstripe Clay
A medium to fine ground fireclay.
Fireclay #2 (BA370)
Grolleg Kaolin
A blended English china clay used for translucent throwing or casting bodies.
Eckalite 1 (BA330)
Jordan Fireclay
A material used as a flux in the production of pottery clay bodies.
Fireclay #2 (BA370)
Kaopaque 20 Kaolin
An extremely white firing delaminated material used in casting porcelains.
Eckalite 1 (BA330)
Kentucky 4 and12 Clays
A fine grained ball clay mainly used in casting bodies.

Keystone Feldspar
A fine white potassium used in clays and glazes.
Potash Feldspar Premium

Grade (BA350)
Kingman Feldspar
A fine white potash feldspar used in clays and glazes.
Potash Feldspar Premium

Grade (BA350)
Macaloid
An off-white flaky powder made from montmorillonitic ore, used to aid glaze suspension. CMC - Tylose 600 (BA215)
Opax
A zirconium oxide opacifier. This material is no longer manufactured.
Zircosil 5 Opacifier (BA960)
Oxford Feldspar
A low grade fine white potassium feldspar used in clays and glazes.
Pyrax Pyrophyllite
A hydrated aluminium silicate used in clay bodies.
Pyrophyllite
Redart Clay
A red firing earthenware clay body.
School Terra Cotta (AA325)
Sagger XX Ball Clay
A fine grained secondary clay which fires to a light cream colour.

Tennessee #5 Ball Clay
An intermediate grained, high organic ball clay with good strength and plasticity.

Treviscoe Kaolin
A fine white kaolin used in clay bodies.
Eckalite 1 (BA330)
Whiting
A source of calcium used as a flux in high temperature glazes.
Calcite - Omya (BA170)
Veegum T
A smectite blend used as a suspension aid and plasticizer.
CMC - Tylose 600 (BA215)
Zircopax
A very fine white powder used as an opacifier in glazes.
Zircosil 5 Opacifier (BA960)

41
Revised April 2013
Rare Earth Oxides
New Product Range
The latest addition to our range of stains are the beautiful Rare Earth Oxides - Erbium, Neodymium and Praseodymium Oxides for
those extra special results .... providing a stunning range of colours - Pinks for Erbium, Blues and Lavenders for Neodymium and
Yellows to Lime Greens for Praseodymium ... try the new sample kit to broaden your palette ...
PRODUCT CODE
BB - Rare Earth Oxides
Sizes Available
BB10
Rare Earth Sample Kit 10g @ colour
Each
BB100
Erbium Oxide
100gm, 250gm, 500gm, 1kg
BB200
Neodymium Oxide
100gm, 250gm, 500gm, 1kg
BB300
Praseodymium Oxide
100gm, 250gm, 500gm, 1kg
The Potters Dictionary of Materials and Techniques by Frank Hamer reads:

Rare earth elements called lanthanons or lanthanides. A group of 15 rare metallic elements
with properties resembling aluminium. So far only a few have been used by individual potters
although about six have commercial pottery value.

42
Revised April 2013
Miscellaneous Materials
ANTI-SET
Aids in the suspension of glazes. Use solution of Epsom Salts and Water
BRUSHING MEDIUM (CB180)
Added to powdered glazes it produces a brushing consistency for smooth and even application. Refer page 47 for suggested proportions.
CRACK FILLER (BA285)
Used to mend cracks in bisqueware. Fires to a maximum temperature of 1300C.
DISPEX (CB80)
Deflocculant used in casting slips. It keeps particles in suspension thereby eliminating the addition of great amounts of water.
EGYPTIAN PASTE (BA335)
The principle of a self-glazing clay was originally developed in ancient Egypt and is now available as Egyptian Paste. It is a self-glazing clay.
You need only the powders, a few lengths of nichrome wire, an electric kiln and a little imagination to create a wide variety of beads, buttons,
scarabs, charms and a wide assortment of jewellery. Quite simple to work with by adding enough water to the powder to make a paste.
Pieces can be formed by rolling on a clean, non-absorbent surface or in the palm of your hand or by hand modelling. To allow for complete
glazing, beads and buttons can be dried by being strung on a piece of nichrome wire (the glaze is in the paste and will come to the surface
during drying). Fired to Cone 06, the colours are vivid and bright. Stains and oxides can be added for the desired colour effects. Recipes
can be supplied upon request or at point of purchase.
GLASSPOWDERED
Ground transparent glass which may be used as a low cost glazing flux.
GREENWARE MENDER - WHITE (CB50)
For the mending of broken greenware to maximum earthenware temperature of between 1050-1060C. Apply to both parts to be mended
and hold together until firm. When dry fettle away excess.
GUM ACACIA = Gum Arabic
Improves adhesion in glazes, slips and colouring pigments (0.25-0.5%).
KILN WASH (BA540)
Used for painting on to kiln shelves to reduce the risk of pots sticking to the shelves during gloss firing. Apply up to 1 mm thick. Re-apply as
necessary.
LATEX (CB100)
A material used on greenware and bisqueware to protect (or mask) an area from colour. Latex can be peeled off prior to firing or to allow for
further decoration. Apply one good coat and when finished peel off gently. It will also fire away.
ONGLAZE MEDIUM (DEGUSSA) (CB140)
Add to Degussa powders to create a paste for brushing. Add drop by drop to powder and work with palette knife until desired consistency is
reached.
PAINTING MEDIUM (CB160)
For addition to powdered glaze to bring to brush-on consistency. It can be mixed with powdered glazes, stains, etc. by simply stirring with a
cake beater or paint stirrer and running liquid through an 80 mesh sieve. A thicker version of brushing medium
Refer page 47 for suggested proportions.
PARAFFIN WAX (Granulated) (BA693)
A granulated wax which, when melted, can be applied to mask and restrict decoration in particular areas. The decorative material is then
applied over the entire surface. It will not adhere to the masked areas and the wax resist itself will fire away.
PLYRITE BINDER (CB170)
A plasticizer, binder and thickening agent. Added to slip or glaze it will thicken the material for raised designs such as trailing.
Please note: Do not add to cadmium selenium glazes. A small amount added to modelling clay or rubbed on the hands aids in retarding
the drying rate of the clay as well as making the clay more pliable.
SODIUM SILICATE (CB188)
Deflocculant used in casting slips. Care must be taken not to overdose as thickening may occur. It may be used in conjunction with Dispex
if required to stabilize flow characteristics.
SOFT SOAP (CB190)
A high quality potash soap supplied as a liquid. It is used in the production of plaster moulds. Paint on the surface of the mould and wipe
away excess with a damp sponge.
TYLOSE (BA215) (Carboxy Methyl Cellulose) CMC
Used as a base for a brushing medium to impart green strength to brush work and glaze application.
WAX RESIST (CB220)
An emulsion used to mask areas from decoration. It is the liquid equivalent of paraffin wax.

43
Revised April 2013
Frits
Frits
A frit is a type of ceramic glass. It is a combination of materials that, when melted together, are rendered insoluble and resistant to acid
attack. They are, therefore, a means of introducing certain materials into a glaze which would otherwise be toxic. Frits can be used alone
as low temperature glazes, e.g. raku and majolica, but generally they form the basis of a glaze recipe. Walker Ceramics offers a large
range of frits and for those wishing to incorporate the frits in glaze calculations, molecular formulae are listed.
Lead Frits
Glazes based on lead frits produce a shiny, durable finish and give brightness and clarity of colour when used in conjunction with oxides,
stains, slips etc. While they can be used on all earthenware clays, they are particularly suitable for red clay.
Borax Frits
Borax frits are often used in the production of earthenware glazes when a lead free glaze is required. Slight milkiness, especially at lower
temperatures, may be evident over red clays, and the colour response with oxides, etc. is not usually so vivid as with lead frits.
Alkaline Frits
Similar to borax frits, alkaline frits are noted for their high soda and potash content. The colour response from copper and manganese is
turquoise and purple/brown respectively - typical of this type of frit. Alkaline frits have a high expansion rate which makes them a suitable
base for crackle glazes.
Product Code
Frit Number
DA4193
KMP4193
Replaces F938
DA4110
KMP4110
Replaces
F3110 & 1078
Description
Use
Clear, hard barium

NOT for use over
borosilicate lead free frit.
Underglaze
E/W 1040-1100C
Colours
Lead free, soft sodium
Copper blue
borosilicate frit.
and manganese
high expansion.
purple glazes.
1000-1060C
For crackles.
CaO
Na2O
K 2O
ZnO
PbO Al2O3 SiO2
B 2 O3
ZrO2
Mol
Wt
308
0.51
0.19
0.10
0.10
0.20
2.86
0.62
BaO
0.1
0.29
0.64
0.07
0.02
2.86
0.09
280
575
531
96.0
0.04
0.16
2.56
0.54
266
622
577
74.0
2.25
0.768
248
590
558
83.0
0.173
4.04
0.836 0.427
431
628
573
59.0
0.085
1.95
349
510
465
72.0
0.07
2.00
0.63
229
618
583
78.0
353
652
586
69.0
329
559
518
93
DA4124
KMP4124
Replaces F3124
Lead free calcium

borosilicate frit.
E/W1040-1100C
0.68
0.28
DA4171
KMP4171
Replaces F3271
& 1057
Lead free calcium

borosilicate frit.
E/W 1040-1100C
0.486
0.514
DA9146
KMP9102
Replaces
3302-D & 1085
Dense zircon white

Lead free frit.
E/W 1040-1100C
0.46
0.416
DA4064
KMP4064 /3531
Lead Bi-Silicate
Replaces F4364
Lead bisilicate frit.

Standard low solubility.
950-1050C
DA4108
KMP4108
Replaces F4508, 3134
& 1077
DA4113
KMP4113
Replaces F4712
Lead free calcium

borosilicate frit.
E/W 1040-1100C
Special effects
in Raku glazes
0.68
0.22
Hard lead free clear

borosilicate frit.
E/W 1040-1100C
General purpose
for developing
strong colours
0.60
0.27
0.13
0.35
3.50
0.63
DA4194
KMP4194
Replaces 5325P,
501E34, 5301
& 1012
Lead free soft sodium

borosilicate frit.
High expansion
900-1060C
Raku glazes
0.14
0.66
0.20
0.29
2.96
0.67
DA3134
KMP3134-2
Mix 60:40 with 4131 to
replace 4108
Lead free calcium

borosilicate frit.
980-1080C
0.68
0.32
.038
1.48
.64
195
DA4131
KMP4131
Lead free sodium

borosilicate frit.
1050-1100C
General purpose 0.686

for clear glazes
0.314
0.346 3.165
0.68
331
E/W whites
and pastel
coloured
glazes.
MgO 0.058
0.064
1.00

44
F2
0.40
Soft Trans. COE

Temp.C Temp.C Linear
653
590
64.0
95
670
608
Revised April 2013
61
Ceramic ColoursIntroduction
There are many different ways to approach colour, both aesthetically and scientifically. Ceramics has played a role in the development of
colour through time; the Chinese of the Sung dynasty (9601279 AD) evolved glazes of great beauty including celedon and clair de lune.
Johannes Itten, the Bauhaus painter who made an important contribution to colour theory, stated colours are forces, radiant energies that
affect us positively or negatively, whether we are aware of it or not. The effects of colour should be experienced and understood, not only
visually, but psychologically and symbolically.
The problems of colour can be examined from a variety of perspectives. The physicist studies the nature of energy, vibrations and light
particles. The chemist formulates the dyes and pigments that create printing inks, fabric dyes and paints. The physiologist investigates the
effects of light and colour on the eye and the brain, and the psychologist studies colour symbolism: the influence of colour on our psyche.
The artist explores and expresses their visions using colour based on personal aesthetics and intuition, combining visual and emotional
information, along with a subjective interpretation, into a piece of art.
The ceramist or potter approaches colour firstly from a technical aspect: the colours of the clay, stains, oxides, etc, and what effects can
be achieved with different glazes alone or in combination. More variations can be achieved by using different kilns and firing methods to
obtain the desired colours.
Recently the development of a broad range of glaze and body stains, underglazes and on-glazes has given the potter a larger palette of
colours. The need for greater understanding of colour theory and mixing, coupled with the application of colour and the development of
pattern in relation to form, is now required.
CHOOSING COLOURS
Keep it simple! While it is tempting to choose an unlimited amount of ceramic colours, it may not only be expensive, but inadvisable.
In order to use colour effectively it is better to start with a limited range and learn how to use it well, then add more.
Colour harmony may be achieved with as few as three colours;
1. White .to lighten or tint a colour.
2. Black ....to darken or shade a colour.
3. One of the primary colours ....red, yellow or blue.
Just a simple combination can create a monochromatic tonal palette.
Initially it is best to purchase small amounts of colours until you have developed the range that you require. If you are aware of the colours
that interest you, this is where to start.

45
Revised April 2013
Glaze Preparation
All our glazes are available in powder form and many as a liquid (except raku and middle fire which are only available in powder).
We have divided our glaze sections as follows:
* Earthenware Lead Free
* Earthenware containing Fritted Lead
* Middle Fire
* Stoneware
* Raku
Each section gives specific information relating to that particular range.

General information:
Some types of glazes may release lead and other metallic compounds when attacked by certain acids - notably fruit juices, vinegar and
alcohol. In order to reduce the solubility to acceptable limits we use frits which have a very low lead solubility to meet health requirements.
However a 'safe glaze' can be made unsafe by the addition of even minor amounts of certain materials, notably copper. Some decorative
glazes would fail a metal release test and should not be used on the inside of utility ware.
Cadmium Selenium glazes fall into this category and are discussed in the Earthenware Fritted Lead section. Note that the safe glazes
must be applied and fired under conventional conditions for them to be safe. The decision to use lead or lead-free glazes, must nevertheless, rest finally with the potter. We recommend lead free glazes in any instance where the ware is intended for use with foods or beverages, especially so in oven-to-table or cooking ware. If any doubts are felt about either the glaze formulation, firing or the possibility of
contamination or additions of such materials as copper compounds, etc., then the wiser choice would be to use only lead-free glazes, at
least on the inside or areas in contact with food.
POWDERED GLAZE
SETTING UP A GLAZE FOR DIPPING
Wearing a suitable mask, sprinkle the glaze powder into a suitable container of water and stir thoroughly. Leave to settle overnight and
pour off surplus water. Stir, sieve through an 80 mesh or finer sieve, then add water if necessary to achieve the desired consistency. This
depends upon the porosity of the bisque ware but will be around 500-700 gm of powder to 570 ml of water.
When some liquid glazes settle out, particularly over a long period of time, they sometimes set hard at the bottom of the container, making
them difficult to re-mix. Others may settle during use and consequently demand thorough stirring or agitation during the dipping session.
To correct this defect, a flocculent or anti-set solution should be added a little at a time, stirring it in very well until the settling stops. Add
carefully or the glaze will dry slowly on the ware and may cause mud cracking and perhaps crawling during firing. The opposite effect of
settling is when the glaze appears like thin custard and has a creamy feel. The glaze dries slowly on the ware or peels off during drying.
Some glazes that have a high clay content, or raw zinc oxide, magnesium carbonate, talc, etc., or have had excess dosing of anti-set will
have this defect. The cure is to add very cautiously, small quantities of a 10% solution of Soda Ash or Sodium Silicate, stirring well, until
normal drying and behaviour occurs.
APPLICATION OF PREPARED GLAZE
Use either a bucket or glaze wok. The type of glaze and the effect desired will indicate how the ware should be dipped: transparent glazes
should be thinner than opaque ones so dip once only. A rutile glaze may be dipped once or twice for varying colour effects.
Walker Ceramics dipping glazes are delivered with a litre weight of 1500-1750 grams/litre (Specific Gravity (SG) of 1.5-1.75) depending on
glaze composition. Adjusting the glaze to a slip suitable for individual preferences requires the following:
Essential: Dispex, Epsom Salts, volume measuring container, scale with 1 gm tolerance.
Optional : Ford Cup #4, stop watch (or paint viscometer).
Procedure
Adjust the litre weight to between 1400-1500 gm/litre (Specific Gravity of 1.4 - 1.5) by adding clean tap water to the slip.
The glaze slip should have the viscosity of evaporated milk or slightly higher.
If glaze slip is too thick, add Dispex (Product Code CB80) drop by drop until viscosity is satisfactory.
Never add water once you have Specific Gravity correctly adjusted!!
If glaze slip is too thin, add Epsom Salts solution drop by drop until viscosity is correct.
(To make Epsom Salts solution, mix 300 gm of Epsom Salts with 1 litre of hot water.)
It is highly recommended to use a Ford Cup or Viscosity Cup and aim for run-out time of 15 to 20 seconds.
After application the glaze layer should be as thick as the diameter of a standard steel paper clip.

46
Revised April 2013
Glaze Application Techniques

BRUSHING
Our Brushing Medium (Product Code CB180) and Painting Medium (Product Code CB160) have been developed so that they may be mixed
with powdered glazes, stains etc. by simply stirring with a cake beater or paint stirrer and running the liquid through an 80 mesh sieve.
Suggested proportions are:
For lead-free glazes, approximately 1 litre of medium to 1 kg of powder.
For lead-bearing glazes, approximately 500-600 ml of medium to 1 kg of powder.
Mediums will not deteriorate with time and are non-toxic.
CHOOSING THE RIGHT BRUSH
A suitable brush must be used or the results can be very different from those desired. We recommend square or oval brushes such as hake,
camel or ox hair as these will accept a good load of colour. We recommend a brush 20-25 mm in size for average sized pieces.
LIQUID GLAZE ( BRUSHING GLAZE)
Liquid glaze is prepared ready to use. However, as materials in some glazes tend to settle after standing, it is important to shake or agitate the
container vigorously, then stir, before use. If after shaking and stirring the glaze it is still too thick to load a glaze brush easily then it may be
necessary to add a little water.
PRIOR TO GLAZING
Bisque fire the ware to its recommended temperature (minimum 1000C). Sponge bisque with a damp sponge to remove any dust which may
have collected. On narrow necked pieces where a sponge cannot work, use a clean damp brush. Do not eat, drink or smoke whilst handing
your work as any grease transferred to the bisque will resist glaze. Although it may appear to cover grease spots when applied, glaze may crawl
away when fired.
APPLICATION OF BRUSHING GLAZE
Once the container of liquid glaze has been shaken and stirred, load your glaze brush by immersing the hair up to the ferrule. Remove the glaze
from one side of the brush and apply the fully loaded side to the bisque. As an approximate guide, a fully loaded brush will go about 80 mm
before it should be re-loaded. Apply one even coat, let the "wet" look disappear, then apply a second coat in the opposite direction. When the
second coat has lost its "wet" look, apply a third coat in the same direction as the first.
GLAZING THE INSIDE OF NARROW NECKED PIECES
This process should be done before application of the exterior colour. If using brush-on glazes exclusively, it will be necessary to thin some
down for rolling the inside of any ware that cannot be reached by a brush. Do not thin down a whole jar unless it is to be used only for rolling.
The addition of water will vary according to the original consistency, however as a rough guide, use three parts liquid to one part water. Replace
lid and shake thoroughly. Pour thinned glaze into ware and roll piece around so the glaze can cover all internal surfaces. Pour out slowly whilst
still rolling so the glaze can cover the internal lip of the ware. Leave upside down for five minutes to drain.
GLAZE TYPES
EARTHENWARE GLAZES CONTAINING FRITTED LEAD
Walker Ceramics manufacture an extensive range of Cesco earthenware glazes containing fritted lead for those potters wanting that special
look.
We do not sell or use red and white lead in any of our glazes as it is a dangerous material. We use lead bi-silicate frit which is a
combination of materials melted together to render them insoluble and resistant to acid attack. Lead bi-silicate frit, therefore, is a means of introducing a material which would otherwise be toxic.
Earthenware glazes with fritted lead are available in:
Powder - 1 kg, 5 kg and 25 kg bags.
Liquid - 500 ml, 1 litre, 5 litre and 10 litre containers.
All others are non-toxic and food safe when applied and fired in the normal manner.

47
Revised April 2013
GLAZEApplication
APPLICATIONTechniques
TECHNIQUES
Glaze
CADMIUM SELENIUM GLAZES
The toxic glazes containing Cadmium Selenium are bright and vivid, lending themselves to decorative pottery. However, to achieve these
brilliant results care must be taken with their application and firing as they are more sensitive than other glazes. Lead free and zircon
encapsulated stains are used in glazes like Fire Engine Red and Orange Inferno. This makes them perfectly food and drink safe.
The following suggestions are given to assist customers to get the best results.
CADMIUM SELENIUM GLAZE APPLICATION
These glazes should only be applied to hard-fired bisqueware.

Glazes should be applied about the same thickness as the average coloured opaque glazes. Pieces glazed too thinly tend to
show clear breaks or patches. If glazed too thickly pieces may develop an orange peel or rippled surface, or black spotting. Make
sure all pieces are thoroughly dry before setting into the kiln.
If too much water has been added inadvertently to the glaze, do not let the glaze settle and pour off excess as is normally done with
other glazes. In such a case, add more dry glaze until the desired consistency is achieved.
CADMIUM SELENIUM GLAZE FIRING
These glazes are intolerant of steam and other kiln gases. For this reason, only dry ware (previously bisqued) should be set; do not
attempt to fire greenware along with these glazes. Greenware should be fired separately to avoid other glazes "striking" them,
causing loss of quality, patchiness, blackening or blistering. Electric kilns are preferred; if a gas kiln is used, the pieces must be set in
saggars or the kiln must be fully muffled.
Do not overcrowd the kiln, or place pieces too close to elements, walls, kiln furniture, etc., or blistering or clear and/or blackish
patches may result.
Firing temperatures vary with the time taken over approx. 700C. For a rapid fire, say 6-7 hours to peak, the glazes will withstand
1000 -1080C. For slower fires, the temperatures should be reduced somewhat. Excessive rapid cooling (by opening the doors etc.)
is not necessary but plugs should be removed as soon as firing is completed to ensure a naturally rapid cool.
Some experimentation may be required to find the optimum procedure for the potter's own conditions.
Blue Barium Matt Glaze

on White Earthenware
MIDDLE FIRE GLAZES

The high cost of fuel led us to develop a stoneware-like range which would mature at an optimum
temperature of 1250C.
This style of glazes is uniquely Australian and provides a wealth of colour variances. We have endeavoured
to cater for every requirement: base glazes in satin and gloss, gloss glazes in flats and breaks, matt glazes
and satin glazes.
Middle fire glazes are available in powder only - 500 gm, 1 kg, 5 kg and 25 kg bags.
Many variations can be obtained by under- and over-glazing the different glazes. A different effect will be
obtained if used on a coloured body. Your test firing of different variations will bring to life many exciting
possibilities.
Walker Ceramics produces many clay bodies suitable for use with middle fire glazes such as School
Earthenware/Stoneware, White Pottery, White Earthenware, White Midfire, White Hand Building
Earthenware/Stoneware, Special Stoneware, No.10 Stoneware and PB103.
STONEWARE GLAZES
These glazes are available in both powder and liquid forms. The powders come in 500 gm, 1 kg, 5 kg and 25 kg bags except where
marked. The liquids come in 500 ml, 1 litre, 5 litre and 10 litre containers.
All these glazes are very stable under both oxidizing and reducing conditions. Very many variations of colour and effects can be produced
by using the different coloured and speckled bodies. All of the glazes are intermixable, allowing double dipping, mottling and pouring on or
painting on of different glazes over or under another glaze. This gives an unlimited personal palette range. Underglaze or colours added
to areas will give another palette of effects.
All of these glazes fire between 1280-1300C.
RAKU GLAZES
Cesco have two Raku base glazes
Recipes for colours which can be mixed with our Clear (Product Code EQK5295) base glaze are available on our website. The
recommended firing range is 850-950C.
The base glaze provide the potter with the opportunity to experiment with their own colour creation. A wide scope of colour variance can
be obtained depending on the firing method. The delight of opening the kiln to discover the end result is enhanced when using the Raku
bodies and glazes.
It is essential that the glazes be applied thickly and that the pots are allowed to dry completely prior to firing otherwise the
intense heat of the firing will cause a sudden generation of steam which may shatter the pots.

48
Revised April 2013
Walker Ceramics Glazes

Walker Ceramics ranges of glazes are listed below. We can also develop a glaze to meet your particular production requirements.
EA
RAKU
850-950C
EA1
Clear
See our website for Colour Raku Glaze recipes.
www.walkerceramics.com.au
EB
Powder
EC
Liquid
EARTHENWARE
Lead Free
1040-1100C
ED
Powder
EE
Liquid
EARTHENWARE
Contains Fritted Lead
1040-1100C
EH
Powder
STONEWARE
Lead Free
1280-1300C
EB100
EB101
EC100
EC101
White Gloss
Clear Gloss
ED128
EE128
Aquarius
EH30
Clear Gloss
ED130
EE130
Gold Lustre
EH31
Clear Gloss (Zinc Free)
EB105
EC105
Transparent Matt
ED139
EE139
Blue Star
EH33
White Satin
EB110
EC110
White Satin
ED158
EE158
Flame Orange
EC114
Primrose
EH39
Copper Rust
EC115
Dark Blue
ED159
EE159
Signal Red
EH41
Mother of Pearl
EC119
Turquoise
ED160
EE160
Bright Yellow
EH45
Tenmoku
EB131
EC131
Italian Blue Crackle
ED400
EE400
Clear Gloss
EH50
Blue Stone
EB132
EC132
Egyptian Blue Crackle
EH91
Tomato Red
EB161
EC161
Honey
EH93
Hyacinth Blue
EC162
Rockingham
EH100
EB163
EC163
Raspberry
EB164
EC164
Victoria Green
Limoges Clear (Zinc Free)

EK619T/976619
Suits AA500 & AC500
EB165
EC165
Grey Jade
EH101
EB166
EC166
Black
Limoges Clear (Zinc Free)

EH091T/1091
Suits AB511
EB177
EC177
Fire Engine Red
EB178
EC178
Orange Inferno
EC206
Peacock Break
EC207
Jade Blue Break
EN
Liquid
EO
Powder
MID FIRE
Lead Free
EC209
Sea Green Break
EF319
Satin Cream
EC211
Aventurine
EF327
Clear Gloss
EN250
EO250
Clear Gloss
1150-1280C
EB115
-
EB207
EF
EL
Liquid
DIPPING GLAZES
10 Litre Containers
EL32
White Gloss Stoneware 1000-1120C
EL100
White Gloss Lead Free 1060-1100C
EL101
Clear Gloss Lead Free 1060-1120C
EL105
Transparent Matt Lead Free 1030-1080C
EL250
Clear Gloss Lead Free 1150-1180C
EL251
White Gloss 1150-1170C
EL400
Clear Gloss (inc. Fritted Lead) 1000-1120C

MIDDLE FIRE
[Available in powder only)
Lead Free 1220-1250C
49
Revised April 2013
Glazes - Earthenware
100
101
106
100 White Gloss 110 White Satin

101 Clear Gloss
114 Primrose
106 Clear Crackle 115 Dark Blue
110
114
115
119
131
132
161
162
163
164
165
166
177
178
206
207
209
211
119 Turquoise
161 Honey
164 Victoria Green 177 Fire Engine Red
131 Italian Blue
162 Rockingham 165 Grey Jade
178 Orange Inferno
132 Egyptian Blue 163 Raspberry
166 Black
206 Peacock Blue
207 Jade Blue Break

209 Sea Green Break
211 Aventurine
Powder (EB) 1 kg, 5 kg and 25 kg containers and Liquid (EC) 500 ml, 1 Lt, 5 Lt and 10 Lt containers available
Red dot denotes glazes unsuitable for food and drink vessels
Feet fired on AA300 White Earthenware. Triangles fired on AA320 Terra Cotta 14 Mesh
124
Majolica Yellow
128 Aquarius
130 Gold Lustre

133
Grey Spangle
137 Rutile Speckle

138 Green Star
139 Blue Star

158 Flame Orange
159 Signal Red

160 Bright Yellow
400 Clear Gloss

230 Blue Barium Matt
Powder (ED) 1 kg, 5 kg and 25 kg containers and Liquid (EE) 500 ml, 1 Lt, 5 Lt and 10 Lt containers available.

