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  • GLOSSARY of Potters Raw Materials
    It is also more chemically reactive than the oxide form and thus melts better As such it is ideal for use in brush work where minimal speck is required However it produces gases as it decomposes and these can cause pinholes or blisters in glazes Also the carbonate form contains less copper per gram therefore colours are less intense than the oxide form Supplies of green copper carbonate often vary in colour and density Despite variations in the physical appearance of the material the amount of contained copper metal remains essentially constant but the ability to stay in suspension can be different from one manufacturer to another and so the ceramic grade must always be used Copper normally produces green colours in amounts to 5 whereafter it moves toward black In reduction firing it turns to Cu2O and gives vibrant red hues Above 1025C copper becomes increasingly volatile and its crystalline structure breaks down At 1325C CuO melts This can affect the colour of other glazed pieces in the kiln Glazes containing copper can change significantly because of loss of copper Some potters alternate between reduction and oxidation and even put a dish filled with copper carbonate in the centre of the kiln to minimize this phenomenon It can act as a strong flux It is the most stable form of oxidized copper Black Cuprous oxide oxidizes to Red cupric oxide in normal firings The oxide form of copper can give a speckled colour in glazes whereas the carbonate form will give a more uniform effect Note When added to low lead solubility glazes copper can cause the solubility of the lead to be greatly increased Copper also can have similar effects in other types of glazes at other temperatures If an overnight soak in vinegar or acid changes glaze appearance be careful CORNISH STONE K2O 3 8 Na2O 4 Al2O3 15 3 SiO2 69 5 A secondary flux in earthenware temperature glazes and an alternative to feldspar at higher temperatures giving greater fired strength A decomposed granite however it is not a fusible as feldspar due to its high silica content Low iron and high silica content promotes whiteness and transparency and so particularly useful in porcelain and similar white bodies DOLOMITE CaO3 31 4 MgO 20 8 Dolomite as a ceramic material is a uniform calcium magnesium carbonate In ceramic glazes it is used as a source of magnesia and calcia to act as a secondary flux Other than talc dolomite is the principle source of MgO in high temperature raw glazes but can be used as low as 1060oC Dolomite matte stoneware glazes for example are highly prized for their pleasant silky surface texture Above 5 it begins to opacify eventually making a matt glaze Dolomite by itself is refractory but when combined with the typical oxides in a glaze especially boron it readily enters the melt ERBIUM OXIDE Er2O3 Erbium oxide is a light baby pink colour It is an expensive dense and weak colourant but one of the very few ways you will ever get a transparent pink Erbium oxide s density means it is absolutely essential that you use CMC gum Erbium oxide gives its best pink colour at concentrations of 8 10 but it is difficult to get more than 8 to fully dissolve in the melt It has given a more lavender colour in the presence of iron traces when in reduction FERRO FRIT 3110 1000 1060oC Soft low alumina sodium borosilicate frit for glazes Often used in crystal and crackle glazes This frit can be very useful to reduce the feldspar content in glazes since many high feldspar glazes have low clay content and therefore poor slurry suspension properties and dried hardness The chemistry of this frit is similar to feldspar but with low alumina and CaO in addition to the alkali fluxes That means if you substitute this for at least part of the feldspar you can increase the kaolin to supply the alumina and thereby improve slurry properties In addition you will be able to reduce the amount of troublesome calcium carbonate Helps in the production of copper blues and manganese purples and raku glazes FLINT SiO2 A major source of calcined silica for glazes and clay bodies 15 It increases the fired temperature and craze resistance of glazes and its low expansion and contraction helps to stabilise the glaze It is added to bodies to reduce shrinkage in drying and firing and to give a certain rigidity and eliminate crazing FRITS Glaze materials that have been melted together and then ground to