Safety Manual 03 - Sheffield Pottery, Inc. · OR OPERATE A KILN.Never touch the outside of a kiln (other than the control panel) without gloves after it has been turned on as the

Complete Safety and Use Information For Ceramic Products and Art Materials

In The Classroom and Studio

• Kiln Firing Guidelines• Complete AMACO® Glaze Color Chart

• Contemporary Studio Information

Product Encyclopedia & Safety Manual

American ArtClay Co., Inc.Indianapolis,Indiana 46222

www.amaco.com

Certifying symbols of the Art and Creative Materials Institute (ACMI)

All AMACO® Product Labels Conform To ASTM D-4236

www.genesisartistcolors.com www.brentwheels.com www.genesisdecorativeart.comNON-TOXIC

The information contained in this booklet is accurate to the bestof our knowledge at the time of printing and is subject to changeas new data becomes available. The information contained here-

in does not apply to industrial usage of our products and inquiries about safeuse in production situations should be made on an individual basis.

Since there is a low incidence of health injuries associated with ceram-ic programs (and for the most part these injuries are caused by productmisuse), we feel that by using this book as a guide, artists, hobbyists andstudents can enjoy a safe, rewarding and healthful ceramic program.

In an article published in the North Carolina Medical Journal, ACMI’stoxicologist, Woodhall Stopford, M.D. and Director of the OccupationalMedicine Education Program at Duke University, recommends that glazescontaining lead be used only by individuals who are capable of followingsafety guidelines and if supervision is required, lead-free non-toxic glazesshould be used (Reprints of Dr. Stopford’s article are available uponrequest from AMACO®).

AMACO® recommends that nursing homes, hospitals, and institutionsuse ONLY products bearing the AP non-toxic seal to ensure the highest standard of safety in any ceramic program requiring supervision (SeeAppendix IV, page 42). Consumer Product Safety Commission(CPSC) regulations, LHMA, and FHSA require the use ofONLY non-toxic (AP) evaluated products in grades pre-Kthrough 6. Likewise, for students in grades 6-12, productsmust have been evaluated under ASTM D-4236 proceduresand properly labeled (CL) when cautions are required.

As a teacher or purchaser for schools, the law permits the CPSC to sue toenjoin the purchase of any art or craft material with chronic or acute haz-ard warning label for use in pre-kindergarten through grade 6. It mayamount to professional malpractice for a teacher or school to ignore theserequirements, aside from any civil or other liability concerns. Although thelaw does not address this point, if an elementary school teacher purchasessuch a product for his or her own use on student artwork, the teacher shoulduse the product only after classes are over, should follow safe instructions onthe label, and should store the product outside the classroom. AMACO® alsobelieves that these same restrictions must be applied in nursing homes or ininstitutions where people with diminished mental capacities are doingceramics. People in such environments do not have the ability to protectthemselves from exposure if they are not using non-toxic glazes.

Another area of concern are the home and home-studio. Small childrenare exposed to chemicals through the use of the product or through con-tamination by eating and drinking that occurs in both environments.

Owners of contemporary studios who make eating and drinking a partof the ceramic experience run a higher risk of exposure, therefore, only(AP) non-toxic glazes should be used in these environments. Studio own-ers should do the glazing by dipping to reduce chemical exposure to theinexperienced customer. This practice should be done in a separate room,away from the customers. Rules on housekeeping, personal hygiene, andthe use of personal protective equipment must be strictly enforced in suchenvironments. See the section, “Contemporary Ceramic Studio SafetyGuidelines”, page 7, for more information.

TABLE OF CONTENTS

Published byAmerican Art Clay Co., Inc.

4717 W. Sixteenth Street, Indianapolis, Indiana 46222(317) 244-6871 • (800) 374-1600 • Telefax (317) 248-9300

This booklet is also available on the AMACO® WEB page, www.amaco.com.Eighth Printing 11979R 15M0903

IMPORTANT

Introduction ..........................................................................................3Safe Use of Ceramic Art Materials ........................................................4

Housekeeping................................................................................4Personal Hygiene ..........................................................................4Personal Protective Equipment ....................................................4Clays and Slips ..............................................................................4Using Clay and Slip Safely ............................................................5Aging of Clay..................................................................................6Glazes ............................................................................................6

Contemporary Ceramic Studio Safety Guidelines ..............................7Firing Safety ..................................................................................7

Glaze Labeling ......................................................................................8Underglaze Labeling............................................................................11Specialty Underglaze Labeling............................................................12Overglaze Labeling ..............................................................................12Aerosol Sprays and Solvents ..............................................................13Spraying and Airbrushing ..................................................................13Kiln Firing Guidelines ........................................................................14

Loading and Firing the Kiln ................................................................15Kiln Vents ............................................................................................16Ceramic Specialty Products ................................................................17Non-Ceramic Art and Craft Materials ................................................17How To Use AMACO® Products ........................................................18General Glaze Application Methods ..................................................18AMACO® Glazes and Underglazes ....................................................19AMACO® Ceramic Specialty Products................................................28Genesis® Artist Colors ........................................................................30AMACO® Art and Craft Products........................................................31Trouble Shooting Guide — AMACO® Glazes and Underglazes......39Appendix I — The Art & Creative Materials Institute, Inc. ............41Appendix II — American Society for Testing and Materials (ASTM) ..42Appendix III — Major Health Hazards ............................................42Appendix IV — Federal Labeling Law of Art Materials ....................42Appendix V — Quick Reference List of all AMACO®

Glazes and Underglazes......................................................43Conclusion ..........................................................................................44

INTRODUCTION

Your concern for aquality ceramic pro-gram and for health

and safety information is veryimportant to us. Experts in artand education stress that three-dimensional clay activities arecrucial to the proper developmentof a child’s small motor skills andcreative potential. Everyoneshould know that a safe andhealthful ceramic program ISavailable.

To help you, we have voluntar-ily submitted all of our formulasfor independent toxicologicalevaluation within The Art &Creative Materials Institute, Inc.(See Appendix I, p. 41). AMACO®

clay boxes and AMACO® glazelabels clearly state which prod-ucts are non-toxic and dinner-ware safe and identify precau-tions and appropriate warnings.All AMACO® products display theAP, or CL Certification seals whichattest this toxicological evaluationand certification. This certifica-tion includes conformance to theAmerican Society for Testing andMaterials ASTM D-4236 ChronicHazard Labeling Standard (SeeAppendix II, p. 42).

80% of all AMACO® glazes and97% of all AMACO® underglazesare certified non-toxic and assuch are authorized by The Art &Creative Materials Institute, Inc.to carry the AP ApprovedProducts Non-Toxic seal. In addi-tion, 95% of AMACO® glazes andunderglazes are LEAD FREE.Glazes that carry the “AP” Sealand are packaged in dry formmust be mixed in the same plasticjar they are in. Do not pour thedry powder in another containerto mix. Follow mixing instruc-tions that are on the label. Someof the glazes may contain crys-

talline silica and dust producingprocedures MUST be avoided.Moist clays have the AP Non-Toxic seal but dry clays displaythe CL Cautionary Label with dustwarnings because of the presenceof fine silica sand. In the moistform, which is the form in which95% of our clay is produced, thereis no hazard. The safety warningis there to alert users of the needto use masks if dust is producedin reclaiming or mixing. Keepclay moist during the modelingprocess.

This booklet has been preparedto help answer questions aboutsafety in the art room and ceram-ic studio. With the informationpresented here along with goodcommon sense and a totalAMACO® program, ceramics cancontinue to be safe for youngchildren as well as adults.Knowledge of the products being

used is the first measure in insti-tuting a safe art program. Thisbooklet will give you the informa-tion you need to KNOW aboutthe ceramic materials you arechoosing.

AMACO® has submitted all ofits formulas to the Art andCreative Materials Institute, Inc.Certified Products Bureau forevaluation by the Institute toxi-cologist for chronic and acutehealth hazards. AMACO® prod-ucts are properly labeled in com-pliance with ASTM D-4236 andbear the Institute’s AP seal(Approved Product, Non-Toxic)or CL Cautionary Labeling (prop-er labeling of ingredients forhealth and safety). MaterialSafety Data Sheets are availablefor all AMACO® products and canbe referred to whenever there is aquestion on the safe use of aproduct. Most information you

need from the Material SafetyData Sheets is on the label itself.

We recommend that teachers,studio owners, and nursing homeadministrators keep this bookleton hand as a constant reference inthe classroom or studio and whenordering. This booklet is providedFREE of charge for anyone whowants to use ceramic and artmaterials safely. We urge you toshare a copy with school adminis-trators, craft people, hobbyists,and parents so that everyone con-cerned will understand that withproper equipment, supplies, andhousekeeping, ceramics is just assafe as it is rewarding.

3

4

SAFE USE OF CERAMIC ART MATERIALS

HOUSEKEEPING

If a few simple, common sense housekeeping rules are followed, aceramic studio, classroom or workplace can be clean and health-ful, free of dust and mist.

◆ Be sure that the work area is well ventilated.◆ Work surfaces and shelves should be kept clean by wiping them down

with a wet sponge that is rinsed frequently.◆ Always mop floors. If impractical to mop, use a dust vacuum with

dust filters 99.995% effective at 0.33 microns, or use a combinationof either a commercial sweeping compound or a water mist coupledwith an appropriate dust mask or respirator. Perform clean up oper-ations at the end of the work session to allow any escaping dust tosettle out of the air before the next work session.

◆ Clean up spills as soon as they occur.◆ Work on newspaper or paper towels for easy clean up.◆ Clean glaze jar rims before closing to eliminate build up of dried product.◆ Brushes should be washed immediately after use.◆ To prevent dust when mixing small quantities of AMACO® dry clay or

Egyptian Paste, add water to dry powder in a plastic bag, affix twisttie and wedge the clay in the bag.

◆ To prevent dust, discard scrap clay in a plastic bag before it dries.◆ Do all spraying or airbrushing in a spray booth equipped with an

outside vented exhaust fan.◆ Always keep dust under control.◆ Work over a linoleum or sealed floor. All work surfaces should be

non-porous. These measures allow easy clean-up of spills and dustand prevent tracking.

PERSONAL HYGIENE

Again, common sense should be the watchword when workingin ceramics.

◆ Ceramic products should not be ingested or inhaled. ◆ Eating, drinking and smoking should NOT be combined with

working on ceramics.◆ Any cuts or open wounds should be protected from foreign materials.◆ Always wash hands and arms thoroughly when through and before

leaving the work area, even after removing gloves.◆ Never use any utensils for ceramics that will later be used in the kitchen.◆ If there is an accidental ingestion and you are concerned, call a doc-

tor or your local Poison Control Center. All AMACO® products arelisted with the National Poison Control Network.

PERSONAL PROTECTIVE EQUIPMENT

Simple Protective equipment is recommended for SOME areasof ceramics.

◆ Kiln gloves should be worn when handling a hot kiln. ONLY AQUALIFIED ADULT SHOULD EVER TOUCHOR OPERATE A KILN. Never touch the outside of a kiln(other than the control panel) without gloves after it has been turnedon as the entire outside surface will be extremely hot.

◆ Dark-shaded glasses from a safety supply house (shade number 1.7-

3.0) are recommended for looking into kiln peepholes. Normal sun-glasses are inadequate for this use. Dark glasses protect the eyes fromradiating heat and allow you to watch the sight cones more clearly.

◆ An apron or smock which can be left in the work area is recom-mended. This protects one’s clothing and keeps the dust from leav-ing the studio. Regular laundering is suggested. A cover-up is help-ful when working with elementary age students. When launderingwork garments, wash them separately from other clothes.

◆ NIOSH-approved dust masks and a locally exhausting spray boothshould be used when spraying glazes containing silica. Lead-containing glazes should NOT be spray appliedin classrooms or studios. Suitable lead-freeAMACO® glazes for this purpose are available.

◆ Remove jewelry and use vinyl or lined rubber work gloves and animpermeable apron, when glaze dipping or when loading the kilnwith products finished with leaded glazes.

◆ If pregnant or considering pregnancy DO NOT use lead con-taining glazes.

◆ Lead containing glazes MUST BE kept away from children K-6.◆ It is extremely important that dusts from ceramic studios not be tracked

into environment where children may play.

CLAYS AND SLIPS

A MACO® was the first clay manufacturer in 1984 to have all ofits clay bodies approved by the Art and Creative MaterialsCertified Product Bureau for Health Labeling Certification. All

AMACO® clays are Non-Toxic when moist; in dry form clays require a dustwarning because they contain silica. To avoid dust problems, it is recom-mended that only moist clay bodies be used in schools. AMACO® preparedmoist ceramic clays are de-aired and quality controlled for mixture, plas-ticity and uniformity. “...Ready mixed clay is preferable because it elimi-nates the need for dust-handling or mixing equipment.” (Qualley, SAFETYIN THE ARTROOM, p. 77)

The following clays bear the AP Approved Product Seal of the Institute certi-fying these clays to be NON-TOXIC when moist.

AMACO® Clay No. 27 White Sculpture ClayAMACO® Clay No. 46 Buff Firing Stoneware ClayAMACO® Clay No. 20 Versa ClayAMACO® Clay No. 67 Indian Red Clay

5

AMACO® Clay No. 25 White Art ClayAMACO® Clay No. 77 Terra Cotta ClayAMACO® Clay No. 38 White StonewareAMACO® Clay No. 48 Stoneware Body with GrogAMACO® Clay No. 480 Stoneware Body without GrogAMACO® Clay No. 58 Warm Brown Stoneware ClayAMACO® Clay No. 65 Porcelain ClayAMACO® Moist Clay No. X-11, X-15, X-12AMACO® Clay Flour No. X-23, X-26AAMACO® Clay No. 15-S White Earthenware SlipThey present NO health hazard when moist. Just use these clays properly.

Good housekeeping and personal hygiene must be practiced. Follow directionsunder “Using Clay and Slip Safely”, pages 5 and 6.

The following clays and products bear the CL Cautionary Label Conform-ance Statement. They present NO health hazard when moist. The follow-ing clays and products can be used safely as long as they are used properlyand again, good housekeeping and personal hygiene are being practiced.

AMACO® Dry Clay No. 25 White Art ClayAMACO® Dry Clay No. 67 Red ClayAMACO® Dry Clay No. 46 Buff ClayAMACO® Dry Clay No. 48 Stoneware Body with GrogAMACO® Slips—No. 1 Porcelain, No. 67-S Indian Red, DS-225 WhiteAMACO® Egyptian Paste—All ColorsIf you choose to store and mix dry clay, be sure to follow all the house-

keeping and hygiene rules already stated. In addition the following pre-cautions should be taken as stated by Charles Qualley in his book, SAFETYIN THE ARTROOM, p. 77:◆ Store and mix clay in an area separated from the studio so as

to reduce the area of dust contamination.◆ Keep all powdered clay bags in storage covered tightly with

polyethylene sheeting to contain the dust.◆ Stack clay bags off the floor on pallets or shelves so that clean-

ing the floor is easier and more complete.◆ Wear a dust mask specifically designed to filter out silica and

other particles whenever working in the clay mixing room orwhen sanding a dry, but unfired (greenware) object. Be sure themask is the correct type (one having NIOSH approval #TC-21C-132, for example).

◆ Have a local exhaust system operating whenever the clay mixer isin use; this will draw off most, though not all, the problem particles.

Slips can be purchased as a liquid or dry powder, but most are available inliquid only. Again, for classroom use, liquid is preferred, but if dry slip is pur-chased, the same guidelines as used for mixing dry clay apply.

USING CLAY AND SLIP SAFELY

Silica, which occurs naturally in all ceramic clay products,including slip, has been linked to possible environmental healthproblems. Long term exposure to silica may cause lung dam-

age. Silica is considered a cancer agent by inhalation based on experi-mental data (Prop. 65, California Health and Safety Code Section25249.6ET.SEQ.), requires clay packages containing silica to state:Detectable amounts of chemicals known to the State of California to causebirth defects or other reproductive harm may be found in this product.These health problems may occur through long-term respiratory exposureto dust from the dry clay or dry slip mix.

Clay in the moist or slip form is considered NON-TOXIC. Alwayskeep in mind to finish the work while the clay is still wet. Finish with a wet

sponge; do not sand.In order to use clay safely, dust

producing procedures (dry mixing,sanding) should be avoided whenevermixing or working with clays. Thiscan be done very efficiently in either asmall or large studio operation.

It is practically impossible to makeslip from dry clay without producingdust. For this reason, premixed slip isnot only safer but also well blendedand quality controlled. Such a slip isready-to-use; just shake or stir andpour into the mold.