50
Revised April 2013
Glazes - Middle Fire & Stoneware

Walker Ceramics Middle Fire Glazes
EF319 Satin Cream
Available in 1 kg, 5 kg and 25 kg bags.
EF327 Clear Gloss
Contact us for colour Middle Fire Glaze recipes.
Walker Ceramics Stoneware Glazes
Available in 1 kg, 5 kg and 25 kg bags.
EH30 Clear Gloss
EH31 Clear Gloss (Zinc Free)
EH33 White Satin
EH39 Copper Rust
EH41 Mother of Pearl
EH45 Tenmoku
EH50 Bluestone
EH91 Tomato Red
EH93 Hyacinth Blue
Available in 25 kg bags only

51
Revised April 2013
Glazes -
Cesco
EQB
BASE GLAZES - (BRUSH ON) Lead Free
Type
Firing TempC
EQB5223
Clear (Old Standard) (B5223)
Gloss
1080
1100
EQB5381
Clear Super Gloss (B5381)
Gloss
1040
1120
EQB5490
Clear (Transparent) (B5490)
Gloss
1080
1240
EQG
GLOSS GLAZES
EQG1042
Turquoise Blue (B1042)
Gloss
1080
1100
EQG3530
White Opaque (B3530)
Gloss
1080
1100
EQG4986
Oatmeal (B4986)
Gloss
1080
1100
EQG5261
Avocado (B5261
Gloss
1080
1100
EQG5262
Oyster White (B5262)
Gloss
1080
1100
EQG52621
Oyster White Speckled (B5252BS)
Gloss
1080
1100
EQG5264
Honey (B5264A)
Gloss
1080
1100
EQG5266
Grey Jade (B5266)
Gloss
1080
1100
EQG5267
Burgundy (B5267)
Gloss
1080
1100
EQG5277
Purple (B5277)
Gloss
1080
1100
EQG5278
Pumpkin (B5278)
Gloss
1080
1100
EQG5279
Forest Green (B5279)
Gloss
1080
1100
EQG5281
Copper Turquoise (B5281)
Gloss
1080
1100
EQG5282
Turquoise Green (B5282)
Gloss
1080
1100
EQG5283
Royal Blue (B5283)
Gloss
1080
1100
EQG5284
Black (B5284)
Gloss
1080
1100
EQG5285
Rockingham Brown (B5285)
Gloss
1080
1100
EQG5286
Yellow Opaque (B5286)
Gloss
1080
1100
EQG5287
Dark Brown (B5287)
Gloss
1080
1100
EQG5292
Drake Neck Green (B5292)
Gloss
1080
1100
EQG5293
Raspberry (B5293)
Gloss
1080
1100
EQG5294
Red Brown (B5294)
Gloss
1080
1100
EQG5387
Pewter (B5387)
Gloss
1080
1100
EQG5389
Pink (B5389)
Gloss
1080
1100
EQG5394
Apple (B5394)
Gloss
1080
1100
EQG5400
Salmon Pink (B5400)
Gloss
1080
1100
EQG5414
Light Grey (B5414)
Gloss
1080
1100
EQG5467
Apricot (B5467)
Gloss
1080
1100
EQG5470
Tan (B5470)
Gloss
1080
1100
EQG5477
Twilight Blue (B5477)
Gloss
1080
1100
EQG5480
Honey Gold (B5480)
Gloss
1080
1100
EQG5482
Mint Green (B5482)
Gloss
1080
1100
EQG5483
Caramel (B5483)
Gloss
1080
1100
EQG5491
Hot Orange (B5491)
Gloss
1080
1100
EQG5492
Brick Red (B5492
Gloss
1080
1100
EQK
RAKU GLAZES
EQK5295
Clear Raku (B5295)
Raku
980
1080
EQK5296
White Opaque (Majolica) (B5296)
Raku
980
1080

52
Revised April 2013
GLAZES - - Cesco
Cesco
Glazes
MATT GLAZES - (BRUSH ON) Lead Free
Type
Firing
Temp
Firing
TempC
EQM5600
Clear Matt (B5600)
Matt
1080
1100
EQO
OPALENE GLAZES - Best results on Terra Cotta clay
EQO5192
Jade Blue (B5192)
Opalene Gloss
1080
1120
EQO5193
Opal White (B5193)
Opalene Gloss
1080
1120
EQO5194
Mist Blue (B5194)
Opalene Gloss
1080
1120
EQO5195
Mist Grey (B5195)
Opalene Gloss
1080
1120
EQO5197
Midnight Blue (B5197)
Opalene Gloss
1080
1120
EQO5198
Peacock Blue (B5198)
Opalene Gloss
1080
1120
EQO5199
Mist Jade (B5199)
Opalene Gloss
1080
1120
EQO5200
Mist Green (B5200)
Opalene Gloss
1080
1120
EQO5201
Plum (B5201)
Opalene Gloss
1080
1120
EQQ
CESCO GLAZES(BRUSH ON) Lead Free CRACKLE
EQQ6000
Clear Crackle (B6000)
Crackle
1040
1120
EQQ6001
White Crackle (B6001)
Crackle
1040
1120
EQS
EQS5028
SATIN GLAZES
White Satin (B5028)
Matt
1040
1080
EQS50281
Vellum (B5028A)
Matt
1040
1080
EQS5069
Celedon Satin (B5069)
Matt
1040
1080
ERB
BASE GLAZE - BLUE LABEL (Plus 2 PPM) - Fritted Lead
ERB2
Clear (Transparent) (BG2)
Gloss
1080
1100
ERC
CADMIUM GLAZES
ERC5128
Daffodil Yellow (BF5128)
1000
1040
ERC5129
Tangerine Orange (BF5129)
1000
1040
ERC5130
Signal Red (BF5130)
1000
1040
ERC5131
Flambe Red (BF5131)
1000
1040
ERC5133
Lime Green (BF5133)
1000
1040
ERC5154
Burnt Orange (BF5154)
1000
1040
ERG
GLOSS GLAZES - BLUE LABEL (Plus 2 PPM) - Fritted Lead
ERG2800
Royal Blue (B2800)
Gloss
1080
1100
ERG4956
Black (B4956)
Gloss
1080
1100
ERG5006
Rockingham Brown (B5006)
Gloss
1080
1100
ERG5023
Orange (B5023)
Gloss
1080
1100
ERG5106
Green (Transparent) (B5106)
Gloss
1080
1100
ERG5160
Olive Green (B5160)
Gloss
1080
1100
ERG5185
Crackle Goldene (B5185)
Gloss
1080
1100
ERG5186
Honey Flame (B5186)
Gloss
1080
1100
ERG5251
Yellow (Opaque) (B5251)
Gloss
1080
1100
ERG5323
Silver (B5323)
Gloss
1080
1100
ERG8443
Mulga Wood (B8443)
Gloss
1080
1100
ERG9000
Interglaze (PB) - (f/Lead) Glaze
EQM
Applied between two glazes to make the top glaze flow creating a spill-over effect.

53
Revised April 2013
GLAZES - - Cesco
Cesco
Glazes
ER
CESCO GLAZES - (BRUSH ON)

BLUE LABEL - Fritted Lead (Plus 2PPM)
Type
Firing TempC
Min
Max
ERM
MATT GLAZES - Fritted Lead
ERM1715
White Speckled (Matt) (B1715BS)
Matt
1040
1080
ERM2312
Vellum (Matt) (B2312)
Matt
1040
1080
ERM4146
Bronze Green (Matt) (B4146)
Matt
1040
1080
ERR
ERR5038
RUTILE MATT GLAZES 1040C - Fritted Lead

Green Gold (Rutile Matt (B5038)
Matt
1040
ERR5039
Seadrift (Rutile Matt) (B5039)
Matt
1040
ERR5040
Walnut Brown (Rutile Matt) (B5040)
Matt
1040
ERR5041
Steel Blue (Rutile Matt) (B5041)
Matt
1040
ERR5042
Golden Tan (Rutile Matt) (B5042)
Matt
1040
ERR5043
Yellow Gold (Rutile Matt) (B5043)
Matt
1040
ERR5136
Sand (Rutile Matt) (B5136)
Matt
1040
ERR5137
Pebble Green (Rutile Matt) (B5137)
Matt
1040
ERR5138
Ebony (Rutile Matt) (B5138)
Matt
1040
ERR5386
Seafoam (Rutile Matt) (B5386)
Matt
1040
ERR5402
Apricot (Rutile Matt) (B5402)
Matt
1040
ERS
SATIN GLAZES
ERS5157
Green Gold (Satin) (B5157)
Satin
1040
1080
ERS5158
Seadrift (Satin) (B5158)
Satin
1040
1080
ERS5159
Walnut Brown (Satin) (B5159)
Satin
1040
1080
ERS5161
Golden Tan (Satin) (B5161)
Satin
1040
1080
ERS5162
Yellow Gold (Satin) (B5162)
Satin
1040
1080
ERS5163
Ebony (Satin) (B5163)
Satin
1040
1080
ERS5164
Pebble Green (Satin) (B5164)
Satin
1040
1080
ERS5165
Sand (Satin) (B5165)
Satin
1040
1080
ERS5166
Steel Blue (Satin) (B5166)
Satin
1040
1080
ESB
ESB4914
BASE GLAZE
Clear Stoneware Gloss Glaze (B4914)
Gloss
1260
1320
ESG
GLOSS GLAZES
ESG4915
White Opaque (B4915)
Gloss
1260
1320
ESG4932
Willow Green (B4932)
Gloss
1260
1320
ESG4938
Charcoal (B4938)
Gloss
1260
1320
ESG5168
Royal Blue (B5168)
Gloss
1260
1320
ESM
ESM5472
MATT GLAZES
Cocoa (B5472)
Matt
1260
1320
ESM5473
Denim (B5473)
Matt
1260
1320
ESM5474
Autumn (B5474)
Matt
1260
1320
ESM5475
Lavender (B5475)
Matt
1260
1320

54
Revised April 2013
GLAZES - - Cesco
Cesco
Glazes
CESCO GLAZES - POWDER
Type
Firing TempC
Min
Max
ETB
BASE GLAZES
ETB5223
Clear Gloss (Old Std) (S5223)
Gloss
1080
1120
ETB5313
Clear Gloss (S5313)
Gloss
1120
1230
ETB53811
Clear Gloss (S5381A)
Gloss
1040
1120
ETG
GLOSS GLAZES
ETG1042
Turquoise Blue (S1042)
Gloss
1080
1120
ETG3530
White Opaque (S3530)
Gloss
1080
1120
ETG4986
Oatmeal (S4986)
Gloss
1080
1100
ETG5070
Celedon (S5070)
Gloss
1080
1120
ETG5188
Fawn (S5188)
Gloss
1080
1120
ETG5261
Avocado (S5261)
Gloss
1080
1100
ETG5262
Oyster White (S5262)
Gloss
1080
1100
ETG52621
Oyster White Speckle (S5262BS)
Gloss
1080
1100
ETG5264
Honey (L/Free) (S5264A)
Gloss
1080
1100
ETG5266
Grey Jade (S5266)
Gloss
1080
1100
ETG5267
Burgundy (S5267)
Gloss
1080
1100
ETG5277
Purple (S5277)
Gloss
1080
1100
ETG5278
Pumpkin (S5278)
Gloss
1080
1100
ETG5279
Forest Green (S5279)
Gloss
1080
1100
ETG5281
Copper Turquoise (S5281)
Gloss
1080
1100
ETG5282
Turquoise Green (S5282)
Gloss
1080
1100
ETG5283
Royal Blue (S5283)
Gloss
1080
1100
ETG5284
Black (S5284)
Gloss
1080
1100
ETG5285
Rockingham Brown (S5285)
Gloss
1080
1100
ETG5286
Yellow Opaque (S5286)
Gloss
1080
1100
ETG5287
Dark Brown (S5287)
Gloss
1080
1100
ETG5290
ETG5292
Horizon Blue (S5290)

Drake Neck Green (S5292)
Gloss
Gloss
1080
1080
1120
1100
ETG5293
Raspberry (S5293)
Gloss
1080
1100
ETG5294
Red Brown (S5294)
Gloss
1080
1100
ETG5387
Pewter (S5387)
Gloss
1080
1100
ETG5389
Pink (S5389)
Gloss
1080
1100
ETG5400
Salmon Pink (S5389)
Gloss
1080
1100
ETG5405
Mauve (S5405)
Gloss
1080
1120
ETG5414
Light Grey (S5414)
Gloss
1080
1100
ETG5467
Apricot (S5467)
Gloss
1080
1100
ETG5486
Jet Black (S5486)
Gloss
1080
1120
ETK
RAKU GLAZES
ETK5295
Clear Raku (S5295)
Raku
980
1080
ETK5296
White Opaque (Majolica) Raku (S5296)
Raku
980
1080
ETK5393
Majolica White (Tin) Raku (S5393)
Raku
980
1080

55
Revised April 2013
GLAZES - - Cesco
Cesco
Glazes
Type
Firing Temp C
Min
Max
ETO
OPALENE GLAZES - Best results on Terra Cotta clay.
ETO5192
Jade Blue Opalene (S5192)
Gloss
1080
1120
ETO5193
Opal White Opalene (S5193)
Gloss
1080
1120
ETO5194
Mist Blue Opalene (S5194)
Gloss
1080
1120
ETO5195
Mist Grey Opalene (S5195)
Gloss
1080
1120
ETO5197
Midnight Blue Opalene (S5197)
Gloss
1080
1120
ETO5198
Peacock Blue Opalene (S5198)
Gloss
1080
1120
ETO5199
Mist Jade Opalene (S5199)
Gloss
1080
1120
ETO5200
Mist Green Opalene (S5200)
Gloss
1080
1120
ETO5201
Plum Opalene (S5201)
Gloss
1080
1120
ETP
POOLING GLAZES
ETP1
Diamond Pooling Glaze (PF1)
1020
1100
ETP5167
Turquoise Pooling Glaze (S5167)
1020
1100
ETP5174
Sapphire Pooling Glaze (S5174)
1020
1100
ETP5175
Amethyst Pooling Glaze (S5175)
1020
1100
ETP5178
Tourmaline Pooling Glaze (S5178)
1020
1100
ETP5179
Emerald Pooling Glaze (S5179)
1020
1100
ETP5180
Topaz Pooling Glaze (S5180)
1020
1100
ETP5181
Olivene Pooling Glaze (S5181)
1020
1100
ETP5274
Yellow Pooling Glaze (S5274)
1020
1100
ETS5275
Violet Pooling Glaze (S5275)
1020
1100
ETS5276
Purple Pooling Glaze (S5276)
1020
1100
ETP5469
Black Opal Pooling Glaze (S5469)
1020
1100
ETS
SATIN GLAZES
ETS5027
Light Blue (S5027)
Satin Matt
1040
1080
ETS5028
White Satin Matt (S5028)
Satin Matt
1040
1080
ETS50281
ETS5029
Vellum Matt L/Free (S5028A)

Primrose Satin Matt (S5029)
Satin Matt
Satin Matt
1040
1040
1080
1080
ETS5030
Pink Satin Matt (S5030)
Satin Matt
1040
1080
ETS5033
Violet Blue Satin Matt (S5033)
Satin Matt
1040
1080
ETS5035
Light Grey Satin Matt (S5035)
Satin Matt
1040
1080
ETS5036
Dark Brown Satin Matt (S5036)
Satin Matt
1040
1080
ETS5037
Tan Satin Matt (S5037)
Satin Matt
1040
1080
ETS5069
Celedon Satin Matt (S5069)
Satin Matt
1040
1080
EUB
BASE GLAZES (Plus 2PPM Powder)
EUB2
Clear Gloss (SG2)
Gloss
1060
1100
EUB53812
Clear Transparent (F/Lead) (S5381A)
Gloss
1040
1120

56
Revised April 2013
GLAZES - - Cesco
Cesco
Glazes
Type
Firing TempC
Min
Max
EUC
CADMIUM GLAZES (Plus 2PPM)
EUC5128
Daffodil Yellow (S5128)
Gloss
1000
1040
EUC5129
Tangerine Orange (S5129)
Gloss
1000
1040
EUC5130
Signal Red (S5130)
Gloss
1000
1040
EUC5131
Flambe Red (S5131)
Gloss
1000
1040
EUC5133
Lime Green (S5133)
Gloss
1000
1040
EUC5154
Burnt Orange (F/Lead) (S5154)
Gloss
1000
1040
EUG
EUG0621
GLOSS GLAZES (Plus 2PPM)

Honey (S0621)
Gloss
1060
1100
EUG1621
Cream (S1621)
Gloss
1060
1100
EUG1661
Purple (S1661)
Gloss
1060
1100
EUG2224
Copper Turquoise (S2224)
Gloss
1060
1100
EUG2800
Royal Blue (S2800)
Gloss
1060
1100
EUG3638
Dark Brown (S3638)
Gloss
1060
1100
EUG4956
Black (S4956)
Gloss
1060
1100
EUG5006
Rockingham Brown (S5006)
Gloss
1060
1100
EUG5023
Orange (S5023)
Gloss
1060
1100
EUG5106
Green (Transparent) (S5106)
Gloss
1060
1100
EUG5122
Light Red (S5122)
Gloss
1060
1100
EUG5160
Olive Green (S5160)
Gloss
1060
1100
EUG5185
Crackle Goldene (S5185)
Gloss
1060
1100
EUG5186
Honey Flame (S5186)
Gloss
1060
1100
EUG5251
Yellow Opaque (S5251)
Gloss
1060
1100
EUG5323
Silver (S5323)
Gloss
1060
1100
EUG5412
Shell Pink (S5412)
Gloss
1060
1100
EUG8443
Mulga Wood (S8443)
Gloss
1060
1100
EUM
MATT GLAZES (Plus 2PPM)
EUM1715
White (S1715)
Matt
1040
1080
EUM17151
White Speckle (S1715BS)
Matt
1040
1080
EUM4146
Bronze Green (S4146)
Matt
1040
1080
EUM4990
Matt Base (S4990)
Matt Base
1040
1080
EUM5008
Clear Matt (S5008)
Matt
1040
1080
EUM5317
Deep Aqua (S5317)
Matt
1040
1080
EUP
POOLING GLAZES (Plus 2PPM)
EUP5252
Orange Cadmium Pooling Glaze (S5252)
980
EUP5253
Lime Cadmium Pooling Glaze (S5253)
980
EUP5263
Orange Cadmium Pooling Glaze (S5263)
980
EUR
RUTILE MATT GLAZES (Plus 2PPM)
EUR5038
Green Gold (S5038)
Rutile Matt
1040
EUR5039
Seadrift (S5039)
Rutile Matt
1040
EUR5040
Walnut Brown (S5040)
Rutile Matt
1040
EUR5041
Steel Blue (S5041)
Rutile Matt
1040

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Revised April 2013
GLAZES - - Cesco
Cesco
Glazes
Type
Firing TempC
Min
Max
EUR
RUTILE MATT GLAZES (Plus 2PPM Powder)
EUR5042
Golden Tan (S5042)
Rutile Matt
1040
EUR5043
Yellow Gold (S5043)
Rutile Matt
1040
EUR5136
Sand (S5136)
Rutile Matt
1040
EUR5137
Pebble Green (S5137)
Rutile Matt
1040
EUR5138
Ebony (S5138)
Rutile Matt
1040
EUR5386
Seafoam (F/Lead) (S5386)
Rutile Matt
1040
EUR5402
Apricot (F/Lead)
Rutile Matt
1040
EUS
SATIN GLAZES (Plus 2PPM Powder)
EUS2312
Vellum (S2312)
Matt
1040
1080
EUS5047
Gunmetal Rutile (S5047)
Matt
1040
1080
EUS5157
Green Gold (S5157)
Satin
1040
1080
EUS5158
Seadrift (S5158)
Satin
1040
1080
EUS5159
Walnut Brown (S5159)
Satin
1040
1080
EUS5161
Golden Tan (S5161)
Satin
1040
1080
EUS5162
Yellow Gold (S5162)
Satin
1040
1080
EUS5163
Ebony (S5163)
Satin
1040
1080
EUS5164
Pebble Green (S5164)
Satin
1040
1080
EUS5165
Sand (S5165)
Satin
1040
1080
EUS5166
Steel Blue (S5166)
Satin
1040
1080
EVB
BASE GLAZE - STONEWARE POWDER
EVB4914
Clear Stoneware (S4914)
Gloss
1260
1320
EVG
GLOSS GLAZES - STONEWARE POWDER
EVG4915
White Opaque Stoneware (S4915)
Gloss
1260
1320
EVG4930
Yellow Opaque Stoneware (S4930)
Gloss
1260
1320
EVG4931
Cornflower Blue Stoneware (S4931)
Gloss
1260
1320
EVG4932
Willow Green Stoneware (S4932)
Gloss
1260
1320
EVG4933
Chocolate Brown Stoneware (S4933)
Gloss
1260
1320
EVG4937
Forest Green Stoneware (S4937)
Gloss
1260
1320
EVG4938
Charcoal Stoneware (S4938)
Gloss
1260
1320
EVG4939
EVG4940
Pastel Grey Stoneware (S4939)

Lilac Blue Stoneware (S4940)
Gloss
Gloss
1260
1260
1320
1320
EVG5062
Oatmeal Stoneware (S5062)
Matt
1260
1320
EVG5168
Royal Blue Stoneware (S5168)
Gloss
1260
1320
EVG5169
Cinnamon Brown Stoneware (S5169)
Gloss
1260
1320
EVG5170
Lime Yellow Stoneware (S5170)
Gloss
1260
1320
EVG5171
Blue Green Stoneware (S5171)
Gloss
1260
1320
EVG5172
Royal Fawn Stoneware (S5172)
Gloss
1260
1320
EVG5468
Tenmoku Stoneware (S5468)
Gloss
1260
1320

58
Revised April 2013
GLAZES - - Cesco
Cesco
Glazes
Type
Firing TempC
Min
Max
EVM
MATT GLAZES - STONEWARE POWDER
EVM4970
White Matt Stoneware (S4970)
Matt
1280
1320
EVM5000
Oatmeal Stoneware (S5000)
Matt
1280
1320
EVM5472
Cocoa Stoneware Matt (S5472)
Matt
1280
1320
EVM5473
Denim Stoneware Matt (S5473)
Matt
1280
1320
EVM5474
Autumn Stoneware Matt (S5474)
Matt
1280
1320
EVM5475
Lavender Stoneware Matt ()S5475)
Matt
1280
1320
Cesco Brush-on Flow-rite Glazes are ready to use, easy to apply and eliminate mixing and storage problems.
RED LABEL Minus 2 p.p.m. glazes when used in accordance with the printed directions will yield less than 2 parts per million of soluble lead and comply with
permissible limits for glazed food or beverage ware. Lead free glazes are suitable for use in schools.
Cesco Opalene Glazes will break into variable opalescent patterns when applied to Terra Cotta and add interest to any piece. They may be applied to white
clay but best results are obtained on School Terra Cotta with slightly thinner application.