an appropriate particle size this reduces the handling of toxic materials such as lead by converting them into a silicate Many materials particularly carbonates are soluble in water and by fritting them first this prevents this problem It also removes many volatiles which would have created firing problems The tend to have a consistent formula and so give predicatbale and relieable results See Calcium Borate Standard Borax Lead Bi silicate and Sesquisilicate and HAF HIGH ALKALINE FRIT 860 1060oC Typically SiO2 52 5 B2O3 3 4 Al2O3 5 2 Na2O3 18 6 K2O 10 3 CaO 2 9 A high alkaline Soda and Potash version of a borax frit High expansion rate making them suitable for crackle glazes Helps create turquoise copper blues and purple brown manganese in glazes ILMENITE FeO TiO2 Like rutile ilmenite is quite variable in nature You can tell the difference between granular rutile and granular ilmenite by doing a smear test against an abrasive surface i e an unglazed white tile The rutile will be tan or brown the ilmenite will be black or dark brown Ilmenite can be used in small amounts 1 to produce dark brown specks in bodies and specialized glazes It is also used in combination with rutile to develop characteristic rutile break glazes it seeds crystals in titania glazes IRON OXIDE Fe2O3 Red iron oxide is the most common colourant in ceramics and has the highest amount of iron It is available commercially as a soft and very fine powder made by grinding ore material or heat processing ferrous ferric sulphate or ferric hydroxide During firing all irons normally decompose and produce similar colours in glazes and clay bodies although they have differing amounts of Fe metal per gram of powder In oxidation firing iron is an important source for tan red brown and brown colours in glazes and bodies Iron red colours for example are dependent on the crystallization of iron in a fluid glaze matrix and require large amounts of iron being present eg 25 The red colour of terracotta bodies comes from iron typically around 5 or more and depends on the body being porous As these bodies are fired to higher temperatures the colour shifts to a deeper red and finally brown The story is similar with medium fire bodies In reduction firing iron changes its personality to an incredible extent it changes to a flux a very active flux Iron glazes that are stable at cone 6 10 in oxidation will run off the ware in reduction The iron in reduction fired glazes is known for producing very attractive earthy brown tones Greens greys and reds can also be achieved depending on the chemistry of the glaze and the amount of iron Ancient Chinese celadons for example contained around 2 3 iron Particulate iron impurities in reduction clay bodies blossom during firing creating large specks that bleed right up through glazes The fine nature of red iron is a great asset in spreading it evenly throughout a glaze or body mix It disperses better in glazes than does black iron However it is also a nuisance material for the same reason In addition larger amounts of iron oxide tend to gel glaze and body slurries making them difficult to work with Some grades of red iron do have coarser specks in them and this can result in unwanted specking in glaze and bodies High iron materials with alternate names burnt sienna crocus martis Indian red red ochre red oxide Spanish red The black iron oxides FeO have a higher iron iron content and gives darker shades usually dark browns and can produce speckles and crystals as an aventurine glaze Actual Yellow Ochre iron oxides Fe2O3 are around 85 Fe2O3 and about 12 LOI with some impurities e g SiO2 CaO In ceramics yellow irons are used where its raw colour or other raw properties are important to the manufacturing process or colour of the unfired product It can produce yellowish honey colours 3 but generally gives shades of brown up to 8 especially in lead glazes It has excellent hiding power absorbs ultraviolet light is compatible with a broad range of vehicles disperses well in aqueous and solvent systems does not contain heavy metals LEAD BI SILICATE FRIT 900 1100oC SiO2 29 Al2O3 12 PbO 59 A good clear general purpose lead frit for developing rich bright surfaces and has a good reaction to colours The safe way to introduce lead Particularly suitable for red clays LEAD SESQUISILICATE FRIT 860 1080oC As above but specially coated to reduce solubility LITHIUM CARBONATE Li2CO3 Lithium Carbonate is the best source of lithium oxide for glazes It