If you have to mix slip from drypowder, make sure that the mixing tank is in a well ventilated area equippedwith a mechanical air ventilation system. When dumping powder, use onlya NIOSH approved particulate respirator for dust and replace it often. If theface side of the respirator gets dirty or contaminated, replace it immediate-ly. A safety supply house is the best source of suitable equipment. For moredetailed information about masks for protection against dust contact: Dept.of Health & Human Services, National Institute For Occupational Safety &Health (NIOSH), Mail Stop C-19, 4676 Columbia Parkway, Cincinnati, OH45226, (800) 356-4674, (513) 533-8328 (Outside U.S.).

To produce moist clay, do not mix large quantities from dry powder. Youwill find it very hard not to produce dust. Commercial moist clay which iswell blended and de-aired is safer and more economical in the long run.Such a clay is ready to use. Just wedge and throw on the wheel or handmodel. If only small quantities of clay have to be mixed from dry powder, thismay be achieved fairly easily. Put the dry powder (clay) carefully in a plas-tic bag, add water as needed and tie seal the bag. Wedge the clay while it isinside the bag. Once all the dry materials are mixed, the clay may be takenout and wedged on a plaster bat or added to a pugmill if one is available.

It is best to trim cast greenware before it dries hard. Use a fettling knifeand cut off the excess trim and seam line; then, with a soft wet sponge,wipe smooth.

When you have to trim dry greenware, first spray the area that needs trim-ming with water. Do not soak it at one time. Spray lightly, let the water beabsorbed into the clay, then spray again until it becomes fairly wet. When theclay is wet enough, cut away the trimmings and smooth out with a wet sponge.

If working extensively on a piece like engraving a low relief design, try tokeep it wet as long as your work is in progress by spraying it with water everyso often or just keeping it covered with a plastic bag during work breaks.

Slip trailing is an alternate, safer way for producing low relief designs.Take some slip in a jar or small container and add a dash of plaster (or anyother thickener). When the slip becomes thicker, fill a slip trailer bottle anduse it to apply your low relief design on the piece.

Trimmings from cast pots or engravings can be reconstituted in a safeway by avoiding drying them out. Collect them in a pail as they are pro-duced then cover with water. These trimmings could be added to new slipmix, with a minor adjustment to viscosity.

When working in a small pottery operation, the easiest way to save thetrimmings is to put them into a plastic bag (the same bag the clay camein) and depending on the dryness of the trimmings, a little water may besprinkled into the bag and wedged while in the bag. Let this clay sit sealed

6

for a week or two, then it is usually ready for use. Take it out of the plasticbag and wedge thoroughly. If it is too wet, wedge in some fresh clay untila good throwing consistency is achieved. It is then ready to use again.

Of course, if a pugmill is available, just add the trimmings into the pug-mill adding fresh clay as needed.

Although different ways are used to salvage the trimmings, they all leadto the same purpose, which is safely using all the purchased clay and notgenerating any waste.

Any waste should be disposed of in accordance with Federal, State andLocal regulations. The above information references ASTM C1191,“Standard Guide for Using and Handling Clays and Slips Safely.”

AGING OF CLAY

A ging of clay is a very important step in improving workability and plasticity of clay bodies because it takes timefor water to penetrate between the clay particles and produce

a good and permanent bond.Bacterial growth also has a definite effect on improving plasticity of the clay.

It is suggested that some old clay should be left in the container where newclay is added to accelerate bacterial growth in the clay.

The great Chinese potters have for centuries aged their clay in under-ground pits. It is said that potters would mix clay bodies for their children touse while they would use clay aged for them by their fathers.

In our fast paced modern world, AMACO® manufactured clay may vary inage, but bacterial gels (mold) will be noticed sometimes in a marbleized patternon the clay. Such clay has a very good feel to it when wedging, which should bedone to achieve maximum plasticity and uniformity.

GLAZES

Glazes have been the center of much of the controversy overhealth hazards and how they pertain to ceramic programs. Asa major manufacturer of many types of glazes we believe that

by offering our customers complete information on all of our glazes, theywill be qualified to choose the glaze appropriate to their needs. Since wemanufacture glazes used by professional potters, hobbyists and collegeceramic studios, as well as elementary and secondary school art pro-grams, we need to offer a wide range of types and colors to satisfy manyindividual requirements. All AMACO® glazes and underglazes are manu-factured as BRUSH ON glazes. They contain wetting agents forimproved brushability and leveling in application.

There are two types of health information on the labels and in the catalogfor AMACO® glazes to consider in regard to health when choosing a glaze.One is concerned with the pre-fired glaze (liquid or dry powder) and is indi-cated by the AP or CL seals. This information conforms to ASTM D-4236.

The second consideration is the lead release information on the glazeafter it is fired (Is this glaze safe for food and drink containers?). InNovember, 1991, the Food and Drug Administration reduced its informalguidelines levels for lead leaching from ceramicware and put them intoeffect. These levels were reduced by appreciable amounts. The new FDAguidelines are as follows:

3 PPM for plates, saucers and other flatware2 PPM for small holloware, such as cereal bowls, but not cups and mugs1 PPM for large (greater than 1.1 liters) holloware such as bowls, but

not pitchers0.5 PPM for pitchers0.5 PPM for cups and mugs

Proper firing of dinnerwareglazes is critical. Use pyrometriccones on the kiln shelves to ensurethat the pieces are fired to the rec-ommended temperature even if thekiln is electronically controlled or has anautomatic kiln sitter. Always fire in accordancewith the label instructions. Due to the many variables that can affect lead leach-ability in finished ware (exact firing temperature, contamination from otherware being fired in the kiln, etc.), AMACO® recommends that the producer ofany for sale dinnerware have it tested for leachable lead by an approved labora-tory to determine whether or not it meets FDA guidelines in its own categoryBEFORE IT IS PUT ON THE MARKET.AMACO® glazes reflectthe current standard as glazes are produced.

In regard to lead release or dinnerware safety (Will lead leach out of thefinished pottery after it is properly fired?), our glazes fall into five categories:

1. “Lead Free” which means that the glaze contains no lead or cadmium bearing ingredients and is safe for all uses IF PROP-ERLY APPLIED AND FIRED TO THE CORRECTTEMPERATURE.

2. “Lead Safe” which means that the glaze contains some lead and/orcadmium compounds but passes tests for lead and cadmium releasemaking it safe for all uses IF PROPERLY APPLIED ANDFIRED TO THE CORRECT TEMPERATURE. Donot intermix different food-safe glazes, as the balance of ingredients ineach glaze will be disrupted. Each mixture would have to be retestedby an approved laboratory to determine if the mixture is also food-safe.

3. Contains some lead and/or cadmium compounds and does NOTpass test for lead and cadmium release. Not recommended for sur-faces which come in contact with food or drink.

4. Contains no lead or cadmium bearing ingredients. We do not recom-mend these glazes on surfaces which come in contact with food ordrink due to the soft or crackle nature of the glaze, even though theypass tests for lead and cadmium release.

5. Contains no lead or cadmium bearing ingredients but does not pass testsfor lead and cadmium release due to the soft crackle nature of the glaze.Not recommended for surfaces which come in contact with food or drink.

The AMACO® catalog and individual glaze labels explain the aboveinformation for each glaze.

Conforming to the chronic health labeling standard ASTM D-4236,AMACO® has labeled each of its glazes for safety showing whether or not a glaze(unfired) is totally non-toxic and, if not, what precautions should be taken forsafe use during application. There are four types of AMACO® labels (A, E, EE,and F) and each is shown as an example introducing those glazes that fall ineach group. Material Safety Data Sheets are also available for all AMACO®

glazes. We hope that the information on ALLAMACO® glazes starting on page8 will confirm that with proper use, AMACO® ceramic glazes are safe for theclassroom and the studio. However, the most important step that should betaken is to read the label with care. In ceramics, as in all areas of human activ-ity, proper use of products ensures safety. Misuse of products may expose theceramist to potentially harmful substances.All glaze numbers marked with a fork and knife (�) ARE DINNER-WARE SAFE. (See Appendix V, page 43).

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Contemporary Studios have beenestablished to provide a service in arelaxed recreational environment

where customers would decorate prefiredbisqueware with underglazes or stains. Thepieces are then covered with a dipping glazeand fired.

Food, drinks, and children play areas are alsoavailable at these facilities, which brings to con-cern the use of toxic material in these activities.

Contemporary studio operators MUSTand CAN establish a safe and healthful busi-ness by using ONLY LEAD FREEunderglazes and glazes which are available.

AMACO’s Gloss Decorating Colors (GDC) area series of lead free BISQUE UNDER-GLAZE that are excellent for application onbisque in whatever manner. Customers do nothave to be experts to use them. They can beapplied thick or thin without any problem.AMACO® DC-10, a superb, clear, LEADFREE dipping glaze, is also available uponrequest, in addition to the large selection ofAMACO® lead free LUG underglazes, Velvets,and lead free glaze series.

Maintaining completely lead free products inthe studio is the only way to have a successfuland safe business.

To insure safety in the studio refer to the “Safe Use of Ceramic ArtMaterials” on page 4 — Sections: “Housekeeping”, “Personal Hygiene”,and “Personal Protective Equipment”.

Studio attendants, as well as the clientele, include women of child bear-ing age and children. These segments of the population are at greatest riskfrom lead in glazes if used in these environments.

The availability of food and drink while decorating ceramics at thesestudios is also of great concern. It is recommended that food and playareas be away from the working areas. It is vital that everyone understandthe health risks of lead contamination which may lead to lead poisoning,that can occur through hand contamination and eventual hand to mouthexposure. Exposure may also occur from airborne dust in a dusty studio.Children, pregnant women, and individuals with calcium or iron dificien-cy, absorb lead more readily. Children, infants, and the developing fetus aremost sensitive to brain damage from lead exposure. Brain effects maymanifest themselves as changes in behavior or poor school performance.Other lead related effects include damage to the peripheral nerves withweakness, abdominal pain, anemia, and kidney damage. Lead can causesterility in men and is an experimental kidney cancer agent. Early effectsof lead poisoning are subtle: there are no early warning signs.

Production of bisqueware and firing is best done at another facility.When finishing greenware, always finish while in the leather-hard state.Do not sand. Do not produce dust. Damp mop after each work session.

Clay dust contains quartz. Excessive inhalation of quartz dust can result inchronic lung damage. If dust is present, use an OSHA approved mask fordust and mist. See “Using Clay and Slip Safely,” page 5.

Greenware firing can release large amounts of carbon monoxide andmay release sulfur dioxide. Carbon monoxide prevents blood from carry-ing oxygen. The fetus is most sensitive to carbon monoxide poisoning:excessive exposure to carbon monoxide can result in brain damage. Adultswith coronary artery disease can get angina when exposed to carbonmonoxide. Sulfur dioxide can result in airway inflammation. Individualswith asthma are particularly sensitive.

Acute exposure to fluorides which may be released during firing, canresult in mucous membrane and airway irritation. Chronic exposure canresult in damage to the kidney and bones.

FIRING SAFETY1. Kilns must be placed in a separate room, not in the working area.2. Always use a down draft kiln vent or other venting system connected

to the outside.3. Customers should not be allowed access to the kiln room when kilns

are operating. See pages 13-15 on firing and kiln vents.Employees should be knowledgeable about both hazards and safety

procedures. They should abide by and enforce them. Employees shouldalso be supplied with the necessary safety equipment. Post safety rules inthe studio and work area for both customers and employees to see.

CONTEMPORARY CERAMIC STUDIO SAFETY GUIDELINES

8� Dinnerware Safe

A

DIRECTIONS: After following mixing instructions, shake and stir well before using. Thin withwater if needed or to improve brushability, add AMACO® Gum Solution. Apply 3 brush coats toproperly matured Cone 04 bisque. Fire to witness Cone 05. This glaze may also be applied bysponging, dipping or pouring.

Request Material Safety Data Sheets when using in manufacturing. Tableware producers musttest all finished ware to establish dinnerware status, due to possible variations in firing temper-ature and contamination.

MIXING INSTRUCTIONS: Do not produce dust. Do not empty glaze powder into another con-tainer. Add water gradually into the jar, stirring slowly. The glaze level will drop in the jar as youmix in the water, allowing for more water additions until a creamy consistency is achieved. Toinsure a homogeneous mixture, use a small glaze mixer attached to a hand drill. Althoughevery glaze formula will have its own special water requirements, a basic recipe is to addeleven ounces of water by weight to one pound of dry glaze. One pound of AMACO® dry glazewill make approximately one pint of liquid glaze. Try not to let the glaze become thinner thanneeded., since the lower the viscosity, the greater the chance that heavy glaze particles willsettle out. AMACO® glazes have a sufficient suspending agent to prevent settling unless anexcessive amount of water is added. Store prepared glazes in their own airtight jars.

NON-TOXIC

Dry Gloss GlazesLG Series

Conforms toASTM D-4236

LG-06

American Art Clay Co., Inc.Indianapolis, Indiana 46222(800) 374-1600

�LG-11 OPAQUE WHITEDinnerware safe when applied and fired tothe recommended temperature on label.LEADFREE 1 LB. NET WT.

Reo

rder

# 37

115M

039672

37115

6

LABEL A (DRYGLAZES)AMACO® HF Series: 1�, 9�, 10�,

11�, 13�, 14�, 18�, 21�, 22�,23�, 24�, 36�, 37�, 41�, 50�

AMACO® LG Series: 1�, 10�, 11�,23�, 24�, 30�, 34�, 40�, 50�,52�, 54�, 60�, 61�, 62�, 65�,760�

LABEL E, EE

CL CAUTIONARY LABEL (contains one or more of the following ingredients: lead silicate frit, copper, lithium, cobalt, cadmi-um and/or manganese).

These glazes are NOT RECOMMENDED for use in healthcare facilities, nursing homes, home, home studios, or by women whoare pregnant or expecting pregnancy, or by children in grades K-6.

Some of these glazes are dinnerware safe. Lead release information dif-fers for each glaze. The catalog or current label will provide the correctinformation.

See appendix III, page 42, for additional information. Lead contain-ing glazes should not be spray applied. Suitable lead-free AMACO®

glazes are available.

LABEL A AP NON-TOXIC: These

glazes are safe for use as either a drypowder (need to be mixed withwater) or as a liquid and can also besprayed safely. However, always weara NIOSH approved mask for dust andmist if spraying. Individual labels orthe catalog should be checked to seeif a glaze is appropriate for food anddrink containers. An AMACO® pack-age label is shown as an example.

Liquid Gloss GlazesLG Series

DIRECTIONS: Shake and stir well before using. Thin withwater if needed or to improve brushability, add AMACO®

Gum Solution. Apply 3 brush coats to properly maturedCone 04 bisque. Fire to witness Cone 05. This glaze mayalso be applied by sponging, dipping or pouring.

Request Material Safety Data Sheets when using in manu-facturing. Tableware producers must test all finished ware toestablish dinnerware status, due to possible variations in fir-ing temperature and contamination.

ANON-TOXIC


LG-01


�LG-10 CLEAR TRANSPARENTDinnerware safe when applied and fired tothe recommended temperature on label.LEADFREE 1 GAL. (3.78L)

Reo

rder

# 39

173W

039672

39173

4

GLAZES

LABEL A (LIQUIDGLAZES)

AMACO® CR Series: 10, 11, 15, 30,31, 41, 42, 50, 51, 53, 60

AMACO® CTL Series: 1�, 3�, 9�,10�, 11�, 12�, 13�, 15�, 31�,32�, 36�, 41�, 42�, 43�, 61�,65�

AMACO® DG Series: 1�, 11�, 15�,20�, 21�, 23�, 26�, 27�, 30�,40�, 41�, 42�, 50�, 51�, 52�,53�, 54�, 55�, 56�, 57�, 58�,59�, 62�

AMACO® Dipping Glaze: DC-10�,

AMACO® F Series: 1�, 10�, 11�,15�, 20�, 21�, 22�, 23�, 25�,30�, 31�, 40�, 41�, 42�, 43�,50�, 51�, 52�, 53�, 54�, 55�,56�, 57�, 58�, 60, 61�, 65�,66�, 70�, 71�

AMACO® HF Series: 1�, 9�, 10�,11�, 12�, 13�, 14�, 17�, 18�,21�, 22�, 23�, 24�, 30�, 31�,32�, 36�, 37�, 41�, 50�, 51�,52�, 53�, 54�, 55�, 56�, 57�,58�, 60�, 62�, 63�

AMACO® LG Series: 1�, 10�, 11�,14�, 20�, 21�, 23�, 24�, 30�,

34�, 36�, 40�, 42�, 44�, 48�,50�, 51�, 52�, 54�, 55�, 60�,61�, 62�, 65�, 760�

AMACO® LM Series: 1�, 10�, 11�,15�, 16�, 20�, 25�, 30�, 32�,42�, 46�, 50�, 52�, 53�, 54�,55�, 56�, 57�, 58�, 60�, 65�,66�, 202�, 230�, 231�, 244�

AMACO® LT Series: 13�, 15�, 17,30, 32, 34, 113, 132�, 147�,161�, 166�

AMACO® O Series: 10�, 11�, 12�,30�, 42�, 52�, 54�, 57�, 60�

AMACO® Snowfluff

AMACO® SP-Arroya Series: White,Black, Brown

AMACO® SP Series: 400, OverdriftAMACO® ST Series: 20, 30, 33, 40,

51, 53, 55, 56, 65AMACO® TH Series: 1�, 2� (High

Fire Texturizers)AMACO® TL Series: 1 (Low Fire

Texturizer)AMACO® UT Series: 1001, 1002,

1003, 1004, 1005, 1006, 1007,1008, 1009, 1010, 1011, 1012,1013, 1014, 1015, 1016

9

LABEL E, EE (LIQUIDGLAZES)AMACO® CTL Series: 33, 50�, 54�

AMACO® Fine Art Glazes: SP-510, SP-2001

AMACO® L Series: 511, 512, 514,516, 518�

AMACO® LG Series: 9�, 32, 53, 56,66

AMACO® LT Series: 24, 31, 115,121, 122, 130, 133, 142, 144,

AMACO® SP Series: 10�

Textured Alligator Liquid GlazesLT Series

E

NOT FOR SPRAYAPPLICATION.