59
Revised April 2013
GLAZES - - Cesco
Cesco
Glazes

60
Revised April 2013
GLAZES - - Cesco
Cesco
Glazes

61
Revised April 2013
GLAZES - - Cesco
Cesco
Glazes

62
Revised April 2013
Ceramic Stains
How to use Stains
Glaze Stains
Stains can be added to any glaze to impart colour. The make up of the glaze can effect colour development and the notes on Mason
stains as to glaze composition should be investigated prior to using the stain in any particular glaze. To give you an example, a lot of
stoneware glazes containing zinc will leach out the colour of some stains. Therefore we recommend EH31 Powder (EI31 Liquid) Zinc Free
Clear Glaze for Stoneware.
Recommended Base Glazes
Clear
EQB6101 EQB6400 EQB5223/5381 Earthenware
EQB6250 EQB5490 Middle/Stoneware Fire
EVB327 Middle Fire - Gloss
ESB4914 Stoneware - Gloss
EVB6031 Stoneware - Zinc Free Gloss
White
EQG5262 Earthenware - Gloss
To a clear glaze, stain will give a bright vivid colour and to a white glaze it will give pastel shades.
Stains can be added to glazes up to about 10%. When stains are being added to glazes it is best to run the mix through a sieve prior to
use, this minimizes specking of the glaze. The sieve size should be at least 120 mesh, preferably 200 mesh.
Body Stains
Some stains are more satisfactory body stains than others. Please refer to stain composition data prior to use. Varying the percentage of
a stain added to a body or a slip will give varied strength of colour. It is most important that when a stain is added, the slip should be
sieved through the finest sieve practical to minimize specking; 120 mesh is recommended.
In some cases the addition of the stain will alter the glaze-to-body fit, this should be tested first. In other cases, for example with the cobalt
stains, it can effect the fluxing temperature of the body. Again this should be sample tested first.
Adding stains to a plastic body is slightly more difficult. You can mix the stain with water and paint the stain on to layers of plastic body
then join and hand wedge them together. The more you wedge the better the colour blends through the plastic clay. Prior to painting the
stain it would be best to run this mix through a sieve to minimize specking; 120 mesh is recommended.
Preferably with plastic bodies it is best to dry them out, add the stain by weight, mix up with water to a fluid state, run the blend through a
sieve (120 mesh is recommended), then de-water on a plaster batt.
Mixing Suggestions
Quantity
10kg
Clay
(AA100) No10 Stoneware
(AA300) White Earthenware
(AA10) Superior White Porcelain
(AA1) Imperial Porcelain 4317
Stain Addition
Equivalent
625gms
8%
Stains can be blended into prepared engobes. The stain can either be added as a powder, mixed with the engobe thoroughly and then
sieved or, because the engobe is quite viscous, it is preferable to mix the stain with a small amount of water, mixing it into a paste form and
then mixing into the engobe. This way the specking is kept to a minimum. It can be reduced further by running through an 80 or 120 mesh
sieve.
Mixing Suggestions
Quantity
Engobe
Stain Addition
Equivalent
1L
(AE21) White
100gms
8%
1L
(AE5139) Base Coat Engobe
100gm
8%

63
Revised April 2013
CERAMIC
STAINS
Ceramic Stains
How to use Stains
Underglaze Stains
Stains should be mixed with Walker Ceramics Brushing Medium (Product Code CB180) or Colour Application Medium (Product
Code CB181) to impart some green strength, good flow characteristics and also to act as a suspension agent. They should be mixed to a
consistency of smooth cream. The stain can then be applied to either greenware or bisque then allowed to dry before glazing.
Some recipes used in the field are as follows
Stain
Clay / Slip
Flux/Flux Extender
Medium
30 gm
2 to 4 gm clay
2 to 4 gm
100 ml
20 gm
100 gm slip
5 gm
20 ml
Due to different refractoriness of different stains the amount of flux addition may vary.
Care must be taken to keep the stain application thickness to a minimum. If stain is applied too thickly it can peel off during the drying,
glazing or firing stages. It is best to practice first on a sheet of paper to get the right decoration and application thickness. Water can also
be used as a medium but the application will lack green strength and flow. This is the reason the Walker Ceramics Brushing Medium or
Colour Application Medium are recommended. Care should be taken if Brushing Medium is used.
If brushing medium is used and the stain is being applied to greenware and then is to be bisque fired, it is advisable to add 5% to 10% of a
clear glaze (flux) maturing at the same temperature as the ware you will be firing. This will impart some fired strength to the final stain. If a
flux is not added, the stain can tend to powder or rub off after bisque firing, risking smudging or finger marks on the ware. The addition of
the flux prevents this. This also aids adhesion of the stain to the body if applied to bisque ware and proper merging of the colour and
glaze. A body slip can also be used as an addition to these stains to impart green strength, fired strength and binding to the body.
Ceramic stains can also be brushed over an unfired glaze to impart a softness of colour decoration to your ware. This technique is known
as majolica. The stain is mixed with underglaze medium and the colour then brushed onto the glazed but unfired pottery. Stains applied
in this way will have a much softer edge than applied underneath the glazes as the stain will melt into the glaze during the glaze firing.
Mason and Potters Colours can also be used to alter the colour of the Cesco Underglazes, Wunder Colour and Design Colour ranges.
The stains may be added to Colour Application Medium, mixed thoroughly and preferably run through a sieve to minimize specking before
applying to your ware.
Mixing Suggestion
Underglaze
Stain
FF44 Snow White 500 ml

FK10 Surf Spray White 500 ml
FQ13 Cesco White 500 ml
FE100 & FE110 Flux or Colour Extenders 500 ml
20 to 30 gm of selected colour
100-250 gm of selected colour

64
Revised April 2013
CERAMIC
STAINS
Ceramic Stains
Potters Colours
FW
POTTERS COLOURS - STAINS
FW5011
Burgundy
No.6
FW5202
Chrome Green
No.7
FW5300
Cobalt Blue
No.10
FW5307
Deep Sky Blue
No.9
FW5337
Mulberry
No.11
FW5359
Lavender
No.13
FW5400
Bright Yellow
No.4
FW5601
Black (Cobalt free)
No.14
FW5608
Black
No.1
FW5700
White
No.2
FW5806
Bright Red (Cd.Zr.)
No.8
FW5807
Deep Red (Cd.Zr.)
No.12
FW5808
Orange
No.3
FW5827
Fire Engine Red
No.5
14 lively powdered stains,

versatile and colourful,
a must for every colour
conscious studio.
FW5827 Fire Engine Red
POTTERS COLOURS STAIN SET

14 Colours ( 3 5 gm of each)

65
Revised April 2013
CERAMIC
STAINS
Ceramic Stains
Stain Composition
Code
Colour
Al
Ca
Cd
Co
Cr
Fe
Mn
Ni
Pr
FW5011
Burgundy
FW5202
Chrome Green
FW5300
Cobalt Blue
FW5307
Deep Sky Blue
FW5337
Mulberry
FW5359
Lavender
FW5400
Bright Yellow
FW5601
FW5608
Black
(Cobalt Free)
Black
FW5700
White
FW5806
Bright Red (Cd.Zr.)
FW5807
Deep Red (Cd.Zr.)
FW5808
Orange
FW5827
Fire Engine Red
Se
Si
Sn
Zn
Zr
3,5,9
3,5
1,3a,6
X
Ref. Notes
1,3,6
3a,5,9
X
3a,6
3,5
1,3,6
3,6
3a,6,10
3a,6, 10
3a,6,10
3.6
Legend to composition chart

Al
Aluminium Oxide
Cr
Chromium Oxide
Pr
Praseodymium Oxide
Sn
Tin Oxide
Ca
Calcium Carbonate
Fe
Iron Oxide
Sulphur Dioxide
Vanadium
Cd
Cadmium Oxide
Mn
Manganese Dioxide
Se
Selenium Oxide
Zn
Zinc Oxide
Co
Cobalt Oxide
Ni
Nickel Oxide
Si
Silicon Dioxide
Zr
Zirconium Dioxide

66
Revised April 2013
CERAMIC
STAINS
Ceramic Stains
Stain Recipe Compositions
Sizes available: 50 gm, 100 gm, 500 gm, 1 kg and 5 kg
Legend to composition chart
Al
Aluminium Oxide
Cr
Chromium Oxide
Pr
Praseodymium Oxide
Sn
Tin Oxide
Ca
Calcium Carbonate
Fe
Iron Oxide
Sulphur Dioxide
Vanadium
Cd
Cadmium Oxide
Mn
Manganese Dioxide
Se
Selenium Oxide
Zn
Zinc Oxide
Co
Cobalt Oxide
Ni
Nickel Oxide
Si
Silicon Dioxide
Zr
Zirconium Dioxide
Reference Notes
1.
Can be used as a 'body stain' in porcelain at high temperatures. All of the brown colours can be used as 'body stains' but will vary
in shade considerably depending on the composition of the body and temperature at which it is fired.
1a.
Use only as a body stain. Firing temperatures can only be a rough guide. Firing at 1205C on a slow schedule may give the
equivalent maturing as firing at 1260C on a fast schedule. The cycle, atmosphere and rate of cooling will affect the colour.
2.
Maximum firing limit 1180C
3.
Maximum firing limit 1260C. For a suitable glaze use a blend of Glazes A,B,C,D,E or F (see table below)
3a.
Maximum firing limit 1300C. For a suitable glaze use a blend of Glazes A,B,C,D,E or F (see table below)
4.
Maximum firing limit 1080C
Zinc oxide influences the colour in a glaze more than any other element. Generally, zincless glazes should contain no magnesium oxide.
Some colours containing zinc may be used in a zincless glaze. The zinc in the colour is in a combined form and will not harm the colour,
but free zinc oxide in the glaze can destroy the colour.
5.
Do not use zinc in glaze. For a suitable glaze use Glazes A,B or E (see table below)
6.
May be used with zinc or without zinc. For a suitable glaze use Glazes A,B,C,D,E or F (see table below)
7.
Zinc is not necessary but gives better results. For a suitable glaze use Glazes C,D or F (see table below)
8.
Best results with no zinc. For a suitable glaze use Glazes A,B, or E (see table below)
Calcium oxide content as calcium carbonate should be between 12-15% for best colour development. Adding the molecular equivalent of
calcium oxide with wollastonite, a natural calcium silicate, often gives better uniformity. The increased silica from the wollastonite must be
subtracted or the glaze will have a poor surface.
9.
Glaze must contain 6.7 to 8.4% CaO (12-15% calcium carbonate). For a suitable glaze use Glazes C,D or F (see table below)
10.
Maximum firing limit 1300C. For a suitable glaze use Glazes A,B,C,D,E or F (see table below)
Glaze Suitability
Ref
A
B
C
D
E
F
Product Code
Powder
ETB6101
ETB6400
ETB6327
Not available
ETB6031
ETB6250
Product Code
Brush On
EQB6101
QB6400
Not available
Not available
Not available
EQB6250
Product Code
Cesco Brush On
EQB5381
ERB2
EQB5490
ESB4914
Not available
EQB5490
Description
Clear Gloss
Clear Gloss
Clear Gloss
Clear Gloss
Clear Gloss (Zinc Free)
Clear Gloss
Range
Earthenware Lead Free
Earthenware Contains Fritted Lead
Middle Fire Lead Free
Stoneware Contains Zinc
Stoneware Zinc Free
Earthenware to Stoneware - Lead Free
Note
The recommendations made herein are based on our research and the research of others, and are believed to be accurate. However no guarantee of
their accuracy is made and the products discussed are sold without warranty, express or implied, and upon such condition that purchasers shall make
their own tests to determine the suitability of such products for their particular purposes.
Likewise, statements concerning the possible use of these products are not intended as recommendations to use these products in infringement of any
patent.

67
Revised April 2013
Ceramic Lustres & Onglazes

Lustres - Firing Range: 700 - 800C. Orton Cone 018 - 015
Successful lustre decorating begins with the greenware, which should be carefully cleaned and bisque fired to at least 1000-1080C. This
encourages the dissipation of gases which otherwise might cause imperfections in the onglaze and also makes crazing less likely. The
areas to be lustred are then glazed and fired. The firing should be to the highest temperature recommended for the glaze. This is to fire
out as many imperfections as possible which could mar the lustre finish and to help inhibit crazing. Keep in mind that a satin or matt glaze
will provide a satin or matt result to the lustre or metallic, and a gloss glaze will furnish the glossy result more commonly associated with
lustre finish.
When firing lustres, the glaze is fired to Earthenware @ 700C to Porcelain @ 800C, which is the temperature at which the lustre reacts
and combines with the softened glaze surface. Over-firing will cause the colours to sink too deeply into the glaze, resulting in distortion,
fade-out or burnout. Under-firing will prevent the glaze from becoming soft enough to receive the colour, thus causing poor adherence.
Brush technique is important. The brush should be saturated but with the excess material worked out. Each stroke should be firmly and
evenly placed next to the last one in an effort to make the application as even as possible. The two exceptions to this are the Opal and
Mother of Pearl lustres. These should be applied evenly. This is best accomplished by swirling or stippling the lustre with the brush during
the application. However these, as well as the others must be applied thinly. Square brushes are recommended for lustres.
Where an even edge is required, or the decoration is to be applied to a raised or embossed surface, the lustre may be allowed to thicken
slightly. This is accomplished by exposing a small amount of material to the air on a glazed tile or glass. This slight thickening may be
advantageous where added brush control is desirable. The material can be thinned again with Essence (either Gold or Lustre). Add one
drop at a time to avoid over thinning. Halo Lustres and Metallics should never be thinned. The solvents in these products must be present
in exact proportions, therefore every effort must be made to ensure that as little evaporation as possible takes place from the containers of
Halo lustres and Metallics.
Brushes that are used for lustres should be kept thoroughly clean and must be protected from contamination between each use. It is
highly recommended that one brush should be set aside for each metallic preparation and be so marked. A brush used for Mother of Pearl
should never be used to apply any other product, with the exception of Opal.
Wash brushes in Lustre Brush Cleaner. For application of lustres by sponge, allow the lustre to thicken slightly by exposing a small
amount to the air as described above. A thickened material will hold the sponge pattern after application. Use a small piece of natural
sponge and discard after use.
HEALTH & SAFETY NOTES

These colours contain lead, cadmium and other metals which may
be hazardous to health if swallowed.
It is important to store these colours safely away from children.
Do not smoke, drink or eat when working with these colours.
All colours are acid resistant. (tested in 3% solution of Hydrochloric Acid for
five hours at 22C with a tolerance of + or- 2C.)
Rating DISHWASHER RESISTANCE RATING (Based on 200 washes)

0
No attack
Iridescent surface or hardly noticeable loss of gloss.
Significant matting without profound change of colour tone

68
Revised April 2013
Gallery
Greg DalyPB103 and White Earthenware
Gaby WillmottHand Building Terra
Leigh-Ann Roden Kew Ceramics - Wunder Colours

69
Revised April 2013
Wunder Colours - Colour Chart

70
Revised April 2013
Wunder Colours
Walker Ceramics Wunder Colours, like Design Colours, are paint for clay. They are a range of colours to be applied under glazes.
These Australian made, clay based, lead free underglazes of the highest standard are the result of intensive development and testing.
Wunder colours are opaque, clay based, brush on colours, very easy for beginner or professional to use, whereas Design Colours are a
pure colour concentrate giving brighter, clearer intense colours at both earthenware and stoneware.
Lead free, ready to use colours Australian made

Suitable for stoneware and earthenware
Developed to suit all skill levels and techniques
Completely intermixable within the range
Compatible and intermixable with the Cesco Underglazes and Design Colours range
Can be applied to greenware or bisque
Beautiful silky flow characteristics will not powder
Economize with our specialist Extenders - FE100 Flux Extender for Majolica and special effects.
FE110 Colour Extender for all temperatures.
All colours are available in 50 mL, 100 mL, 500 mL, 1 litre, 5 litre and 10 litre containers.
Sets of all colours, in either 50 mL, 100mL or 500 mL containers, are available.
Wunder Colours bring clay to life! Colour may be diluted as required with Brushing Medium (Product Code CB180) , Colour Extender
or water.
APPLICATION
Designs can be drawn on the clay surface before painting using either a soft lead pencil, e.g. 6B, or carbon transfer paper. The lines will
burn out during firing. Shake bottle well before use. Use colours directly from the bottle, or dilute as above applying two to three coats
for a solid colour or one coat for translucent colour. Allow the work to dry, bisque fire and then apply your clear glaze. For more details
on applications, see Frequently Asked Questions on page 74.
HEALTH & SAFETY
Wunder Colours are highly refined underglazes and are completely lead free and non-toxic. They are water based and non-flammable.
Your work will be food safe after glazing and firing. When scratching or sanding back dry surfaces it is recommended that the normal
dust protection precautions are taken.
Take the word of an expert Wunder Colours are... Wunderful!

Just when I had all the colours I thought I needed in my studio, Walker Ceramics sent their range of
Wunder Colours.
They are clay based, liquid opaque underglazes that can be intermixed, used alone or extended using
Walker Ceramics specialist Flux Extenders which also aid their use for majolica.
Even my newest students find they can achieve exceptional results; these colours are so easy to use.
Many techniques such as sgraffito, stencil or wax resist are made easier because these clay based colours stay
where you put them; no crawling, crazing or lifting from a green or bisque surface. Whether you are a child or adult,
a new student or experienced potter, you will be excited by the intensity and opacity of Wunder Colours;
they are even intermixable with Walker Ceramics Design Colours.
Three superb colours in the range are Anzac Poppy Red, Cayenne Red and Tabasco Red..
my palette is now complete!
Jackie Gasson, Sunshine Coast, Queensland
71
Revised April 2013
DESIGN Colours
COLOURS
Design
Design Colours - Liquid Colour Concentrates.
Walker Ceramics Design Colours are paint for clay, a range of colours to be applied either under or over the glaze. With Design Colours
you can decorate with confidence as all colours reflect the final fired colour except for FK21 Cobalt Sea, which appears mauve in the bottle
but actually fires to a deep, vibrant blue. This means you can use your creativity and decorate your work trusting your eye. The technical
expertise of our ceramic engineers and laboratory staff has enabled us to provide the ceramic industry with Australian made, lead free,
liquid colour concentrates of the highest standard. This range has numerous decorative applications that give effects from opaque to
translucent.
Magnificent vibrancy on stoneware - even better on earthenware
25 ball-milled colours - the STRONGEST ever developed
Beautiful silky flow characteristics that will not powder
Can be applied to greenware or bisque
Perfect for majolica
All colours are completely intermixable within the range or with our range of Cesco Underglazes and Wunder Colours.
Ready to use, or economize with our specialist Extenders: FE100 Flux Extender for majolica and special effects and FE110 Colour
Extender for all temperatures.
All colours are available in 50 mL, 100 mL, 500 mL, 1 litre, 5 litre and 10 litre containers. As well as 50mL, 100mL and 500mL sets.
Design Colours are suitable for all levels of skill. They bring clay to life! The colours are smooth flowing and can easily be converted to
earthenware majolica colours or be extended using our specialist Flux Extender (FE100). Extension of Design Colours can also produce
beautiful translucent effects. Colour may be diluted as required with Brushing Medium (Product Code CB180), Colour Extender (FE110)
or water.
APPLICATION
Designs can be drawn on the clay surface before painting using either a soft lead pencil, e.g. 6B, or carbon transfer paper.
The lines will burn out during firing.
Shake bottle well before use. Use colours directly from the bottle or dilute as above, applying two to three coats for a solid colour or one
coat for translucent colour. If applying colours to greenware you may sgraffito/carve through the colour into the clay.
Allow the work to dry then bisque fire, glaze and fire as normal. If applying to bisque, apply your clear glaze then fire.
Design Colours can be fired between 1000C and 1300C; they will remain vibrant and will not burn out EXCEPT No.6 Pacific Purple,
No.9 Anemone Red and No.11 Lavender Bay. Others maintain good colour at 1300C.
For more details on applications, see Frequently Asked Questions on page 74.
HEALTH & SAFETY
Design Colours are a highly refined underglaze and are completely lead free and non-toxic. They are water based and non-flammable.
Your work will be food safe after glazing and firing. When scratching or sanding back dry surfaces it is recommended that the normal dust
Read what Jackie Gasson from the Sunshine Coast in Queensland had to say when she first used Design Colours:
"At last bright stoneware colours"

Several years ago, potters began asking for lighter, brighter colours. Gone were the browns, they wanted colour in their lives
and pots. But the problem was that "pastels only" was the norm and even they were limited to earthenware temperatures.
There was no such thing as Orange, Red, Pink or Lime Green at stoneware temperatures.
Then Walker Ceramics sent me a range of their new Design Colour Concentrates for my evaluation. I wanted long, flowing strokes,
without losing colour, good absorbency on bisque and colour that doesn't rub off. Was I asking too much? NO!
I started testing and found they all fired to 1300C without fading, except No.6, No.9 and No.11.
Brush strokes were silky, fluid and long. I was able to develop tonal changes just by more or less pressure on the brush and
best of all I could extend using Walker Ceramics specialist Flux and Colour Extenders without loss of colour.
Colours don't rub off, resulting in ease of glazing; glazes are smooth and mature with no crawling. The lack of clay in the colour
makes them very suitable for majolica. Specialist glazes are available to suit your clay and temperature range.
Altogether I feel most excited about these colours. Design Colour Concentrates are the answer to many potters,
including me, wanting versatility and brilliance of earthenware and stoneware colours.

72
Revised April 2013
Design Colours - Colour Chart

73
Revised April 2013
Frequently Asked Questions

This table illustrates the results that can be obtained using various decorating techniques. All results are based on application
and firing tests carried out in the Walker Ceramics laboratory.
For Earthenware bodies, use Walker Ceramics Flux Extender (Product Code FE100).
For Stoneware bodies, use Walker Ceramics Colour Extender (Product Code FE110).
Decorating Technique Used Cesco Underglaze &

Design
Colour Results
Earthenware greenware, no glaze,
fired once
Stoneware greenware, no glaze,
fired once
Wunder Colour Results
Pastel shades with matt finish
Pastel shades with matt finish
Some colours may vitrify and take on

a satin finish
Some colours may vitrify and take on

a satin finish
Over a gloss glaze, earthenware
Some areas of dry colour may appear.

For best results mix 2 parts colour to
1 part extender

2 parts extender
Over a satin glaze, earthenware

1 part extender.

2 parts extender.
Over a matt glaze, earthenware
Applied thinly, a satin/matt will be obtained.
Applied thinly, a matt will be obtained.
Over gloss glaze on stoneware body

and fired normally
Very good soft colours in or on the glaze.
Very good soft colours in or on the glaze.

Possibly some satin areas
Over satin glaze on stoneware body

and fired normally
Over matt glaze on stoneware body
and fired normally
Satin / gloss finish.
Satin finish.
A satin finish.
A satin matt finish.
Glossy results on earthenware.

Satin / gloss results on earthenware.
Use colours full strength on stoneware for Use colours half strength on stoneware with
glossy results.
flux extender for glossy results.
Colour, plus extender, over a satin glaze Good even satin results on earthenware. Use
Satin / matt results on earthenware.
colours full strength on stoneware for satin Use colours half strength on stoneware with
results
flux extender for satin results
Colour, plus extender, applied to greenware On earthenware, a matt finish but the colour On earthenware, a pastel matt finish but the
with no glaze and fired once
will have adhered well.
colour will have adhered well.
Colour, plus extender, over a gloss glaze
On greenware as an undercoat, with

decoration on top and fired normally
Applied over a dark body
Colour with stain added
Layers of colour applied over each other
A matt finish but the colour will have

adhered.
On stoneware a satin / gloss finish.
2 to 3 coats should give full coverage.
A matt finish but the colour will have

adhered.
On stoneware a satin / gloss finish.
2 to 3 coats should give full coverage.
Results may vary as the balance of stain,

flux and clay is altered
Results may vary as the balance of stain, flux

and clay is altered
On earthenware, colours will not bleed. Test On earthenware, colours will not bleed. Test
at stoneware.
at stoneware.
Most colours fire well except for Pacific

Purple which turns blue, Anemone Red
Reduction firing of colours
which suffers from some colour loss,
Dolphin Grey which turns white and
Lavender Bay which turns light blue. These
effects appear under or over glaze.
Design Colours, Cesco Underglazes &
All colours are totally intermixable.
Wunder Colours intermixed with each other.
Test first.
74
Test firing recommended.
All colours are totally intermixable.

Test first.
Revised April 2013
Flux & Colour Extenders

For Majolica and Special Effects
Walker Ceramics produce two specialist Extenders for use with our ranges of Cesco Underglazes, Design Colours and Wunder Colours.
The Colour Extender is also suitable as a base when using any of the Potters Colours or other stains.
Transform your colour from opaque, flat colour to a semi-opaque, translucent or transparent colour application, over or under glazes, that
will enable you to create wonderful water coloured effects such as layered colours and colour-on-colour washes.
Suitable for stoneware and earthenware.

Completely intermixable with Design Colours, Wunder Colours, Stains or Potters Colours.
Great for economizing on colour usage.
Perfect for production work.
Majolica made easy.
Provide beautiful flow characteristics.
The more intense or opaque the colour, the more Flux Extender can be used without loss of colour quality.
Available in 50 mL, 100 mL, 500 mL, 1 litre, 5 litre and 10 litre containers.
Applications & Techniques

Potters Colours and stains: Colour Extender replaces mediums, aids flow, allows colours to blend smoothly, prevents dry patches,
bubbling and provides a tough surface no dusting off or marking prior to firing.
Simply add up to 25 gm of stain to 50 mL of Colour Extender. Mix or mortar and pestle well. Sieve through 120 mesh sieve and apply.
Design Colours & Cesco Underglazes: Translucent to transparent colour can be created by increasing amounts of Colour Extender. For majolica effects use Flux Extender with Design Colours on top of raw glaze will not powder off prior to firing.
Add up to 25 mL per 50 mL of colour. Mix or mortar and pestle well. Sieve through 120 mesh sieve and apply.
Wunder Colours: Colour Extender creates softer, more translucent colour washes and water colour effects under glaze may be
achieved by increasing amounts of Colour Extender.
Add up to 50 mL per 50 mL of colour. Mix or mortar and pestle well. Sieve through 120 mesh sieve and apply.
Never tried Walker Ceramics Flux and Colour Extenders with either Design Colours or Wunder Colours? Well? Read what
Jackie Gasson from the Sunshine Coast in Queensland has to say about these products..
A Base Medium For Every Application!