is slightly soluble It is unusual to see more than 5 lithium carbonate in glaze because it promotes devitrifaction Because of the low expansion of Li2O high lithium glazes tend to shiver There are certain basic properties of lithium which are of interest in ceramics Since lithium has a very small ionic radius in comparison to the other alkali metals it has a higher field strength Low expansion coefficients are generally imparted to ceramic compositions containing lithia Lithium carbonate is a very strong flux also true of lithium fluoride It is the lightest smallest and most reactive flux In addition to being soluble lithium carbonate produces gases as it decomposes and these can cause pinholes or blisters in glazes In frits and glazes lithia is used to reduce the viscosity and thereby increase the fluidity of the coatings This reduces maturing times and lowers firing temperatures 1 additions can increase glaze gloss to a marked degree and slightly greater amounts 3 can reduce melting temperature by several cones and affect surface tension of the melt Lithium Blue Lithia can produce blue effects with copper Lithium Pink Lithia can produce pinks and warm blues with cobalt Lithium Variegation Lithia contributes to mottled and flow effects when used in small amounts 1 MAGNESIUM CARBONATE MgCO3 In high temperature glazes it acts as a flux beginning action about 1170C producing viscous melts of high surface tension and opaque and matte glazes Like CaO its melting action drastically accelerates at high temperatures The surface tension of MgO containing melts is less of a problem in reduction Zircon and Magnesia melt at 2800C making them the highest melting oxides Remarkably MgO readily forms eutectics with other oxides to melt at surprisingly low temperatures It is valuable for its lower expansion and crazing resistance When introduced into a glaze it should preferentially replace calcia baria and zinc before the alkalis to maintain surface character Adding too much will generally move the surface texture toward matte or dry MgO is a light oxide and generally is a poor choice for glazes to host bright colours However it does work well in earthtone and pastel glazes especially in high temperature reduction firing Likewise it may be harmful to some under glaze colours Does not volatilize Magnesia is well known for the pleasant vellum fatty matte and hares fur tactile and visual effects that it produces around 1200C especially in reduction firing dolomite matte The mechanism is phase separation of the suddenly melting MgO but MgO can also produce matte effects at lower temperatures as a refractory melt stiffening additive MANGANESE DIOXIDE MnCO3 Above 1080C half of the oxygen disassociates to produce MnO a flux that immediately reacts with silica to produce violet colours in the absence of alumina browns in its presence Thus if it is being used in glazes fired below 1080C it should be considered as MnO2 if above it should be taken as 81 5 MnO and 18 5 LOI Smaller amounts are easily dissolved in most glaze melts however around the 5 threshold the manganese will precipitate and crystallize In large amounts in a glaze i e 20 metallic surfaces are likely In glazes below 1080C it can give coffee colour browns when used with tin In glazes it will behave in a refractory manner stiffening the melt Because of the expulsion of oxygen at 1080 glazes using manganese should avoid this temperature range to reduce the chance of blistering and ruining of the glaze surface Manganese dioxide is the key to Rockingham brown wares which are made by employing about 3 iron oxide and 7 manganese in a transparent lead glaze of a recipe such as Feldspar 28 Kaolin 14 Flint 4 Lead bisilicate 40 Whiting 4 Manganese Black Manganese and cobalt mixture produce black Iron can also be used For example a mix of 8 iron 4 manganese dioxide and 0 5 cobalt make a raw black stain Manganese Purple Violet Purple colours can be produced in glazes of high alkali KNaO and low alumina especially in combinations with cobalt look for a frit with this profile for best results Manganese Black When added to terra cotta bodies in amounts around 5 manganese dioxide will produce dark gray to black firing bodies Manganese Metallic Large amounts of manganese can produce metallic effects in a glaze However these glazes must not be used on food surfaces MOLOCHITE Al2O3 37 SiO2 48 A calcined china clay or aluminium silicate used as a fine powder to increase the firing temperature