DIRECTIONS: Shake and stir well before using. Thin with waterif needed or to improve brushability, add AMACO® Gum Solu-tion. Apply 3 brush coats to properly matured Cone 04 bisque.Fire to Cone 05. Slow firing of this glaze will result in an all overcrystal matt surface, while fast firing will produce a gloss back-ground with scattered crystal formulation.Request Material Safety Data Sheets when using in manufac-turing.Tableware producers must test all finished ware to estab-lish dinnerware status, due to possible variations in firing tem-perature and contamination.

WARNING: May be harmful if swallowed. Cancer agent based on experi-mental data. Ingestion may cause anemia, damage to the heart and lungs,damage to the testes, nervous system, kidneys, liver or bone marrow. Ex-posure may result in difficulty with child bearing or harm to the fetus. Con-tains: One or more of the following ingredients: lead silicate frit, copperand/or cobalt. Avoid ingestion. Wash hands immediately after use. Whenusing do not eat, drink or smoke. Wear apron. Do not use if pregnant orconsidering pregnancy. KEEP OUT OF REACH OF CHILDREN. NOTFOR USE IN HEALTH CARE FACILITIES. If swallowed get prompt medi-cal attention. For further health information contact a poison control cen-ter. KEEP IN ORIGINAL CONTAINER.


LT-03


Thisglaze for

decorativeuse only.

LT-24 ANTIQUE BLUENot for use on surfaces which may come intocontact with food or drink.

16 FL. OZ. (472 ML)

Reo

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# 39

337C

039672

39337

0

Liquid Gloss GlazesLG Series

EE

DIRECTIONS: Shake and stir well before using. Thin with waterif needed. Apply 3 to 4 brush coats to properly matured Cone04 bisque. Fire fast with peephole plugs open, allow plenty ofspace around pieces during firing to facilitate air circulation. Fireto witness Cone 07-06.

Request Material Safety Data Sheets when using in manufac-turing.Tableware producers must test all finished ware to estab-lish dinnerware status, due to possible variations in firing tem-perature and contamination.

WARNING: May be harmful if swallowed. Cancer agent based onexperimental data. Ingestion may cause damage to the kidneys, tes-tes, nervous system or bone marrow. Exposure may result in difficul-ty with child bearing or harm to the fetus. Contains: lead silicate fritand cadmium. Avoid ingestion. Wash hands immediately after use.When using do not eat, drink or smoke. Wear apron. Do not use ifpregnant or considering pregnancy. KEEP OUT OF REACH OFCHILDREN. NOT FOR USE IN HEALTH CARE FACILITIES. If swal-lowed get prompt medical attention. For further health informationcontact a poison control center. KEEP IN ORIGINAL CONTAINER.


LG-05



Thisglaze for

decorativeuse only.

LG-53 FLAMENot for use on surfaces which may come intocontact with food or drink.

16 FL. OZ. (472 ML)

Reo

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# 39

153C

039672

39153

6

Lead Free Liquid GlazesF Series

F

WARNING: May be harmful if swallowed. Ingestion maycause anemia, damage to the kidneys or liver, damage tothe heart and lungs. Contains: One or both ingredients: cop-per and/or cobalt. Avoid ingestion. Wash hands immediate-ly after use. When using do not eat, drink or smoke. KEEPOUT OF REACH OF CHILDREN. NOT FOR USE INHEALTH CARE FACILITIES. If swallowed get prompt med-ical attention. For further health information contact a poison control center. KEEP IN ORIGINAL CONTAINER.

DIRECTIONS: Shake and stir well before using. Thin withwater if needed or to improve brushability, add AMACO®

Gum Solution. Apply 3 brush coats to properly maturedCone 04 bisque. Fire to witness Cone 05. This glaze mayalso be applied by sponging, dipping or pouring.Request Material Safety Data Sheets when using in man-ufacturing. Tableware producers must test all finished wareto establish dinnerware status, due to possible variations infiring temperature and contamination.



F-03


�F-26 AQUA

LEADFREEDinnerware safe when applied and fired to therecommended temperature on label.

16 FL. OZ. (472 ml)

Reo

rder

# 38

357M

039672

38357

9

LABEL F

CL CAUTIONARYLABEL (contains one or bothingredients: copper and/or cobalt).

These glazes are also NOTRECOMMENDED for chil-dren in grades K-6. Some of theseglazes are dinnerware safe. Refer tothe catalog or current label forinformation about the individuallead release of each glaze.

See Appendix III, p. 42 for addi-tional information. Glazes contain-ing copper and/or cobalt should notbe spray applied. Suitable AMACO®

glazes are available.

� Dinnerware Safe

LABEL F (DRYGLAZES)

AMACO® LG Series: 2�, 25�, 26�,45�, 46

AMACO® Sahara HF Series: 26�

F

DIRECTIONS: After following mixing instructions, shake and stir well before using. Thin withwater if needed or to improve brushability, add AMACO® Gum Solution. Apply 3 brush coats toproperly matured Cone 04 bisque. Fire to witness Cone 05. This glaze may be applied bysponging, dipping or pouring.

Request Material Safety Data Sheets when using in manufacturing. Tableware producers musttest all finished ware to establish dinnerware status, due to possible variations in firing temper-ature and contamination.

NOT FOR SPRAY APPLICATION.

MIXING INSTRUCTIONS: Do not produce dust. Do not empty glaze powder into another con-tainer. Add water gradually into the jar, stirring slowly. The glaze level will drop in the jar as youmix in the water, allowing for more water additions until a creamy consistency is achieved. Toinsure a homogeneous mixture, use a small glaze mixer attached to a hand drill. Althoughevery glaze formula will have its own special water requirements, a basic recipe is to addeleven ounces of water by weight to one pound of dry glaze. One pound of AMACO® dry glazewill make approximately one pint of liquid glaze. Try not to let the glaze become thinner thanneeded., since the lower the viscosity, the greater the chance that heavy glaze particles willsettle out. AMACO® glazes have a sufficient suspending agent to prevent settling unless anexcessive amount of water is added. Store prepared glazes in their own airtight jars.

WARNING: May be harmful if swallowed. Ingestion may cause anemia, dam-age to the kidneys or liver, damage to the heart and lungs. Contains: one orboth ingredients: copper and/or cobalt. Avoid ingestion. Wash hands immedi-ately after use. When using do not eat, drink or smoke. KEEP OUT OF REACHOF CHILDREN. NOT FOR USE IN HEALTH CARE FACILITIES, HOME ORHOME STUDIO. If swallowed get prompt medical attention. For further healthinformation contact a poison control center.

KEEP IN ORIGINAL CONTAINER.

Dry Gloss GlazesLG Series


LG-09


�LG-26 TURQUOISEDinnerware safe when applied and fired to therecommended temperature on label.LEADFREE 1 LB. NET WT.

Reo

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# 37

110G

039672

3711

01

LABEL F (LIQUIDGLAZES)AMACO® CR Series: 26AMACO® CTL Series: 20�, 26�

AMACO® DG Series: 25�

AMACO® F Series: 26�, 27�, 47AMACO® LG Series: 2�, 25�, 26�,

27�, 45�, 46�

AMACO® LT Series: 3, 12�, 16�,22�, 48

AMACO® O Series: 2�, 20�, 21�,23�, 26�

AMACO® Sahara HF Series: 26�

Visit our AMACO®

web site for the latest safety

information:www.amaco.com

� Dinnerware Safe


DRY GLAZES are pack-aged in non-breakable jars foreasy and SAFE mixing.

When mixing a dry glaze, donot empty glaze into another con-tainer. DO NOT PRO-DUCE DUST. Followmixing instructions on the label.

Health information differs foreach glaze. Refer to the catalog orlabel for correct information.

AMACO® glazes are available ineither a liquid or dry powder form.Both liquid and dry powder glazesare supplied in non-breakableplastic jars. Liquid glazes arehomogenized to the correct con-sistency and are ready for easybrushing. Since dry glazes containa suspending agent, only waterneeds to be added to the jar,according to directions on thelabel. Always mix and store dryglazes in their original containers,this will prevent exposure to dustwhile mixing and the jar will becorrectly identified for later use.

AMACO® glazes and under-glazes manufactured, packagedand purchased prior to the adop-tion of the labeling described inthis booklet, display proper healthinformation at the time of packag-ing. For each glaze or underglaze,refer to the individual imprint in-formation on the label.

AMACO®, the leading manu-facturer of lead free glazes, has theadvantage of many years of for-mulating experience in its on-going research and developmentefforts to bring a safer product tothe market.

But it is practically impossibleto produce an entire line of glazesand underglazes that are Non-Toxic. Certain toxic materials areneeded to produce some specialeffects and certain desired colors.

The addition of lead in a glaze,which is always added as part of aglass frit compound to reduce its

solubility, gives it a flowing effectin the firing, which helps cover upimperfections in application. Italso lends a very evident highgloss and smoothness to the fin-ished surface, which is not achiev-able with a lead free glaze. Lead isalso used to produce textured artglazes.

Heavy metal oxides such ascopper, cobalt and manganese arethe only ingredients to add colorto a glaze. Solubility of these col-orants is improved when they arecompounded and used as a stain,but this is usually only possible insmaller percentages which resultsin lighter colors. Bright reds andoranges would be unavailable iflead and cadmium were not usedin these glazes.

In spite of all these and othertechnical difficulties, AMACO’sresearch engineers continue tolook for lead free glaze composi-tions that will produce a productthat is more flowing, glossier andhas a wide firing temperaturerange.

In recent years, new Europeantechnology has become availablefor lead free cadmium colors.AMACO® was the leading produc-er to use these reds and oranges inlead free, Non-Toxic glazes andunderglazes.

Though these new colors arenot as bright as the old lead/cad-mium pigments, they are beautifuland safe. The only performancedifference between AMACO® lead-ed and lead free glazes, is that leadfree glazes have a narrower firingrange and the firing temperatureshould be carefully monitored.Unlike lead-bearing glazes, wherea little under-firing or over-firingmay not make a difference, lowfire lead free glazes must reachcone 05 (1915°F, 1046°C) tomature. The other fact to consideris that lead free glazes do not flow

as much in the firing as most leadbearing glazes will. Therefore, ifapplication is made with a brush,a crisscross brush pattern is rec-ommended for even application.These minor adjustments are allthat is necessary to use safe glazeswith perfect results. NOTE: Ifyou are experiencing under-firingwhen using a Kiln-Sitter® duringthe firing of AMACO® Clays andAMACO® Glazes, use the next conehigher than recommended.

Some professional potters liketo mix their own glazes from rawmaterials, but even among profes-sionals there is a growing trendtoward using commercially pre-pared glazes for both safety andconvenience.

AMACO® does not sell anychemicals for glaze preparationand recommends that only pre-pared glazes be used in a class-room. Ceramic artists, likepainters or sculptors, express theirart in their own medium. For thisreason, potters are using morecommercially prepared glazes andare concerning themselves morewith their own creativity and lesswith the technical aspect of for-mulating clay and glazes. It maybe technically impossible for theindividual who formulates his ownclay and/or glazes to achieve thedesired artistic results and still useall Non-Toxic ingredients. Withsafe, quality controlled commer-cial products, potters can nowconcentrate on creating artisticpieces just as other artists whowork in other media have alwaysdone.

Potters and ceramic producersof utilitarian dinnerware must beaware of laws and regulationsconcerning dinnerware products.

There are a number of Federaland State laws and regulationsthat have been introduced and arestill being introduced requiring

labeling of dinnerware and non-dinnerware products.

These laws sometimes varyfrom state to state and place theresponsibility on the producer toinform the customer whether ornot the ware is safe for use as din-nerware. Excessive penalties areusually imposed on those who donot abide by these laws. One ofthese regulations is the CaliforniaHealth and Safety Code Section25887, which requires that eachdinnerware piece sold should bepermanently and indeliblymarked with the manufacturer’sname. By that, they mean thename should be either stampedinto the clay or fired on.

When using different dinner-ware glazes, avoid intermixingthem. Always fire to the recom-mended firing temperature andfor extra precaution it is wise tosend test samples to an indepen-dent laboratory that can performlead release tests according to FDAStandard listed on page 6.

AMACO® even recommendslead free glazes to be tested fordinnerware before being sold assuch.

AMACO’s Technical Servicesstaff will be glad to supply, uponrequest, the information on thelaboratories that would performthe tests.

Visit our AMACO®

web site for a complete catalog:www.amaco.com

Underglazes are tested and certified in the same mannerand categories as glazes. You must consider the safety ofthe underglazes in the jar and follow the necessary pre-

cautions of using an underglaze during application as well as the leadrelease information after firing (See glaze section on page 6 for furtherdetails). AMACO® underglazes are manufactured in three forms: liq-uid, semi-moist (pan sets and tubes) and solid (crayons and pencils).

All AMACO® underglazes are lead-free and are considered dinner-ware safe when a dinnerware safe glaze is applied over them. SomeAMACO® lead-free underglazes are not recommended for spray appli-cation because they contain crystalline silica.

Remember that because of the consistent quality of all AMACO®

underglazes, they can be used safely if application and firing instruc-tions are followed.

11

UNDERGLAZES

LABEL AAP NON-TOXIC: These

underglazes are completely safe forall applications, including spraying.

Velvet UnderglazesV Series

DIRECTIONS: Shake and stir well before using. For solidcoverage apply 3 even coats to greenware or bisque. Fireto mature Cone 05-04. Velvets can also be used for shad-ing and detail work. If Velvets are glazed over, the colorsintensify. Thin with water if necessary.

Request Material Safety Data Sheets when using in manu-facturing. Tableware producers must test all finished ware toestablish dinnerware status, due to possible variations in fir-ing temperature and contamination.

ANON-TOXIC


V-03


�V-309 DEEP YELLOWVelvets have only been tested & approved as dinnerware safe whenapplied under LG-10.They must be retested if used under other glazes.