Grainy, dry patches on your over-glaze colours? Stoneware surfaces that lose their glow?
Or maybe its the vibrant colour on a lovely majolica tin glaze that escapes you? Well, not any more!
Using a glazed tile or plate as my palette, I spoon a little Cesco Underglaze, Design Colour, Wunder Colour , Stain
or Potters Colour on to the surface. Instead of using water or Brushing Medium to thin it down, I add some Flux or Colour Extender.
Magic!
A smooth flowing brush that doesnt lift off the glaze. When the pieces come out of the kiln, there are no grainy sections, just smooth,
unbroken surfaces with vibrant colour that make the surface complete. I have found these Flux Extenders work brilliantly with all of
Walker Ceramics liquid and powdered colours; both under and over standard and commercial glazes and my own recipes.
They certainly make life easier for the busy potter!!
Optional Equipment
120 mesh sieve

Mortar & pestle 100 mm diameter
Calligraphy brushes
Ox hair oval brushes
Banding wheel

75
Revised April 2013
Cesco Underglazes
...Now all intermixable!!!

76
Revised April 2013
Colour Application Techniques

Preparation
Cesco Underglazes, Wunder Colours and Design Colours are totally pre-mixed and ready to use. Shake well before use.
Brushing
Apply to clean, dust free greenware or bisque surface. For full coverage use the largest brush feasible for the area to be covered. A good
quality ox hair, hake or sable brush will give the best effect. Load brush as far as the ferrule. Do not wipe brush on the top edge of jar but
apply fully loaded to the greenware or bisqued surface. Apply by letting the brush bend gently to halfway, but at the first feel of the brush
dragging re-load and begin again. Allow the first coat to dry thoroughly before applying the second or the third coats in different directions
to prevent streaking.
Airbrushing
Underglazes need to be thinned with water for airbrushing. The airbrush itself also needs to be cleaned thoroughly between each different
colour used and run for a short time after cleaning to make sure no moisture remains. This will ensure that the viscosity acquired will be
accurate and consistent for large areas.
Antiquing
Thin colour and apply to bisque surface. Texture with a clean damp sponge then glaze with transparent or semi-transparent glaze.
Banding
Apply with brush or sponge. Place greenware on rotating banding wheel. Do not allow brush to touch greenware when the wheel is not
rotating.
Feather Combing
Easily applied to the inside surfaces of shallow dishes. Pour colour into the dish to cover the surface. Allow shine to go off and then trail
parallel lines of contrasting colour across the surface. Drag a fine pointed quill or stiff bristle across the lines producing a feathered effect.
Variations can be achieved by a backward and forward direction of the quill. Fire normally.
Majolica
Apply one coat of colour over unfired glaze to achieve a majolica effect. Use flux extender if necessary. It is important that the unfired
glaze surface is very smooth. To achieve this a heavier glaze application is recommended. When glaze is thoroughly dry, smooth back
with a dry sponge before beginning brush work.
Paper Resist
Cut a pattern from thin paper and apply it to the damp pot pressing down the edges with a moist sponge. The pot may then be dipped in
slip or painted with colours. When the pot is almost dry, the paper is peeled off. If the edges of the resisted areas are not sharp, the colour
may have seeped under the paper, carefully scrape off any excess colour. Fire normally.
Polishing
Apply colour on greenware. When ware is almost dry buff up with soft tissues gently in a circular motion. If polishing a large area spray
moisture on underglaze or use a dampened brush to keep surface moist.
Raised Design Work
The colour needs to be thickened to a heavy cream consistency to do this type of work. Pour colour onto a glazed tile or palette and allow
water to evaporate and hence thicken colour. Apply lines with a liner brush or use an Ultimate Slip Trailer (Product Code JU7261) and
build up lines to give your pattern variety.
Sgraffito
Cover the selected areas with colour. Allow the pot to become almost dry. Cut through to the surface of the pot with a suitably pointed
tool. It is also possible to scratch through the glazed surface of an unfired glazed pot. Fire normally.
Slip Trailing
Add slip to colour to thicken. Dampen greenware first to help slip adhere to ware. Fill slip trailer with colour. Hold the nozzle close to the
surface and squeeze gently. Allow to dry and fire and then glaze normally.
Spattering and Stippling
Use a stipple brush. Load the brush sparingly. Keep the brush approx. 30 centimetres from the surface, hold the brush in one hand and
flick the bristles with the index finger of the other hand. Use two or three colours. Apply three coats.
Sponging
Pour required amount of colour onto a glazed tile or palette. Using a
slightly dampened sponge apply to greenware. Allow each coat to
dry thoroughly. Apply three separate coats.
Wax Resist (Product Code CB220) / Latex (Product Code CB100)
Usually applied to green or bisque ware. Paint designs with latex or
wax resist. Allow to dry. Paint colour over the design. Peel latex off
when surface is dry. Fire to burn out wax. Glaze normally if desired.
Wall Panel by Kath Melzer
(White Raku and Design Colours)

77
Revised April 2013
Special Decoration Applications

Underglaze Pencils
This high quality pencil has been imported from Italy. The colour is vivid and is suitable for low and high
firing, making it possible to draw illustration and lettering on bisqueware with freedom and precision.
Black (Product Code FU406)
Set of Green, Yellow, Pink, Blue, Brown & Black Underglaze pencils for decoration or signing ware.
Maximum temperatures Black, Blue & Green Cone 10, Brown & Yellow Cone 5 and Rose Cone 05.
Set 6 Colours (Product Code FU420)
Wunder Waves
3 Dimensional Colours
Australian made 3 dimensional textured colours that can be applied
over or under glazes to attain a colourful raised effect. Also great
over Cesco Underglazes, Design Colours or Wunder Colours.
FM
WUNDER WAVES (40ml)
FD1
White
FD2
Black
FD3
Blue
FD4
Yellow
FD5
Red
FD6
Green

78
Revised April 2013
SPECIALDecoration
DECORATION
APPLICATIONS
Special
Applications
Tissue Transfers
FT
Tissue Transfers
FTPB1
Tissue Transfer TPB1 Blue Grapevine
FTPP2
Tissue Transfer TPP2 Pink Leaf & Flower
FTPB3
Tissue Transfer TPB3 Large Blue Flowers
FTPS4
Tissue Transfer TPS4 Blue Flowers
FTPB5
Tissue Transfer TPB5 Blue Swirls
FTPB6
Tissue Transfer TPB6 Small Blue Flowers
FTPB7
Tissue Transfer TPB7 Wheat & Flowers
FTPB8
Tissue Transfer TPB8 Small Daisy Chain
FTPB9
Tissue Transfer TPB9 Pink Large Flowers
FTPP4
Tissue Transfer TPP4 Pink Flowers
FTPB12
Tissue Transfer TPB12 Owls
FTPB13
Tissue Transfer TPB13 2-Colour Flowers
FTPW1
Tissue Transfer TPW1 (White raised)
FTPO1
Tissue Transfer TPO1 Geisha
FTPO2
Tissue Transfer TPO2 Bamboo
FTPO3
Tissue Transfer TPO3 Dragonfly
FTPO4
Tissue Transfer TPO4 Landscape
FTPO5
Tissue Transfer TPO5 Boys Playing
FTPO6
Tissue Transfer TPO6 Cranes
FTPB12
Owls
FTPO2
Bamboo
FTPB13
2-Colour Flowers
FTPO3
Dragonfly
FTPB1
Blue Grapevine
FTPP2
Pink Leaf & Flower
FTPB3
Large Blue Flowers
FTPS4
Blue Flowers
FTPB5
Blue Swirls
FTPB6
Small Blue Flowers
FTPB7
Wheat & Flowers
FTPB8
Small Daisy Chain
FTPB9
Pink Large Flowers
FTPP4
Pink Flowers
FTPO4
Landscape
FTPW1
White Raised
FTPO1
Geisha
FTPO5
Boys Playing
FTPO6
Cranes
Blue transfers will fire to 1300C - test others above 1080C first.
Refer Walker Ceramics web site for application instructions.

79
Revised April 2013
Faults and Remedies

Walker Ceramics is proud of the technical support and after sales service we provide. Listed below are some of the most common faults and
their remedies, which we have collated over the years.
FAULT
Appearance
BLISTERING
Innumerable
craters,
bubbles and pinholes in
the surface of the glaze.
A vitrified body with
minute bubbles on the
clay surface, that are
sometimes only evident
by roughened surface.
Blistering over underglaze decoration.
BLOATING
Bubble formation within
body during firing.
CAUSE
SUGGESTED REMEDIES
1. Over firing
2. In gas kilns, flame impingement will
cause the fault.
3. Very rapid firing at maturity, does not
allow glaze to mature.
4. Low thermal mass - fibre kilns - can
cool too rapidly.
1a) Slow down temperature rise to top temperature over

the last 50C.
1b) Increase soak time up to 30 minutes.
1c) Alter glaze to a more fluid state e.g. use nepheline
syenite to replace some feldspar in stoneware glazes.
1d) Use wollastonite instead of whiting or dolomite in
stoneware glazes.
1e) Often only near elements or flame flashing in gas kilns
i.e. move pottery away from edges of kiln shelves.
2. Lower firing temperature or alter body fluxes
3. Use coloured stains instead of metallic carbonates,
especially manganese dioxide.
1. Expansion of the body produced by 1a) Reduce firing temperature.

pressure build up of gases trapped in a 1b) Fire more slowly.
partially vitrified body.
1c) Reduce the flux content of the body and/or add grog to
a) Over firing or irregular firing.
produce a more open body.
b) Carbon trapped within a vitreous body.
c) Body too high in fluxes.
BLOW OUT
1. Presence of impurities in the clay or 1a) Avoid plaster contamination.

Craters in a bisque fired
glaze.
1b) Remove any plaster plucked away from the surface of
body.
a) Particles of plaster from the surface of
the mould.
the mould.
1c) Use more refined clay.
b) Sulphates and/or carbonate present in
the body.
CRACKING
1.
2.
Cracks in a bisque fired 3.
body.
4.
5.
CRAWLING
Rapid or uneven drying.

Clay of poor plasticity.
Blunt turning tools.
Firing the body too fast up to 300C.
Over working of the clay during forming.
1.
2.
3.
4.
5.
Dry the piece more slowly. Invert mugs, jugs, bowls

when they have sufficient strength.
Increase the plasticity of the body.
Use sharper turning tools.
Slow down the initial firing rate to 2-4 hours.
Reduce handling time during forming.
1. Excessive handling of dry clay ware be

Bare (unglazed)
fore glazing.
patches on the surface 2. Oil, grease, dust on ware before glazing.
of pottery.
3. Cracking of the glaze layer during drying
Glaze forming small
and before firing. Excessive colloidal
islands.
matter (clay) present in the glaze.
4. Soluble salts present in the body.
5. Over application of glaze.
1.
5.
Minimize the handling of the bisqueware before glaze

application.
Keep the bisqueware clean.
Handle dipped ware very carefully; reduce the clay
content of the glaze.
Add Barium Carbonate (1-2.5%) to the clay body to
precipitate the soluble salts.
Reduce the glaze application.
CRAZING
Fine cracks showing in 1. Mismatch of glaze and body thermal

the surface of the glaze.
expansions. The body should have a
higher expansion rate than the glaze to
maintain the glaze under compression.
2. Glaze applied too thickly.
3. Moisture expansion of the body.
4. Underlining of the body or glaze.
1.
a)
b)
c)
d)
e)
f)
2.
3.
Increase the body expansion.

Fire the body to a higher temperature.
Soak the body for longer time at the peak temperature.
Increase the silica content of the body.
Increase glaze expansion.
Add silica or china clay to the glaze.
Use borax frit of lower expansion rate.
Reduce the glaze thickness.
Reduce the porosity of the body.
DEVITRIFICATION
Gloss glazes appearing 1. Precipitation taking place during cooling

matt. Milky appearance
of the glaze.
of transparent glaze.
a) The appearance of small crystals on the
surface of the glaze such as calcium or
zinc silicates.
b) Milky precipitate such as calcium borate.
1a) Cool more quickly down to 700C, that is, whilst the
glaze is still semi-molten.
1b) Reduce the lime content of the glaze.
1c) Add china clay to the glaze.
1d) Use low solubility glaze instead of lead free glaze.

80
2.
3.
4.
Revised April 2013
Faults and Remedies

Fault
Appearance
DIMPLED
SURFACE
Orange peel glaze
surface.
DUNTING
ENGOBE FAULTS
HOT WATER
DUNTING
Splitting of ceramic ware

due to silica inversion.
When the glaze has run
into a crack, the dunting
has occurred during the
heating cycle. A crack
with a sharp edge
means that the dunting
has occurred during the
cooling cycle.
Cause
Suggested Remedies
Gas bubbles in the glaze.

1. Too rapid firing.
2. Under firing of glaze.
3. Under firing of body.
4. Over firing of body and/or glaze.
1.
2.
3.
4.
Slower firing cycle or longer soaking period.

Check firing temperatures using pyrometric cones.
Biscuit firing temperature to minimum 1000C.
Check firing temperatures using pyrometric cones.
1. Too rapid heating and/or cooling of the

body especially around 573C and
226C (silica inversion temperatures).
2. Body too high in silica.
3. Large variations in the thickness of the
walls of the piece giving rise to thermal
gradients.
4. Over firing of the body.
1.
Fire and cool the clay body more slowly through the
temperature ranges at which silica inversions take
place. ie 226 to 573C.
Reduce the silica content of the body.
Give careful consideration to your design.
Reduce the firing temperature of the body.
Increase the openness of the body by the addition of
grog.
Flaking or cracking on 1. Shrinkage of slip too high. The flakes

drying.
curl away from the surface.
Flaking or cracking after 2. Shrinkage of slip too low. The flakes
firing.
quite flat or the same contour as the
surface.
3. After firing is caused by shrinkage
differences, usually on the convex faces
and edges.
2.
3.
4.
5.
1a)
1b)
1c)
1d)
2a)
2b)
2c)
2d)
3.
Ware too dry when applying engobe.

Check settling of slip, stir well before applying.
Too thick a coat, also try drying more slowly.
Engobe has too low solid content, deflocculate and
increase litre weight.
Increase shrinkage of engobe, add 1-5% bentonite.
Apply to drier ware.
Thinner application of engobe.
Add gum arabic to slip 0.5-1%.
Add 20% of glaze to engobe to attach it by reaction
with the body.
Coffee mugs, teapots, 1. Caused by grossly different coefficients 1.

casseroles, etc. crack
of expansion between the over fired or
when boiling water is
over reduced sections of the pot. The 2.
poured into the vessel.
glazed areas are more protected. This
Usually around the base
excessive formation of glassy phase 3.
or spiraling up the side
develops high compression and thin
wall. They are usually
walls cannot withstand the high
reduction fired, iron rich
stresses.
bodies, that are only 2. The reduction of iron and the formation
partially glazed.
of ferrous silicate glazes in localized
areas, principally in the under glazed or
thin areas near the base.
Make pots thicker and even thickness for extra

strength.
Reduce the time of reduction firing and start it later in
the firing cycle.
Give careful consideration to your design
1. Moisture absorption into body which

parts in thin layers parallel to the surface or bulges form due to the air entrapment in centre of thin walls.
2a) Dust on the surface of the ware.
Body swelling and 2b) Rupturing glaze by steam generation
cracking under the
from fast firing.
glaze.
2c) The drying and firing shrinkage of the
glaze is not matched.
Crawling, bare
(unglazed) patches
on surface of ware.
Glaz e f o rming
small islands.
Completely dry ware to less than 0.5% water content.

Deflocculate glaze to reduce water content but retain
sufficient thixotropy to eliminate running. Use soda
ash as the deflocculant.
Hollow ware: thin, dip inside then immediately dip
outside with a quick drying time; otherwise dry well
before glazing the outside.
Watch drying time from dripping; it should be about
seven seconds. If longer than this, body swelling and
cracking can occur. To increase drying time, add a
flocculent such as Epsom salts or calcium chloride.
To lower drying time, add soda ash or Dispex or in
crease litre weight.
Reduce handling and blow dust off surface before
glazing.
Slow firing up to 600C and ventilate kiln well.
Glazes should contain about 30% clay or 5 to 6%
bentonite. Watch for cracking during drying to guide
shrinkage control.
ONCE FIRED WARE

FAULTSGlazing Technique
Faults
1.
2.
1a)
1b)
1c)
1d)
2a)
2b)
2c)

81
Revised April 2013
Faults and Remedies

Fault
Appearance
Cause
Suggested Remedies
PEELING
1. Glaze under compression.

2. Migration of soluble salts to the surface of the
Glaze lifting away from the
body during drying or firing, giving rise to poor
body. This mainly occurs on
glaze adhesion.
the edges of pots such as
cup rims and handles.
1.
a)
b)
2.
a)
b)
PINHOLED GLAZE
1. Development of gases from the body and/or

glaze during firing.
a) Under firing of the body.
Pinholes in the glaze after b) Air trapped in the clay.
firing.
c) Over application and over firing of underglaze
colours.
d) Soluble salts (sulphates) in the body.
e) Excessive whiting in the glaze.
f) Under firing of the glaze.
g) Over firing of the glaze giving rise to
decomposition of materials.
1a)
b)
c)
d)
e)
f)
SCUMMING
Dull scum on the glaze 1. Sulphur gases present in the kiln atmosphere 1a) Ventilate the kiln as much as possible.
surface.
reacting with the glaze.
1b) Fire the bisqueware to a temperature high
a) Sulphates present in the body.
enough to liberate any carbon or sulphur.
b) Sulphur present in the kiln gases.
WARPING
Mis-shaped greenware 1. Uneven drying or uneven firing.

after drying and/or firing.
2. Thick and thin sections and bad geometry of
piece.
3. Clay memory i.e. the reverting of shape if
strains are applied during forming.
Examples (i) clay spiral in thrown ware
(ii) strains during handling.
4. Warped kiln shelves is a common cause.
5. Firing too fast.
6. Inadequate or ill-positioned supports during
drying or firing.
Reduce the body expansion

Reduce the firing temperature.
Reduce the body soaking period.
Increase the glaze expansion
Add high expansion alkaline frit.
Reduce silica and/or alumina content of the
glaze.
3a) Add barium carbonate (1-2.5%) to body to
precipitate soluble salts.
3b) Sponge the rims and handles of the piece
before bisque firing.
Fire body to recommended firing temperature.
Wedge the plastic clay thoroughly.
Reduce the application of underglaze colours.
Add 1-2.5% barium carbonate to the body.
Reduce the amount of whiting in the glaze.
Fire the glaze to the recommended firing
temperature.
g) Reduce the firing temperature of the glaze.
1.
2.
3.
4.
5.
6.
Ensure even drying and firing rates.

Give careful consideration to your design and
try to maintain an even thickness during
forming.
Allow for clay memory during forming and
when attaching handles.
Check all kiln furniture and rotate regularly.
A firing rate of 150C per hour is sufficient.
Take great care when stacking the kiln
ensuring adequate support for the piece.
If you have queries regarding

ceramic faults or difficulties,
call our technical staff.
Email sales@walkerceramics.com.au
82
Revised April 2013
Conversion Tables & Formulae

Miscellaneous Formulae
Temperature Conversion Factors
Degrees Fahrenheit = 9( C ) + 32 Degrees Centigrade = 5x(F - 32)
5
9
Shrinkage Formula
% Shrinkage = (L1 - L2) x 100
L1
Where L1, L2 are the separations of test marks on sample in the initial and
final states, these being two of the following
(A) wet state, (B) dry state (110C), (C) fired state (< 900C)
Moisture Content Formula

Moisture Content (wet basis) % = W1 - W2 x 100
W1
1
Where W1 = wet weight, W2 = weight of sample after drying at 110C.
Loss Of Ignition Formula

% Loss = W2 - W3 x 100
W1
1
Where W2 = dried weight, W3 = weight of sample after firing to about 1000C.
To Convert
Into
Multiply By
To Obtain Converse
Multiply By
(i.e. cm to inches)
LENGTH
Inches
Feet
Yards
Miles
Centimetres
Metres
Metres
Kilometres
2.5400
0.3048
0.9144
1.6093
0.3937
3.281
1.0936
0.6214
AREA
Square Inches
Square Feet
Square Yards
Square Miles
Acres
Square Centimetres
Square Metres
Square Metres
Square Kilometres
Hectares
6.4516
0.0929
0.8361
2.590
0.4047
0.1550
10.76
1.197
0.3861
2.4711
VOLUME
Cubic Inches
Cubic Feet
Cubic Feet
Cubic Feet
Cubic Yards
Imperial Gallons
Imperial Gallons
Pints
Cubic Centimetres
Litres
Cubic Metres
Imperial Gallons
Cubic Metres
Litres
U.S. Gallons
Litres
16.387
28.317
0.02832
6.237
0.7645
4.5460
1.205
0.5682
0.06102
0.03531
35.311
0.1603
1.3080
0.2200
0.830
1.7598
MASS
Grains
Ounces
Pounds
Hundredweights
Tons
Tons
Grams
Grams
Kilograms
Kilograms
Kilograms
Tonnes
0.0648
28.352
0.4536
50.80
1016.1
1.016
15.432
0.03527
2.20462
0.0196
0.000984
0.984
Properties of Porous Solids

True Specific Gravity
S.G =
W2 - W1
(W3 - W1) - ( W4 - W2)
Where W1 = weight of S.G. bottle
W2 = weight of S.G. bottle + sample
W3 = weight of S.G. bottle + water
W4 = weight of S.G. bottle + water + sample
For other properties of bulk solid
W = weight of dry test piece
S = weight of test piece soaked
I = weight of test piece soaked and immersed
S and I in a fluid of density D.

Bulk Specific Gravity
S.G. = W x D
S-I
Apparent Solid Specific Gravity
S.G. = W x D
W-I
Apparent Porosity
A.P. = S - W x 100%
S-I
Water Absorption
W.A. = S - W x 100%
W
Useful Formulae
Circle & Cylinder
= 3.14159
Radius = r Height = h
PRESSURE
Ounces/Square
Yard
Pounds/Square Inch
Pounds/Square Inch
Atmospheres
Atmospheres
Tons/Square Inch
Pounds/Square
Foot
Grams/Square Metre
Kilograms/Square Centimetre
Kilopascals
Pounds/Square Inch
Kilopascals
Megapascals
Pascals
Pounds/Square Inch
Kilopascals
33.9
0.0703
6.8948
14.70
101.325
15.444
47.88
0.4902
3.3864
0.0295
14.22
0.14504
0.068
0.00987
0.06475
0.0209
2.04
0.2953
DENSITY
Pounds/Cubic Inch
Pounds/Cubic Foot
Pounds/Cubic Foot
Ounces/Pint
Pounds/Gallon
Grams/Cubic Centimetre (= t / m3 )
Grams/Cubic Centimetre
Kilograms/Cubic Metre
27.68
0.0160
16.0185
0.05
0.09978
0.03613
62.4
0.06243
20.0
10.0224

83
Area = r2
Circumference = 2 r
Volume of a cylinder = r2h
Plane Figures
Triangle
Area = ( base x perpendicular height)
Parallelogram
Area = base x height
Rhombus
Area = ( product of the diagonals)
Trapezium
Area = (sum of parellel sides) x perpendicular height.
Revised April 2013
Health & Safety

There has been concern in recent years regarding the possibility of risk to health arising from the use of certain ceramic materials. Walker
Ceramics is constantly upgrading its Safety Information and will supply Material Safety Data Sheets upon request for all materials produced
by Walker Ceramics. The guidelines are designed to promote a safe and healthy working environment.
Observance of the following will ensure safety when handling all pottery materials including clays, glazes and colours.
Eating, smoking and drinking should be prohibited in the workroom. Wash your hands thoroughly after each session.
Workrooms should have readily cleaned, impermeable working surfaces and floors. Personal washing facilities should be nearby.
There should be adequate ventilation.
It is best to prevent dust rather than attempt to control it. Ware can be fettled or shaped whilst dry or such operations can be done
with equal efficiency whilst leather hard or green and the surface finished with a damp sponge. Care must always be taken to avoid
the generation of airborne dust.
Dust hazards can be minimized by the following:
Immediately clean up any spillage of glaze or slip etc. since such materials when dry are a source of dust, particularly when tramped
around the studio.
Working surfaces, walls and floors should be thoroughly cleaned after use preferably by a wet method or with an industrial vacuum unit
that meets Australian safety standards.
Clean all equipment and utensils after use.
Wet or damp processes are preferable to dry ones.
Packages should be clearly labelled and securely closed to prevent particles being carried away by draughts. They should be stored,
opened and dispensed in a suitably ventilated area.
The following materials need particular care in handling : barium carbonate, borax, silica, zinc oxide, antimony oxide, chromium oxide,
copper carbonate, copper oxide, nickel oxide, lead bearing glazes and all on-glaze colours.
Used packages should be carefully disposed of. With processes which cannot be controlled to eliminate dust, the following procedures are
recommended:
Protective clothing of a non dust retentive type should be worn. Terylene overalls or coats are recommended when using dry
materials and impervious garments or aprons with wet materials. They should be cleaned regularly.
Wherever possible all dusty work, including the spraying of glazes and slips, should be done in a suitable dust extraction compartment
with filtered exhausts to outside atmosphere.
If suitable dust extraction equipment is not available, disposable dust respirators, either toxic or non-toxic type, or approved respirators,
should be used and a sufficient supply of replacement cartridges be readily available.
General Warning
Some of the materials stocked by Walker Ceramics could be poisonous if not used in the orthodox manner. The following materials have
been classified as toxic. All packaging is labelled accordingly.
POISON S6
NOT TO BE TAKEN
KEEP OUT OF THE REACH OF CHILDREN
S5 WARNING
NOT TO BE TAKEN
KEEP OUT OF THE REACH OF CHILDREN
CODE
MATERIAL
CODE
MATERIAL
BA80
Barium Carbonate
BA130
Borax Fine
BA250
Copper Carbonate
Copper Compounds
When added to low lead solubility glazes, copper causes the solubility of the lead to be greatly increased, making the glaze unsuitable on
vessels for use with foodstuffs and beverages.
Code
BA250
BA260
Raw Material
Copper Carbonate
Copper Oxide - Black
Material Safety Data Sheets on all products are available on our website or contact our sales staff.
84
Revised April 2013
Health & Safety

Lead Free Glazes are all food and drink safe.
Fritted Lead Glazes
We do not sell or use red and white lead in any of our glazes as it is a dangerous material. A frit is a type of glass. It is a combination
of materials which are melted together to render them insoluble and resistant to acid attack. They are therefore a means of introducing
certain materials into a glaze that would otherwise be toxic. Glazes based on lead bi-silicate frits produce a shiny, durable finish and give
brightness and clarity of colour when used in conjunction with oxides, stains, slips, etc. Some types of glazes may release lead and other
metallic compounds when attacked by certain acids, notably fruit juices, vinegar and alcohol. To reduce solubility to acceptable limits we
use frits which have a very low lead solubility to meet health and safety requirements. However even a safe glaze can be made unsafe by
even minor additions of certain materials, notably copper (see raw materials) or by firing them above the recommended temperatures
which are listed in the Walker Ceramics price list. Some of our decorative glazes would fail a metal release test and should not be used on
the inside surface area of utility ware.
Cadmium Selenium and Copper glazes fall into this category. To achieve bright and vivid results care should be taken with
their application and firing as they are by nature more sensitive than other glazes.
Powder Code
Liquid Code
Earthenware Glaze Colour
ERR5185
EUC5131
EUC5128
ERG5185
ERC5131
ERC5128
Gold Lustre
Flambe Red
Bright Yellow
Note
Safe glazes must be applied and fired under conventional conditions for them to be safe. These glazes should not be ingested or used
without gloves. Walker Ceramics recommends the use of lead free glazes but the decision must nevertheless rest finally with the potter in
any instance where the ware is intended for use with foods or beverages, especially so in oven-to-table or cooking ware. If any doubts are
felt about the glaze formulation, firing, the possibility of contamination or the addition of such materials as copper compounds then certainly
the wiser choice would be to use only lead free glazes at least on the inside or any surfaces that may come in contact with food.
PROTECTIVE APPAREL
APRON (Product Code HM10)
PVC waterproof aprons are designed to protect the clothing whilst working with both wet and dry materials.
GLOVES (Product Code HM45)
For use when handling hot ware, particularly useful for Raku firings. We stock Heat Resistant Crusader Gloves measuring 305 mm long.
RESPIRATORS AND MASKS (Product Code HM120)
Whenever powders are being mixed, or colours sprayed, a mask should be worn. We offer a wide variety ranging from disposable non-toxic
protection to respirators for complete toxic particle protection.