of glazes as it introduces alumina and silica it reduces the tendency to crawl in glazes with high clay contents Large sizes are used as grog for white bodies and to open the texture of bodies it induces mechanical stability and resistance to thermal shock through the development of mullite crystals NEPHALINE SYENITE K2O 9 1 Na2O 7 Al2O3 24 9 SiO2 56 A beneficiated mineral similar to but more fusible than feldspar it has lower silica and higher soda and potassium levels and so may be used when a lower melting temperature is required It has a fairly narrow vitrification band typically used in vitreous bodies NICKEL OXIDE NiO3 Gives brownish greens through to grey colours 1 3 In reducing conditions a yellow or blue may be obtained in high zinc stoneware glazes 0 15 nickel with 0 15 zinc oxide gives a brown 0 25 zinc a reddish purple and 0 35 zinc a dark blue PETALITE K2O 0 2 Na2O 1 6 Li2O 4 Al2O3 15 7 SiO2 76 1 A secondary Lithia alumina silica bearing flux for use in high temperature bodies such as porcelain and high temperature glazes It can be used to alter colour response and to reduce thermal expansion lowering maturing temperatures without shortening of firing range especially when used as a replacement for feldspar POTASH FELDSPAR K2O 11 3 Na2O 3 2 Al2O3 18 5 SiO2 65 8 One of the most important materials for medium and high temperature ceramic glazes Potash feldspars are not usually as pure and white as soda spars Glazes high in feldspar 35 or more are likely to produce crazing problems Flux saturated glazes with more than 50 feldspar may be unbalanced and lack adequate glass former or alumina SODA FELDSPAR K2O 2 8 Na2O 8 5 Al2O3 18 5 SiO2 69 5 is more suitable at lower temperatures If recipe only states Feldspar it usually means Potash Feldspar FFF Finnish Floatation Feldspar K2O 7 5 Na2O 3 2 Al2O3 18 5 SiO2 67 5 is a high quality product half way between Soda and Potash Feldspar The name Felspar is sometimes used but Feldspar is traditionally the correct name and is used throughout Europe PRASEODYMIUM OXIDE Pr6O11 Praseodymium Oxide gives a small range of vibrant lime green colours in oxidation and reduction at concentrations of 5 8 In small amounts 0 65 in reduction with a trace of iron gives a bright spring green colour QUARTZ SiO2 Quartz sand is often used in bodies as grog for texture and to increase thermal expansion and craze resistance Powdered quartz is used in glazes and bodies also Quartz of very fine particle size 400 mesh will typically enter the feldspathic melt or convert to cristobalite during firing if fluxes are lacking coarse powdered grades help to squeeze glazes into fit Intermediate sizes 200 300 mesh seem to be best however since their greater surface area exerts more compressive squeeze per unit RUTILE TiO2 Rutile is the mineral name for natural crystals of titanium dioxide In nature rutile is always contaminated by up to 15 other minerals especially iron but also things like tantalum niobium chromium and tin The term rutile is thus generally understood to refer to the brown powder into which these minerals are ground and industry accepts up to 15 contaminants and yet still calls it rutile below 85 titanium is called ilmenite Rutile is considered an impure form of titanium whereas ilmenite is considered as FeTiO3 In ceramic glazes rutile is more often considered a variegator than a colorant As little as 2 can impart significant effects in stoneware glazes It is normally used in combination with a wide range of metal oxide and stain colorants to produce surfaces that are much more visually interesting In glazes with high melt fluidity e g having high boron large amounts of rutile e g 8 can be quite stunning The rutile encourages the development of micro crystals and rivulets Since rutile contains significant iron its use in combination with other colourants will often muddy the colour that they would otherwise have or alter it if they are sensitive to the presense of iron Even though rutile generally makes up

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  • Links - Kiln Repairs, Courses