LEADFREE 16 FL. OZ. (472 ml)

Reo

rder

# 37

452N

039672

37452

2

AMACO® DV Series✽ : 3302�,3308�, 3316�, 3320�, 3325�,3327�, 3328�, 3334�, 3354�,3360�, 3367�, 3368�, 3369�,3371�, 3372�, 3374�

AMACO® GDC Series: 1�, 10�, 15�,20�, 21�, 25�, 26�, 27�, 28�,30�, 31�, 32�, 33�, 36�, 38�,40�, 41�, 42�, 43�, 45�, 47�,50�, 51�, 52�, 53�, 54�, 55�,56�, 57�, 58�, 59�, 60�, 62�,63�, 64�, 65�

AMACO® LUG Series✽ : 1�, 10�,15�, 20�, 21�, 22�, 25�, 26�,30�, 31�, 40�, 41�, 42�, 43�,50�, 51�, 52�, 53�, 54�, 55�,56�, 60�, 61�, 65�

AMACO® Semi-Moist Pan Set #108:Black, Blue-Green, Dark Blue,Dark Green, Light Brown, LightYellow, Maroon, White

AMACO® Semi-Moist Pan Set #109:Bright Yellow, Irish Green, Lilac,Mahogany Brown, Medium

Blue, Pink, Turquoise, WarmGray

AMACO® Semi-Moist Pan Set #110:Aqua, Chartreuse, Light Blue,Orange, Peach, Purple, Rose,Suntan

AMACO® Semi-Moist Pan Set #111:Amethyst, Electric Blue, HunterGreen, Light Red, Real Orange,Red, Salmon, Violet

AMACO® SE Series✽ : 701�, 702�,710�, 720�, 730�, 731�,732�, 740�, 760�

AMACO® Tube Set #408: Black,Blue-Green, Dark Blue, DarkGreen, Light Brown, LightYellow, Maroon, White

AMACO® Tube Set #409: BrightYellow, Irish Green, Lilac,Mahogany Brown, MediumBlue, Pink, Turquoise, WarmGray

AMACO® Tube Set #410: Aqua,Chartreuse, Light Blue, Orange,

Peach, Purple, Rose, SuntanAMACO® Tube Set #411: Amethyst,

Electric Blue, Hunter Green,Light Red, Real Orange, Red,Salmon, Violet

AMACO® Underglaze Chalk CrayonsSet #208: Black, Brown, DarkGreen, Rose, Turquoise, White,Yellow

AMACO® Underglaze Chalk CrayonsSet #209: Blue-Green, DarkBrown, Gray, Light Brown, Lilac,Medium Blue, Medium Green,Yellow-Green

AMACO® Underglaze Pencils: Black,Brown, Green, Rose, Yellow

AMACO® V Series✽ : 301�, 302�,303�, 304�, 308�, 309�,310�, 313�, 314�, 315�,316�, 317�, 318�, 320�,321�, 322�, 323�, 325�,326�, 327�, 328�, 332�,333�, 334�, 336�, 341�,343�, 345�, 350�, 353�,

354�, 355�, 356�, 357�,360�, 361�, 366�, 367�,368�, 369�, 370�, 371�,372�, 373�, 374�, 375�,376�, 380�, 381�, 382�,383�, 384�, 385�, 386�

AMACO® V-1-S Series✽ : 1308�,1309�, 1313�, 1314�, 1317�,1322�, 1326�, 1336�, 1345�,1353�, 1360�, 1370�

✽ AMACO® LUG, SE, V, V-1-S, andDV Series Underglazes have onlybeen tested and approved as din-nerware safe when applied andfired under AMACO® LG-10 ClearGlaze. Other glazes may also beused. Tableware producers musthave all finished ware tested andapproved as safe for dinnerwarethrough a certified laboratory dueto possible variations in firing tem-perature and contamination.

Visit our AMACO®

web site for classroom lesson plans:

www.amaco.com

� Dinnerware Safe


SPECIALTY UNDERGLAZES

Series SS Sun Strokes are specially formulat-ed underglazes in vivid shades of red, yellowand orange. They should be applied on

bisque and glazed at the same time. If left unglazed thesurface is shiny. Clear glaze smooths out and brightensthe colors.

All Sun Strokes are dinnerware safe when coveredwith SP-10 clear glaze.

CL CAUTIONARY LABEL (contains oneor more of the following ingredients: lead silicate frit,copper, lithium, cobalt, cadmium and/or manganese).

These underglazes are NOT RECOM-

MENDED for use in health care facilities, nursinghomes, home, home studios, or by women who arepregnant or expecting pregnancy, or by children ingrades K-6. Lead release information differs for eachunderglaze. The catalog or current label will provide thecorrect information.

See appendix III, page 42, for additional information.Lead containing underglazes should not be sprayapplied. Suitable lead-free AMACO® underglazes areavailable.

AMACO® SS Series: 201�, 202�, 203�, 204�, 205�,206�

Overglazes are de-signed to be applied toglazed pottery and

fired to a low temperature of cone018. AMACO® Overglazes are avail-able in semi-moist pan sets for use inpottery, glass and metal enameling.Overglazes also are available in tubesknown as Versa Colors which werespecifically developed for silk screenprinting on glazed tiles in addition tothe other uses of overglazes.AMACO® Oil Base Versa Color over-glazes contain some lead bearingcompounds while AMACO® WaterBase Versa Color and Opalescent

overglazes are LEAD-FREE.However, we do not recommend theuse of either series on food and drinkcontainers due to variations in firingtemperature and contamination.

The following is a list of AMACO®

Overglazes. Please refer to catalogand current label information forspecific details on each item.

AP NON-TOXICAMACO® Semi-Moist Pan Set #508:

Red, Red-Brown AMACO® Semi-Moist Pan Set #509:

Yellow-Green AMACO® Versa Color WB Series —

Tubes: Black, Brown, Green,Orange, Red, Teal, White, Yellow

AMACO® Versa Color WB OpalescentSeries — Tubes: All eight colors

CL CAUTIONARY LABELAMACO® Semi-Moist Overglaze

Pan Set #508: Black, Blue,Green, Orange, White, Yellow

AMACO® Semi-Moist OverglazePan Set #509: ChocolateBrown, Gray, Peach, Pink,Special Blue, Turquoise, Violet

AMACO® Versa Color OB Series —Tubes and Jars: All 8 Colors

Glass and metal enamel ceramic

decorating colors are applied on glass-ware and fired metal enamel surfaces.Decorated glassware is placed in a coolkiln and fired slowly to 1121°F (60°C).Decorated metal enamel pieces areplaced in a preheated kiln and fired forapproximately 11/2 minutes at 1300°F(704°C).

CL CAUTIONARY LABELAMACO® Semi-Moist Glass and

Metal Enamel DecoratingColors Set #308: Black, Blue,Green, Pink, Red, Turquoise,White, Yellow

OVERGLAZES

12

LABEL FCL CAUTIONARY LABEL (contains one or both ingre-

dients: copper and/or cobalt). These underglazes are also NOT REC-OMMENDED for children in grades K-6. Some of these underglazesare dinnerware safe. Refer to the catalog or current label for informationabout the individual lead release of each underglaze.

See appendix III, p. 42, for additional information. Underglazes con-taining copper and/or cobalt should not be spray applied. SuitableAMACO® underglazes are available.AMACO® SS Series: 201�, 202�, 203�, 204�, 205�, 206�

AMACO® Underglaze Chalk Crayons Set #208: Dark BlueAMACO® Underglaze Pencils: Blue

Underglaze Decorating ColorsLUG Series

F

WARNING: May be harmful if swallowed. Expo-sure may cause damage to the heart and lungs.Contains: cobalt. Avoid ingestion. Wash hands im-mediately after use. When using do not eat, drink,or smoke. KEEP OUT OF REACH OF CHILDREN.NOT FOR USE IN HEALTH CARE FACILITIES. Ifswallowed get prompt medical attention. For fur-ther health information contact a poison controlcenter. KEEP IN ORIGINAL CONTAINER.

DIRECTIONS: Stir thoroughly. Thin with water. Brush orsponge 1 to 2 coats on greenware or bisque. Water coloreffects when diluted. Fire to maturing temperature of clayand covering glaze.Request Material Safety Data Sheets when using in manu-facturing.Tableware producers must test all finished ware to establishdinnerware status, due to possible variations in firing temper-ature and contamination.



LUG-04



�LUG-55 PURPLELUG SERIES HAVE ONLY BEEN TESTED & APPROVED AS DINNERWARE SAFE WHEN FIRED UNDER LG-10. THEY MUSTBE RETESTED IF USED UNDER OTHER GLAZES.

LEADFREE 16 FL. OZ. (472 ML)

Reo

rder

# 41

190R

039672

41190

6

13

AEROSOL SPRAYS AND SOLVENTS

Health and safety expertsagree that aerosolsprays and solvents are

among the more dangerous artmaterials if not used properly. Anyaerosol spray fixative should be usedonly in a well-ventilated area. Avoidbreathing vapor, dust or mist. Use a

window exhaust fan or spray boothvented to the outside to removevapors and assure cross ventilation.Refer to the label for specific infor-mation. Solvents should also be usedonly in a well-ventilated area awayfrom any type of heat or fire.Common sense and good house-

keeping rules should always be fol-lowed. These products should not beused by children, pregnant women,or in health care facilities.

When spraying oil or solvent baseproducts you MUST use extremecaution. Wear protective gloves. Useonly in a well ventilated area, away

from heat or open flames. Use aspray booth equipped with anexplosion proof motor and a strongfan, that will exhaust to the outside.Wear a NIOSH approved respiratorfor organic vapors. Always followOSHA’s guidelines for use of solventcontaining products.

The above information references ASTM C1192, “Standard Guide For Spraying Ceramic Glazes Safely.”

The technique of airbrushing under-glazes and glazes onto greenware orbisque is sometimes used in ceram-

ics. If this technique should be taught to highschool or college level ceramic students, safeand proper rules should also be taught andenforced in any classroom or studio.

Airbrushing should be done in an exhaustventilated spray booth specifically designed forthis purpose. NIOSH approved dust masksshould also be worn for safety. Make sure thatyour respirator has an airtight seal. Women mayneed to use respirators especially manufacturedfor use by people with small face sizes. Menshould be clean shaven. Occupatonal healthprograms can offer formal testing for respiratorfit. For a quick check of respirator fit, remove

cartridges and cover inlets with your palm. Youshould not be able to inhale. Wear protectiveclothing including hair covering that isremoved before eating, drinking, or smoking orleaving work. Wash hands thoroughly, immedi-ately after spraying and removing protectiveclothes. Do not eat, drink, or smoke in the workarea. Airbrushing is an exciting ceramic deco-rating technique and need not be avoided ifproper safety precautions are used. Lead-containing glazes should NOTbe airbrushed; there are suit-able lead-free glazes for thispurpose. We do not recommend airbrush-ing for pre-school and elementary age children.In high school airbrushing should only beintroduced under strict supervision.

SPRAYING AND AIRBRUSHING

If users feel they must spray glazes containing lead or silica, use extremecaution. When spraying these glazes in production, extreme cautionMUST be taken. Use only a NIOSH approved particulate respirator fordust and water mist and replace it often. A safety supply house is the bestsource of suitable equipment. (For more detailed information aboutmasks for protection against dust and mist contact: Dept. of Health &Human Services, National Institute For Occupational Safety & Health(NIOSH), Mail Stop C-19, 4676 Columbia Parkway, Cincinnati, OH 45226,(800) 356-4674, (513) 533-8328 [Outside U.S.]).

Use a spray booth equipped with a strong fan that exhausts all glaze mistsaway from the breathing zone. Replace all spray booth filters often. Usethe same precautions during filter changes as when handling dry glazes.Wear protective clothing that is removed before eating, drinking, smokingor leaving work. Wash hands and arms thoroughly after spraying andremoving protective clothes. Do not smoke or eat in work area. If leadedglaze spraying is a regular or major part of your work, regular blood-lead-level testing by your doctor is necessary. Follow all OSHA guidelinesfor use of heavy metal products.

14

T he use of a kiln for firing ceramics has been proven safe if a fewcommon sense precautions are taken.

1. Be sure that your kiln is properly installed and that installation meets alllocal electrical codes. Check individual kiln installation instructions to besure that your kiln is the required distance from a wall. This distance mayvary from 12" to 18" depending on the type of kiln. Kiln installationshould be performed by a qualified electrician.

2. For used kilns, contact manufacturer for installation instructions.3. Electric hobby kilns heat ceramic pieces to a very high temperature. Any

electric appliance can present an electrocution haz-ard if operated in contact with water. Do not operate akiln in a wet area. To prevent burns or damage to your work,do not remove hot pieces from the kiln.Do not allow childrennear the kiln.

4. Do not plug in or unplug the kiln unless the circuit is turned off. Turnall switches to OFF before loading or unloading the kiln. Do not openthe lid or door with the kiln turned on.

5. Do not leave papers or combustibles around the kiln, or place objects onthe kiln while firing. Always uplug the kiln while making any repairs.

6. Do not try to unload the kiln until the outside of the kiln is cool to thetouch and the pieces can be easily touched by hand. Removing hotpieces presents risks of burns or fires or crazing of glazed surfaces.

7. When unloading a kiln, be careful of the stilt marks on glazed ceramicpieces. They can be sharp and be smoothed as soon as possible with agrinding wheel or stone. Wear safety glasses while grinding off stilt marks.

8. Kilns — both electric and fuel-fired — should be vented. Propermeans of ventilation are described later in this section.

9. If at all possible, it is recommended that the kiln be kept in a separateroom to avoid excess heat in the work areas. This also helps to preventaccidents if children are present.

10.Wear dark-shaded glasses (shade number 1.7-3.0) for looking intopeephole and protective kiln gloves when handling a hot kiln. (See“Personal Protective Equipment”, page 4)

11.Only a qualified adult should ever be allowed to operate or touch a kiln. The question of toxic emissions from electric kiln firings was studied by

Professor Parker Reist of the Department of Environmental Sciences at the

University of North Carolina. His tests were done to assist the AmericanSociety for Testing and Materials, in developing an appendix to the ASTMArt Material Labeling Standard. This appendix outlines safe operation ofelectric kilns used to fire ceramic materials.

The results of Professor Reist’s study indicate a SAFE ENVIRON-MENT during kiln firing in a ventilated area. In a totally unventilated area,there was evidence of carbon monoxide build-up during firing. When venti-lation was supplied, the carbon monoxide exposure was substantiallyreduced. This indicates that required ventilation of an indoor kiln results in asafe environment and should be considered a necessity.

The ASTM Standard C1023 Appendix for ventilating an electric kilnarea states: “Ventilation is recommended when firing an electric kiln.Adequate ventilation may be achieved by means of air exchange throughuse of cross ventilation, exhaust hoods or self-contained air handling sys-tems. To determine the appropriate ventilation, it is recommended thatyou consult a local licensed Heating, Ventilation and Air ConditioningContractor.” The standard goes on to warn “Fossil fuel kilns (Oil, Gas,Coal, Wood, etc.) must have outside ventilation. These kilns are not cov-ered under the above statement and the user should contact the kiln man-ufacturer and a local, licensed Heating, Ventilation and Air Conditioningcontractor for proper installation.”

GREENWARE: In greenware firings, exposure concentrations toboth formaldehyde and sulfur dioxide appear to be WELL BELOWTHE THRESHOLD LIMIT VALUES (TLV) when ventilationis provided. For your protection, AMACO® clay bodies are formulated with in-gredients that have the least amount of contaminants: All AMACO® clays havea low sulfur content to give added protection from release of sulfur dioxide.

GLAZES: In glaze firings, without exception, metal samples col-lected from the air around the kilns during firing showed LITTLE, IFANY, CONTAMINANTS present.

A free copy of the full report may be obtained by writ-ing to: Kiln Test, Box 22328, Indianapolis, IN 46222.

AMACO® offers four excellent kiln ventilation systems that will helpyour kiln to achieve truer, consistent colors and even chamber tempera-tures, while eliminating the potentially dangerous fumes that may beemitted during firing.

KILN FIRING GUIDELINES

15

LOADING AND FIRING THE KILN

Before loading, makesure the kiln is turnedoff and cold.

To start, use a 2" or 3" kiln sup-port to place under the bottomshelf of the kiln. Do not fire any-thing on the floor of the kiln. Firstof all the bottom will always becooler than the rest of the chamber,and also you would be running therisk of having your glazes run offonto the floor and damaging it, incase of over-firing.

Always use shelves that havebeen covered with Kiln Wash ontheir upper side. After you have thefirst shelf in place, and if you haveenough pieces that will requiremultiple shelves, then choose yourware so that you can fire the larger(taller) pieces on the lower shelfand the smaller (shorter) pieces onthe upper shelves.

This arrangement will help dis-tribute the heat better. Since heatmoves up, this will open up the spacein the lower part of the kiln making abetter air circulation, and evenly dis-tribute the heat throughout the kiln.

If you are firing a load of Bisque

(the first firing) then you can loadthe kiln very tight, even placepieces one into the other (see photo#1). When you have the urge toput as many pieces as possible inthe kiln, remember to leave roomto place the cone. The cone shouldhave enough room for it to bendwithout touching the ware (seephotos 1 and 2).

When you are firing glazed wareyou must pay close attention toleave enough room between eachpiece. Remember that if piecestouch they will stick together.Place the ware 1" to 2" apart andaway from the wall of the kiln (seephoto #2).

If you have a dry foot on yourpieces, (you do not have any glazeon the foot) then you can placethem directly on the shelf that hasbeen covered with kiln wash. Oryou can place them on stilts, if youhave glaze on the bottom. Makesure the pieces are well balancedon the stilts and that they will nottumble off.

Once the pieces are glaze firedyou can grind off the stilts marks

either by using a hand-held car-borundum stone or on an electricgrinder. Do not forget to ware gog-gles when you do grinding andremember that broken off stilts canbe very sharp. Therefore, take pre-cautions not to cut yourself. Seephotos 3 and 4.