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Health & Safety Data Sheets

SILICA
Silica is a glassy material that is the most important constituent of pottery glazes and is an integral part of clay and many pottery materials.
It is a hazardous material and must be handled with care. We feel that our customers must be aware of the properties of silica.
Technical Name: Silica Flour
Chemical Name: Silicon Dioxide SiO2
UN Number: Not Applicable
Ingredients: 96 - 100% Crystalline Silica
Risk Classifications
R20/R48 Harmful: Danger of serious damage to health by prolonged exposure through inhalation.
R36/R37 Irritating to eyes and respiratory system.
R43 May cause sensation by skin contact.
Safety
Long term exposure to respirable dust (silica) may cause lung disease e.g. Silicosis.
Respiratory protection must be to Australian Standard 1715/1716 and must be worn when handling or in close proximity.
Avoid dust contact with eyes. Safety glasses or face shield to Australian Standard 1337 must be worn at all times when handling or within
close proximity.
Safety Phrases
S2 Keep out of reach of children.
S22 Do not breathe dust.
S36 Wear suitable protective clothing.
S38 In case of insufficient ventilation, wear suitable respiratory protection.
S39 Wear eye and face protection.
S26 In case of contact with eyes, rinse immediately with plenty of potable water and seek medical advice.
S46 If swallowed, seek medical assistance immediately and show physician the container or label.
Disposals or Spills
Avoid generating dust.
Dispose of in accordance with local government regulations.
For further information you may request a Materials Safety Data Sheet from Walker Ceramics or speak to one of our technical staff. We have
Materials Safety Data Sheets for all of our products available upon request.
The following agency will assist you in the case of poisoning with any substance:
Australian Poisons Information Centre
24 Hour Service 13 11 26

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Revised April 2013
DVDs by Greg Daly (Video Ceramics)

Walker Ceramics has produced eight DVDs that thoroughly demonstrate all ceramic techniques in detail. This visual information series has
been developed for the classroom, pottery groups and the individual potter alike. We are proudly associated with Australia's own master
potter, Greg Daly, in the production of these workshops. Greg is well known throughout Australia and, indeed, the world. He is represented
in both local and international museums and public collections and has been awarded numerous prizes overseas. We feel the student of
ceramics has the opportunity to benefit from Greg's professional knowledge and experience.
The running time for each DVD is approximately 40 minutes.
DVD 1 ~ Throwing Techniques
This video gives a comprehensive illustration of instruction in the craftsmanship of clay. Here the visual finer points of learning the skill of
throwing enables the potter to closely follow the throwing movements. Firstly, Greg Daly discusses the basic properties of clay and the
methods of preparing the clay body for the wheel to avoid problems in throwing and shaping. The body, arm and hand positioning and
movements and the correct mental approach, are all important and are fully covered. The potter must be responsive to the needs of the
clay. The progressive development of different shapes from the basic cylinder are completely illustrated. These forms can be created
quickly and easily altered in endless ways.
Throwing can easily be mastered by anyone willing to practice the methods shown in this DVD.
Includes booklet providing more detailed information on techniques demonstrated.
DVD 2 ~ Finishing - Turning, Decorating & Glazing
After being able to throw pots, what now? This video gives a clear and instructive illustration of the techniques of turning and allows the
viewer to watch a skilled professional at work. The authoritative discussion on the importance of foot design and its many variations is a
most important contribution to the excellence of form. The demonstration of hand and tool positions for turning, together with the selected
decoration techniques, are all clearly shown step by step. Finally a discussion and demonstration of glazing with some reference to glaze
formulation.
DVD 3 ~ Hand Building
Clay is a beautiful material for the creation of shapes and forms without mechanical aid. Craftsmen are turning their attention to these hand
building techniques which so easily give variety of form, expressiveness and little limitation of size. The explanation of shaping clay as a
plastic material is the subject of this DVD. Free form slab building achieves a freshness from clay and you learn its abilities to perform.
These forms are finished in various ways by texture, coloured clays, coloured slips, airbrushing and glazing. Precise slab built pieces are
developed and finished. A demonstration of the use of different clay bodies is fully illustrated.
A comprehensive DVD recommended to be viewed by any potter.
DVD 4 ~ Hand Building 2
This DVD demonstrates further techniques and their development using coloured clays and twelve ideas in one pot. Having experienced the
qualities of clay, shapes and construction in previous videos this video takes you into the fascinating world of colour. Many methods of colouring the clay are shown with the use of underglazes, stains on plaster and the use of slip as a medium for securing colour. The proper
handling of work is explained, for example, demonstrating the use of plastic in order to avoid finger marking the clay. All this enables you to
develop your own interpretations and gives inspiration for your own experimentation. Also included are demonstrations of insertions, yet
another wonderful idea of creating three dimensional effects as well as using little oddments of clay.
Bowl by Greg Daly

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Revised April 2013

DVD 5 ~ Raku & Black Firing
A most exciting DVD not only from a firing point of view but on the most simple forms of building kilns as well as a superb range of glaze
results.
There is a great deal of fun to be had by experimenting with sawdust, oil and Raku. Explanations of using the same glaze in each type of
firing makes this a must for your pottery education. Simple forms of kiln building enable you to do so at a low cost. 'On decoration' details
and aids for decorating are interesting techniques which should give you incentive for your own development.
DVD 6 /1 ~ Syllabus for Beginners Part 1
This DVD incorporates easy step-by-step methods for beginners and introductory school level clay projects, including creating with clay
balls, pinch pots and coil pots. Greg begins by showing us how to make slip from dry clay. This slip will be used throughout the DVD when
clay pieces are joined. Using soft clay balls, he creates a clay house, explaining how to build up the walls of the house using very simple
hand building techniques and finish the house off with a slab roof. Adding texture to clay is demonstrated with the use of rolled coils of clay
and various objects. These coils are then pierced and cut to create beads.
Pinch pots are explored in detail. Controlling the form, pinching a variety of forms and adding feet to the pinched form are all shown.
Rolling pinched pots in powdered clay to achieve surface colour and texture is explained. Internal pinching to achieve a natural looking
cracked exterior is also demonstrated. Using the pinched form, various finishing methods are explained that can be applied at the bisque
stage, including staining with oxides to highlight the textured surface and applying glaze with a brush. By joining two pinch pots together, we
are shown how to make an ocarina, a South American musical instrument that makes wonderful sounds even before firing. Greg adds a
mouthpiece to the basic form created by the two pots and then forms the opening. The correct positioning of the holes is explained so that
the correct notes will emerge. The ocarina can then be fired, decorated and glazed. Every child will enjoy making one of these delightful
instruments!
After demonstrating how to roll coils correctly, enchanting examples of simple coiled animals are created while the construction techniques
are explained. These animals are quick to make and are an ideal project when time is limited. Greg then demonstrates the step by step
approach to making coil pots using various shaped bases made from clay slabs. Coils are added until the walls of the form are at the correct
height. The coils are then merged together by smearing and pinching to create a single form. The technique of adding coils to make the pot
flare out or curve in is also demonstrated to enable the viewer to learn how to control a form. Used as a classroom aid for instruction and
inspiration, this DVD contains forty-five minutes of wonderful ideas and helpful hints.
DVD 6 / 2~ Syllabus for Beginners Part 2
This very informative DVD introduces novices to basic throwing techniques, slab pot construction and various decorating methods, including
textural and colour finishes, in a clear and concise format.
Beginners will view the methods used to attach clay to the wheel head so that it does not slip off, the use of liquid clay (slip) as a lubricant in
throwing and how to achieve the correct wheel speed when throwing. Greg also demonstrates correct body and hand positions for throwing
a pot, centring clay on the wheel, opening up the centred clay, compressing the base and throwing cylinders. Helpful hints on how to throw
successfully are given along with several exercises to improve throwing skills.
Three different methods for making simple slab pots are demonstrated and provide the viewer with plenty of ideas for future projects:
cutting clay with wire and cutting guides, rolling slabs with a rolling pin and guides and throwing a slab on a flat surface. The slabs are then
built into forms using the different methods of joining leather hard clay with slurry. How to reinforce clay forms by using coils is detailed
along with the application of colour using simple stencils. In addition the application of textures using common items such as bark, screws
and corrugated cardboard is explained. Many decorative techniques are shown including wax resist, colour washes, sgraffito, combing and
slip trailing with engobes. The use of a hand held extruder and the different textures it can create are demonstrated. The comprehensive
exploration of decorative techniques, basic throwing and slab construction methods combine to make this DVD ideal for teaching and a
valuable reference source.
DVD 7- Moulds & Decoration
Ideal for the practicing potter, serious student or senior level ceramic class, this DVD is informative, technically useful and packed full of
creative applications using moulds as a tool.
Methods for mixing plaster, including the correct ratios of plaster to water, modelling a positive form in clay for press moulding and using a
casting box to cast in are all covered in a clear step-by-step approach. The demonstrations of pouring plaster on to a positive form to create
a one piece mould, cleaning up the mould after the plaster has set, how to tell if the mould has dried properly and the removal of the positive
form from the mould enable the viewer to fully understand the construction process.
Greg then illustrates a variety of creative uses for the press mould. These include the use of different coloured clays, the application of
different textures and joining two halves of a pressed form together. Various ways of finishing are demonstrated before the methods for
making two piece moulds are explained. This includes the use of release agents, the use of colour to decorate the forms and inlaying
different coloured clays in the mould prior to casting.
The art of slip casting is explored in detail, including the use of deflocculants, how to pour the slip, the removal of excess slip, maturation
times and how to remove the cast form from the mould. The wide range of applications for moulds are touched on and in the final segment of
the DVD Greg shows the viewer the use of a multi piece mould.
This DVD is a source of inspiration and technical expertise that would make an excellent addition to any ceramics library.
88
Revised April 2013
Studio Accessories
Banding Wheels
The banding wheel is an important accessory for potters, individuals and teachers for decorating or hand building. The wheel enables
every aspect of the work to become accessible without the operator changing position or the work being handled. Walker Ceramics stock
steel and aluminum banding wheels in 175 mm diameter (Product Code HA7) and 305 mm diameter (Product Code HA12).
Also stocked is a wooden banding wheel 267 mm diameter (Product Code HA10).
Wooden Batts
Walker Ceramics stocks an extensive range of weathertex batts.
Sizes range from 152 mm (6 inches) to 305 mm (12 inches) in
diameter.
Batts can be used in a variety of ways: on the wheel to alter the
wheel head diameter, as a removable work board on the wheel
to prevent distortion when taking pots off the wheel and as a
work board for hand building.
(Product Codes HB 6, 7, 8, 9, 10, 11 & 12 )
Buckets (Product Code HC5 and HC10)

Complete with securely fitting snap on lid and carrying handle.
A must for all studios. Ideal for the storage of either wet or dry
materials.
Containers (Product Code HC...)
Plastic bottles, all with tight fitting screw-on lids for storage of
glazes and colours.
Litre Weight Bottle

(Product Code HC80)
Used to calculate accurate litre weight
measurement when mixing casting slips.
Is supplied with a simple conversion
chart and method to test the accuracy of
your scales.
HG60
Venco
Extruder
HG61
Standard Venco
Die Shapes
HG70
Venco Large
Extruder
Extruders
Venco stainless Steel Wall Mounted Extruder
(Product Code HG60).
This stainless steel extruder takes the tedium out of creating handles. It can be mounted on either the wall or the
bench and comes with four punched dies and one blank
die to get you started.
Blank dies are available separately (Product Code HG62),
as well as a further set of eight shaped dies (Product
Code HG61)
HG70 Large Stainless Steel Extruder
Like our smaller model, the new unit features an all
stainless steel barrel and frame. The barrel measures
13.5cm diameter and can hold up to 4kg of clay - perfect
for larger section extrusions.
The optional die set (HG72) makes hollow extrusions, or
can be used without the central blank for solid sections.
HG71
Standard die
set for large
extruder
HG72
Hollow die set

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Revised April 2013
Studio Accessories
Protective Apparel
An absolute must for every studio or classroom is a variety of protective clothing.
We carry a range of suitable items.
Apron - Waterproof CVA415 (Product Code HM10)
Gloves - Crusader 305 mm (12) (Product Code HM45)
Mask - Disposable Non-toxic P1 (Product Code HM120)
Sieves & Meshes

ALUMINIUM HAND SIEVE (Product Code HO5) - Supplied with 1 mesh of your choice. Made
to our own specifications, these sieves sit comfortably in a 5 litre bucket leaving both hands free
to pour in the wet or dry materials.
The stainless steel meshes are all interchangeable and rubber rimmed, ensuring a snug fit.
Meshes available: 80 Mesh (Product Code HO80)
120 Mesh (Product Code HO120)
200 Mesh (Product Code HO200)
We also stock the full range of Talisman Hand Held, Rotary and Test Sieves
Hand held sieve and a selection of meshes

Scales
Adam Electronic Balance Scales (Product Code HN113)
Model CQT1501 1500 / 0.1g
Adam Triple Beam Scales (Product Code HN61)
TBP2610T Fixed Steel
Product Code HN61
Product Code HN113
Sponges
Sponges are a day to day necessity in all forms of ceramic work; whether for decorating, hand building or throwing.
Natural Sea Sponges (Product Code HP8 and HP9)
We stock assorted shapes from small to medium in size.
Sponge Sticks (Product Code HP10)
Sponge on a long handle. Used for removing surplus water from
the inside of tall or narrow necked pots during throwing.
Hydra Sponges (Product Code HP111 and HP117)
Round synthetic sponges that are long lasting and strong. They are suitable for many uses.
Tile Cutters - Australian Made

Easy to use, Australian made, spring action cutters that make tile cutting a snap.
Create consistent accurately sized tiles using these tools.
Crafted from galvanized steel, they come in a variety of shapes and sizes: square, round and border.
50 x 50mm Square (HT5)
100 x 100 mm Square (HT15)
150 x 150 mm Square (HT25)
76mm Round (HT30)
100 mm Round (HT35)
100 x 50mm Border Tile (HT40)

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Revised April 2013
Tools and Accessories

Tools are an essential part of the studio. The vast array can seem very daunting to the beginner. Whether for construction, shaping,
smoothing or decorating, the correct tool can make the difference between success and failure. It is a matter of personal preference as to
which tool may be the most suitable for the pots that you intend to make, but always buy the highest quality tools that your budget will
allow. In conjunction with your studio equipment, your tools will allow your visions to become reality.
Every studio should have a basic set of tools and studio equipment such as:Fettling knives
Cutting wire
Rolling pin
Wooden paddles
Calipers
Banding wheel
Sieve and meshes
A selection of sponges, both natural and synthetic
A selection of boxwood modelling tools
A selection of metal finishing tools
A selection of looped wire finishing tools
Wooden ribs
Steel and rubber kidneys, both firm and flexible
Hole piercers
Needle tool
Kushi comb
Slip trailer
A selection of high quality decorating brushes.
All tools and accessories should be thoroughly cleaned and dried after use and
stored in a suitable container. This basic care will add years to the life of the tools
of your craft.
Walker Ceramics stocks a Basic Tool Kit for the classroom and studio
(Product Code JT30).
The kit is designed for the novice to begin experimenting with clay.
Other tools and accessories that you may find useful are:
Clay harp for cutting slabs.
Plastic and hessian sheeting to cover your works during drying and protect them from dust..
Glaze stirrer that fits on to an electric drill.
Gauge posts for the accurate repetition of ware such as canisters, mugs and jugs.
Tile cutters for precise slabs of clay for wall or floor tiles.
Wooden batts on which you can construct your pieces and move them easily.
Plastic measuring jug and scales for weighing raw materials, slips and glazes.
Sgraffito tools for the delicate incised decoration.
Glazing tongs for dipping ware.
Hand held or wall mounted extruder for handles and decorative add-ons.
Remember that you must take adequate health and safety precautions when working with clay. Gloves, dust mask, safety
glasses and protective apparel must all be used where necessary.

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Modelling Tools (Boxwood)
Essential in every studio, these 12 tools, 203 mm (8 inch) long, are
shaped to perform a multitude of jobs from decorating through to cutting,
hollowing out and modelling.
These tools are beautifully finished and fit very comfortably in the hand.
They are available individually or as a set.
JJ Modelling Tools (Boxwood)
203mm (8")
Set of 12 Boxwood Modelling Tools (8)
JJ6850
JJ6851
JJ6852
JJ6853
JJ6854
JJ6855
JJ6856
JJ6857
JJ6858
JJ6859
JJ6860
JJ6861
JJ6862

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Revised April 2013

Calipers:
A compass made of plastic or perspex used for checking and
comparing measurements of pottery e.g. when fitting lids,
when producing sets of similar dimensions.
The Lidmaster (JA6091) is extremely versatile and precise.
It is designed for quick internal and external measurements.
Hole Piercers
For producing a neat hole. The smallest size is particularly suitable for
strainer holes in teapots. Available in two Diameters.
5mm (JE6455) Tapered
20mm (JE6454) Straight
The more simple Calipers are made in plastic and are

300 mm long (JA6112)
Multi Drill Tool * * * NEW * * * JE6500
Cutting Wires:
Wire attached to wooden or plastic holders at both ends to
ensure firm, straight cutting of clay. Available with either plain
or twisted stainless steel wire.
Plain wire with wooden handles (JC7601)
Twisted wire with wooden handles (JC7602)
Twisted stainless steel wire with rubber hand grips (JC7603)
Harp:
Stainless Steel frame used for producing clay slabs of even thickness
without rolling guides. The wire retaining rings are set in the location
slots according to the thickness of the slab required.
Size: 457 x 230 mm (JF6401).
Spare wires are also available. (JF6411)
Kushi Comb (JU6000):

A Japanese tool of polished wood beautifully finished. Used to
produce 'Kushime' comb grain decoration as well as many other
decorative effects.
Clay Gun (Product Code JD6550)

For the manual extrusion of clay. This cast zinc alloy tool is the
size of a large syringe and fits comfortably in the hand. The clay
gun is supplied complete with 19 discs and is ideal for any potter
decorating by clay addition, and for the classroom where the
shapes made are of great interest.
Barrel Length
102 mm
Barrel Diameter
18 mm
Overall Length
115 mm

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Revised April 2013

Paddles (JH6801)
Large wooden paddle 36 cm long, for use with large hand built pots
Palettes and Kidneys

A variety of palettes for every day use in the pottery workshop. Soft
(flexible) rubber palettes are used most often in the pressed dish
technique when clay is pressed into a mould. The hard (firm)
rubber type may be used on thrown or hand built ware for shaping
and smoothing the surface. Steel palettes are made from high
quality blue steel and are suitable for smoothing and trimming
(JN6851) Small (Firm) 76 mm long
(JN6854) Medium (Firm) 108 mm long
(JN6861) Small (Flexible) 76 mm long
(JN6864) Medium (Flexible) 108 mm long
Patter (JH6981)
Wooden patter 17 cm long, for use with hand built pots.
leather hard or dry clay.

Approx. 75 mm x 40 mm
Knifes
Invaluable tools in any workshop.
Used for fettling, trimming, carving and sculpting.
(JN6868) Small (Flexible) orange kidney
Potters Knife - Composite handle (JI6500)
Fettling Knife - (JI6501)

(JN6921)
Serrated
100 mm
Metal
Kidney
Rib BH1
(JN6941) *(JN6931)
* * NEWPlain
* * 100
* mm
Used for finishing, forming and
decorating ceramic forms.
Measures approx. 12 x 5 cm.
Looped Round Wire
Three double-ended tools with ground steel ends firmly wire bound
to their wooden handles. Available individually or as a set
(JK6700). Ideal for sculpture. 200 mm long.
Ribs - Boxwood
May be used to help pull up the pot, however their different styles
lend themselves to
JO7011 Appleseed 110 mm long
achieving
many different
shapes and designs.
Needles
The steel needle is a necessity for all potters and is used to cut
through and remove the uneven top edge of thrown ware and for a
multitude of other uses.
Pro Tool (JM6782)
JO7014 Mouse 120 mm long
Mould Trimmer (JU6770) * * * New Shape * * *

Plastic tool for trimming spare away from a mould. Used in
preference to metal tools to minimize damage to moulds.
Fine (JM6783)
94
Revised April 2013

Double Ended Ribbon
Made to our specification, the five shapes available provide every
requirement for turning. 200 mm long.
Available individually or as a set. (Product Code JR7460)
Lace Double Ended Tool (JU7201)

Heavy blunt needle on one end and tear-drop flat shape on the
other. 150 mm long.
JR7461
Clean Up Tool (JU7202)

Used to clean up greenware by removing imperfections and
enhancing or sharpening any embossing. 200 mm long.
JR7463
JR7465
JR7467
Weenie (JU7203)
A double ended looped wire tool which will give a medium to heavy
line. 150 mm long.
JR7469
Metal Single Ended Turning ToolStainless

Strong and durable with cut away shoulder
JR7423
Sgraffito Tool (JU7205)
The sgraffito is available as a double ended looped wire tool that,
depending on which end is used, will give a fine or heavy sgraffito
line. 150 mm long.
Single Ended Ribbon Tools

Used for shaping wet or leatherhard clay. 160 mm long.
JR7485
Clean up Tool (JU7223)

Primarily used to 'clean up' greenware by removing seams and
imperfections and for enhancing and sharpening any embossing.
They may also be used for very fine sgraffito work. 150 mm long.
JR7482
Turning Tool Small 150mm (JU7502)

Small double ended ribbon tool for detailed turning.
Tongs
Glazing tongs (JQ7384) are 280 mm long and used for holding
bisque ware whilst dipping in glaze.
Mini Ribbon Tool Kit (JT75) * * * NEW * * *

Set of six mini ribbon tools
125 mm long.
Raku tongs (JQ7382) used for moving raku pieces around the kiln.

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Revised April 2013

Sculptor's Thumb (JU6755)
Turned, polished wooden thumb, that duplicates thumb and finger without abrasive wear to the sculptor's hands.
The sculptors thumb fits beautifully in the hand.
Approximately 13 cm long.
Rolling Pin (JU7101)
For rolling out clay slabs.
All wood, 535 mm (21 inches long with a 75 mm (3 inch) barrel.
Throwing Sticks
These 300 mm long wooden tools are used for working
on the inside of tall narrow necked pots on the wheel.
Available in two styles:
Straight (JU7352)
Curved
(JU7351)
Slip Trailers
Use for trailing any liquid product - Slip, Glaze, Wunder or Design Colours, etc. These easily used trailers offer unlimited possibilities.
Raised designs can be achieved by mixing colour or slip with Plyrite Binder.
Tips on Slip Trailing
Always practice using the trailer on paper first to get the feel of the flow.
Slip trailing works best on bone dry clay.
Always ensure the nib is fitted properly.
Shake the slip down to the nib to eliminate air bubbles.
Hold the slip trailer parallel to the surface of the clay and let the nib lightly touch the surface.
Do not hold the slip trailer like a pen - hold it in the palm of your hand, using your thumb to control the flow.
Never push the nib into the clay - the movement of the slip trailer should be the opposite of the direction in which the nib is pointed.
Never try to apply vertical lines onto a pot while it is standing upright - always turn the pot on its side and then apply.
A thick line is made by squeezing more and traveling more slowly.
A thin line is made by squeezing lightly and traveling faster.
This rubber bulb slip trailer (JU7254) is perfect for engobes and where large areas need to be covered.
Available in 90 mL capacity.
Decorator Slip Trailer (JU7267) * * * NEW * * *

60 mL bottle with a Purple 16 gauge 25mm tip and a T: cleaning needle, Pink 18 gauge and Yellow 20
gauge 12mm tips with Tan fine tip cleaning wire and two tip covers - great for glaze or slip trailing.
Magic Mister (JU8000)

A manual airbrush - ideal for any colour application usually achieved with
a motorised airbrush.

96
Revised April 2013

JW Mudtools
JW100
Mudtool Rib R-0 No.0 Very Soft
JW101
JW102
JW103
JW104
JW105
JW110
Mudtool Rib Y-0 No.0 Soft
JW111
JW112
JW113
JW114
JW115
JW120
Mudtool Rib B-0 No.0 Very Firm
JW121
JW122
JW123
JW124
JW125
JW130
Mudtool Rib G-0 No.0 Medium
JW131
JW132
JW133
JW134
JW135
JW140
Mudtool Shredder
JW150
Mudtool Carving Bow
Mudtool Ribs
Mudtool Shredders

Mudtool Carving Bow
97
Revised April 2013
Brushes
Glaze and Decoration Brushes
Walker Ceramics stock a very extensive range of high quality brushes. It is essential that the correct brush is used when glazing ware.
Although we recommend the following styles for glazing, they are all multi-purpose brushes. The preference of one brush over another is a
matter of personal choice.
CARING FOR BRUSHES
A good brush is a sound investment. Any brush, no matter how high the quality, can be destroyed by bad housekeeping.
Using A New Brush
Wash the brush in lukewarm water with a small amount of household detergent. This will remove any wax used to hold the hairs in place.
Rinse well, and dry by standing brush head up.
General Care
Don't leave brushes sitting in water. This will eventually bend the hairs out of shape and loosen their grip in the ferrule. Rinse the brushes
under running water at the end of each day. Work any colour caught up near the ferrule with your fingers.
Re-Shaping
Brush hairs should always be left to dry in the shape you wish the hairs to be.
Pointed Rounds: After rinsing, gently wind the hairs up by drawing through thumb and forefinger while turning the handle in a clockwise
or counter-clockwise direction. The hairs will then be shaped into a point and will dry in that condition, ready to use the next day.
Squares: Squeeze excess water out between thumb and forefinger, leaving the hair shaped square.
Hake
A simple brush with extremely soft hair suited to
laying on large flat areas of colour, glaze or slips.
Product Codes
Sizes:
IL25
Size 25 - 25 mm
IL40
Size 40 - 40 mm
IL51
Size 51 - 50 mm
IL76
Size 76 - 75 mm
Calligraphy
Beautiful calligraphy brushes for the decoration
of ware by glaze, slip or underglaze. The hair
produces lively brush work and very thin lines.
Product Codes
Sizes:
IN100
Size 0
IN1
Size 1
IN5
Size 5
IN7
Size 7
IN9
Size 9
IN11
Size 11
Square Shader - Synthetic sable

These high quality brushes are capable of holding a large load of
colour yet give you complete control of application. They are
beautifully constructed and have a superb life span. They are the
perfect addition to any studio.
Product Code
Sizes:
IS6
Size 6
IS9
Size 9
IS13
Size 13
IS19
Size 19

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Revised April 2013
Brushes
Round Golden Nylon
These synthetic brushes have been chosen by us for their ability to
form a fine point and hold a good load of colour. They offer great
resiliency at economical prices. The range of sizes make these
brushes very popular.
Product Codes
Sizes:
IP200
Size 00
IP20
Size 0
IP1
Size 1
IP2
Size 2
IP6
Size 6
IP10
Size 10
Fan Blender (Product Code IE4)

White bristle hair forming a fine point. This brush covers many
uses and needs in decoration - colour can be drawn from the
centre of the plate out giving a focal point; or used on its edge
the hairs can be shaped to give the effect of leaves on trees etc.
Size available: 4.
Brush Kits
IZ405 Do-It-Yourself (5 Brushes) 3 Flat, 2 Round
Great for the budget conscious, these kits are perfect for the
beginner and professional alike.
The Do-It-Yourself Kit allows great colour application for larger areas.
The kit comes complete with a plastic wallet for easy storage.