    273608 contact Jo Tomlinson woodyjo22 hotmail com www anamenec sculpture co uk Totnes Devon with Anna Menec 07943 803551 www werxzovart co uk Howarth Yorkshire studio gallery and pottery courses workshops with Sonje Hibbert 07881 530132 www makingmosaic co uk tile making courses with Marit Ammerud in Newport Essex 01799 501137 Sculpture Weekends Tavistock Devon 01822 610615 dpewilliams live co uk Pottery Classes in Mill Hill London NW7 Monday Friday Wheel and Handbuilding Beginners welcome Tel 07771983232 Dawn Isaacs dawnie isaacs hotmail co uk Jazz the Cat Pottery Classes Elaine Glover in Gainsborough jazz the cat hotmail com Tel 07908 688480 James Outibridge Denby Dale near Holmfirth Evening Classes and kiln firing time rental Tel 07880 967343 www ceramics lu Highfield Ceramics Tiverton Devon 01884 257123 professional teacher all abilities all ages from 6 to 106 please tell them you got their details from CTM Potters Tile Making Introductory Workshops various dates throughout the year often including Raku tiles Taught by Iris Milward and Richenda Macgregor near Totnes please email chendle hotmail com for details www jo davies com Jo offers a kiln firing service in East London kiln size 65cm by 65cm high 07813 965667 www thegalleryupstairstorquil co uk Henley in Arden Warwickshire Saturday workshops and pottery classes Contact Carey Moon on 01564 792174 or see website for details Lynn Spode Potty Dotty Ceramics Offers 3 day course including handbuilding glazing and potters wheel experience or a 1 day taster course Tupton Chesterfield 07736718742 lynnspode uwclub net www carolineleeceramics co uk Offers 1to1 wheel tuition handbuilding sessions in school after school club projects incl special needs CPD for teachers and technicians firing service etc Rotherham 01709 542507 www paulaarmstrongceramics co uk 01954 488020 Handbuilding Classes Monday and Thursday Mornings Thursday Evening and Saturdays Willingham Cambridgeshire Philarthur1951 btinternet com 01603 279687 Tuesday evenings and Thursday afternoons Cawston North Norfolk Deborah Baynes Shotley in Suffolk Residential and non residential weekends and full weeks Handbuilding throwing wood firing raku www potterycourses net www robbibbyceramics co uk Tuesday mornings evenings one to one and groups by arrangement Woodnewton Oundle Northants 01780 470866 www matthewblakely co uk weekend courses throwing and glaze development www mariamcullumceramics co uk one to one tuition in hand building and throwing 07913 351611 susan cupitt gmail com One to one throwing turning and glazing courses for beginners in Cambridge Peter Cuthbertson Lewes East Sussex Weekly courses for beginners and improvers group courses can also be arranged 07885 789102 please tell them you got their details from CTM Potters Helen Dixon Aylsham pottery and sculpture classes 07947 880163 Peter Harding www suffolkstoneware co uk One to one sessions in throwing turning and glazing in Botesdale Suffolk www anniehullceramics uk 2 hour workshops in throwing and handbuilding in Hinxworth Herts Karen Kavanagh Norwich city centre pottery classes and one off workshops www hands on clay vpweb co uk Bill Kohler throwing coiling slabwork and sculpture in Royston Herts william kohler btinternet com 01763 209159 www sandylarkman co uk regular classes three

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  • Polishing powders and abrasive media
    75 SC210 Regipol Cerium based GBP 11 00 GBP 20 00 GBP 35 00 GBP 165 00 GBP 775 00 SC220 Silicon Carbide 80 mesh GBP 3 25 GBP 4 55 GBP 6 35 GBP 19 25 GBP 80 00 SC221 Silicon Carbide 120 mesh GBP 3 25 GBP 4 55 GBP 6 35 GBP 19 25 GBP 80 00 SC225 Silicon Carbide 180 mesh GBP 3 25 GBP 4 55 GBP 6 35 GBP 19 25 GBP 80 00 SC222 Silicon Carbide 220 mesh GBP 3 25 GBP 4 55 GBP 6 35 GBP 19 25 GBP 80 00 SC223 Silicon Carbide 360 mesh GBP 4 90 GBP 6 80 GBP 9 45 GBP 34 75 GBP 157 50 SC224 Silicon Carbide 600 mesh GBP 5 35 GBP 7 45 GBP 10 15 GBP 38 25 GBP 175 00 SC230 Pumice F Grade 100 mesh GBP 2 95 GBP 3 80 GBP 5 25 GBP 13 75 GBP 50 00 SC232 Pumice FF Grade 140 mesh GBP 2 95 GBP 3 80 GBP 5 25 GBP 13 75 GBP 50 00 SML25 Tin Oxide GBP 9 29 GBP 18 09 GBP 31 19 GBP 137 50 GBP 636 75 SML18 Rouge Red Natural Iron Ox GBP 1 55 GBP 2 50 GBP 9 75 GBP 40 50 SML17 Rouge Green Chromium Ox GBP 4 23 GBP 8 23 GBP 14 19 GBP 60 00 GBP 249 50 SML27 Zinc Oxide GBP 1 78 GBP 3 46 GBP 5 98 GBP 26 50 GBP 110 25 Everything is double bagged then boxed If you want any of the materials in pots pails please let us know and we can do that for you but unfortunately at an additional charge 250gm 500gm 1kg GBP 1 65 per item up to 5kg

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  • Clays in stock