Most kilns today have either akiln sitter or an electronic control.Both are fairly good indicators of

temperature, and practicalbecause they will shut off the kilnautomatically when the firing iscompleted. However using guidecones gives you the most accuratetemperature reading. Use eitherthe self-supporting or the regularones. It is advisable to place a coneon every shelf in the kiln, especial-ly when you first start using thekiln. This will show you any tem-perature difference in your kilnfrom top to bottom.

You will need to place the witnesscone behind the middle peephole.When temperature rises in the kilnyou can look through the peephole,

and see your witness cone bend asyou monitor the rise in tempera-ture. A proper firing will cause thecone to bend to a 90º angle.

Junior cones or bars are used inthe kiln sitter and will shut off thekiln automatically as they absorbthe heat and bend. However, kilnsitters may not be very accurateunless they are adjusted to shut offat the same time as the witness

cone bends. Or since they alwaystend to shut off early, use a highertemperature cone in the sitter. Forexample: If you want to fire to cone05 then put a cone 04 in the sitter.Compare this to a witness cone 05in the kiln during the same firing.

Never open the kiln during fir-ing. When the kiln is off leave itclosed overnight to cool. Open thekiln the next day and make sure itis cool to the touch before you han-dle the ware to unload it.

Always make sure the kiln is offbefore you open it.

Photo No. 1

Photo No. 2

Photo No. 3 Photo No. 4

KILNVENT — FLOORMOUNT VERSION

T he KilnVent —FloorMount Version willsimultaneously vent two

small kilns, two medium kilns, or onelarge kiln and one small kiln.

16

1

2

3

5 4

6

KILNVENT — SUSPENDED VERSION

T he KilnVent — Suspended Version is for square electric kilns.

KILNVENT — KILNMOUNT VERSION

T he KilnVent — KilnMountVersion is for use on frontloading electric kilns.

KILNVENT — STAND VERSION

T he KilnVent — Stand Version is designed for round or multi-sided electric kilns.

Visit our AMACO® web site for

the latest safety information:www.amaco.com

A ll four KilnVents feature a patented down draft system thatdraws oxygen into and through the kiln while diluting thefumes with room air and discharging them outdoors via flexi-

ble aluminum ducting. Cool-down time is also reduced by 2-4 hours, oftenallowing firing the very next day.

Keeping a kiln in a separate room from the studio or classroom is definitely the best idea. This would help remove the possibility of burn accidents from children (or adults) touching a hot kiln. The outside of akiln during normal firing times will not get nearly as hot as the inside gets,but it does get hot. The outside of an octagon or round kiln will get hotterfaster than the outside of a square kiln because of different insulationmethods. Our tests reveal that at the end of nine hours of firing at Cone 9(2336°F, 1280°C inside the firing chamber), the surface temperature of anAMACO® square kiln will reach approximately 250°F (121°C) while thesurface temperature of a round kiln will reach 450°F (232°C). For safetyreasons, we therefore recommend the purchase of an AMACO® square kiln(AH, HF, FA or EC, Series) for school art departments.

All AMACO® and EXCEL® kilns are listed with the UnderwritersLaboratories, Inc. (UL) and the Canadian Standards Association (CSA)and meet their rigid standards of safety with regard to casualty and firehazards. The new “cUL” symbol is given to products listed with UL thatmeet the safety requirements of both Underwriters Laboratoies and theCanadian Standards Association. All AMACO® kilns with Select Fire™carry the “cUL” symbol. All AMACO® non-SF model kilns and all EXCEL®

kilns carry the “UL” and “CSA” symbols. Materials, construction, and engi-neering undergo rigorous testing. All AMACO® kilns are re-examined reg-ularly, part by part, by both these well-known laboratiories.

We manufacture many different models of kilns offering a size andcapability to meet every school or studio need. Square kilns have a use-ful life several times that of a round kiln. We still provide elements forAMACO® kilns manufactured more than 50 years ago. The currentAMACO® catalog has full information and comparison charts on all ofour kilns and we urge you to contact a qualified dealer or distributor orcall us directly for additional information before purchasing a new kiln.

KILN VENTS

17

CERAMIC SPECIALTY PRODUCTS

T he following specialty products bearthe AP Non-Toxic seal.

AMACO® Kiln WashAMACO® AmacoteAMACO® Gum SolutionAMACO® Wax Resist

AMACO® AC-Crystals: 1, 11, 20, 26, 35, 40, 41, 46

AMACO® SP-Mender T he following specialty products bearthe CL seal.

AMACO® Kiln SealAMACO® Plaster SeparatorAMACO® AC-Crystals: 45, 52, 57, 60AMACO® SP-Overdrift

A MACO® produces several items thatare considered craft materials andnot ceramic. Our craft clays (non-

hardening, low temperature oven fired and airhardened), and our assorted other craft itemshave all been tested and certified by The Art andCreative Materials Institute, Inc.

T he following AMACO® art and craftproducts bear the AP Non-Toxic seal.

All-Purpose SealerArtone Venus ClayBatikit® Cold Print Dye ThicknerCarving WaxCasting Compound (Plaster of Paris)Claycrete®

Clay Flour and Moist ClayEasy Squeezy™ Clay FIMO® and FIMO®soft Modeling MaterialFlexwaxFloral Clay Friendly Lacquer (Matte)Friendly Plastic® Modeling MaterialGenesis® Air-Dry Acrylic GessoGenesis® Artist Colors — All ColorsGenesis® Glazing GelGenesis® Mediums

Genesis® Heat-Set Permanent Satin and MatteVarnishes

Glow-In-The-Dark Acrylic PaintIndustrial Styling Clay HBX-2Litho Sketch®

TuschePlate SolutionInk-BlackInk-Bismark BrownInk-Holly GreenInk-Lasting OrangeInk-Royal BlueInk-Spectral BlueInk-Sun Burst RedInk-Process YellowInk-Process RedInk-Process BlueInk-Mixing Opaque WhiteWax Crayons

Marblex™ ClayMexican™ Pottery ClayMix-a-Mold™Nail Hole and Corner Filler (All Colors)Permoplast® ClayPlast-i-Clay®

Sculptamold®

StonexSuper Dough™

T he following AMACO® art and craftproducts bear the CL seal.

Batikit® Cold Water Fabric Dyes (All Colors)Brush ’n Leaf™ (All Colors)Crea-stone™ (White and Natural)FIMO® LacquerGenesis® Brush CleanerRubber LatexRub 'n Buff® (All Colors)

NON-CERAMIC ART AND CRAFT MATERIALS

Visit our Genesis® web site for complete instructions on

this revolutionary new medium:

www.GenesisArtistColors.com

18

PREPARATION

Stir and shake glazesthoroughly. The glazeshould be the consisten-

cy of heavy cream and if thinning isnecessary, add a few drops of wateror AMACO® Gum Solution. You canwork directly from the jar on abisque which has been fired to wit-ness Cone 04 (1940°F, 1060°C).

BRUSHING

A MACO® glazes can beapplied with a flatlight ox hair brush, a

fitch fan brush, or you can workwith a brush of your choice. Threecrosshatched coats are recom-

mended. Apply glaze with a fullbrush. Do not work with a starvedbrush or scrub color into the ware.Apply three coats in a criss crossmanner as evenly as possible; wait-ing until the water sheen disap-pears before applying the secondand third coats.

SPONGING

Pour properly preparedgloss glaze onto aglazed tile or palette

and saturate a damp silk spongewith it. Pat the glaze onto fullymatured bisque surface using apouncing method. Permit the firstcoat to dry thoroughly beforeapplying the second and thirdcoats.

DIPPING ANDPOURING

A lthough AMACO®

glazes are made forbrushing, you can

get satisfactory results also by

pouring or dipping. Make sure theglaze is a creamy consistency.However, if you need to thin it,DO NOT add gum solution,add only a very little water.Excessive addition of water toglazes may cause the heavy ingre-dients to settle at the bottom of thejar. All AMACO® glazes are for-mulated with the appropriateamount of suspending agent inrelation with the amount of waterit requires. Glazes will remain insuspension as long as that ratio ismaintained.

HOW TO USE AMACO® PRODUCTS

AMACO® glazes are used not only by professional pottersand ceramists but also by hobbyists and school children.They are formulated to be eas to use by beginners and

people who have little knowledge about ceramics as well as by pro-fessionals. However because of the wide variety of our glazes somedifferences in application and firing are required.

At AMACO® we pride ourselves in being the leader in the manu-facturing of lead free glazes. When you browse through theAMACO® catalog you will find that the great majority of our prod-

ucts are lead free.Of course we all would like to use lead free (safe glazes) if we

could. AMACO® lead free glazes are very easy to use if we keep inmind certain simple requirements. Unlike leaded glazes which havea wide firing range, lead free glazes have to be fired at their recom-mended temperature. Overfiring sometimes may cause problemsand underfiring will definitely result in unacceptable results.AMACO® lead free glazes must be fired to a mature Cone 05 (1915°F,1046°C).

GENERAL GLAZE APPLICATION METHODS

19

AMACO® GLAZES AND UNDERGLAZES

GLOSS GLAZES —LEAD FREE**

T hree of the AMACO®

glaze series can bedescribed as gloss glazes:

The LG, F, and DG series. Theseglazes will fire to a smooth glossy fin-ish at a witness Cone 05 (1915°F,1046°C). Always slow-fire lead freeglazes for best results. The character-istics of the glaze lines whether trans-parent or opaque, are that they flowslightly during firing to a high gloss,while correcting most applicationimperfections. Good results can beobtained on all AMACO® pottery clay.For application follow general glazeapplication method.

For a clear, all over, coveringglaze, you have a choice of LG-9leaded glaze, LG-10 lead free, andF-10 lead free. All three have asmooth and high gloss surface.Make sure LG-10 and F-10 reach amature witness Cone 05 (1915°F,1046°C). You might apply themthinner than usual for best results.Two coats is usually enough.

LG-9 Clear glaze is leaded.Precautions in handling should betaken. Read the label before using.LG-9 is a beautiful glaze and is veryforgiving in firing, however, for bestresults a mature Cone 05 (1915°F,1046°C) firing is recommended.

Clear glaze can be used over theAMACO® LUG series, Velvet, Velvet-1-Strokes, Designer Velvet, and overthe GDC Gloss decorating colors.

When gloss decorating colors areused over bisque, they need a cleargloss over them which is applied atthe same time and fired once. LG-11, F-11, DG-11 Opaque White arethree slightly different white glazes.LG-11 White is white and the mostopaque. DG-11 is also white, butnot as opaque as LG-11. F-11 is theleast opaque as well as being an offwhite color. They can all be used for

the Majolica technique. Apply yourchoice of white on a mature Cone 04(1940°F, 1060°C) bisque. Thenpaint your design using GDC GlossDecorating Colors over the unfiredwhite glaze. Fire when your designis done. There is no need for clearglaze over the GDC design when youhave white glaze as a base. Becauseof the opacity of the DG Deco GlossSeries, essentially any color couldbe used as a base to design on withthe Majolica technique.

More detailed information aboutthe GDC Series can be found onpages 23 and 24.

** All LG, F, and DG glazes arelead free except LG-9, LG-32, LG-53, LG-56, and LG-66.

APPLICATION OFLEAD CONTAININGGLAZES IN THE LGSERIES

T hese glazes containfritted lead: LG-9, LG-32, and LG-36. Always

read the label for safety precau-tions. Application and firing ofthese glazes is the same as dis-cussed earlier for other glossglazes. However, these glazes aremore forgiving if underfired.

Brushing as discussed earlier isthe best mode of application forthese glazes.

Pouring, Sponging,and Dipping: If any ofthese techniques is used for leadcontaining glazes, we recommendusing rubber gloves, so that glazewill not get on your hands and runthe risk of hand to mouth contam-ination and ingestion of lead.

APPLICATION ANDFIRING OF BRIGHTREDS AND ORANGECADMIUM GLAZES

L G-53, LG-56, and LG-66 are lead/cadmiumred glazes. Brilliant Red,

Orange, and Yellow glazes belong toa family of ceramic products whichare traditionally temperamental. Toinsure the ultimate in color develop-ment from AMACO® LG-53, LG-56,and LG-66, be very careful thatthese glazes are not overfired. Theirlimit is Cone 06 (1830°F, 999°C),preferably by cone observation. Ifother means of end-point measure-ment are used, please verify theaccuracy of such devices by com-paring them to cones.

This type of glaze must beapplied quite heavily—abouttwice as thick an unfired coat as isusually necessary for more con-ventional glazes. These productsmust be applied to bisque ware thathas been fired to a mature Cone 04(1940°F, 1060°C).

An important factor in the suc-cess of these glazes is the need for afast firing (3-4 hours) to no higherthan Cone 06 (1830°F, 999°C) andtheir requirements of a generous airsupply during firing. The kilnshould be stacked with plenty of airspace around the pieces to permitcirculation. Do not crowd the kiln.Fire with peep holes left open dur-ing the entire firing cycle.Sometimes the door of the kiln maybe left ajar, anything to assure aplentiful amount of oxygen.

Finally, the proximity of coppergreen glazes will adversely affect thered glazes. Pieces with green-col-ored glaze should be kept as farremoved as possible from the redglazes. When all of these points ofadvice are carefully observed, weare confident that the beautiful bril-

liant results expected of AMACO®

products will be achieved.

AMACO® MATTGLAZES — LEAD FREE

LM Matt series are alllead free. They can beapplied easily using

general application methods, ofbrushing, sponging, pouring anddipping.

LM glazes can be used on any ofthe AMACO® earthenware bodies.Careful firing is rather important forthis series. Although they can befired from Cone 05 (1915°F, 1046°C)to Cone 02 (2048°F, 1120°C), theyare flat matt only at Cone 05(1915°F, 1046°C). The higher thefiring temperature, the glossier theywill become. For best results, applyover bisque that has been fired to amature Cone 04 (1940°F, 1060°C).Then, slow-fire to a witness Cone 05(1915°F, 1046°C). The LM glazesare nonflowing when fired, there-fore they are excellent for majolicadecorations using the GDC colors.They also work very well in combi-nation with other glaze series, byapplying them over or under theGloss, Lustre, or Arroya glaze series.Remember, such combination ofglazes is not dinnerware safe even ifall glazes used are dinnerware safe.Try these techniques only if you aredoing artwork.

20

AMACO® ALLIGATORGLAZES — LEADFREE**

T he LT Alligator glazesare excellent alone, aswell as beautiful in

combination with other glazes.Most of the LT glazes in category(3) can be applied over, under, andbetween other glazes for manyunusual and varied effects. No twopieces glazed with AMACO® LTAlligator glazes will ever be alike.The fired result will depend uponthe structure of the ware used, thethickness of application, the firingtemperature, and the firing speed.Variegated matt texture predomi-nates at the lower and slower firingtemperatures and gloss textures atthe higher and faster, with a min-gling of matt and gloss between theextremes.

These glazes can be used overany of the AMACO® earthenwarebodies. When used over AMACO®

NO. 67 clay, the clay color showsthrough high relief areas, and con-trasts or blends with the glazecolor. The entire piece is enrichedby the warm undertones.

LT Alligator glazes can be appliedeasily by following the “GeneralGlaze Application Methods” (page16). Remember, those glazes in cat-egory (3) in the catalog contain frit-ted lead, therefore take appropriateprecaution for lead containingglazes (see “Safe Use of Ceramic ArtMaterials,” page 4) and be sure toread the label. Apply over bisquewhich has been fired to a mature

Cone 04 (1940°F, 1060°C). Category(1) glazes are lead free and requirea more precise firing due to theirshort firing range. Apply over amature Cone 04 (1940°F, 1060°C)bisque then slow-fire to Cone 05(1915°F, 1046°C).

Jewel Brown is a dark brown andamber aventurine type of glaze withinfinite depth and gold flecksappearing throughout. It should bebrushed very thoroughly. Fire withgood ventilation to Cone 05 (1915°F,1046°C).

**All LT Series glazes are leadfree except LT-24, LT-31, LT-115,LT-121, LT-122, LT-130, LT-133, LT-142, and LT-144.

STONE TEXTUREGLAZES — LEADFREE

T hese glazes have asmooth, unique stone-like surface when fired

over a Cone 04 bisque. The STglaze series flows a little in the fir-ing, settling in the crevices andtowards the bottom of a verticalsurface. Therefore, when appliedover a textured surface they willproduce antique-like variations ora weathered and worn out look onthe higher relief areas of the piece.Because they move slightly, careshould be taken to taper down theglaze application towards the bot-tom of the piece so that the piecewill not stick to the kiln shelf dur-ing firing.