99
Revised April 2013
Setting up a Workspace
When you begin to work with clay, it is important that you have a workspace in which you feel comfortable. Clay can be messy so you
need to create a practical and safe area. The work space need not be large but it must be organized.
You will need a good light source, whether it be natural or artificial. If you have an electric pottery wheel or kiln you will, of course, need
access to a power supply.
Access to running water is a great asset for both water to work with and for cleaning up when you have finished for the day. The purchase
of several buckets will prove a good investment.
Ideally the floor of the area should be one that can be swept and mopped easily. This allows for the clean up of not only clay but any
liquids or powders that you may spill. The other important reason for having an easily maintained floor is for the control of dust. The main
work area should be in the centre of the room. This allows for mobility and easy access to all storage areas.
Your workbench needs to be very stable and at a height that, when you are standing in position to work, has your hands resting
comfortably on the bench top.
The bench top itself needs to be made from an absorbent surface such as wood or cement sheeting as clay will stick to a non-porous
surface. It should be at least 60 cm deep and as long as you can make it.
It is also recommended that you have bins for storing your clay. One for new clay and one for scrap that is suitable for recycling. If you are
using several different clay bodies you must have separate bins for each one to avoid contamination.
Any spare wall space should be taken up with shelving; the more shelves you can have the better. Newly constructed pieces will need to
dry, they are very fragile and placing them on a slatted shelf is ideal as they are less likely to be damaged. Shelves are great for storing
batts, tools, brushes, raw materials, glazes and colours.
A corkboard is also good for pinning sketches, reference notes, orders, etc.
Organize your workspace so that everything has a place and when needed you can locate it with ease.
Protective Apparel
When working with clay it is essential that you protect yourself not only from the wet clay but also the products that you will use in
conjunction with your clay.
Over comfortable clothing you should wear an apron, preferably made from a waterproof material. You should wear good, strong yet
comfortable footwear.
When working with powders or spraying liquids, it is recommended that you wear an approved dust mask, preferably one for toxic
substances as it has a very fine filtering material. When sanding and finishing dry or fired clay a dust mask is essential.
Rubber gloves are useful to protect your skin from powders and raw materials when making glazes and colours.
Safety glasses or goggles are also a good item to have in your studio. They will protect your eyes from damage when handling powders or
sanding dry clay surfaces.
A good sturdy dust pan and broom and mop should be on hand to clean up any spills.
If you are operating a kiln, a pair of heat resistant gloves and protective eyewear are vital. Gloves should protect not only your hands but
your forearms also. Full face welding mask, or at the least, welding glasses are recommended.
The kiln should be vented to the outside atmosphere to remove waste gases. A fire extinguisher and fire blanket are also recommended
when using a kiln.
Waterproof Apron
Product Code HM10
Disposable Dust Mask
(Non-Toxic)
Product Code HM120
Heat Resistant Gloves

Product Code HM45

100
Revised April 2013
Choosing a Pottery Wheel

The history of the pottery wheel can be traced back to Mesopotamia in 4000 B.C. Its use spread through the ages to all parts of the world.
Today it is normally motor driven and allows the potter to concentrate entirely on their hands and the clay and to sit whilst he or she works.
It is one of the major pieces of equipment in the studio along with the kiln.
When choosing a wheel, there are several points to be considered;
Your skill level and speed - the speed of a wheel is directly related to the skill of the potter using it; the faster the wheel head rotates,
the more experienced the potter needs to be.
The size of the pieces you wish to throw - if you plan to make large ware in the future, you will need a wheel head that can take heavy
amounts of clay i.e. larger wheel head, thicker shaft, speed lock control.
The space that you have available in your studio - there are different sizes of wheel and the selection will depend upon the floor space
that you have.
Walker Ceramics stocks Australian made Venco pottery wheels that are available in various speeds and sizes.
Venco Direct Drive Pottery Wheel (Product Code KD813)

550W permanent magnet motor. Dedicated intelligent control
system. Smooth, powerful and ultra-quiet. Speed hold feature.
Foot pedal on a flexible cable
330 mm Wheelhead with bat pins as standard
Super-strong cast aluminium tray.
Two legs under the wheelhead for greater stability.
Optional clip-on marine ply shelves. See picture below.
Optional riser bat and standard bats.
Optional seat to clip onto frame
Stand Up Kits are available separately for Venco wheels,
which enable the wheel to be operated by the potter in a
standing position. The linkage is easily installed and the
Foot pedal on a flexible cable
Optional seat to clip onto frame
FTPP4 Pink Flowers
Venco cone drive Variable Speed Wheel No.3 . (Product Code KD313)
A lightweight compact electric potters wheel with a cone drive infinitely variable speed
control and free wheeling 330 mm wheel head. Corrosion resistant aluminium tray and
wheel head. The skirt is painted with durable epoxy paint and heat cured, or available in
stainless steel. (Product No.KD313S) Resilient mounted h.p. motor for smooth quiet
operation and 20 mm drive shaft. All control linkages mounted on vibration resistant,
lubricated for life, polyurethane bearings. This wheel has a foot operated speed control.
Venco Model No.5 (Product Code KD513 or KD513S Stainless Steel Skirt)
This wheel is the same as Model No.3 but with a 25 mm drive shaft and a hand operated
speed control with speed lock control. Speed range for these wheels is between 30 240 r.p.m.
Venco No.6 Compact Wheel (Product Code KD611)
Special PricingWhile Stocks Last
Lightweight compact electric potters wheel with a cone drive infinitely variable speed
control and free wheeling 280 mm wheel head. Corrosion resistant aluminium tray
and wheel head. Steel frame/body painted with durable epoxy paint, heat cured.
This wheel comes with a fold out seat. Resilient mounted h.p. motor for smooth
quiet operation. All control linkages mounted on vibration resistant, lubricated for life,
polyurethane bearings. Foot operated speed control. Speed range for this wheel is
between 30 - 240 r.p.m.

101
Revised April 2013
Studio Equipment
Giffin Grip
Product Code KE5
The Giffin Grip is a centring and holding tool for thrown leather
hard or bisque ware. Designed specifically for trimming, it can
also be used for waxing the foot or banding with colours. The grip
fits most wheels and can be quickly attached to the wheel head.
The arms move as one, to gently centre your pots. After the initial
fitting of the grip to your wheel head, it snaps on and off your
wheel in seconds. The Giffin Grip can easily save half the time
spent on trimming and is considered as vital as the wheel and kiln
to many who use it.
Full instructions are included with this product.
PUGMILLS
The pugmill is an important piece of equipment in a pottery room
or studio where there is a high clay usage. It enables clay to be
reclaimed provided it has not become too dry. Clay that is too wet
should be dried on plaster batts before reclaiming. It may also be
used for modifying clays by the addition of grog or sand.
The de-airing pugmill is a requirement in establishments where
large volumes of clay are used and reduced preparation time is an
advantage. The vacuum pump removes all air, eliminating time
spent wedging.
Venco 75mm de Airing Pugmill (Product Code LB30)
Venco De Airing Pugmills - Mark II. 75 mm, 87 mm and 110 mm

diameter nozzles are available in these de-airing pugmills, which
are suitable for de-airing, blending, mixing and reworking clay.
The mixer shaft and blades are stainless steel and the main mixer
shaft bearings are sealed ball races, that lubricated for life and
protected by 'O' ring seals. The high capacity piston vacuum
pump with air and water filter is fitted with a single phase .56kW
motor. The barrel is of cast aluminum, split longitudinally for easy
cleaning. The main drive gear motor is totally enclosed, fan
cooled, single phase. (Product Codes LB30, 40 & 50)
Larger models are available on order. Contact us for details.
Venco 87mm de Airing Pugmill (Product Code LB40)
Grinding Media
Grinding Balls (Product Code MB1026) (Can also be used as burnishing stones)
These high density porcelain or Alumina balls are used for grinding powdered materials to a required mesh size.
Ideal for grinding small batches of raw materials, frits, glazes or stains. Used in ball mills or jar mills.
Easy to wash down and will not absorb colour particles.
Available per 1 kg in 19 to 50 mm diameter balls.
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Revised April 2013
Studio Equipment
Spray Booth - Tetlow SB2 (Product Code MA83)
Available on request by firm order only.
This stainless steel extraction unit is suitable for colour, glaze or slip spraying and/or
dust extraction. It can be bench or stand mounted and additional ducted pipes can
be added easily to channel away exhaust fumes to a point outside the immediate
area. The extraction fan achieves an air velocity of 45 metres per minute over the
face of the booth, thus meeting the current industrial regulations. The fan is driven
by a single phase, enclosed, flame proof motor.
A stainless steel baffle plate at the rear of the booth shields the filter from the direct
over spraying of the gun and permits only atomized spray to be sucked into the
filter, thus extending its effective life. The liquid residue left on the plate runs down
into a stainless steel tray that can easily be removed for cleaning.
Dust is a concern, especially in the learning environment, where operations such as
fettling, glaze mixing, etc. are performed. In order to alleviate this problem, the booth has also been designed as a dust extraction unit.
The fibreglass filter unit is built into the back of the chamber and is easily removed for cleaning or replacement.
The stand mounted unit has screwed leveling pads on the rear legs.
NEW PRODUCTS
Slab Rollers - can also be used as an Etching Press

Mini Slabroller - Table top model. (Product Code MA516)
The Mini-Roller is 40 cm (16) wide and supplied with 2 x 5mm masonite shims to produce slabs 25mm, 20mm and 15mm thick. Its dual roller
system works like a ringer washer. Clay is placed between canvas and set on one or more masonite shims. The clay, canvas and shims are
easily pulled through the rollers by cranking the rollers. The thickness of the slabs can be varied by adding masonite shims.
Canvas and masonite shims are provided with purchase of the Mini-Roller.
Rollers are coated with a non-slip surface. The frame is sturdy and is covered with a durable powder-coat finish. Now you can own a system
to quickly and easily roll perfect and even slabs at a very low cost.
Slabroller Dual Drive 75 cm (30) Wide (Flat Pack) (Product Code MA530)

75 cm (30) wide rollers

6.4 cm (2.5) Rollers are knurled for better grip
Rollers move up and down for infinite slab thickness, from
paper thin to 7 cm (2.75) thick
Both sides of rollers adjust up and down simultaneously
by turning the dial on either side
Supplied with Wagon Wheel and Hand Crank
Roll in either direction
Supplied with canvas
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Revised April 2013
Kiln Furniture
Kiln Shelves (Product Code ND....)
Walker Ceramics stocks high quality kiln furniture, made of material specifically developed to withstand the demanding variety of conditions
that occur in the ceramic field. These refractories are suitable for temperatures up to 1300C and will give long service life with a minimum
of bending. Their property of low thermal expansion is an extremely important characteristic for fast firing cycles. They have been proven in
factories in the manufacture of earthenware and porcelain products around the world. The craftsmen and production potter are both served
by these refractories providing a sound base for the finished ware.
We also advise on and service Industry's requirements. We carry an extensive range of sizes and thickness in all kiln shelves but should
you require a non-standard size for your kiln, a cutting service is available for a nominal cutting charge. It is important to remember that any
kiln shelf that has been cut must be allowed to dry completely before use.
The following information is intended to help you get the best results from your kiln furniture.
1. Mulcorit shelves are for use up to cone 10 firing with minimal distortion under proper loading and usage. This enables the Mulcorit to
withstand a very large number of firing cycles.
2. Low thermal expansion combined with high total porosity results in excellent thermal shock resistance, so that fast cycles can be
achieved.
3. Low density, resulting in lower proportion of heat being absorbed by the kiln furniture.
4. Mulcorit does not expand or shrink.
Selection of Shelf Thickness
The selection of shelf thickness is governed by the following factors:
1. The maximum temperature.
2. The time held at that temperature.
3. The size of the shelf.
4. The atmosphere conditions i.e. reducing or oxidizing .
5. The average load to be supported.
6. The distance apart of the props .
7. The amount of bending that can be tolerated during the expected life of the shelf.
The following guide will be helpful until a more accurate determination can be made in the light of experience.
Biscuit and Earthenware Gloss - 980-1120C.
Small shelves or light loads - 10 mm to 13 mm thick.
Larger shelves or heavy loads- 15 mm thick.
Stoneware 1280 1300C.
Small shelves or light loads - 20 mm thick. Larger shelves or heavy loads - 25 mm thick. Extra heavy loads - 30 mm thick.
Most shelves will ultimately bend if heavily loaded and used at high temperatures. Where conditions of reduction are experienced the shelf
may bend more quickly. Under these conditions a compromise is often necessary. Timely rotation on props and occasional reversal of the
shelf is a normal industrial practice to retain flatness. Three props are better than four being inherently stable. Ideally each prop should be
placed directly over the one below.
More Kiln Furniture
NOTE: To prevent your ware sticking, try KILN WASH (BA540)
Speedy Stilts (Product Code NJ200 - Set of 18 )
NEW - 3 spurs make any size stilt - Each have 4 points for extra long life
Nichrome Wire (Product Code NP3)
14 Gauge wire in 30 cm lengths.
Props (Product Codes NC25, 50, 75, 100, 125, 150, 175, 200, 225, 250, 275 and 300)
Props ranging from 25 mm (1) to 300 mm (12)
Bar Stilts (Product Codes NJ180) 80mm long
This stilts is used for narrow or long ware, to prevent glaze from sticking to the kiln shelves.
A selection of stilts and props.
Star Stilts (Product Codes NJ25, 30, 35, 55, 70, 85 & 115) code = mm point to point
Steel pointed stilts developed to eliminate unsightly stilt marks. Very economical due to long life. The
points are made of special alloy metal. Fire up to 1200C (Cone 5). They can be purchased individually.
Sizes 25mm to 115mm point to point.
Tile Cranks
These pieces of kiln furniture facilitate high speed firing of tiles.
Multi Tier Set - Triangle shape - 3 supports (Product Code NB383)
Suits any 150 mm (6") Tile width (i.e. 6 x 6 or 6 x 8)
Multi Tier Set - Rectangle shape - 4 supports (Product Code NB384)
Suits any 100 mm (4) Tile width (i.e. 4 x 4 or 4 x 6) and 100 x 200 mm (4 x 8)
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Revised April 2013
Orton Cones
Pyrometric cones are used to determine the combined effect of temperature and time - called "heatwork" - in the firing of ceramics.
Since pyrometric cones were first invented and produced by Dr. Hermann Seger in 1886, other manufacturers have emerged and Seger
cone has become a generic term.
Orton Cones are made in the form of trigonal pyramids from raw materials used in the manufacture of many ceramic products. They are
calibrated to collapse at different temperatures - the 36 cone numbers each represent a different amount of heatwork. Cones are therefore
considered more effective indicators of a completed firing cycle than a pyrometer as they rely on the combination of time and temperature,
rather than temperature alone.
In practice a variety of firing rates are used and therefore all users are recommended to carry out their own checks under their own firing
conditions.
The evenness of heat distribution throughout a kiln can be checked by using several sets of cones placed in different positions throughout
the kiln, e.g. back and front of top, centre and bottom shelves of the kiln.
Mini Cones - SRB
These small cones are mainly used in kiln sitters. The tapered shape of the cone allows flexibility in adjusting the shut off point. They are
also excellent for use in smaller kilns where space is at a premium. Cone stands (Product Code OA20) are available to ensure correct
setting of cones for accurate temperature/heatwork readings. If using a kiln sitter, check the accuracy of the mini cones by using a witness
cone.
Standard Cones - LRB
These cones are designed for use in a cone stand (Product Code OB15) and are widely used for visually checking the firing process and
to monitor the conditions within a kiln.
Correct Cone Placement
To ensure accurate temperature indication cones must be set in the following manner:
Place cones correctly into the cone stand making sure they sit flat on the base and lean at an 8 angle over the flat side in the holder. As
proof of correct positioning, when looking at the holder with the cones leaning to the left, the cone numbers should be showing on the front
right hand side of the cone.
The Three Cone System
A single cone may be used on a shelf to witness the firing, but it is recommended that three different cones be used. The group consists
of a Firing Cone the desired cone for the ware being produced, the Guide Cone one cone number cooler, and the Guard Cone one
cone number hotter than the Firing Cone. These cones need to be set deep in the kiln yet should be visible through the bung hole.
When the Guide Cone starts to bend, the ware is approaching maturity. The bending of the Firing Cone indicates that the firing is at its
correct stage. If the Guard Cone has bent, the firing has passed its best time-temperature window.
TIP
A kiln fully loaded with pieces ready for bisque

firing. Note the cones are positioned for easy
If you need to separate cones, stand a ruler on its edge and

position the join between the cones along the ruler's edge.
Apply even downward pressure to both cones and they will
snap apart easily and without any damage.
This illustration demonstrates the correct appearance

of the cones after firing.
105
Revised April 2013
Cones - Pyrometric
The table below lists the full range of Orton Cones and their temperature range. We recommend the use of cones very strongly as it is the
only truly reliable indicator of actual firing temperatures and heatwork.
Mini Box (50)
Cone No
022
021
020
019
018
017
016
015
014
013
012
011
Product Code
010
09
08
07
06
05
04
03
02
01
1
2
3
4
5
6
7
8
9
10
11
12
13
14
OA0913
OA0630
OA0643
OA0666
OA0693
OA0732
OA0761
OA0794
OA0816
OA0836
OA0859
OA0880
OA0892
OA0928
OA0954
OA0985
OA1011
OA1046
OA1070
OA1101
OA1120
OA1137
OA1154
OA1162
OA1168
OA1181
OA1205
OA1241
OA1255
OA1269
OA1278
OA1303
Temperature Standard Box (50) Temperature

Product Code
300C/hr
150C/hr
OB0586
630
586
N/A
643
N/A
666
OB0693
723
693
OB0732
752
732
OB0761
784
761
OB0794
825
794
OB0816
843
816
OB0836
870
836
OB0859
880
859
OB0880
900
880
OB0892
915
892
919
955
983
1008
1023
1062
1098
1131
1148
1178
1184
1190
1196
1209
1221
1255
1264
1300
1317
1330
OB0913
OB0928
OB0954
OB0985
OB1011
OB1046
OB1070
OB1101
OB1120
OB1137
OB1154
OB1162
OB1168
OB1181
OB1205
OB1241
OB1255
OB1269
OB1278
OB1303
N/A
OB1312
N/A
OB1324
N/A
OB1346
N/A
OB1388

106
913
928
954
985
1011
1046
1070
1101
1120
1137
1154
1162
1168
1181
1205
1241
1255
1269
1278
1303
1312
1324
1346
1366
Revised April 2013
Kiln Accessories
Fire Bricks
Specialist Insulating R.I.26 Firebricks (Product Code PA35)
These bricks measure 229 x 114 x 76 mm. They are a high grade refractory insulating brick for use to a maximum temperature of 1430C.
They are for gas kilns, firing to Stoneware.
PA5 - Cement Fondu Hydraulic cement for kiln building and mixing with Vermiculite for insulation.
Air Set Jointing Cement (Product Code PA25)
Air set jointing cement is a fine, plastic air-setting refractory mortar based on suitably graded and processed silimanitic aggregates with the
requisite chemical and ceramic bonds. It hardens at normal atmospheric temperatures, and further hardens with the application of heat, to
give a strong gas-tight joint in the service temperature range up to 1550C. Ready to use from the container, for the bonding of refractory
bricks when building gas fired kilns. When laying bricks, the thinnest joint possible will give the best results. If thick joints are required, mix
equal parts of cement with finely crushed fire brick grog. Do not use this product near the elements in an electric kiln. If patching, use the
same method as used for thick joints.
Drying
It is preferable to dry out this product as soon as possible after completion of the required work. Use a slow fire bringing the temperature
up to 300C. Any leftover cement can be left in the container; level off the surface and cover with a little clean water in order to prevent
premature hardening of the cement due to exposure to the atmosphere. Keep the container well sealed when not in use. Air set jointing
cement contains caustic alkali silicates and care must be taken to avoid contact with the eyes and skin. If splashed in the eyes, wash well
with clean water for at least 15 minutes and seek medical attention if irritation persists.
Vermiculite (Product Code PA40)
Vermiculite is used as an insulation between the outer wall and inner wall of pottery kilns and furnaces. We recommend the following
uses:(a) As a loose fill when used in the vertical plane of the kiln. It should be consolidated during installation. This can be done by pouring
10 cm deep at a time and then gently compressing it about 10%, or if this is not possible by tamping with a rod or by vibrating it.
b) For use on the top edge of arches. A concrete can be mixed by using five parts Vermiculite to one part Cement Fondu, which can
be purchased from most hardware or building supplies stores. Vermiculite concrete can be mixed by machine or by hand. It is most
important not to over mix as this can lead to undue compaction, higher density and balling up. The vermiculite and cement
should be mixed together dry before adding water. It is an advantage where possible to spray water into the mix or to pour it from
a watering can fitted with a rose, as the even distribution makes it possible to reduce the total water content.
Durablanket - (Kaowool / fibrefrax / ceramic fibre .) (Product Codes PA50, 54, 56)
A heat resistant, man made fibre, very much like household insulation, used to line kilns. Available by the roll or in metre lengths and
1mm, 25mm and 50mm thickness. The material is easily cut with a sharp knife and applied using Air Set Jointing Cement. Protective
clothing of gloves, mask and a long sleeved shirt are recommended when handling this material as it may irritate the eyes, nose and skin.

107
Revised April 2013
Choosing a Kiln
The choice of a kiln is seldom a simple one and involves many considerations.
The practical issues are:
Type of work
As a guideline we suggest the following
China painting
Earthenware only
Porcelain and Stoneware
Electric
X
X
X
Gas
Earthenware, Stoneware and Middle Fire

Electric
X
X
Oxidation Firing
Reduction Firing
X
X
Gas
X
*Reduction firing in gas kilns allows for greater colour experimentation and versatility in firing results.
Electric
Gas
Top
Loading
X
Front
Loading
X
X
Volume to be fired
Maximum firing temperature
Control equipment required
Site location
Hood venting position with flues
Type of floor
Adequate space for door opening, loading and to keep combustible material clear
Electricity supply available (often 2 or 3 phase is required for larger kilns)
Gas kiln installation, alterations and repairs must always be carried out by qualified Gas Fitter.
Additional options to consider are;

Stainless Steel Casing - for a longer working life.
Kiln Stand - these stands are fitted with castors so that the kiln may be moved easily.
Time Clock - to take advantage of off-peak electricity rates.
Temperature Controller - for total control over the firing of the kiln.
Walker Ceramics offers superb package deals on kilns.

Please contact our sales office to arrange an
obligation free quote.
108
Revised April 2013
KilnsAustralian Made
Electric Kilns - Tetlow - (Product Codes QB.)
We supply Tetlow Electric Kilns, which are manufactured using low density hot face
insulating bricks backed up by high quality insulating materials. They are fitted with a safety
switch (to automatically shut off kiln if the door is opened), energy regulator, warning light
and Kanthal A1 elements - approved by the electrical supply companies. The energy
regulator controls the rate of temperature increase. It is a control knob with a scale of 0-100.
If the knob is turned to 100, the kiln will heat at its maximum rate. If it is turned up to 50, the
kiln will heat 50% of the time. It is a very useful piece of equipment as the rate of
temperature increase can be easily controlled. For instance, if thick walled pots were being
fired, the rate of temperature increase could be reduced to 10% for the first hour, then
increased to 25% for the second hour etc. All the kilns listed may be fitted with either a front
loading swing door, or a top loading drop down door. Below we list the type supplied as
standard. Optional programmable controllers can be fitted if required.
MODEL
SIZE (mm)
VOLUME
m3
VOLUME
Ft3
FRONT
LOAD
K2
229 x 229 x 229
0.0113
0.4
K4
330 x 330 x 229
0.0254
K4A
330 x 330 x 330
K4B
PHASE
VOLTS
AMPS
Kw
MAX
TEMP (C)
240
10
2.4
1300C
0.9
240
15
3.6
1100C
0.0396
1.4
240
10 or 15
2.4 or 3.6
1100/1300C
330 x 330 x 457
0.0498
1.76
240
15 or 20
3.6 or 4.8
1100/1300C
K5
343 x 394 x 368
0.0433
1.53
240
15
3.6
1300C
K5A
343 x 343 x 445
0.0521
1.84
240
20
4.8
1300C
K6
380 x 380 x 457
0.0651
2.3
240
20
4.8
1300C
K6GL
457 x 457x 305
0.0651
2.3
240
20
4.8
1000C
K7MW
457 x 457 x 457
0.0962
3.4
240
20
4.8
1300C
K7
457 x 457 x 457
0.0962
3.4
415
10 x 3
2.4 x 3
1300C
K8
457 x 457 x 610
0.1274
4.5
415
14 x 3
3.6 x 3
1300C
K8A
570 x 570 x 460
0.1495
5.28
415
16.6 x 3
4.3 x 3
1300C
K8B
457 x 457 x 686
0.1432
5.06
415
15 x 3
3.5 x 3
1300C
K9
457 x 457 x 915
0.1925
6.8
415
20 x 3
3.8 x 3
1300C
K10
610 x 610 x 610
0.2265
8.0
415
23 x 3
5.5 x 3
1300C
K11
457 x 610 x 915
0.2548
9.0
415
25 x 3
6x3
1300C
K11A
610 x 610 x 762
0.2832
10.0
415
25 x 3
6x3
1300C
K12
610 x 610 x 915
0.3398
12.0
415
28 x 3
6.6 x 3
1300C
K12A
610 x 610 x 1372
0.5097
18.0
415
45 x 3
10.5 x 3
1300C
Octagonal Kilns - Australian Made

Australian made multi-sided kilns fitted with Dawson Kiln
Sitters, energy regulators, warning light, safety switch on
the lid, stainless steel body and a spy hole. Standard
models fire to 1237C.
Options:Digital temperature controller /
programmer, fume vent system,
higher firing setup to 1287C.