    61 47 08 55 40 72 95 90 15 106 94 V75 Porcelain Grogged 1220 1300oC 15 52 30 75 45 49 58 65 71 52 84 17 110 86 137 00 162 50 V79 Parian Body Translucent 1200 1240oC 14 39 28 51 42 17 54 37 66 31 76 52 99 48 122 93 145 82 Code Earthstone Clay 12 5kg 1 bag 25kg 2 bags 37 5kg 3 bags 50kg 4 bags 62 5kg 5 bags 75kg 6 bags 100kg 8 bags 125kg 10 bags 150kg 12 bags VC22 Original E S5 White 1180 1280oC 10 39 20 58 30 44 39 25 47 87 55 16 71 65 88 55 105 03 VC12 Extra Smooth E S10 White 1160 1280oC 10 48 20 76 30 71 39 59 48 28 55 60 72 19 89 21 105 82 VC23 Smooth Textured E S20 1180 1300oC 15 16 30 04 44 43 57 29 69 86 80 46 104 47 129 11 153 15 VC13 Handbuilding E S40 1200 1300oC 14 12 27 98 41 38 53 35 65 07 74 89 97 21 120 13 142 50 VC14 Crank E S50 Buff Orange 1160 1300oC 8 63 17 09 25 28 32 59 39 75 45 81 59 50 73 52 87 21 V48 Smooth Textured Crank E S60 1160 1300oC 8 63 17 09 25 28 32 59 39 75 45 81 59 50 73 52 87 21 V50 Architectural Body E S70 1240 1300oC Off White Frost Resistant 14 43 28 59 42 28 54 52 66 48 76 61 99 51 122 98 145 88 V53 Flecked E S90 White 1220 1300oC 9 37 18 56 27 45 35 39 43 16 49 68 64 48 79 68 94 51 VC15 Speckled Stoneware E S109 White 1160 1290oC 9 37 18 56 27 45 35 39 43 16 49 68 64 48 79 68 94 51 V111 Pizza Oven Making Clay E S180 8 32 16 48 24 37 31 42 38 32 44 11 57 24 70 74 83 92 V97 Black Chunky PF660 1080 1260oC 15 01 29 74 43 99 56 72 69 17 78 35 100 59 124 31 147 46 V98 Black Smooth Textured PF670 1080 1260oC 15 38 30 48 45 08 58 12 70 88 80 29 103 09 127 40 151 12 V102 Smooth Black PF680 1080 1260oC 16 15 32 00 47 34 61 03 74 33 84 33 108 28 133 82 158 73 VC114 PF690 Red Stoneware 1100 1260oC 15 38 30 48 45 08 58 12 70 88 80 29 103 09 127 39 151 12 VC115 PF695 Textured Red S Ware 1100 1260oC 14 64 29 01 42 91 55 32 67 46 76 33 97 93 121 02 143 55 V66 Ashraf Hanna Raku Whte Body PF520 900 1300oC 14 82 29 37 43 43 56 00 68 29 78 64 102 09 126 17 149 66 V48 Smooth

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  • CTM Product 2
    1220 1250oC White 1 12 00 235 72 428 58 683 22 V29D Standard White E ware 1120 1160oC White 1 10 00 164 49 286 13 441 05 VC11D LF White E ware 1060 1160oC White 1 9 00 164 49 286 13 441 05 V108D Commercial White E Ware 1060 1160oC Off White 1 8 00 147 45 252 03 379 08 VC112D Stoneware KGM 1080 1120 and 1220 1260oC Off White 2 10 20 150 89 258 93 403 40 VC25D White E ware Grogged 1080 1180oC Off White 5 6 50 184 65 326 44 509 58 Code Valentine Porcelain Clays 12 5kg bags A B 250 kg 500 kg 1000 kg VC24D Audrey Blackman Porcelain 1220 1280oC 1 18 80 291 33 539 08 917 55 VC9D Royale Porcelain 1220 1280oC Very White 1 17 00 273 90 510 44 847 54 V74D Special Porcelain 1220 1280oC Very White 1 15 50 244 83 452 29 713 21 VC10D P2 Porcelain 1220 1250oC White 1 16 60 207 93 373 00 560 14 V75D Porcelain Grogged 1220 1300oC White 4 16 00 284 73 532 10 884 34 V76D Industrial Porcelain 1180 1280oC White 1 14 00 207 93 373 00 560 14 V78D Bone China Clay 1240oC Translucent V White 1 8 02 305 70 574 04 955 64 V79D Parian Body 1200 1240oC Transclucent White 1 13 00 260 86 478 85 768 68 VC116D Margaret Frith 1220 1280oC White 1 250 88 464 40 769 26 Code Earthstone Clays 12 5kg bags A B 250 kg 500 kg 1000 kg V22D Original E S 5 1180 1280oC Off White 3 13 80 196 04 354 71 613 41 V47D Original E S 5 20 1180 1280oC Off White 5 9 00 237 71 438 06 764 98 VC12D Extra Smooth E S 10 1160 1280oC Off White 1 13 50 197 03 356 70 617 01 VC23D Smooth Textured E S 20 1180 1300oC Off White 6 11 10 254 64 471 92 826 51 VC13D Handbuilding Mat l E S 40 1200 1300oC Off White 8 10 30 241 67 445 98 779 35 VC14D Crank E S 50 1160 1300oC Warm buff 9 10 90 174 34 311 33 534 51 V48D Smooth Text d Crank E S 60 1160 1300oC Warm Buff 7 11 12 174 34 311 33 534 51 V49D Terracotta Crank E S 65 1080 1220oC Medium to Dark Red 10 10 00 157 32 271 77 438 69 V50D Architectural Body E S 70 1240 1300oC Off White Frost Resistant 10 7 01 245 80 454 25 794 39 V51D S Tex T cotta Crank E S 75 1080 1220oC Light to Dark Red 7 10 00 157 32 271 77 438 69 V52D Reduction E S 80 1220 1300oC Warm 6 12 10 183 22 329 07 566 83 V53D Flecked E S 90 1220 1300oC Off White 6 15 26 183 22 329

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  • Potclays Clay Direct