These glazes can be used overany AMACO® earthenware clay.When applied over Indian Red ClayNo. 67, the clay color showingthrough the high relief contrastsand blends with the glaze colorand the entire piece is enriched bythe warm undertones.

AMACO® Stone Texture glazesare best applied over Cone 04bisque. The recommended firingtemperature is Cone 05 (1911°F,1044°C), however they could be

fired lower to Cone 06 (1855°F,1013°C) or higher to Cone 04(1971°F, 1077°C) to produce dif-ferent effects. Do not be afraid toexperiment. AMACO® StoneTexture glazes can also be used byapplying them over or under otherglazes like the LG, F, or DG seriesor within their own series.

AMACO®

OPALESCENT GLAZES— LEAD FREE

C one 05 (1915°F, 1046°C).Although AMACO® Opal-escent glazes may be used

on any AMACO® clay, they developtheir greatest opalescence and mostinteresting textures when appliedover AMACO® Indian Red Clay No. 67. Most of the AMACO®

Opalescent Glazes have a highgloss, with best results achievedwith three or four coat applicationsof glaze. On textured ware, theglaze flows thin on relief and thickin incised areas, giving an addeddimension on the surface.

AMACO® Opalescent Glazes canbe used effectively in Raku firing.We suggest controlled experimen-tation with Opalescent glazes, (forexample O-42, O-23 at Cone 5,2186°F, 1196°C). When fired at thistemperature on the inside of astoneware bowl, the glaze flows toproduce a variegated bottom andthins at the rim to expose more ofthe clay body.

AMACO® SAHARAHIGH FIRE GLAZES— LEAD FREE

T hese glazes are com-pounded to fit porcelainand stoneware bodies.

Matt and textured glazes suitablefor stoneware and transparent glossglazes for translucent porcelain areincluded in this series.

AMACO® Sahara High Fire

Glazes work well and produceinteresting effects when fired inreduction as well as in oxidation(reduction firing is not recom-mended for HF-26). We also suggest experimentation usingOpalescent glazes or High FireTexturizers in combination withHigh Fire Glazes.

Although these glazes may beapplied on bone dry greenware forsingle firing, it is easier to applythem on low fire bisque. HF-26 andHF-32 should be applied thickerthan other glazes in this series. HF-36 should be fired to Cone 4(2167°F, 1186°C) to obtain texture.For best results: Fire over Cone 04(1940°F, 1060°C) bisque and applyglaze by following the “GeneralGlaze Application Methods” (page16) and fire. Then, clay and glazemay be matured at the same time,at the recommended firing temper-ature of Cone 5 (2185°F, 1196°C).

A zinc-free, clear transparenthigh fire glaze (HF-9) is alsoavailable. Because the presence ofzinc in a glaze formula maychange the appearance of certaincolors (green, black, gray, etc.) azinc-free clear is very importantfor application over underglazedecoration. When used under HF-9 Zinc-Free Clear, colors willfire true. Any variation in colorintensity of the underglazes willthen depend on the individualcolor stability at Cone 5 (2185°F,1196°C). Firing range of HF-9 isfrom Cone 4 (2167°F, 1186°C) toCone 6 (2232°F, 1222°C).

AMACO® TH-1 ANDTH-2 HIGH FIRETEXTURIZERS

Superposition (overlayingof glaze) is a very com-mon practice among

potters and is done either by brush-ing one glaze over another on a portion of the ceramic piece or partial dipping. When superposition

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is done on part of a ceramic piece,the rest of the piece is left exposed, producing a variation in color, texture, and depth, which simulatesreduction glazes in an electric kiln,while retaining a clean atmosphereand without the trouble of reducingor reaching Cone 10 (2381°F,1305°C) temperatures.

TH-1 is a rutile base texturizer.In superposition with other glazes ittends to produce a yellowish/orangecrystal-type texture. It will yieldexcellent results with most AMACO®

HF Series glazes when applied overor under the glazes. As results varyfrom glaze to glaze, be sure to fire atest sample first.

TH-2 is an iron oxide base tex-turizer. It will have a dark brownglaze effect in most applicationswith texture depending on glazecombination. This texturizer willproduce pleasing results whenapplied over or under mostAMACO® HF Series Glazes. Asresults vary from glaze to glaze, besure to fire a test sample first.

AMACO® UNIQUETEXTURE GLAZES —LEAD FREE

A MACO® Unique Tex-ture glazes have a veryfine matte texture finish

with a tiny gloss crystal. The crystalbecomes recessed into the matte texture background during firing.These glazes do not seal the wareand finish remains porous evenafter firing. Because UniqueTexture glazes remain porous, it isnot recommended to glaze theinside of the pieces. Glaze finishwill vary with firing temperature. Amore glossy finish will be achievedwith a hotter firing and a morematte finish will be attained with acooler firing temperature. Theseglazes are opaque, therefore, onecolor can be applied over anotherfor designer work. The UniqueTexture glazes can be intermixed to

create new colors. This series hasthe same color tone before andafter firing. The colors will only intensify in the firing.

AMACO® UT Glazes may beapplied to greenware or a matureCone 04 (1940°F, 1060°C) bisque.Brushing, pouring, and dipping asdescribed in “General GlazeApplication Methods” (page 18)are all suitable methods of appli-cation. Four coats of applicationresult in more texture.Recommended firing temperatureis Cone 06-05 (1830°-1915°F,999°-1046°C). Unique Textures arenot suggested for dinnerware dueto the texture surface of the glaze.

AMACO® Unique Texture glazesmay also be used on stoneware andporcelain. When fired to Cone 5(2185°F, 1196°C), these glazeshave a speckled, semi-gloss sur-face. They may be used for dinner-ware surfaces only when fired toCone 5 (2185°F, 1196°C).

AMACO® TL-1TEXTURIZER —LEAD FREE

T L-1, when used withother Cone 05 (1915°F,1046°C) firing glazes,

creates beautiful mottling effects.TL-1 can be applied under, over,or between other glazes, to createdifferent textures. It creates awhite breakup surface and willsubtly reflect the colors of theglazes with which it is used. Thesesurface textures vary dependingon the type of base glaze (gloss,matte, or textured), increasing theglaze palette tremendously. An evenwider variety of effects can beachieved by applying TL-1 betweencoats of two different glazes.

Follow the “General GlazeApplication Methods” (page 18) toapply TL-1. Fire to a mature Cone05 (1915°F, 1046°C).

AMACO® WHITEPEBBLE

Pe b b l ehas ap e b b l y

appearance, as itbreaks up into

patterns resembling pearl tapiocaafter firing. The break up is depen-dent upon the application. Pebblecan be used under, over, andbetween the glazes for varied andinteresting effects and is excellentfor design work. To expand thecolor horizon, Pebble may be tintedwith any AMACO® LiquidUnderglaze or any AMACO® Velvet.We suggest wetting the ware with asponge or brush before applying thepebble, to slow the drying and helpit adhere better. Pebble is a leadcontaining glaze. Therefore takeappropriate precautions (pages 4-6) and read and follow warnings onthe label. Apply over a mature Cone04 (1940°F, 1060°C) bisque.

Shake and stir thoroughly. Toachieve a good application ofPebble, especially when using forall over coverage, load a fan brushand apply three coats to the ware inrapid succession. DO NOTallow to dry between coats as is theusual procedure, but apply eachsucceeding coat over a damp coat.

To prevent the Pebble from flakingoff as it dries, apply one coat of waxresist. Fire to a witness Cone 05(1915°F, 1046°C).

AMACO® OVERDRIFTSPECIALTY GLAZE

O verdrift is anopaque, frosty whiteglaze, heavy in

consistency. It is indispensable incombination glaze techniques.When used in combination glazework, Overdrift’s strong whiteopacity partially modifies the colorof the base glaze. It renders a cascade of white floats whenapplied over or under a glaze. It isalso excellent on red clay.

Results are dependent on themethod and quality of applicationand the firing. Consistency shouldbe like thick cream. If thinning isnecessary, add a little water andAMACO® Gum Solution. Overdriftwill fire to Cone 4-6 (2167°-2232°F,1186°-1222°C). Recommended fir-ing temperature is Cone 06-05(1830°-1915°F, 999°-1046°C).

Overdrift is a lead containingglaze. Therefore, take appropriateprecautions (pages 4-6), read andfollow warnings on the label.

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AMACO® OLDWORLD CRACKLEGLAZES — LEADFREE

C rackle glazes are formulated to producea network of cracks on

the fired ware similar to crazing.To emphasize the crackle after firing, swab the lines with coloredinks. Recommended for use ondecorative items only, as it does notseal the surface of the ware as other glazes do. Apply crackleglaze over a mature Cone 04(1940°F, 1060°C) bisque asdescribed in the “General GlazeApplication Methods” (page 17).Fire to Cone 06 (1830°F, 999°C)only, for best results. Too hot a firing will prevent the crackle. Toaccentuate the crackles, after firingapply a watered down Velvet,Underglaze, or India ink all overthe surface of the glaze, then wipeoff. The color will remain in thecracks and intensify the cracklepattern.

AMACO®

ARROYA GLAZES —LEAD FREE

A rroya glazes are tex-tured and produce aunique carved effect

when fired. Designed for use overgloss and matte unfired glazes,Arroya glazes are best applied witha fully loaded fan blender for all-over coverage or with a spongewhen using a pouncing method.The heavier the application, thelarger the break-up effect and themore matte the finish.

Arroya glazes can be used incombination with other glazes, notonly over, but under and betweento get different interesting textures.

Recommended firing tempera-ture is Cone 06-05 (1830°-1915°F,

999°-1046°C). However, they couldbe fired at higher temperatures,depending on the temperature andcharacter of the glaze with which itis used, and the final effect that youare trying to achieve. Test fire samples when you are doing combination glazes before you doyour final piece. These glazes mustbe applied to a mature Cone 04(1940°F, 1060°C) bisque.

AMACO® LUSTREAND METALLICGLAZES

T hese glazes provide themetallic look of hardsteel and the high bril-

liance of lustre. The end result isdetermined by the structure of theware and the method of applica-tion. Lustre and Metallic glazes canbe used effectively in conjunctionwith other glazes or dramaticallyby themselves. The Lustre andMetallic glazes can be high fired toCone 4-6 (2167°-2232°F, 1186°-1222°C) with fantastic results.

However they are fluid at that tem-perature, therefore precautions inapplication and firing must be taken.

Apply over a mature Cone 04(1940°F, 1060°C) bisque asdescribed in the “General GlazeApplication Methods” (page 17).Fire to witness Cone 06-05 (1830°-1915°F, 999°-1046°C). Only L-518Lustre Gold must be applied heav-ier. Apply at least four coats, mak-ing sure coverage is even all over,then fire to a mature witness Cone04 (1940°F, 1060°C).

AMACO®

CRYSTALTEX GLAZES— LEAD FREE**

A MACO® CrystaltexGlazes are for thepotter who dares to

try something novel. Multi-coloreffects can be subtle as with CTL-32, which fires to a creamy yellowpeppered with rich brown, or theycan be flashy and gay like the red,white and blue of CTL-54Firecracker. No two pieces will everbe alike, but all will be unique.

These liquid glazes consist of abasic color with the addition of oneor more crystals of contrasting col-ors. For application by dipping orpouring, it is necessary to thor-oughly stir the glaze since the crys-tals settle to the bottom of the jar. Amore controlled decorative effect isobtained by brushing. The brush isdipped in the glaze at the top of thejar and two or more coats applied.Then the crystals, which will havesettled to the bottom are lifted withthe brush or screened through asieve and placed where desired.Crystals fan out on horizontal sur-faces and run on vertical pieces.Best results are obtained at Cone 05(1915°F, 1046°C). These glazesmust be applied to mature Cone 04(1940°F, 1060°C) bisque and glazefired to Cone 05 (1915°F, 1046°C).

** All CTL Series glazes are leadfree except CTL-33, CTL-50, and

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CTL-54. Take appropriate precau-tion when using lead containingglazes (see “Safe Use of Ceramic ArtMaterials,” pages 4-6) and makesure to read and follow the label.

AMACO® LIQUIDUNDERGLAZEDECORATINGCOLORS — LEADFREE

T hese concentrated,opaque colors arerecommended for

covering large areas quickly,easily, and smoothly. Results

are equally effective when thecolors are used for detailedpainting, sgraffito decoration,water color effects, free brushpainting, wax resists, andmishima decoration. Twenty-four intense colors are availableand other colors, shades and tintsare made by blending. The colorsmay be brushed on greenwarewhich is to be bisque fired beforeapplying a covering glaze, or ontomature Cone 04 (1940°F, 1060°C)bisque, then covering glaze appliedand fired to maturing temperatureof the clear glaze.

For opaque coverage by brush-

ing, the consistency of the color inthe jar is correct. White slip may betinted by adding small amounts ofmost LUG colors to produce coloredslip. Intensity depends on quantityused. To color moist clay, cut clay invery thin slices, pour LUG colorbetween slices and wedge until uni-form color is achieved.

Since the colors are approxi-mately the same tone before andafter firing, the effectiveness of colorcombinations and blending isobserved as the painting progresses.

SELECTINGTRANSPARENTCOVERING GLAZES

T ransparent coveringglazes are appliedon decorated bisque

shapes, and the pieces are fired tothe maturing temperature of theglaze. AMACO® glazes LG-9, LG-10, F-10, and HF-9 are recom-mended as clear glazes. Coloredtransparent glazes in the LG, F, andHF series may also be selected forunusual effects.

AMACO® liquid underglazeshave only been tested andapproved as dinnerware safe whenapplied and fired under AMACO®

LG-10 Clear Glaze. Other glazesmay also be used. If other glazesare used over the liquid under-glazes, finished ware must be test-ed to establish dinnerware status.

AMACO® SUNSTROKES BRILLIANTUNDERGLAZECOLORS

V ivid reds, oranges, yel-low, and green! Sixintense special under-

glazes specifically formulated forCone 06-05 (1830°-1915°F, 999°-1046°C) in oxidation and Rakufirings, with or without a clearglaze. Clear glaze smoothes out

and brightens the colors. Applytwo even coats to bisque only. Theycan be used also for shading,detailing, and brushwork. Whenusing clear glaze, it must beapplied over the decorated objectBEFORE firing of the underglaze. No. SP-10 ClearTransparent has been developedfor use in conjunction with theseunderglaze colors for one strokeapplication. For all over coverageof the Sun Stroke underglazes,any lead containing clear glazemay be substituted with excellentresults. Apply one even coat onmature Cone 04 (1940°F, 1060°C)bisque. Fire to Cone 06-05(1830°-1915°F, 999°-1046°C).

Sun Strokes Underglazes haveonly been tested and approved asdinnerware safe when applied andfired under SP-10. If other glazesare used over Sun StrokesUnderglazes, finished ware must betested to establish dinnerware status.

AMACO® GLOSSDECORATINGCOLORS FOR BISQUEAND MAJOLICA —LEAD FREE

Bisque Underglazes,One Step Method

The GDC Series is veryversatile. Colors can beused directly over Cone

04 bisque to create a design, thenclear glazed and fired. This is a onestep method, where there is noneed to fire the GDC before apply-ing the Clear Glaze. However ClearGlaze should be applied by dippingusing AMACO® DC-10 DippingGlaze or by sponging, using eitherLG-9 or LG-10. When using GDCcolors on bisque, they can beapplied in one coat to createtranslucent designs or apply two orthree coats for a more solid color.

AMACO® LIQUID UNDERGLAZE TEMPERATURE/COLOR VARIATION CHARTThe AMACO® color chart between pages 22 and 23 shows the AMACO®

LUG series fired to Cone 05. The variations listed below will occur whenthese glazes are fired to Cone 5 and 10.