TOP
LOAD
MODEL
Diameter
(mm)
Height
(mm)
VOLUME
lts
VOLUME
Ft3
PHASE
VOLTS
AMPS
Kw
279
266
19
.69
240
10
2.4
279
381
28
1.0
240
15
3.6
356
394
42
1.48
240
15
3.6
444
532
86
3.0
240
25
6.0
444
648
104
3.67
240
30
7.2
584
532
142
5.0
415
20
9.6
584
736
206
7.28
415
17.5
12.6
584
851
238
8.4
415
17.5
12.6
724
736
208
10.9
415
20
14.4
109
Revised April 2013
Kilns
Electric Kiln Instruments - Controllers and Programmers
Harco HENC6 or HENC8 Programmer Controller
6 or 8 stage type microprocessor based digital display programmer. The programmer has 8 programs each with 6 or 8 segments in its
memory along with a time clock for delay start up. It can then ramp and hold at pre-determined times as required, as long as these are
within the parameters of the kiln.
Harco programmer fittings and Slimline Portable Set Point Controllers with built in pyrometers are also available. These are fitted to the
kiln at time of manufacture.
Firing your electric kiln for the first time.
Before you unpack your kiln and all its furniture, you must consider where you are going to position it. There are several issues related to
safety when making your decision.
Your kiln should be kept a minimum of 60 cm from all walls, except in the case of brick walls, where at least 30 cm is recommended. The
kiln should stand on a fire retarding surface such as a concrete slab or floor.
We recommend that the electrical supply to your kiln is fitted with an isolation switch so that the supply can be switched off quickly in case
of an emergency. Adequate ventilation is essential when firing. This can be supplied through an open window, exhaust fans or ventilation
system. Ventilation is necessary to prevent the build up of fumes produced as a by-product of firing. These fumes can be in the form of
gases, steam, lead vapours or acid vapours depending upon the clay bodies and glazes being fired.
It is recommended that the first firing of a new kiln is a slow firing, with the kiln empty, to a temperature 10% - 15% less than the maximum
temperature of the kiln (approx. 1100 degrees Celsius, cone 03). This is to enable the cement to mature and to remove any moisture from
the brickwork.
To commence your dry-out firing, fit cone 03 into cone stand, close kiln door and check that the cone stand is still set. Turn on energy
regulator to 10% and fire kiln for eight hours, then turn regulator to 30% for six hours. Then turn regulator to 60% for six hours and finally
turn regulator to 100% for a further four hours. This conditions the elements for longer life.
Do not open your kiln until it has cooled completely. After a few firings, the dark stains sometimes present in your new kiln will disappear.
While the kiln is firing, we recommend that you apply kiln wash to all kiln furniture to prevent pieces sticking during firing. All kiln furniture
must be completely dry before starting to fire.
Should you have any problems or require further information, please do not hesitate to contact us.
Kiln Instruments
Pyrometers and Thermocouples.
There are two ways of measuring temperature during the firing - with pyrometers or pyrometric cones. They are often used together as they
perform different functions. Pyrometers measure temperature while cones measure heat work. The most accurate pyrometer cannot indicate
glaze maturity - a pyrometer only indicates the temperature at the end of the probe. Pyrometric cones indicate heat work, which is a combination of time and temperature and gives an accurate indication of glaze maturity. Factors such as firing time, degree of reduction, different kiln
loadings and probe position can affect the relationship between cone indications and temperature readings on a pyrometer.
The pyrometer is an instrument fixed outside the kiln which shows by way of a needle on a scale of degrees or by a digital readout, the temperature inside the kiln. Attached to the pyrometer is a lead which in turn is attached to the thermocouple that projects inside the kiln. The
thermocouple generates the current which is measured by the pyrometer and consists of two different metals joined together at one end.
These metals are either:
1. C/A (Chrome-Alumel) for temperatures up to 1200C. Type K (no sheath)
2. R/M (Rare metals - generally platinum and rhodium) for temperatures up to 1400C. Type R (with sheath)
Type R Thermocouple
We sell these instruments individually as follows:
Pyrometer Multi-input 1314, Thermocouple 228mm C/A 1200C, Thermocouple 228mm R/M 1400C,
Thermocouple 304mm R/M 1400C (we can supply longer if required), 1.8 metre lead to suit C/A couple (Yellow),
1.8 metre lead to suit R/M couple (Green).
Type 1314 Pyrometer

110
Revised April 2013
Spray Equipment
Airbrushing
An airbrush is a precision instrument that applies many kinds of paint, colour
or media to a surface using an air supply to propel the colour. It differs from
a spray gun in as much as it is small and compact, measuring approximately
130-160 mm and is used for fine detail work in several art fields, including
ceramics.
Walker Ceramics supplies Paasche Airbrushes - recognized as one of the
top names in the field. The Paasche Model "H" (Product Code RA10) is
recommended for ceramics, being a single action model used for universal
applications. The airbrush is available as a basic Model H3 which comes
with a medium sized air cap and colour adjuster, 1/4 oz colour cup and 3 oz
bottle assembly. Alternatively, we also stock the "H" set which has the same
"H" airbrush but also includes a 1 oz storage jar, six foot braided air hose and
two additional air cap and colour adjusters. The H1 unit has small pattern
capabilities and is suitable for underglaze work or glazes which have been
thinned. The H model has the broadcast pattern capabilities and will accept
thicker mixes of glazes, underglaze and oxides.
Air pressure is recommended at 20-45 psi (138-310 kPa) depending on fluids
being sprayed and the size of the air cap and colour adjuster.
Air pressure is usually supplied by a compressor. Alternatives are cans of
airbrush propellant, or a DB32 tyre valve, which connects the air hose to a
spare tyre inflated to 35-50 psi (241-345 kPa).
Spray Gun (Product Code RB6)

This Italian made low pressure spray gun is ideal for both the professional
and school requiring a quality product and sensitive control for fine shading
and delicate work. It has an aluminium quart cup and body, an adjustable
needle backstop, adjustable medium flow and has an operating pressure of
between 35-50 p.s.i.
It requires a compressor with 3-4 ft3 air flow, which is not a stock line but is
available on order.
Hobby Plus Compressor (Product Code RC24)
Attaches to your spray gun or air brush, and has an oil-less twin cylinder
pump, virtually maintenance free, and pressure selector knob.
An inflating tool is included.
Motor capacity is HP/560 watts and runs on 240 volts power supply. The
effective air pressure is 3.2 CFM / 40PSI 280 kPa with a maximum pressure
of 690 kPa. It comes with a 4.57 metre (15') air hose and weighs only 9 kg.
Paasche Model H Airbrush
Low Pressure Spray Gun
Hobby Plus Compressor
Airbrushing Faults & Remedies

Jerky or fluttering spray
Loose fluid tip, fluid needle, packing screw or

fluid tube, worn needle packing, too little fluid in
cup or tank, gun (with cup) tipped too far.
Materials run or sag
Excessive mist spray
Too much air pressure for amount of liquid

delivered to nozzle, spraying too far from work.
Too small a spray pattern
Insufficient fluid pressure, dirty air cap, lumpy

material, incorrect fluid adjustment.
Fluid leakage from air nozzle
Fluid needle not seated, fluid needle packing

screw over tight, dirty fluid tip.
Spattered spray
Materials fail to atomize
Split spray pattern
Dirty air cap, thick liquid, low air pressure.

Air pressure too low, blockage in air line or air
passages in gun, liquid too thick.
Unbalanced spray pattern
Liquid too thin, stroking gun too slowly, gun too

close to work, fluid needle adjustment open too
far.
Dirty air cap.
Too much air pressure.

111
Revised April 2013
Books
Walker Ceramics stocks an excellent range of practical and
technical publications. The titles cover all aspects of pottery
and ceramics, including health and safety, kiln building and
operating your own studio.
We are continually seeking new titles and adding to our book
range as they become available. If you are seeking a title that
is not listed, please contact our sales office and we shall
endeavour to obtain the book for you. Please note that in
listing the books alphabetically we have deleted THE from the
titles wherever it applies. We also stock a range of ceramic
magazines and their back issues if available.
Magazines
Australian Pottery & Ceramics (SA59)
Ceramic Review U.K. (SA135)
Walker Ceramics Publications

Walker Ceramics Illustrated Price List (YF1)
Walker Ceramics Pottery & Ceramics Handbook (SA5)
Clay & Colour 1 by J. Gasson / Walker Ceramics (SA101)
More Clay & Colour by J. Gasson (SA102)
Clay Project No.1 - The Great Burger Caper (SA301)
Clay Project No.2 - Line & Texture In Clay (SA302)
Clay Project No.3 - Totems (SA303)
Books
ARTISTS GUIDE TO THE USE OF CERAMIC OXIDES
H. Memmot
(Product Code SA25)
Step by step guide to the use of oxides in pottery and ceramics.
ARTISTS GUIDE TO FIRING POTTERY H. Memmot
(Product Code SA26)
This is an excellent introduction to firing your work.
AUSTRALIAN FRITTED GLAZES S. Eley / Walker Ceramics
(Product Code SA50 - Paperback, SA55 - Hardback)
An extensive guide to the use of frits and fritted glazes.
CELEBRATING THE MASTER
(Product Code SA101)
Presented by Skepsi On Swanston Gallery
CERAMIC FAULTS & THEIR REMEDIES
Everything you need to know to fix those challenging problems.
CLAY IN THE PRIMARY SCHOOL
Introducing clay in all its variations for Primary School children.
CLAY PROJECTS FOR CHILDREN
The next step for children, projects that teach and encourage.
CLAY & COLOUR 1 J. Gasson / Walker Ceramics
The ideal book for the teacher who has no text books, lesson
plans or other helpful information. 50 full colour pages. Simple
projects and lesson plans with new ideas and tips.
MORE CLAY & COLOUR J. Gasson

The next step in planning projects for the classroom.
CLAY IN THE PRIMARY SCHOOL
Introducing clay in all its variations for Primary School children.
CLAY PROJECTS FOR CHILDREN
The next step for children, projects that teach and encourage.
FIRING AN ELECTRIC KILN M. Grieve.
A simple instructional guide through all stages of firing an electric kiln.
FIRING WITH LPG M. Grieve.
A simple instructional guide through all stages of firing a gas kiln.
GLAZES CONE 6 M. Bailey
Shows the many different ways you can apply your colours and effects.
GLAZES AND GLAZING TECHNIQUES G. Daly
Fascinating insights from one of Australias Master Potters.
NEW MAJOLICA The M. Ostermann
Deals with the history and techniques of tin glazed ware - covering
terminology, materials and processes. Colour photographs.
POTTERS DICTIONARY OF MATERIALS TECNIQUES
Frank and Janet Hamer
An invaluable reference books for all aspects of pottery and ceramics;
techniques, materials, tools and many more!
POTTERS GUIDE TO RAW GLAZING & OIL FIRING D. Parks
POTTERS MANUAL The Kenneth Clarke
An invaluable addition to every potters library. It covers all aspects of
pottery in extensive detail.
THROWN POTTERY TECHNIQUES REVEALED M. Chappelhow
A look at the variety of throwing options you can apply to your work.
112
Revised April 2013
Educational Resources & Projects

Walker Ceramics provides both technical advice and resources for the teacher through our Educational Projects.
Clay & Colour 1
By Jackie Gasson - A Walker Ceramics Publication

50 full colour pages that include:
Need a book of simple projects

or lesson plans for people
who just need ideas and tips?
Constructing A Drape Mould

Creating A Form Using A Drape Mould
Carving Colour and Terra Cotta
Are you a teacher just put in charge of

the Ceramics room and asked to teach
the next ceramics course, but have no
text books, lesson plans or any other
helpful information?
Interesting Clay Surfaces

Colouring Clay
Flat Tile Construction
Basic Slab Construction
Look no further!
Firing Schedules For Clays

Recipes
More Clay & Colour
By Jackie Gasson - Available now.
A NEW book of projects and lesson plans.

Full colour pages with new and exciting projects for the classroom and potter.
Special handy hints and step by step guides to all techniques.
CLAY PROJECTS
FOR THE CLASSROOM
Walker Ceramics has developed these projects specifically for schools. We have aimed to provide an approach that allows the projects to
be adapted to all year levels. Each project is bound and uses the same easy to follow format.
A project includes: a brief description of the project theme.
Project 1 The Great Burger Caper
an outline of the techniques to be used.
the aims of the project.
the assessable objectives.
a list of materials & equipment required.
a lesson timeline using the standard 40 minute lesson allowance.
preparation notes for the teacher.
detailed lesson and construction notes.
firing instructions.
health and safety notes.
a glossary of terms.
provision for teachers notes.
a prepared assessment form.
Project 2 Line & Texture In Clay
Project 3 Totems
These projects may be adapted to suit all year levels and the series provides a solid basis for the school program as they meet the national
curriculum criteria.
We invite feedback from teachers and photographs of exceptional work may be included in future editions of this handbook, acknowledging
the school teacher and student. Full technical advice is available and workshop notes may be requested for teachers wishing to become
familiar with the techniques involved.
113
Revised April 2013
Educational Resources & Projects

Ceramics Posters
Newly released this set of 14 Ceramics posters each 17 x 22 in. They illustrate and explain basic ceramics techniques and provides a very
handy reference for students. Each poster includes step-by-step photographs to show placement of hands as well as cut forms to show
cross sections.
Examples of finished work by leading ceramists are also shown.
Each poster is printed on heavy cardstock with holes for hanging and a protective UV coating, and the posters are packaged in a plastic
bag for convenient storage and transporting to classrooms. They can be mounted on the wall for class reference or used individually.
The 14 Ceramics Posters include:
Wedging
Hump Moulds
Pinch Pots
Coil Building I
Centering & Throwing II
Coil Building II
Centering & Throwing III
Slab Construction I
Slab Construction II
Hump Moulds
Centering & Throwing I
Trimming
Profiles of Pots
Glazing
Order Code SA10 Ceramic Posters Set of 14

114
Revised April 2013
Drape & Slump Moulds

Slump and drape moulds are very simple forms that are excellent for the beginner. Simply roll out a slab of clay and either drape it over or
press it into a mould using your hands, rubber kidneys and sponge. The forms dry quite rapidly and are suited to the classroom
environment.
UB
Drape Moulds
Measurements
UC
Slump Moulds
Measurements
UB2000 Rounded Triangular Dish
Size = 325x60x230
UC2000 Rounded Triangular Dish
Size = 325x60x230 mm
UB2001 Small Square Tray Drape
Size = 240x30x240
UC2001 Small Square Tray Slump
UB2002 Long Rounded Oblong Drape
Size = 470x50x210
UC2003 Rounded Square Bowl
UB2003 Rounded Square Bowl Drape
Size = 300x75x300
UC2008 Large Scarab Slump
UB2004 Deep Oval Drape
Size = 425x95x230
UC2009 Large Shallow Wok With
Size = 50x425 mm
UB2005 Square Japanese Platter
Size = 350x45x350
UC2024 Medium Square Tray Slump
UB2006 Oval Platter Large Drape
Size = 510x50x370
UC2025 Large Long Slump
UB2007 Large Scarab With Undulation
Size = 510x80x370
UC2026 Large Oval Slump
UB2008 Large Scarab Drape
Size = 510x80x400
UC2027 Low Oval Slump
UB2009 Large Shallow Wok With Foot
Size = 50x425 mm
UC2028 High Oval Slump
UB2010 Oval Bowl Drape
Size = 400x60x220
UC2029 Large Half Ball Slump
Size = 70x140 mm
UB2011 Rounded Oblong Platter
Size = 410x35x325
UC2030 Small Half Ball Slump
Size = 45x90 mm
UB2012 Large Rectangular Platter
Size = 465x45x335
UC2031 Square Recessed Dish
UB2013 Elongated Japanese Platter
Size = 500x65x240
UC2032 Thin Rectangular Tray
UB2014 Shell Platter Drape
Size = 540x30x220
UC2033 Square Tray Medium Slump
UB2015 Irregular 4 Sided Platter
Size = 560x55x360
UC2034 Square Tray Small Slump
UB2016 Modern Platter Drape
Size = 540x40x320
UC2035 Square Tray Large Slump
UB2017 Wide Lipped Bowl Drape
Size = 75x240 mm
UC2036 Wide Rectangular Tray
UB2018 Recessed Japanese Square
Size = 340x50x340
UC2038 Oval Dish Medium Slump
UB2019 Large Round Recessed Platter
Size =
UC2039 Oval Dish Large Slump
UB2020 Shell Shaped Bowl Drape
Size = 540x65x220
UC2041 Square Tray Baby Slump
Size = 32x195 mm
UB2021 Pebble Bowl Drape
Size = 400x70x350
UC2042 Square Tray Petite Slump
Size = 27x153 mm
UB2022 Oval Platter Medium Drape
Size = 430x40x310
UC2043 Square Tray Tiny Slump
Size = 21x110 mm
UB2023 Oval Platter Small Drape
Size = 375x30x275
UC2044 Square Recessed Dish
Size = 57x355 mm
UB2025 Large Long Drape
Size = 300x55x130
UB2026 Large Oval Drape
Size = 270x55x175
UB2027 Low Oval Drape
Size = 185x35x120
UB2028 High Oval Drape
Size = 185x80x140
UB2031 Square Recessed Dish Medium
Size = 280x50x280
UB2032 Thin Rectangular Tray Drape
Size = 365x15x110
UB2033 Square Tray Medium Drape
Size = 270x20x270
UB2034 Square Tray Small Drape
Size = 200x15x200
UB2035 Square Tray Large Drape
Size = 335x25x335
UB2038 Oval Dish Medium Drape
Size = 370x25x230
UB2039 Oval Dish Large Drape
Size = 435x28x250
UB2040 Square Tray In Between
Size = 32x285 mm
UB2041 Square Tray Baby Drape
Size = 32x190 mm
UB2042 Square Tray Petite Drape
Size = 27x150 mm
UB2043 Square Tray Tiny Drape
Size = 21x105 mm
UB2044 Square Recessed Dish Large
Size = 57x345 mm

Drape Mould
Slump Mould
115
Revised April 2013
Moulds & Tiles

Caf Capri Range (Round Design)
Quadro Range (Square Design with Rounded Corners)
UJ621 Salt and pepper (2) 105 mm H x 67 mm Diam.

UJ622 Mug 110 mm H x 90 mm Diam.
UJ827 Oblong dish 420 mm L x 65 mm D x 340 mm W
UJ623 Sugar bowl 120 mm H x 127 mm Diam.
UJ829 Platter 40 mm D x 387 mm W
UJ624 Cup 80 mm H x 95 mm Diam.
UJ830 Dinner plate 30 mm D x 320 mm W
UJ625 Creamer 113 mm H x 143 mm Diam.
UJ831 Entree plate 25 mm D x 274 mm W
UJ626 Saucer 190 mm Diam.
UJ832 Bread and butter plate 20 mm D x 235 mm W
UJ627 Bread and butter Plate 230 mm Diam.
UJ833 Saucer 22 mm D x 145 mm W
UJ628 Entree plate 275 mm Diam.
UJ834 Sugar base and lid 120 mm W x 100 mm H
UJ629 Dinner plate 315 mm Diam.
UJ835 Creamer 90 mm W x 110 mm H
UJ630 Large plate 345 mm Diam.
UJ836 Cups or mugs 82 mm W x 105 mm H
UJ631 X/Large Plate 390 mm Diam.
UJ837 Salad or fruit bowl 90 mm D x 333 mm W
UJ632 Soup or pasta bowl 75 mm H x 273 mm Diam.
UJ838 Serving bowl 75 mm D x 285 mm W
UJ633 Serving or fruit bowl 90 mm H x 337 mm Diam.
UJ839 Pasta bowl 52 mm D x 234 mm W
UJ634 Soup or dessert bowl small 60 mm H x 240 mm Diam.
UJ840 Soup bowl 45 mm D x 202 mm W
L (Length) D (Depth) W (Width) H (Height) Diam. (Diameter)
UJ844 Teapot and lid 200 mm L x 142 mm W x 167 mm H
UJ828 Oblong dish on 4 Feet 420 mm L x 68 mm D x 340 mm W
CAF CAPRI RANGE

(ROUND DESIGN)
Moulds are available in a variety of

range shapes. Contact our sales
team for details.
Create your own Decorative Tiles!
Great for the kitchen, bathroom, patio the possibilities are endless. All you need is
some bisque tiles
a selection of Cesco Underglazes, Design Colours or Wunder Colours (pages 70-76)
or underglaze pencils (refer page 78)
For our Canberra customers, we have a or Wunder Waves (refer page 78)
firing service available.
clear glaze
Call 02 6280 5700 for details
and your imagination.
UT
Bisque Tiles - White Earthenware
UT62
Box of 150x150x6mm Pink EW Tiles (6 x 6") (Approx.80 in a box)
UT63
150 x 150 mm (6 x 6") single tile
UT67
Box of 150x150x7mmTiles (6 x 6") (Approx.56 in a box)
UT68
Box of 150x150x8mmTiles (6 x 6") (Approx.52 in a box)
Suit all earthenware glazesWalker & Cesco

Ideal for underglaze decoration then clear glazing with Walker or Cesco Clear
Strong, sturdy industrial grade earthenware wall tiles
116
Revised April 2013
Bisqueware
Walker Ceramics hand crafted bisqueware is beautiful.
All you need are some colours, glaze and your imagination.
DINNER PLATE 1
295 x 25 mm
DINNER PLATE 2 305 x 20 mm
DINNER PLATE 3 295 x 30 mm
LARGE PLATE 390 x 37 mm
Although this ware has been bisque fired, care must still be
taken when handling. We suggest that during transportation
bisqueware should be well wrapped in a padding type product
(paper, bubble wrap) and placed in a box to avoid movement.
Similar care when firing must also be taken. Although the ware
that you have chosen has already survived the bisque firing be
aware that mistreatment can cause problems during firing.
SIDE PLATE 1 200 x 20 mm
When ordering bisqueware, please use the product code plus

the clay code suffix:
Auscraft Ultra White = 1
PB103 = 4
FRUIT BOWL 1
320 X 130 mm
TUMBLER
95 X 100 mm
OVAL DINNER PLATE
315 X 240 X 25 mm
For example:
UW9101 = Dinner Plate No 1 in Auscraft Ultra White body.
FRUIT BOWL 2
320 X 75 mm
OVAL MEAT TRAY 480 X 335 X 27 mm

MUG 95 X 100 mm
Representative range of diagrams.

Contact our sales staff for further details of available shapes.
COASTER
105 X 10 mm
OVAL PLATTER 470 X 335 X 65 mm
ROUND PLATTER 430 X 37 mm
SMALL SQUARE BOWL

110 X 55 mm
PASTA BOWL 225 X 80 mm
CEREAL BOWL 160 X 65 mm
LARGE BOWL 155 X 43 mm
SMALL BOWL 130 X 40 mm
SQUARE PLATTER 345 X 345 X 37 mm
SQUARE TRAY 300 X 300 X 30 mm
SMALL
SQUARE TRAY
190 X 190 X 20 mm
RIMMED
SOUP BOWL
255 X 70 mm
RECTANGULAR
SUSHI PLATE
212 X 150 X 35 mm
SQUARE
SUSHI PLATE
Small
205 X 205 X 25 mm
Large
225 x 225 x 30 mm
RECTANGULAR TRAY
360 X 180 X 30 mm
RECTANGULAR PLATTER
455 X 335 X 65 mm
LARGE
OCTAGONAL TRAY
420 X 315 X 35 mm
OCTAGONAL TRAY
315 X 250 X 25 mm
LASAGNE DISH
395 X 270 X 70 mm

OVAL OLIVE DISH

(Divided)
195 X 140 X 40 mm
117
Revised April 2013
Bisqueware
Product Code = UW9
Product
Code
plus 1 for Auscraft Ultra White or plus 4 for PB103
Product Code
Prefix
Example: UW9101 = Dinner plate No.1 in Auscraft Ultra White
Dimensions
(mm)
Product
Code
Description
Dimensions
(mm)
UW900
Pasta bowl PB225
225 x 80
UW938
Pie dish (large) LPD325
325 x 285 x 65
UW901
Cereal bowl CB165
265 x 65
UW939
Pie dish (medium) MPD270
270 x 240 x x65
UW902
Fruit bowl No.1 FB1320
320 x 130
UW941
Lasagne dish (large) LLD395
395 x 270 x 70
UW903
Small bowl SB130
130 x 40
UW943
Lasagne dish (small) SLD320
320 x 215 x 75
UW904
Large bowl LB155
155 x 43
UW944
Olive dish oval (divided) OD190
190 x 140 x 44
UW905
Square bowl (small) SSB110
110 x 55
UW945
Rectangle dish RD110
110 x 145 x 30
UW906
Soup bowl (rimmed) SB250
250 x 70
UW946
Baking dish (medium) MBD255
255 x 340 x 50
UW907
Fruit bowl No.2 FB2325
325 x 75
UW948
Condiment dish CD160
160 x 90 x 45
UW908
Round plate (large) RP390
390 x 37
UW950
Square sushi dish (small) SSD205
205 x 205 x 25
UW909
Rectangle tray (large) LRT385
385 x 310 x 40
UW952
Square sushi dish (large) SSD255
255 x 255 x 25
UW910
Dinner plate No 1 DP1
295 x 25
UW953
Coaster C105
105 x 10
UW911
Side plate No.3 SP3
205 x 20
UW954
Tumbler T95
95 x 100
UW912
Side plate No 1 SP1
200 x 20
UW955
Egg cup EC150
150 Dia.
UW913
305 x 20
UW956
Oval bowl (small) SOB145
UW914
Side plate No 2 SP2
225 x 27
UW958
Victorian bowl/basin (large) LVB345
345 x 125
UW915
295 x 30
UW959
Victorian bowl/basin (small) SVB295
295 x 105
UW916
Oval dinner plate ODP315
315 x 240 x 25
UW960
Fluted bowl (small) SFB170
170 x 60
UW917
Octagonal plate OP315
315 x 250 x 25
UW961
Fluted bowl (medium) MFB300
300 x 90
UW918
Octagonal plate (large) LOP420
420 x 315 x 35
UW962
Fluted bowl (large) LFB350
350 x 100
Straight sided bowl SSB145
145 x 70
145 x 75 x 65
UW919
Square tray extra large XLST380
380 x 380 x 50
UW963
UW920
Square platter SP345
345 x 345 x 65
UW964
Dip bowl (very small) SDP100
100 x 40
UW921
Rectangular platter RP455
455 x 335 x 65
UW965
Chopsticks bowl CHOP170
170 x 110
UW922
Oval platter OP470
470 x 335 x 65
UW966
Square rice bowl SRB180
180 x 180 x 65
UW923
Round platter RP430
430 x 37
UW967
Square bowl (medium) MSB140
140 x 140 x 85
UW924
Square snack plate SSP210
210 x 210 x 20
UW968
Square bowl (large) LSB235
235 x 235 x 10
UW925
Oblong tray (large) LOT500
500 x 305 x 40
UW969
Square rimmed bowl (small) SRB135
135 x 135 x 50
UW926
Square 3-section tray S3T315
315 x 315 x 55
UW970
Oval server (medium) OS275
275 x 210 x 65
UW927
Rectangle 4-section tray R4ST420
420 x 145 x 30
UW971
Oblong server OS435
435 x 165 x 25
UW928
Rectangle 2-section tray R2ST220
220 x 145 x 30
UW972
Entre plate No.1 EP1
250 Dia.
UW929
Oval tray (medium) MOT385
385 x 250 x 23
UW973
Cake tray CK335
335 x 195 x 30
UW930
Oval tray (large) LOT480
480 x 335 x 27
UW974
Oval soap dish OSD130
130 x 105 x 35
UW931
Rectangular tray RT360
360 x 180 x 30
UW975
Shell (small) SS180
180 x 50
UW932
Square tray ST300
300 x 300 x 30
UW976
Shall (medium) MS300
300 x 80
UW933
Square tray (small) SST190
190 x 190 x 20
UW977
Shell (large) LS415
415 x 110
UW934
Mornay dish (small) SMD200
200 x 110 x 35
UW979
Xmas bell XB70
UW935
Mornay dish (large) LMD390
390 x 215 x 58
UW983
Spoon rest SR215
UW936
Quiche dish (medium) MQD240

70 x 60
215 x 75 x 30
240 x 50
118
Revised April 2013
Glossary of Ceramic Terms

Abrasives - Various hard substances used for grinding, cutting or polishing softer substances, e.g. fused alumina.
Amorphous - Non-crystalline, having no determinable form or crystalline structure, e.g. glass.
Apparent Porosity - Relation between the volume of a mass and the volume of the water absorbed when the mass is immersed.
Ark - Large storage vat or container, e.g. Glaze Ark, Slip Ark, etc.
Autoclave - An airtight chamber, usually of steel, used for heating articles under pressure, used for a crazing or moisture expansion test.
Ball Mill - A unit used in the ceramic industry for the grinding of materials. It consists of a lined cylinder rotating about its horizontal axis
and charged with flint pebbles or special ceramic grinding media, plus the material to be ground. The mill may be operated dry or wet.
Batt / Kiln Wash - A coating of refractory material applied to saggars, kiln furniture, etc, to prevent sticking during firing.
Batt - Plaster or wooden form used to enable the movement of ware without handling. A refractory slab used to support ware during firing.
Biscuit - Fired but not yet glazed ware.
Bleb - Small blister or bubble.
Bloating - A swelling or expansion of body due to (a) over firing or irregular firing, (b) carbon trapped within a vitreous body. It appears as
a bubble formation within the body.
Blunging - Mechanical mixing of clay or slip with water.
Body - Name given to prepared clay.
Body Stain - Colourant used to colour clay body.
Bone China - A thin and translucent china made from a body containing bone ash, china clay and Cornish Stone.
Bottle Oven - An intermittent kiln that is bottle shaped, usually fired with coal. Almost completely obsolete in pottery today.
Burnishing - Polishing leather hard clay by rubbing with a smooth stone or back of a spoon etc.
Calcination - The pre-firing of a ceramic material to remove all moisture.
Casting - Forming pottery by pouring slip into a porous mould, usually made from potters plaster.
Casting Slip - A very fluid slip of high specific gravity, obtained by deflocculation and used for forming ware using the casting process.
Ceramic - Derived from the Greek Keramos meaning earthen vessel. Today it applies to a whole range of products, i.e. bricks, tiles,
pipes, porcelain, china, pottery, etc.
Chittering - A series of small irregularities on the outer edge or rim of pottery ware. Mainly caused by incorrect fettling.
CMC - Carboxy Methyl CelluloseSee Tylose in Miscellaneous Materials.
Co-efficient of Expansion - A measure of the reversible volume or length change of a ceramic material with temperature.
Colloid - A suspension of extremely fine charged particles in a liquid.
Combined Water - The water driven off when a dry substance is heated. It should be distinguished from the moisture which is driven off
below 110C and which can be variable. The combined water is present in finite proportions.
Comminution - Production of powder by the breaking down of large particles, usually in a ball mill or mortar and pestle.
Compressive Strength - The ability of an article to withstand crushing loads.
Craquelle - An intentionally crazed or cracked effect on art pottery, emphasized by rubbing colouring matter into the cracks and re-firing
the ware.
Crawling - Movement of glaze over the body surface during the gloss firing stage, due to dust or grease on the surface or over application
of the glaze or excessive colloidal material in the glaze.
Crazing - A network of cracks in the glaze caused by tensile stresses greater than the glaze is able to withstand. These may result from
mis-match of the glaze with the body.
Cryptocrystalline - Possessing crystals so small that they cannot be distinguished by a microscope.
Cut Glaze - Bare areas on glazed ware due to mechanical damage to the glazed article in the unfired state i.e. ware rubbing together.
De-Airing - Removal of air from clay. Various means are used to achieve this but the most common with clay is via the de-airing chamber
of the pugmill.
Deflocculation - The dispersion of clay slip or glaze by the addition of an alkaline electrolyte e.g. sodium silicate, Dispex, etc.
Devitrification - The crystallization of a vitreous material.
119
Revised April 2013

