The NOVA line of Stoneware Dipping Glazes consists of a selection of 27 cone 4/6 glazes available wet or dry in 1, 3 and 5 gallon buckets. In dry form the buckets contain 7 1/2 lb, 25 lb. and 40 lb. of dry glaze, respectively. The main difference between the NOVA series and our 1100 series Stoneware Glazes is that the NOVA series glazes are all set up for dipping rather than brushing. This means they have almost no gum in them and will dry much faster than brushing glazes. They are also formulated mainly from raw materials, such as kaolin, feldspar, wollastonite, oxides, etc. rather than the frits and ceramic stains that we use in the 1100 series. There are two significant benefits from using raw materials. First, they are less expensive which leads to more economical pricing. Second, raw materials are less dense than frits and stains which makes them easier to suspend in water. The NOVA glazes are much more tolerant to being mixed with excessive water and will very rarely settle out in the way that the 1100 series does. However, it is still important to follow the mixing instructions that come with the dry glaze in order to have the glaze set up correctly for dipping.
Remove the lid and add water to the powdered glaze. For a 7.5 lb. pail add 4 pints (0.5 gallons), for a 25 lb. pail add 14 pints (1.75 gallons) and for a 40 lb. pail add 22 pints (2.75 gallons) of water to the pail. Close the lid firmly and shake vigorously until all the powder has been wetted. Remove the lid. Then, using a proper mechanical mixer such as a jiffy mixer or a drill with a mixing attachment, thoroughly mix the glaze. Add up to a pint more of water, as you are mixing, to achieve your desired viscosity. After mixing strain glaze through an 80 mesh sieve.
NOVA dipping glazes can be thinned with water. For detailed suggestions regarding how to adjust the set up of a dipping glaze please see the section in our Product Guide titled ï¿½Guide to Adjusting Glaze Viscosity and Densityï¿½.
1500 – Clear Gloss Glaze (cone 4/6) ï¿½ An excellent lead free, A/P non-toxic, dinnerware safe stoneware clear gloss glaze which is compatible with most commercially available underglazes.
1501 – Clear Crackle Glaze (cone 4/6) ï¿½ A lead free, A/P non-toxic clear crackle glaze. After the piece has been removed from the kiln and allowed to cool the crackle pattern will form. A colored dye can be rubbed into the surface to emphasize the crackle pattern. Crackle glazes are not considered dinnerware safe due to the possibility of bacteria growth in the cracks.
1502 – Clear Satin Glaze (cone 4/6) ï¿½ Also lead free, A/P non-toxic, dinnerware safe and suitable for use over underglaze decoration. Satin clear glazes are not as translucent as clear gloss glazes and will tend to mute the appearance of underglaze decoration somewhat.
PLAIN COLORED GLAZES
Opaque Gloss Glazes ï¿½ 1510, 1511, 1512, 1513, 1514 and 1515 ï¿½ A selection of lead free, non-toxic, dinnerware safe stoneware glazes.
Opaque Satin Glazes ï¿½1540 and 1541ï¿½ Smooth satin finish on these stoneware glazes which are also lead free, non-toxic and dinnerware safe.
Soft Reactive Glazes ï¿½ 1520, 1521, 1522, 1523, 1524 and 1525 ï¿½ Are all lead free and dinnerware safe. They are formulated to produce reactions during the firing cycle which give beautiful effects, particularly when applied in a thin layer underneath one of the Regular Reactive Glazes listed below. Please be aware that these glazes are more fluid and may run particularly when glazes are applied thickly. Be more careful when using them on vertical surfaces. Use a thinner coating of glaze towards the bottom of the piece.
Regular Reactive Glazes ï¿½ 1530, 1531, 1532, 1533, 1534, 1535, 1536, 1537, 1538 and 1539 ï¿½ Are all lead free and dinnerware safe. The final appearance of the glaze is dependent on firing temperature, glaze thickness and the composition of the clay body being used. The same glaze can look quite different on different clay bodies. The samples shown on the color charts are one dipping application of glaze fired to cone 5 in an electric kiln on a white clay body. Different results may be experienced in reduction.