Cone 5 Cone 10Glazed With HF-9 Glazed With HF-9

LUG-1 ............Black ..............................................BlackLUG-10 ..........White ..............................................WhiteLUG-15 ..........Gray................................................GrayLUG-20 ..........Light Blue ......................................Turquoise BlueLUG-21 ..........Medium Blue ................................Medium BlueLUG-22 ..........Dark Blue ......................................Dark BlueLUG-25 ..........Turquoise ......................................TurquoiseLUG-26 ..........Dark Aqua......................................GreenLUG-30 ..........Light Brown ..................................Light Brown

(rough surface) ............................(rough surface)LUG-31 ..........Mahogany Brown ..........................Mahogany BrownLUG-40 ..........Chartreuse......................................Pale GreenLUG-42 ..........Dark Blue Green............................Dark Blue GreenLUG-43 ..........Dark Green ....................................Dark GreenLUG-50 ..........Pink ................................................PinkLUG-51 ..........Irregular Washed ..........................Dirty White

Out RoseLUG-52 ..........Very Light Beige ............................Very Light BeigeLUG-53 ..........Sun Tan..........................................Dark Sun TanLUG-54 ..........Light Lilac ....................................Irregular Washed

Out LilacLUG-55 ..........Washed Out ..................................Washed Out

Medium Blue ................................Dark BlueLUG-56 ..........Irregular Rose ..............................Dirty Pale RoseLUG-60 ..........Light Yellow ..................................Greenish YellowLUG-61 ..........Bright Yellow..................................Greenish Bright

YellowLUG-65 ..........Tan Brown ....................................Light Tan Brown

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Majolica

Cone 05. The GlossDecorating Colors(GDC) were developed

specifically to produce the Majolicatechnique. Each of these colors canbe applied directly over unfiredLEAD FREE AMACO® LG-11Opaque White glaze. The specialformulation of this exciting 36 colorseries means that no clear coveringglaze is necessary. Colors will fireglossy and assume the smooth sur-face of the white base glaze. Rec-ommended firing temperature isCone 05 (1911°F, 1044°C). The col-ors in the GDC series have only beentested and approved as safe for din-nerware when applied alone and ontop of AMACO® LG-11. They mustbe retested as safe for dinnerware ifthey are used on top of other glazes.

These colors will also produceexcellent results when used overmost of the AMACO® LG SeriesGlazes as well as the F, LM and theDG Series glazes.

The GDC colors can be success-fully used over other white or colorglazes as long as a small sample ispretested first to establish the ap-propriate temperature to achievethe best results. Variations on howthe GDC series can be used is limit-ed only to the potter’s imagination.

All-Over Coverage

The Gloss DecoratingColors can also be usedfor over all coverage or

to design over the bisque with noadditional glaze over or under it.In such cases, application shouldbe of at least two coats or more toachieve good results.

High Fire MajolicaTechnique

When GDC colorsare used forstoneware, use

HF-11 White glaze over bisque andfollow the same decorating tech-

nique as earthenware. Glaze fire toCone 5 (2205°F, 1207°C). Colorswill not change at Cone 5 exceptthe following: GDC-55 will changeto Dark Blue, GDC-45 will changeto Dark Green, and GDC-64 willchange to Light Yellow/Green.

AMACO® VELVETUNDERGLAZES —LEAD FREE

A MACO® Velvets, as e m i - t r a n s l u c e n tunderglaze, offer two

finish possibilities. When leftunglazed they have the appearanceof velvet or velour. They will assumea soft satin matte finish when glazedwith AMACO® Transparent Mattglaze and will intensify in colorwhen covered with an AMACO®

Clear Transparent Gloss glaze.Red and Violet Velvets 380

through 384 have a unique formula that makes them very ver-satile. They can be used in detaileddesign work as a Cone 05-06(1915°-1830°F, 1046°-999°C)underglaze or they can be fired upto Cone 6 (2232°F, 1222°C) andmaintain their intensity andbrightness. All the Velvets are veryrich colors and can be used for anall over coverage similar to anopaque underglaze. They fire trueto color as applied from the jar andmay be intermixed to create apalette of hundreds of colors.

The colors may be brushed ongreenware which is to be bisque firedbefore applying a covering glaze oronto a mature Cone 04 (1940°F,1060°C) bisque, then a covering glazeis applied. When applying over bisque,make sure to apply thin coats and leteach coat dry before applying the next.It is preferable not to apply Velvets verythick over bisque. For opaque coverageby brushing, the consistency of thecolor in the jar is correct.

Velvets tolerate a wide firing rangewith recommended firing tempera-ture being that of the clay used.

NOTE: V-317 Medium Pink

will change color and blister atCone 5 (2185°F, 1196°C).

Velvets were developed to be usedwithout a glaze cover. They shouldnot be used on surfaces which comeinto contact with food or drink.AMACO® glazes LG-9, LG-10, F10,and HF-9 are recommended as clearglazes over Velvets. AMACO® VelvetUnderglazes have only been testedand approved as dinnerware safewhen applied and fired under LG-10Clear Glaze. Other glazes may beused over the Velvets, however thefinished ware must be tested toestablish dinnerware status.

AMACO®

VELVET-1-STROKES— LEAD FREE

V elvet-1-Strokes are asversatile as the originalVelvet Underglazes.

They are premixed and ready touse right from the jar. They canalso be glazed over with a trans-parent or translucent glaze or leftunglazed for that beautiful velvetfinish. Velvet-1-Strokes have awide firing range from Cone 05(1915°F, 1046°C) for earthenwareto Cone 6 (2232°F, 1222°C) forstoneware or porcelain. They havea high concentration of color andare excellent for detail and onestroke designs.

Velvet-1-Strokes should not beused on surfaces which come incontact with food or drink. AMACO®

glazes LG-9, LG-10, F-10, and HF-9are recommended as clear glazesover Velvet-1-Strokes. Velvet-1-Strokes may be brushed on green-ware which is to be bisque firedbefore applying a covering glaze orapplied to a mature Cone 04(1940°F, 1060°C) bisque, then a cov-ering glaze is applied. For applica-tion on bisque, follow bisque appli-cation directions of Velvets. Foropaque coverage by brushing, theconsistency of the color from the jaris correct.

AMACO® Velvet-1-Strokes haveonly been tested and approved asdinnerware safe when applied andfired under AMACO® LG-10 ClearGlaze. Other glazes may also be usedover the Velvet-1-Strokes, howeverthe finished ware must be tested toestablish dinnerware status.

AMACO® DESIGNERVELVET UNDERGLAZES— LEAD FREE

Designer Velvets aresemi- t rans lucen tunderglazes that have

the same distinction as the originalVelvets with one difference: they havesmall specks in them. When leftunglazed, they assume the appear-ance of velvet or velour with a softspeckle effect. When glazed withAMACO® Transparent Matte or ClearGlazes, they slightly intensify incolor. Designer Velvet colors can beused on greenware or bisque. Forapplication on bisque follow bisqueapplication directions of Velvets. Allcolors are lead free. Recommendedbisque firing range is Cone 04(1940°F, 1060°C), but DesignerVelvets tolerate a wide firing rangewith recommended firing tempera-ture being that of the clay used.

To prepare these underglazes,shake and stir for thorough mixing. Itis usually not necessary to thin thesecolors. However, upon occasion or forvarying techniques, it may becomenecessary to thin Designer Velvets. Inthis case add a few drops of water andmix thoroughly.

Apply the same as you doVelvets. Designer Velvets have thesame characteristics.

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AMACO®

SEMI-MOIST & TUBEUNDERGLAZEDECORATING COLORS— LEAD FREE

A MACO® Semi-Moistand Tube UnderglazeDecorating Colors are

suitable for many types of ceramicpainting. They are especially goodfor water color effects and paintingin fine detail.

Thirty-two intense decoratingcolors are concentrated andopaque. Additional shades andtints are made by intermixing.Colors may be brushed on eitherbisque or greenware. A brushdipped in water lifts the color fordecorating. Further thinning of thewater soluble colors prepares themfor transparent water color effectsby brushing. Tube UnderglazeColors are the correct consistencyfor silk screen printing.

Because the colors are approx-imately the same tone before andafter firing, the effectiveness ofcolor combinations and blendingcan be observed as painting progresses. Colors dry quickly and may be handled withoutdamage.

For clear, covering glazes,AMACO® LG-9, LG-10, F-10, andHF-9 are recommended. They willnot discolor the underglaze decoration or cause the colors tobleed.

If the clear, transparent cover-ing glaze is to be applied on thedecorated bisque by brushing,dab the first coat with a sponge orbrush. Let dry and then brush onthe next two coats. When theunderglaze colors are applied ongreenware, they are hardened onthe bisque firing which must bedone to a mature Cone 04(1940°F, 1060°C) and then thecovering glaze applied either bybrushing or sponging. Pieces arefired to the maturing temperatureof the covering glaze. Pink,

Maroon, Peach, Rose and Yellowhold their color when fired totemperatures up to Cone 6(2232°F, 1222°C). All other colorsmay be fired to an upper limit ofCone 10 (2381°F, 1305°C) withgood retention.

AMACO®

UNDERGLAZEDECORATINGCHALK CRAYONS —LEAD FREE

Pastel Tech-niques. Ceramicdecoration with un-

usual, effective style and avariety of textures is created withAMACO® Underglaze DecoratingChalk Crayons. The 22/3" x 7/16"chalk crayons are made in sixteencolors ranging from intense huesto pastel tones. On bisque potterythey are used like pastels.

Sketching on bisque withAMACO® Underglaze Chalk Crayonsresults in pebbled appearances.

Colors may be blended orsmoothed by rubbing with the fingers or a cotton swab. Watercolor effects are obtained bybrushing sketches with water. For

fine lines, the chalk crayons canbe sharpened. Small pieces ofchalk crayon may be dissolved inwater for painting.

Selecting a CoveringGlaze. Clear TransparentAMACO® Glazes LG-9, LG-10, F-10, and HF-9 are recommended.Sponge on first coat of clear glazelightly in order not to smear design. Let dry and brush on twoadditional coats of clear transpar-ent AMACO® glaze. This precautionis unnecessary if the glaze is to beapplied by spraying, dipping, orpouring. Pieces are fired to thematuring temperature of the covering glaze. When spray appli-cation of a covering glaze is desired,first refer to individual listing to besure that it may be sprayed safely.

AMACO®

UNDERGLAZEDECORATINGPENCILS — LEAD FREE

Now more intense,with better workingqualities, Underglaze

Decorating Pencils are ideal forshading, fine line drawing or iden-

tification. Apply the underglazepencil to bisque to create a varietyof unique decorative designs. Afterdecorating, dust lightly with abrush to remove excess particles.

Sponge on first coat of clearglaze lightly in order not to smeardesign. Let dry and brush twoadditional coats of clear transpar-ent AMACO® glaze. This precau-tion is unnecessary if the glaze is tobe applied by spraying, dipping, orpouring. Pieces are fired to thematuring temperature of the cov-ering glaze. When spray applica-tion of a covering glaze is desired,first refer to individual listing to besure that it may be sprayed safely.

A set of all six colors comes inhandy vinyl pouch. Blue, Green, andBlack will maintain color intensityup to Cone 10 (2381°F, 1305°C) tem-perature, Cone 5 (2185°F, 1196°C)for all other colors. Color intensitymay vary at Cone 5 (2185°F, 1196°C)and above on all colors.

AMACO® ENGOBES— LEAD FREE

Sgraffito, Slip Trailing,and Painting. Engobesare either natural clays

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VELVETS TEMPERATURE/COLOR VARIATIONS CHARTThe AMACO® color chart between pages 22 and 23 shows the AMACO® Velvet series fired to Cone 05. The variations listed below will occur when theseunderglazes are fired to Cones 5 and 10.

Cone-5 Cone-10Unglazed Glazed with HF-9 Unglazed Glazed with HF-9

V-301 ........Light Ivory ......................................Light Ivory ........................................Light Buff ............................................Light BuffV-302 ........Light Dusty Beige ..........................Dark Dusty Beige..............................Warm Light Beige ..............................Warm Dark BeigeV-303 ........Light Terra Cotta ............................Light Olive Green ............................Light Brown ........................................Buff/Brown VariationV-304 ........Yellow/Tan Flesh ............................Textured Light Beige ........................Light Yellow/Beige ..............................Dark Yellow/BeigeV-308 ........Bright Yellow ..................................Bright Yellow ....................................Pale Yellow ..........................................Pale YellowV-309 ........Orange/Yellow ................................Tan ....................................................Orange/Tan..........................................Dark Orange/TanV-310 ........Dark Tan ........................................Bright Dark Tan................................Dark Tan ..............................................Bright Dark TanV-313 ........Dark Red Brown ............................Bright Red Brown ............................Dark Satin Brown ..............................Bright Dark BrownV-314 ........Chocolate Brown ............................Chocolate Brown ..............................Satin Black Brown ..............................Dark Black BrownV-315 ........Dark Peach ....................................Dark Peach ......................................Yellow/Peach........................................Yellow/PeachV-316 ........Dark Pink........................................Pink ..................................................Dark Pink ............................................Yellowish PinkV-317 ........Not Recommended ........................Not Recommended ..........................Not Recommended ............................Not RecommendedV-318 ........Glossy Rose ....................................Rose ..................................................Very Pale Lilac ....................................BoneV-320 ........Light Blue Violet ............................Blue Violet ........................................Pale Dirty Violet ..................................Pale Dirty Blue/WhiteV-321 ........Orchid ............................................Deep Orchid......................................Pale Dirty Lilac....................................Pale Dirty LilacV-322 ........Deep Purple ....................................Deep Purple ......................................Dark Gray ............................................Dark BlueV-323 ........Salmon............................................Salmon..............................................Salmon ................................................Yellowish SalmonV-325 ........Satin Baby Blue ..............................Light Blue ........................................Gloss Light Blue ..................................Bluish WhiteV-326 ........Rich Electric Blue ..........................Ultramarine Blue ............................Satin Rich Blue ..................................Dark BlueV-327 ........Deep Turquoise ..............................Deep Turquoise ................................Deep Turquoise....................................Deep TurquoiseV-328 ........Gray ................................................Gray ..................................................Light Gray............................................Light GrayV-332 ........Dark Blue........................................Dark Blue..........................................Dark Blue ............................................Dark BlueV-333 ........Dark Avocado ................................Light Brown......................................Dark Avocado ......................................Dark AvocadoV-334 ........Satin Flaxen....................................Flaxen ..............................................Gloss Ivory Beige ................................Ivory BeigeV-336 ........Glossy Dark Blue ............................Dark Blue..........................................Metallic Dark Blue ..............................Dark BlueV-341 ........Dark Blue Green ............................Dark Blue Green ..............................Dark Blue Green ................................Dark Blue GreenV-343 ........Chartreuse ......................................Chartreuse ........................................Victoria Green......................................Victoria GreenV-345 ........Dark Green ....................................Dirty Light Brown ............................Satin Green Black ..............................Greenish BlackV-350 ........Satin Beige......................................Beige..................................................Satin Beige ..........................................Light BeigeV-353 ........Dark Green ....................................Dark Green ......................................Dark Green ..........................................Dark GreenV-354 ........Dark Green ....................................Dark Green ......................................Metallic Green Black ..........................Green BlackV-355 ........Greenish Black ..............................Greenish Black ................................Black ....................................................BlackV-356 ........Dark Gray ......................................Dark Gray ........................................Light Gray............................................Light GrayV-357 ........Deep Olive Green............................Deep Olive Green..............................Deep Green ..........................................Deep GreenV-360 ........White ..............................................White ................................................White....................................................WhiteV-361 ........Intense Black ..................................Intense Black ....................................Intense Black ......................................Intense BlackV-366 ........Bright Medium Brown ..................Bright Medium Brown ....................Medium Brown ..................................Bright Medium BrownV-367 ........Mist Gray ........................................Mist Gray ..........................................Mist Gray ............................................Mist GrayV-368 ........Antique Ivory ..................................Antique Ivory ....................................Ivory ....................................................IvoryV-369 ........Dark Fawn ......................................Dark Fawn ........................................Fawn ....................................................FawnV-370 ........Black ..............................................Black ................................................Black ....................................................BlackV-371 ........Mauve..............................................Light Mauve......................................Yellowish White ..................................Antique WhiteV-372 ........Misty Light Green ..........................Gray ..................................................Gray......................................................GrayV-373 ........Medium Brown ..............................Medium Brown ................................Golden Brown......................................Golden BrownV-374 ........Royal Peach ....................................Royal Peach ......................................Soft Light Peach..................................Soft Light PeachV-375 ........Faded Maroon ................................Dusty Light Pink ..............................Faded Rose ..........................................Faded RoseV-376 ........Green ..............................................Green ................................................Intense Green ......................................Intense GreenV-380 ........Violet................................................Violet..................................................Light Violet ..........................................Light VioletV-381 ........Bright Purple..................................Bright Purple....................................Bright Purple ......................................Bright PurpleV-382 ........Red ..................................................Red ....................................................Red ......................................................RedV-383 ........Light Red ........................................Light Red ..........................................Light Red ............................................Light RedV-384 ........Real Orange....................................Real Orange......................................Real Orange ........................................Real OrangeV-385 ........Chocolate Brown ............................Chocolate Brown ..............................Metallic Gray ......................................BlackV-386 ........Royal Blue ......................................Royal Blue ........................................Intense Blue ........................................Intense Blue

27

or a mixture of clays and ceramicraw materials, and are typically richearth colors and subdued tones. Onlywater is added to obtain a workingconsistency like thick cream.