    Clays Texture 250 kg lot 500 kg lot 1000 kg lot PC27D 2112 Ivanhoe Tile Body 1130 1270oC 4 193 63 304 91 524 88 PC1D 1114 Original Craft Crank 1170 1300oC 8 197 06 310 61 535 75 PC61D 2114 Original Craft Crank PB 1170 1300oC 8 191 35 300 07 515 67 PC2D 3114 Premium Craft Crank 1170 1300oC 8 199 65 315 37 544 85 PC28D 4114 Economy Crank 1170 1300oC 8 178 96 277 14 472 01 PC34D 7070 Sculpture Crank 1170 1300oC 9 191 00 300 07 515 67 PC30D 1127 Grogged Pink 1120 1270oC 6 195 32 279 22 473 04 PC31D 1153 Industrial Crank 1210 1300oC 8 205 40 294 59 514 40 PC36D 0330 Smooth White Crank 1220 1300oC 4 228 90 369 48 647 91 PC33D 0630 White Crank 1220 1300oC 6 228 90 369 48 647 91 PC11D 1161 T Material 1200 1300oC 7 8 602 03 922 50 1685 96 PC40D 2161 Y Material 1200 1300oC 7 8 287 13 479 00 858 86 CTM Ref Potclays Ref Raku Texture 250 kg lot 500 kg lot 1000 kg lot PC4D 1154 Original Raku PB 900 1300oC 7 8 150 13 227 73 381 93 PC62D 1156 Coarse Raku 900 1300oC 10 185 14 289 20 494 96 PC35D 1159 Smooth Raku 900 1300oC 7 154 73 236 72 399 06 CTM Ref Potclays Ref White Earthenware Texture 250 kg lot 500 kg lot 1000 kg lot PC47D 4138 Ivory Earthenware 1100 1180oC 1 190 85 299 77 515 09 PC13D 1141 Studio White Earthenware 1100 1220oC 1 182 92 284 47 485 96 PC16D 4130 Grooged White E ware 1100 1240oC 3 219 61 317 11 544 09 PC46D 4120 Grogged White Molochite 1120 1200oC 4 267 08 393 28 686 95 CTM Ref Potclays Ref Porcelain Texture 250 kg lot 500 kg lot 1000 kg lot PC42D 1147 DL Porcelain 1220 1290oC 1 341 38 512 89 911 60 PC24D 1149 HF Porcelain 1220 1290oC 1 273 01 452 92 809 23 PC44D 4000 JB Porcelain 1220 1290oC 1 368 49 557 18 994 61 CTM Ref Potclays Ref Vulcan Clays Texture 250 kg lot 500 kg lot 1000 kg lot PC52D 164VUC Vulcan Black Coarse 1200 1240oC 8 9 288 18 490 05 989 56 PC53D 164VUM Vulcan Black Medium 1200 1240oC 4 5 288 18 490 05 989 56 PC54D 164VUF Vulcan Black Fine 1200 1240oC 1 2 288 18 490 05 989 56 CTM Ref Potclays Ref Powdered Clays Texture 250 kg lot 500 kg lot 1000 kg lot PC55D 1118PW Buff E W S W Powder 1100 1290oC 1 2 242 45 368 53 606 43 PC56D 1149PW HF Porcelain Powder 1220 1290oC 1 382 18 599 48 1017 47 PC57D 1000PW Low Temp E W Powder 1 372 64 583 57 989 39 PC58D 1146PW Porcelain Powder 1200 1290oC 1 373 99 585 86 993 39 PC59D 1140PW White E W Powder 1100

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  • Spencroft Clay
    62 260 94 SP13D Crank Body 1150 1280oC 148 30 241 14 390 10 SP6D Stoneware Buff 1140 1260oC 115 66 166 62 260 94 SP8D Buff Grog Stoneware 1140 1260oC 119 66 174 30 273 50 SP20D SP Four Stoneware 1150 1280oC 125 90 185 50 293 90 SP11D AWS One White Stoneware 1240 1280oC 124 14 181 98 287 90 SP14D AWS OneG White Stoneware Grogg 1150 1280oC 127 02 187 10 297 18 SP15D Modelling Stoneware 128 30 189 66 301 18 SP16D Super White Stoneware 1220 1280oC 195 50 324 34 540 42 SP10D SRB 8Eight Earthenware 1060 1160oC 106 06 149 66 229 34 SP12D SRB EightG 1060 1160oC 109 90 157 02 243 10 SP17D SRB EightS 1060 1160oC 109 90 157 02 243 10 SP18D Evans Earthenware 1060 1160oC 109 90 157 02 243 10 SP2D Studio White Earthenware 1200 1269oC 171 66 282 42 465 30 SP19D FEB03 Earthenware Casting Body 1200 1269oC 160 62 262 58 429 70 SP5D SP Porcelain 1220 1280oC 254 94 423 62 719 30 SP21D Buff Air Drying 12 5kg bags 133 58 184 90 303 50 SP22D Red Air Drying 12 5kg bags 133 58 184 90 303 50 For ex store Exeter Doncaster prices of Valentines or Scarva Earthstone clays go to Clays In Stock For Direct delivery of Valentines or Scarva Earthstone clays go to Valentines Direct Delivery All Prices require VAT to be added Prices are subject to change without notice Extra Charges VAT needs to be added on to all prices with certain exceptions Payment is by debit card over the phone or by bank transfer Credit cards or business cards are an extra 2 Delivery Charges Delivery Charges Local EX PL TQ TR except TR210 TR250 BB BD BL CW DN HD HG HU HX L LS M NG OL PR S WA WF WN YO NO ADDITIONAL CHARGE Area 1 AL B BA BS CB CF CH CM CV DE DH DL DY FY GL HP HR LE LN LU MK NE NN NP NR OX PE PO excpet PO30 41 for pallets RG SG SN SR ST TS NO ADDITIONAL CHARGE Area 2 BH BN BR CA CO CR CT DA DT EN GU HA IG IP KT LA N not N1 N81 NR NW SO W not W1 NO ADDITIONAL CHARGE Area 3 E EC FK1 19 G not G63 G83 84 KA1 KA3 KA11 12 KA30 LD LL ML1 9 N1 N81 PA1 19 SA SE SW SY W1 WC NO ADDITIONAL CHARGE Area 4 DG EH G63 G83 84 KA KY LL ML10 12 TD EXTRA GBP10 PER PALLET Area 5 DD FK20 21 PH1 18 EXTRA GBP40 PER PALLET Area 6 AB IV not IV40 49 IV51 54 EXTRA GBP40 PER PALLET Area 7 anywhere not listed above please ask for a specific quote Customers from Eire if you have a VAT number we do not need to charge you UK VAT All deliveries

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  • CTM Product 4