Dilatancy - The property of a suspension such that when it becomes mechanically disturbed it appears to stiffen but becomes mobile
again when the disturbing force is removed.
Dipping - The application of a glaze by immersion and then allowing the excess to drain off.
Dispersion - The separation of clusters of particles into their original separate units i.e. grinding.
Draw - Absorption of glaze by an unglazed surface situated near to a kiln during firing.
Dropper - Globules of glaze found on open gloss ware, usually from glaze accumulations on the roof of the kiln.
Dunting - Cracks or cracking caused by the too rapid cooling or heating of ware, and due to thermal stresses set up in the body.
Earthenware - A moderately porous pottery body that is fired to a temperature somewhat below that required to produce a vitreous article.
Edge Runner Mill - A type of mill used for grinding or mixing materials in which the treatment is carried out by the pressure of large rollers
squeezing the material between themselves and the base of the pan.
Efflorescence - A growth on the surface of ware due to the presence in the body of soluble salts.
Electrical Porcelain - Made for the use as an electrical insulating material. Typical composition is ball clay 28%, china clay 22%, quartz
25% and feldspar 25%.
Elutriation - The separation of particles according to their size or specific gravity by a controlled velocity water stream. The basis of a
method for the determination of the fineness of a material.
Enamel - A fusible vitreous coating, fired at low temperatures, for clay articles.
Enamel Firing - A further firing to convert ceramic colouring materials, applied on top of a glaze, to a permanent form.
Engobe - A white or coloured coating of slip applied to the clay, for decoration, before glazing.
Eutectic - A mixture of two substances which has the lowest melting point in a whole series of possible compositions.
Extrusion - The process of forcing clay through an aperture or die.
Feathering - Drawing a feather across slip-trailed ware for decorative purposes.
Fettling - The removal of the seam left by the mould in greenware, by fettling knife and/or sponge.
Fillers - These are materials added to a system to give it rigidity or increase its volume. Flint or quartz are often referred to as fillers in
ceramic bodies.
Filter Cloth - A nylon or terylene cloth used in filter presses to filter the clay.
Flocculation - The aggregation of suspended particles by the addition of electrolytes to give a proper consistency for casting, dipping, etc..
A flocculent is a thickener.
Flux - A substance that lowers the melting point of material in which it is present, either naturally or to which it has been added.
Frit - A ceramic glass-like composition, melted or fused together. Used to render soluble constituents of glazes insoluble.
Frizzling - Mainly a decorating fault, typified by the curling over or frizzling of parts of a decoration. Caused mainly by temperature being
too high in the initial stages of firing thereby causing the boiling off or eruption of organic media, i.e. size, oils, etc.
Fusion - Any treatment which converts a solid substance to a liquid state.
Glaze - A thin glassy layer formed on the surface of a ceramic article by the exposure of the glaze coated article to a high temperature.
Glaze is usually applied in the form of a suspension of ground glaze in a liquid medium, to the clay or biscuit surface of the article.
Glaze/Body Fit - The relationship between thermal expansion of body and glaze. Ideally the glaze should have a lower thermal expansion
than the clay body, so that on contraction the body puts the glaze into compression. This avoids crazing of the glaze due to tensile
stresses in it.
Glaze Stain - Colouring agent added to a glaze.
Glost - A surface that has been glazed.
Greenware - Unfired clayware.
Grog - Ceramic material which has heated to a high temperature before use and is predominantly inert.
Hardening On - A process of heating decorated bisque ware to a temperature of approximately 650-700C in order to burn out the organic
media of the decoration and fix the colour prior to glazing.
Heat Work - Energy input during firing, normally represented in terms of temperature and time. Pyrometric cones indicate the amount of
heat work that has occurred during a firing.

120
Revised April 2013

Hot Pressing - Densification of particles by the simultaneous application of heat and pressure. i.e. pressure sintering.
Incised Decoration - Marking leather hard clay for decorative purposes.
Jiggering - Shaping of flatware by means of a profiled tool at a fixed distance from the rotating surface of a plaster mould.
Jolleying - Shaping of hollow ware by means of a profiled tool at a fixed distance from the rotating surface of a hollow plaster mould.
Kaolin - From the Chinese Kao-Lin, meaning a high ridge. This is where white clay was first discovered.
Kiln - Pottery oven or furnace in which ceramic products are fired. May be fired by wood, coal, sawdust, electricity or gas.
Kiln Furniture - General term used to describe refractory pieces used to separate and support pottery during firing.
Laminations - The structure of unfired or fired pottery in which the materials are aggregated in the form of layers or strata.
Lawn - A fine mesh sieve, usually made from phosphor bronze or stainless steel, and supported by a strong frame.
Lead Solubility - The solubility of lead glazes in particular in diluted hydrochloric acid.
Leather Hard - Partially dried clay ware. The ideal stage for turning, fettling, sponging, etc.
Lithography - This is a method of decoration involving manufactured transfers or decals. The printing of the transfer is done by printing
the decoration in lithographic oil, the colour then being dusted onto the oiled areas. The completed transfer is applied to a clay surface that
has been previously coated with a tacky size, rubbed down and the paper backing sponged off. This process has largely been replaced
with slide off transfers.
Loss of Ignition (L.O.I.) - The loss in weight of clay or other material expressed as a percentage of its dry weight when it is heated under
specified conditions.
Low Solubility - L.S. or low sol glaze. Defined by the Pottery Health Regulations as a glaze which does not release more than 5% of its
dry weight of soluble lead when subjected to a specified test using hydrochloric acid.
Lustres - An iridescent optical appearance, due to light reflections producing diffraction patterns on a glazed surface. Produced by very
thin coatings of metallic substances fired onto the glaze.
Majolica - In modern pottery, a soft opaque coloured glaze, firing temperature approx. 900 - 1050C. Originally named from the island of
Majorca where it was first made in the 16th century. Basically similar to Delft. The colour is applied over unfired tin glaze.
Model - The original or prototype of the piece to be made. Usually in clay, occasionally in plaster.
Modulus of Elasticity - The term defining the extent to which a material may be distorted under a given stress. Important in calculating
glaze/body relationships.
Modulus of Rupture - The resistance offered by a piece of ceramic of unit cross sectional area to a cutting force. The mechanical
strength is quoted as modulus of rupture.
Moisture Expansion - The extent to which a porous ceramic material will expand in size when it absorbs water or water vapour.
Muffle Kiln - A chamber or box built in a furnace and used to fire articles out of direct contact with flames or the products of combustion.
Once-Fired - The making, glazing and firing of ware in one operation.
Opacifier - An additive to a glaze that increases the reflection of light to the observer, commonly tin oxide or zircon.
Optical Pyrometer - This is a form of pyrometer in which the temperature of an article or furnace is estimated by comparing the colour and
intensity of its luminous surface with that of a calibrated filament.
Particle Size Distribution - The description of a powder by specifying the percentage of material within a given size range or less than a
specific size. Sieve mesh sizes are an indication of particle size.
Peeling - A defect in glazed ware characterized by the engobe or glaze separating from the body in flakes. This is usually due to high
compressive stresses in the layer.
Pin Holes - A glaze or body fault resulting from trapped air erupting through the body or glaze during maturation in the kiln.
Pitchers - Fired or broken scrap pottery. Biscuit pitchers have various uses when crushed or ground, i.e. grog, fillers, stopping, etc.
Plasticity - The property which enables material to be deformed by a force which exceeds a certain minimum value and to retain its new
shape when the deforming force is removed. The ability of a material to be modelled.
Plucked Ware - A fault caused by glazed parts of the ware being in contact with kiln furniture.
Porcelain - This is a vitrified and translucent ware made from a body containing china clay, ball clay, quartz and feldspar, which is made
traditionally fired only once.
Porosity - The amount of pore space in a ceramic material, which may consist of both open and sealed channels.
121
Revised April 2013

Pugging - The intimate mixing and extrusion of plastic clay bodies.
Pyrometric Cones - Small pyramids, made from various ceramic materials, which fuse and bend over at given temperatures. Used in
kilns to indicate accurate firing temperatures and heat work.
Quenching - A method of cooling molten frit by allowing it to pour into a bath of water, thereby giving the frit its characteristic granular
form.
Raw Glaze - A glaze which contains no fritted ingredients.
Reducing Atmosphere - A kiln atmosphere which is deficient in free oxygen and causes reduction of compounds which are oxygen
bearing.
Refractory - The ability of a material to withstand high temperatures, i.e. kiln shelves, cones, stilts, etc.
Rheopexy - The action of inducing thixotropy by gentle agitation or vibration.
Saggars - Fire clay boxes of various shapes, in which ware is placed to protect it from contamination during firing.
Salt Glaze - The glaze is applied by throwing some salt onto the flames during firing, the ensuing vapour then reacting with the clay to form
a sodium alumino-silicate glaze.
Sedimentation - The settling out, on standing, of particles from suspension in a liquid. This can occur when a casting slip or glaze is left
overnight.
Sgraffito - The cutting or scratching through the outer colour or engobe, using a sgraffito tool, to expose the clay body underneath.
Sintering - The adhesion and densification of particles of a single compound on heating.
Slip - Suspension of a clay body in water, used for casting ware in moulds. Deflocculants are added to keep the clay in suspension.
Silk Screen - A decorating technique where the colour in paste form is forced by the means of a squeegee through a fine mesh and onto a
clay surface.
Scumming - The formation of dull scum on the glaze surface, caused by gases present in the kiln atmosphere, or sulphates present in the
body or in the kiln gases.
Soak - To maintain ceramic ware at a pre-arranged temperature in the kiln for a particular time.
Spalling - The flaking, cracking or other disintegration of ceramics when subjected to sudden temperature changes.
Specific Surface Area - The total area of the surface of all the particles in unit weight of material.
Spit Out - Rapid desorption of absorbed moisture during the enamel firing resulting in small craters or bubbles being blown in the glaze.
Spray Drying - The process of drying clay slips by spraying them into a chamber through which hot air is passed.
Stoneware - An opaque ceramic containing a naturally vitrifying clay e.g. a stoneware clay or a suitable ball clay. Sometimes a non-plastic
constituent and a flux are added. See clay chart for vitrification temperatures.
Surface Tension - The capacity of molecules of a liquid to bind together. Water has high surface tension.
Tailings - The residue of a material that will not pass through a sieve. It may be further processed and then re-sieved.
Tenmoku - A stoneware glaze deeply coloured by iron oxide. It produces often lustrous results that vary in colour from yellow, green, rust
red, brown and black.
Tensile Strength - The resistance of a material to being torn apart by tension or pulling.
Thermal Conductivity - The rate at which heat passes through a material as measured by its rise in temperature.
Thermal Shock - The disruption of a ceramic article by stresses set up due to differences in temperature in different parts of the article.
Thermocouple - A device for the measurement of temperature based on the voltage generated when two dissimilar conductors are heated
in contact e.g. copper/constantan, chrome/alumel, platinum/rhodium, etc.
Thixotropy - The ability of certain clay suspensions to thicken up on standing; characteristic of partially or over-flocculated slips.
Throwing - The technique of forming pottery on the potters wheel. A ball of prepared clay is thrown on the wheel and it is centred and
shaped with the hands.
Towing - The process of smoothing the outer edge of greenware. It is very similar to fettling.
True Porosity - The sum of open pores as determined by water absorption plus the volume of those pores which are sealed by vitreous
matter and therefore closed to water.
Turning - Trimming thrown pots in the leather hard state.
122
Revised April 2013

Underglaze - Decorative colours applied to ware before the application of glaze.
Viscosity - The resistance to flow offered by a liquid. The opposite of fluidity.
Vitreous - A glassy surface that has extremely low or no porosity.
Vitrification - The progressive fusion of a material or body during the firing process. As vitrification proceeds the proportion of glassy bond
increases and the apparent porosity of the fired product becomes progressively lower.
Water Absorption - A measure of the water a material can absorb, by soaking the material under specified conditions.
Wax Resist - Used as a masking medium for application to areas on which no glaze is required.
Wedging - A method of de-airing and dispersing moisture uniformly by hand in a piece of clay. The lump of clay is repeatedly thrown hard
onto the work bench, turned over and occasionally cut through and re-joined.
Wetting Agent - A substance which when added to a liquid reduces its surface tension and causes the liquid to wet surfaces more
efficiently.
Wreathing - Ripples or waves on the outside surface of a cast body caused by variations in the casting rate. Also referred to as hesitation
lines.
IN TROUBLE? NEED ANSWERS TO YOUR QUESTIONS RIGHT AWAY?

Consult The Experts
The Potters Manual by Kenneth Clark
Product Code : SA635
Firing an Electric Kiln by Mollie Grieve

Firing with LPG by Mollie Grieve

Clay & Colour 1 by Jackie Gasson (A Walker Ceramics Publication)

Product Code : YA101
More Clay & Colour by Jackie Gasson

Product Code : YA102
Artists Guide to the Use of Ceramic Oxides by Harry Memmot

Product Code : SA25
Our recommendation for BEST reference BOOK is

Potters Dictionary of Materials & Techniques
by Frank & Janet Hamer
This may prove to be the best investment you ever make. Many customers have found these books to be
invaluable time and time again
Melbourne 03 8761 6322 Canberra 02 6280 5700

123
Revised April 2013
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and the descriptions and illustrations contained in our catalogues, price lists and other literature, are intended merely to present a
general idea of the goods described and shall not form part of the contract. In accordance with our policy of constantly improving
products, we reserve the right to change the specification or delete items from our catalogues, price lists and other literature without
prior notice.
Performance
All performance figures given by us are based on experience and are such as they expect to obtain on test. We accept no liability if
these are not obtained.
Kilns, Machinery and Equipment
These are sold under their own guarantee conditions and time period.
Delivery
Although we make every effort to give prompt delivery and to comply with stated delivery dates, we cannot accept liability for any loss
or damage due to delay outside our control.
Carriage and Insurance
When goods are despatched by outside carrier or by rail, insurance is the responsibility of the customer and if requested with order
will be arranged with the nominated carrier under the conditions of carriage offered. Off loading and moving into position shall be the
sole responsibility of the customer.
Prices
Prices in our current catalogues and price lists supersede those given in previous publications and are subject to alteration without
notice. Such prices including any given verbally are intended for guidance only and unless otherwise agreed in writing, orders will be
invoiced at prices ruling at date of despatch.
All prices quoted are ex our store and despatched freight forward unless otherwise arranged.
Unless otherwise stated all quotations are made without engagement. No binding contract shall be created by the acceptance by the
customer of a quotation unless CONFIRMED IN WRITING BY OURSELVES.
Payment
We allow credit to Education Establishments and similar bodies and we allow credit to other customers by prior arrangement and on
production of acceptable trade and bankers references.
Payment of credit accounts is NETT 30 days from statement date. Non-compliance will result in the automatic withdrawal of
credit facilities.
The company may also charge the purchaser any legal costs incurred in recovering a debt when notice has been provided to the
purchaser that the payment is overdue.
Goods remain the property of Walker Ceramics until payment is received in full.
Prices are correct at the date of printing but are subject to change without notice.
Errors and omissions excepted. (E & O.E.)
124
Revised April 2013
Index
INDEX
PAGE
INDEX
PAGE
Air Brushes
111
Coiling Tools
95
Air Compressors
111
Colour - Application Techniques
77
Air Set Jointing Cement
107
Colours - Introduction
45
Comb - Kushi
Conditions of sale
93
124
Anti-Set
Aprons
43
85, 90, 100
B
Ball Clay
32
Cones
Containers
105-106
89
Banding Wheels
89
Conversion Tables
83
Barnard Clay
Batts - Wooden
Bell Dark Ball Clay
41
89
41
Crack Filler
43
Custer Feldspar
41
Cutting Wires
93
Bisque Tiles
115
Bisqueware
117-118
Black Wattle Paper Clay
25
Deflocculants
Design Colours
43
72-73
Body Stains
63
Dipping Glazes
46, 49
Bone China
10, 27
Books
112-113
Boxwood Modelling Tools

Brushes
92
98-99
Dispex
43
Drape Moulds
115
Durablanket
107
107
Brushing Medium
43
Buckets
89
Earthenware Bodies
11-24
Buckingham Feldspar
41
Earthenware glazes - Liquid containing Fritted Lead
49-50
Earthenware glazes - Liquid Lead Free
49-50
49-50
49-50
C
Calipers
93
Casting Powders
28-30
Earthenware glazes - Powder containing Fritted Lead

Earthenware glazes - Powder Lead Free
Casting Slips
27-31
Educational Resources
115-116
Cedar Heights Fire Clay
41
Egyptian Paste
26
Ceramic Posters
114
Engobes
20
Ceramic Stains
63-67
Cesco - Glazes
52-62
EPK Kaolin
Erbium Oxide
41
42
Cesco - Underglazes
76
Extruder
China Clay
32
Clay - Air Hardening (Sun Clay)
24
Faults and Remedies
Clay - Black Wattle Paper Clay
25
Clay - Feeneys
Clay - Keanes
Feeneys Clay
21-22
23, 25
Clay - Plastic - Walker Ceramics
8-20
Clay - Practical Information
8-10
Feldspar
89, 93
80-82
14, 17-22
33,36,38,41
Feldspar G-200
41
Finishing Tools
90-96
Fire Engine Red Stain
65-66
Clay - Quality Control
10
Firebricks
Clay - Specialty
25
Flint
38, 41
Flux Extenders
74-75
Clay - Specifications
20-21
107
Clay Gun
93
Frits
44
Clay Projects
113
Frit 14
41
95
Frit Hommel 373
41
Clean Up Tools

125
Revised April 2013
Index
INDEX
PAGE
INDEX
PAGE
Giffin Grip
102
Glaze - Cesco
Glaze - Colour Charts
52-62
50-51,59-62
Glaze - Dipping
Kiln Instruments
110
Kiln Shelves
104
Kiln Wash
43
Kilns
49
108-110
Kingman Feldspar
41
Glaze - Earthenware Liquid containing Fitted Lead
49-50
Knives
94
Glaze - Earthenware Liquid Lead Free
49-50
Kushi Comb
93
Glaze - Earthenware Powder containing Fritted Lead
49-50
Glaze - Earthenware Powder Lead Free
49-50
Glaze - Hobby Ceramics
48-49
Lace Tools
95
Latex
43
Limoges - Plastic Clay
11, 20
Glaze - Middle Fire
48-49, 51
Glaze - Preparation
46-48
Glaze - Raku
48-49
Macaloid
41
Glaze - Stoneware Liquid
49, 51
Magazines
112
Glaze - Stoneware Powder
49, 51
Magic Mister
96
Glaze Stains
63-67
Masks
85, 90, 100
Meshes
100
Glossary
Lustres On Glaze
119-123
Gloves
Middle Fire Glazes
85, 90, 100
Goldart Clay
41
Greenstripe Clay
41
Greenware Mender
43
Grinding Media
102
Grolleg Kaolin
41
Gum Acacia (Arabic)
43
History
Hole Piercers
Modelling Tools
92
Mould Trimmer
94
97
Needles
94
Neodymium Oxide
42
Nichrome Wire
84-86
25, 104
28-29
93
Onglazes
68
Opax
41
Oxford Feldspar
41
Oxides
Jordan Fireclay
115-116
Hobby Ceramics
43
Mud Tools
93
Health and Safety
48-49, 51
Miscellaneous Materials
Moulds
H
Harps
68
41
Oxides - Rare Earth
31-42
42
K
Kaopaque 20 Kaolin
41
Paddles
94
Keanes - Clay
23
Palettes
94
Kentucky 4 & 12 Clays
41
Paper Clay
25
Keystone Feldspar
41
Paraffin Wax
43
Kidneys
94
Patter
94
Pencil - Underglaze
78

126
Revised April 2013
Index
INDEX
PAGE
INDEX
PAGE
Plyrite Binder
43
Porcelain
Stains - Potters Colours
9, 27
65-66
Stilts
104
Stoneware Bodies
9-25
Potash Feldspar
33, 36, 38
Potters Colours
65-66
Stoneware Glazes - Liquid
49, 51, 58
Potters Plaster
34
Stoneware Glazes - Powder
49, 50 58
Pottery Wheels
101
Studio Equipment
Praseodymium Oxide
42
Sun Clay
Pro Tool Needle
94
104
Table of Contents
Tennessee #5 Ball Clay
41
Props
Protective Apparel
85, 90, 100
89-90
24
Pugmills
102
Thermocouples
110
Pyrax Pyrophyllite
41
Throwing Sticks
96
Pyrometer
110
Tile Cranks
104
Tile Cutters
90
Tiles - Bisque Earthenware
116
10-25
Tissue Transfers
79
48-49
Tongs
95
42
Tools
91-97
Q-R
Quality Control
10
Raku - Clay
Raku - Glazes
Rare Earth Oxides
Raw Materials
32-41
Redart
41
Reference Material
112-114
Refractory Materials
105-107
Respirators
94
Treviscoe Kaolin
41
Turning Tools
Tylose
93
43
85, 90, 100
Ribbon Tools
Tools - Wire
94-95
Underglaze Pencils
78
76
Ribs
94
Underglazes - Cesco
Rolling Pins
96
Underglazes - Design Colours

Underglazes - Wunder Colours
41
S
Sagger XX Ball Clay
72-73
71-73
Veegum T
41
Sculpture Tools
92-96
Sgraffito Tools
95
Vermiculite
Videos now available as DVDs
Shelves - Kiln
104
W - Z
Shredder
97
Wax Resist
Sieves
90
Website
Sieves - mesh sizes / equivalents
40
Wheels
101
Slabrollers
103
107
87-88
43
Whiting
41
Slip
27-32
Wire Tools
95
Slip Trailers
26, 96
Wunder Colours
71-73
Slump Moulds
115
Soda Feldspar
33, 36, 38
Sodium Silicate
43
Soft Soap
43
Sponge Sticks
90
Sponges
90
Toll Free on 1800 OZCLAY (1800 692529)
Spray Booth
102
Spray Guns
111
and we will be happy to assist you.

Wunder Colours Colour Chart
73
Wunder Waves
78
Zircopax
41
Searching for something that is not in our handbook?

Contact us directly on (03) 87616322
127
Revised April 2013
Notes

128
Revised April 2013
Are you having difficulty obtaining any

Walker Ceramics, Feeneys or Cesco products
from your local retailer?
Contact us for the name of your nearest stockist.
Melbourne 03 8761 6322
Email: sales@walkerceramics. com.au
Canberra 02 6280 5700

or
Visit our website www.walkerceramics.com.au
Order Toll Free -
1800 OZCLAY (1800 692529)
Walker Ceramics also offer a world wide delivery service.

We can post / courier parcels weighing up to 20 kgs .
Registered mail is available upon request to ensure the
safe delivery of your goods.
Orders over 20 kgs can be delivered via
our national and international carriers.
Quotes provided upon request
129
Revised April 2013

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R.R.

Clays Glazes Colours

Greg Daly - PB103 & White Earthenware

Pottery & Ceramics

Walker Ceramics - Feeneys Clay - Cesco

Revised April 2013

Prepared Clay Bodies 8-10

ABN 30 456 822 810

Casting Slips and Powders 27-31

Raw Materials 32-35

Raw Material Alternatives 41

Miscellaneous Materials 42-43

Postal Orders accepted, both nationally and

Health and Safety 84-86

100% Australian Owned

Choosing a Pottery Wheel 101

Walker Ceramics - Feeneys Clay - Cesco

Revised April 2013

New South Wales

Cesco has now moved to Melbourne

Visit our website www.walkerceramics.com.au

Toll Free 1800 OZCLAY (1800 692 529)

Revised April 2013

BSc (Honours) Ceramics

Walker Ceramics - Feeneys Clay - Cesco

Revised April 2013

Revised April 2013

The Process Of Making Clay

The raw clay arrives from the quarry

The crushed clay is then loaded into a blunger where

The slurry is then pumped out of the

The time that the slurry remains in the filter press

The clay slurry is then passed through a

The packs are stacked on pallets ready for despatch.

Revised April 2013

Plastic Clays - Practical Information

Walker Ceramics - Feeneys Clay - Cesco

Revised April 2013

Slip Cast Lamp Base

Walker Ceramics - Feeneys Clay - Cesco

Revised April 2013

We use the following testing procedures to maintain our high standards.

Revised April 2013

Plastic Bodies - Walker Ceramics

Clay packs are approximately 10 kg unless otherwise stated.

IMPERIAL PORCELAIN 4317

Mesh size: Ball milled

Fired colour (oxidation): White

SUPERIOR WHITE PORCELAIN

% Shrinkage wet to dry: 2.3 Dried to fired: 10.2@1300

Mesh size: Ball milled

Fired colour (oxidation): Snow white

FEENEYS WHITE STONEWARE

Fired colour (oxidation): White

Fired colour (reduction): Light grey-white

PB103 WHITE PORCELAINEOUS STONEWARE Also available as PAPER CLAY

% Shrinkage wet to dry: 3.4 Dried to fired: 8.0@1300

Fired colour (reduction): Grey with buff speckle

LIMOGES TM10 WHITE PORCELAIN

Colour codes for firing ranges of clay bodies

Walker Ceramics - Feeneys Clay - Cesco

Earthenware to Middle Fire

Clay packs are approximately 10 kg unless

% Shrinkage wet to Dry: 3.0 Dry to fired: 1.0@1060 9.0@1300