    alumina and CaO in addition to the alkali fluxes That means if you substitute this for at least part of the feldspar you can increase the kaolin to supply the alumina and thereby improve slurry properties In addition you will be able to reduce the amount of troublesome calcium carbonate Helps in the production of copper blues and manganese purples and raku glazes FERRO FRIT 3124 1000 1150oC 7 9 Expansion SiO2 55 3 Al2O3 9 9 B2O3 13 7 K2O 0 7 Na2O 6 3 CaO 14 1 FERRO FRIT 3134 1000 1150oC 9 6 Expansion SiO2 46 5 B2O3 23 1 Na2O 10 8 CaO 20 1 GERSTLEY BORATE Gillespie replacement SiO2 11 8 CaO 23 K2O 0 01 Al2O3 1 7 MgO 3 9 Na2O 3 77 B2O3 3 9 SrO 0 45 A blended high purity high colloid material Consistent due to blendin and quality controlled processing Produces lower levels of crawling and pin hole effects than the old Gerstley material LEAD BI SILICATE FRIT 900 1100oC SiO2 29 Al2O3 12 PbO 59 A good clear general purpose lead frit for developing rich bright surfaces and has a good reaction to colours The safe way to introduce lead Particularly suitable for red clays LEAD SESQUISILICATE FRIT 860 1080oC As above but specially coated to reduce solubility STANDARD BORAX FRIT 900 1140oC Often used in the production of earthenware glazes when a lead free glaze is required Slight milkiness especially at low temperatures may be evident over red clays and the colour response with oxides etc is not as vivid as with lead frits All prices are in GBP per kg of material unless specifically stated VAT to be added Metal Oxides We work hard to have the lowest prices so if you find the same raw material priced elsewhere not clearance price let us know and we will match it for smaller lots see table below this one Code Colouring Oxides 1kg 2kg lot 5kg lot 10kg lot 25kg lot 16 Antimony Trioxide 15 80 29 80 70 00 122 50 291 00 17 Chromium Oxide 14 19 26 20 60 00 105 00 249 50 1 Cobalt Oxide 54 83 104 82 250 00 Request Request 11 Cobalt Carbonate 54 83 104 82 250 00 Request Request 14 Copper Carbonate 14 06 25 96 59 50 104 10 Request 15 Copper Ox Black Cupric 12 52 23 12 53 00 92 8 0 Request 83 Copper Ox Red Cuprous 12 77 23 62 54 25 95 3 0 Request 31 Illmenite Coarse 3 78 7 14 16 75 30 20 64 00 32 Illmenite Fine 4 18 7 88 18 50 32 40 68 75 18 Iron Oxide Red Natural 2 50 4 70 11 00 19 30 45 75 66 Iron Oxide Black 4 49 8 30 19 00 33 00 79 00 73 Iron Oxide Yellow Ochre 4 08 7 52 17 25 29 3 0 6 9 75 70 Iron Oxide Spangles 4 70 8 50 19 00 33 30 79 00 19 Manganese Carbonate 4 63 8 72 20 50 36 90 87 7 5 20 Manganese Dioxide 2 78 5 12 11 75 20 6 0 46 25 21 Nickel Oxide 38 66 72 90 171 25 Request Request 33 Rutile Flour 7 56 14 26 33 50 58 6 0 139 25 59 Silicon Carbide Fine 8 92 16 82 39 50 69 10 164 25 25 Tin Oxide 32 89 61 88 145 00 275 50 671 50 26 Titanium Dioxide 8 80 16 60 39 00 68 3 0 162 00 22 Vanadium Pentoxide 70 54 127 54 285 00 Request Request 27 Zinc Oxide 6 85 12 66 29 00 50 8 0 120 50 30 Zirconium Oxide 16 93 31 94 75 00 Request Request 29 Zirconium Silicate Zirc 5 7 38 13 64 31 25 53 10 113 00 PLEASE NOTE Many of these oxide prices change on a daily basis and so price is liable to change without notice especially those marked with and in the small lots table Code Smaller Lots 100 g lot 250 g lot 500 g lot 16 Antimony Trioxide 2 13 4 71 9 17 39 Bismuth Subnitrate 10 26 21 55 41 04 17 Chromium Oxide 1 92 4 23 8 23 1 Cobalt Oxide 8 22 17 70 34 27 11 Cobalt Carbonate 8 22 17 70 34 27 14 Copper Carbonate 1 90 4 19 8 15 15 Copper Oxide Black 1 69 3 73 7 26 83 Copper Oxide Red 1 81 3 99 7 77 66 Iron Oxide Black n a 1 65 2 61 18 Iron Oxide Red n a n a 1 55 73 Iron Oxide Yellow n a 1 65 2 36 19 Manganese Carbonate n a 1 65 2 68 20 Manganese Dioxide n a n a 1 65 21 Nickel Oxide 5 22 11 52 22 42 33 Rutile 1 65 2 25 4 39 59 Silicon Carbide 1 65 2 66 5 17 25 Tin Oxide 4 44 9 80 19 08 26 Titanium Dioxide 1 65 2 62 5 11 22 Vanadium Pentoxide 9 52 21 01 40 91 27 Zinc Oxide n a 2 00 3 90 29 Zirconium Silicate Zirc 5 n a 2 15 4 20 General Guide Uses of Metal Oxides ANTIMONY TRIOXIDE Sb2O3 Additions 1 2 to a lead glaze gives a yellow often known as Naples Yellow Very Toxic CHROMIUM OXIDE Cr2O3 Usually 1 3 produces greens but will give pink in the presence of TIN can produce reds and yellows in a low firing LEAD low ALUMINA glaze and browns in ZINC glazes 1 in a LEAD SODA glaze gives a yellow COBALT COBALT CARBONATE 1 3 COBALT OXIDE up to 1 5 produces a deep blue or blue black colour in LEAD and leadless glazes and a vivid blue in alkaline glazes The presence of MAGNESIUM gives a

    Original URL path: http://www.ctmpotterssupplies.co.uk/prod04.htm (2016-04-28)
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