Methods of Decora-tion. Engobes may be brushed,poured or trailed thinly on wet ordry greenware. Sometimes they areused to cover an inferior body, butgenerally are applied as decorationto contrast with the color of the claypiece. Slip painting, slip trailingand Sgraffito are especially gooddecorating methods for engobes.For best results when slip painting,mix to a thin consistancy and useshort brush strokes. The designsshould be compressed with directstrokes of the brush which is heavi-ly loaded with the engobe. Moreelaborate designs may be made bythe slip trailing method. Try deco-rating with the AMACO® Slip Trailerto produce thin and thick linedesigns. When the sgraffito processis used, designs are scratched into alayer of engobe so that the color ofthe clay shows through.

Any AMACO® dry or moist pottery may be decorated withAMACO® Engobes and fired to thematuring temperature of the basicclay. Usually a clear transparentglaze for unique effects is appliedover the entire decorated shape.

AMACO®

SEMI-MOISTOVERGLAZEDECORATINGCOLORS

A MACO® Semi-MoistOverglaze DecoratingColors are permanent

ceramic decoration for pottery andmetal enameled pieces. Tiles,sculpture, costume jewelry andcommemorative plates are only afew of the many items suitable forbrilliant overglaze decoration.

The water soluble colors may beintermixed to obtain many colors,

shades and tints. Put a few drops ofwater in the pan, let it sit for 5 to 10minutes, then, a brush dipped in thepan lifts the intense, semi-moistcolor from the pan for application onglazed pottery or fired enamel sur-faces. There is no waste. Colors dryquickly and are practically the sametone before and after firing.

Decorated pottery is fired toCone 018 (1323°F, 717°C).

DO NOT use overglaze deco-rating colors on dinnerware surfacesunless it is pretested for lead release.

AMACO®

WB-SERIES VERSACOLOR — LEADFREE

A MACO’s WB Series ofVersa Color is a leadfree series of eight

colors in a convenient waterbasefor application onto lead freeglazes. This series attain the samebeautiful fired results as the origi-nal lead containing series.

These easy-to-use, economicaloverglazes have a consistency suitablefor silk screen printing, stencil, andfree brush decorating methods, aswell as china painting. Colors may bethinned with water. They do not havethe unpleasant odor of oil basedproducts, and brushes may becleaned with water. Color blending iseasy; most colors can be intermixedin all proportions for additional vari-ety. The gold containing color, WB-56Red, when mixed with other basiccolors should be done with the maxi-mum proportion of gold containingcolors in the mix, in order to maintainthe stability of the fired color. Afterpainting your design do not wait forWB Versa Color or Opalescents to dry.They will not dry. Just handle careful-ly without touching your design andfire immediately.

Recommended firing tempera-ture is Cone 018 to Cone 015 (1337°-1485°F, 725°-807°C). For best resultswhen using WB-56 Red, fire to Cone

016 (1443°F, 784°C) in 4 hours, thensoak at Cone 016 (1443°F, 784°C) forat least 4 hours. A thin applicationwill improve brightness.

WB-Series Versa Color are semi-opaque with a brilliant sheen. Thegreatest contrast is obtained whenapplied on a white glazed back-ground. Less color contrast butinteresting results are obtained oncolored clays and glazes. Whenapplied over matt glazes or on vitri-fied bisque, they have a matte finish.A 200 mesh screen is recommendedfor silk screening.

AMACO®

WATER-BASEOPALESCENT —LEAD FREE

These eight intermixablecolors provide a newaspect of lustrous fin-

ishes, compared with the pure glosssurface of the other Versa Color.They are opaque and the opalescentlustre appears three dimensionaland seems to come from the depth

of the decorated object.The WB-Opalescent Series

becomes very glossy or changescolor when fired to Cone 016(1443°F, 784°C) and above, thuslosing the lustrous opalescent effect.

When applied over dark coloredglazes, they appear to intensify andtheir color is richer. These colors weredeveloped to be used on lead freeglazes. However, when used on a dec-orative item on a leaded glaze, Gold,Emerald, and Ruby become brighter.A 170 mesh screen is recommendedfor silk screening. Water Base VersaColor cannot be used to producedecals. It can be screen printeddirectly onto a flat surface (i.e. a tile).Use only Oil Base Versa Color to makedecals. DO NOT use Versa Coloron dinnerware surfaces unless it ispretested for lead release.

AMACO® OB-SERIESVERSA COLOR

OB Series Versa Colorare ceramic over-glaze decorating

28

colors, finely ground in an oil base.Although developed especially forsilk screen printing on glazed tiles,they are a versatile medium for allglazed pottery, sculpture, chinapainting, and fired metal enamelsurfaces. OB Series Versa Color arean excellent product for makingdecals (see Custom Decal Factoryin AMACO® ceramic catalog).

The eight colors may be inter-mixed for additional variety. Red,Orange, and Yellow may be mixedtogether, but not with the rest ofthe series.

The consistency of OB-SeriesVersa Color makes them best suitedfor silk screen printing, howeverthey can also be used for stenciland free brush methods whenthinned with turpentine.

When fired to Cone 018-016(1323°-1458°F, 717°-792°C),OB-Series Versa Color are semi-opaque with a brilliant sheen. Forbest results fire slow. Not fasterthan four hours from beginningto the end of the firing. Thegreatest contrast is obtainedwhen applied on a white glazebackground. Less color contrastbut interesting results areobtained on colored clays andglazes. When applied over matteglazes or vitrified bisque, they

have a matte texture.DO NOT use Versa Color on

dinnerware surfaces unless it ispretested for lead release.

AMACO® GLASS &METAL ENAMELCERAMICDECORATING COLORS

W hen applied onglassware andfired metal enamel

surfaces, AMACO® Glass and MetalEnamel Decorating Colors result incolorful decoration that is perma-nent and washable.

Put a few drops of water in thepan to soften the semi moist colors,then dip brush to lift the color, oryou can dilute them like an inkand dip a pen to pick up color andwrite on the glass or prefiredenamel surface.

Decorated glassware is placedin a cool kiln, and fired slowly to1121°F (605°C). Decorated enam-el pieces are placed in a preheatedkiln and fired for approximately11/2 minutes at 1300°F (704°C). Donot use Glass and Metal EnamelColors on dinnerware surfaces.

AMACO® KILNCEMENT

Cracks and chips in kilnrefractory can be per-manently sealed with

AMACO® Kiln Cement. Mix waterwith the dry cement for a smooth,plastic consistency. The preparedcement is ready for immediateuse. When mixed with coarse grogor pieces of refractory, cementmay be used to repair large holesin firebrick. To apply: Moisten thearea of brick that you want tocement, then apply the premixedcement. WARNING: Do notallow direct contact with elementsand electrical wiring.

AMACO® KILN WASH

K iln Wash is used tocoat all shelves dur-ing a glaze firing.

With a 1/16" thickness, life of shelvesis prolonged and glaze drippingsare easy to remove. Mix Kiln Washwith water to a thin cream consis-tency when stirred. First wet therefractory shelf with a brush or

sponge, then apply three thin coats,waiting between coats until themoisture sheen disappears. DONOT COAT REFRACTO-RY BRICKS WITH KILNWASH. After multiple firingskiln wash will start chipping off inareas. Scrape off with a spatula orchisel and reapply.

AMACO® KILN SEAL

A MACO® Kiln Seal isready for brushing oninside lids of top

loading kilns. A thin wash preventsrefractory particles from dustingoff on ware during firing.

AMACO® POTTERYPLASTER

T his is a finely pulver-ized, highly absorbentwhite pottery plaster

for casting, original models andespecially for making molds forslip casting. For best mixing ratiouse two pints of water to threepounds of Plaster. This will pro-

AMACO® CERAMICSPECIALTY PRODUCTS

29

duce a strong enough mix and yetis absorbent enough for ceramiccastings. This mix will produce an80 cubic inch mold. If you need amore absorbent mold increase thewater ratio, if you need a tighterless absorbent mold reverse theratio and increase the plaster.Always prepare the water in themixing container first and thenadd the plaster, mix until well dispersed. Wait a few minutes thenpour into the form you have prepared to cast.

To calculate how much plasterto use for a certain mold, multiplythe molds width times length timesheight in inches. Divide that by 80,to give you the number of quarts ofwater needed to make your sizemold. Then for each quart of wateruse three pounds of Plaster.

AMACO® SETSTONE

A MACO® Setstone issupplied in powderform to be mixed with

water. Although white Setstone issimilar to plaster in working qualities, molds, castings andmodels are less absorbent andthree to four times harder.AMACO® Setstone is recommendedespecially for making originalmodels and for casting rubbermolds. To prepare a mold withSetstone, use the same procedure,used in preparing plaster.

AMACOTE

Ready-to-use AMACOTEis brushed on the backsof metal shapes before

enameling the other side. A coating ofAmacote prevents the formation ofblack scale on bare metal caused byoxidation during firing. Amacote isremoved easily from fired pieces.

AMACO® RUBBERLATEX

From rubber latex molds,castings can be madequickly and accurately in

plaster of paris or AMACO®

Setstone. The white, liquid rubberlatex is applied over original models. Completed molds aretough, flexible and will often with-stand 200 to 300 castings. To make aRubber latex mold use an appropriate size brush for your pro-ject. Paint on a thin coat of RubberLatex, wait for each coat to drybefore applying the next. Up to tento fifteen coats are needed in orderto have enough mold thickness. Be careful not to let theRubber Latex pool into crevices ofthe master that you are applying iton, for they will not dry. Wipe off anyexcess Rubber Latex as you areapplying it. Since Rubber Latexmolds are pliable, they can be dis-torted when you pour plaster intothem. To prevent this from happen-

ing while you still have the RubberLatex mold on your Master and afterit has completely dried, pour plasteror apply it with a spatula to make asupport backing for the Rubbermold. This will keep it sturdy whenyou cast into the Rubber. RubberLatex can be thinned with water.

Besides making molds, RubberLatex can be used as a resist forglazes. Thin down with water, thenbrush the design on greenware,bisque, or over another glaze orunderglaze. Apply the glaze allover. When dry, peel off the RubberLatex design and you will exposethe background. Rubber Latexmay cause allergic reactions so besure to read the label before using.

AMACO® WAXRESIST

T his wax emulsion,applied on greenwareor bisque as a method

of decoration, “resists” applicationof glaze, slip and underglaze.

AMACO®

SP-MENDER — LEAD FREE

AMACO® SP-Mender iseasy to use and providesa strong bond for

mending ceramic greenware. Formending broken greenware, moist-en the broken areas with water andfollow with an application ofAMACO® SP-Mender, press togetherand hold in place for a few secondsuntil the break is sealed and holdingfirmly. AMACO® SP-Mender is alsoexcellent for stick-on-work (i.e.arms, lace, flowers, etc.).

AMACO® PLASTERSEPARATOR

A MACO® Plaster Sep-arator is used for siz-ing an original model

made of Setstone, plaster or anyother porous material. Also, it is

used to size molds when castingreproductions in plaster orSetstone. Although brushing is theusual method of application,AMACO® Plaster Separator may beapplied by dipping or pouring.

When applying make surePlaster Separator does not pool inthe crevices if you have a threedimensional design. Brush it off sothe piece is coated evenly.

AMACO® N BRANDSODIUM SILICATE

A MACO® Sodium Sil-icate can be used withAMACO® White Art

Clay 25-D and DS-225 clay as adeflocculant for making castingslip. Complete instructions aresupplied on the jar.

AMACO® GUMSOLUTION

Gum may be added tocorrect or improvebrushability of a glaze.

Old dry glaze can be restored byadding a few drops of water andGum Solution. If you have added toomuch water to a glaze and made ittoo hard to brush, add a few dropsas needed of Gum Solution torestore brushability. Gum Solution isalso used in metal enameling. Mix asolution of one tablespoon GumSolution to one pint of water. Sprayon metal then sift metal enamel overit. You may reapply to hold theenamel better on the metal.

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THE WORLD’S ONLYHEAT-SET OIL PAINT

Genesis® Artist Colorsare a non-toxic, odor-less artist’s paint that’s

unlike any other paint available.Instead of air drying like mostacrylic and oil paints, Genesis®

Artist Colors have a heat-fixingagent in their formula that allowsthem to dry in just a few minuteswhen heated to 265°F (130°C).

Why a heat-set paint?

• Genesis® paints are alwaysimmediately ready for use with vir-tually no preparation needed;

• No clean-up time is neededsince the paint will not dry onbrushes, palette, mixing tray or injars;

• No set-up time is needed—colors, brushes, and painting areready to go just as you left them;

• More time to paint;• No waste—paint in a jar

allows every drop of paint to beused and paint on the palette staysfresh;

• Mistakes are easily cor-rectable using a soft cloth;

• The artist can work at his orher own pace – no rush to finish apainting before it starts to dry aswith acrylics;

• You control the medium—the medium doesn’t control you!

Genesis® Artist Colors are creat-ed in a special manufacturingprocess that blends the carryingmedium with the powdered pig-ments to produce their smooth,

buttery texture. They have the feeland application of oil paints with-out the drying time. Their texturemakes color blending easy as wellas being ideal for classical glazingtechniques. Custom-blended col-ors can be kept in their own jarswithout fear of drying out as well.

Genesis® Artist Colors can beapplied with a brush or paletteknife and can be thinned forgouache. Multi-layered paintingscan be completed in a day by dry-ing each color after it is applied.Genesis® Artist Colors allow theartist’s creative inspiration to flowuninterrupted by eliminatingtime-consuming set-up, waitingtime, and clean-up proceduresrequired with other mediums.

The colors in the Genesis® ArtistColors palette are organized in alogical color value system. In addi-tion, they are very lightfast. 73 ofthe 83 colors have a I lightfast rat-ing and 10 are rated II.

Genesis Mediums are non-toxic,odorless and non-solvent basedand alter the flow characteristics ofGenesis® Artist Colors without lossof color depth. Genesis® ThinningMedium is used to thin the paints.Genesis® Glazing Medium can betinted with Genesis® Artist Colorsand applied as a very transparentglazing color. Genesis® ThickMedium functions as a colorextender and can be used forimpasto painting. It can also be

used as a “base” for creating newindividual colors.

Genesis® Varnishes are availablein three formulas: Air-DryRemovable, Het-Set PermanentMatte, and Heat-Set PermanentSatin. The two heat-set varnishes arenon-toxic and create either a matteor satin surface when applied over aheat-set Genesis® painting. They arealso ideal for use as a top coat sealantover a Gicleé (water-based inkjetmedia). The air-dry removable var-nish is applied over a heat-setGenesis® painting and allowed to airdry. This varnish can later be removedby wiping it off with an ammoniasolution or window cleaner if thepainting gets dirty over time.

Genesis® Air Dry Acrylic Gesso isnon-toxic and the perfect baseprimer for Genesis® Artist Colors. Itproduces a flexible film with excel-lent adhesion that is water and UVresistant. Genesis® Brush Cleanercan be used by pouring over thebristles of the brush allowing it topenetrate all the way to the ferruleto dissolve any paint. Rinse withwater for a perfectly clean brush.Brushes used exclusively withGenesis® Artist Colors need not becleaned between uses. LeavingGenesis® Artist Colors on brushesactually acts as a nice brush condi-tioner. When painting is finished,brushes can be cleaned with dishsoap and water, or 90% rubbingalcohol solution.

GENESIS® ARTIST COLORS

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PERMOPLAST®

MODELING CLAY —Our Premium Quality Clay

T his non-toxic claycomes in eight brightcolors and is perfect for

use in every grade from kinder-garten through high school. Forsmall children, Permoplast® helpsdevelop small motor skills andhand/eye coordination. Older stu-dents will find that working withclay encourages their creativityand imagination. At the adult level,Permoplast® is very useful to clayanimators, stylists and hobbyists.Cream is specially formulated forindustrial use in making molds.This clay does not contain sulfur,so it is recommended for use in themaking of rubber molds.

AMACO®

PLAST-I-CLAY®

MODELING CLAY

A Non-Toxic, non-hardening plasticmodeling clay at an

economical price. Plast-i-clay®

helps children learn and grow byencouraging creativity and self-expression. It’s clean, safe, andideal for children of all ages.Available in six bright colors andassortments. Plast-i-clay® is easyto work with, stays soft and pliablewhen stored in a plastic bag, andcan be used over and over. Colorscan be blended together to createnew ones if desired.

MEXICAN POTTERYCLAY™

Self-hardening. Objectsmodeled of MexicanPottery Clay™ are a

rich red color similar to Mexicanor Indian Pottery, and little or nodecoration is necessary. Suppliedin moist form ready to use. May beshaped by hand or thrown on awheel. When dry, modeled objectsare hard and durable, without kilnor oven firing, but not waterproof.Decorate with Rub ‘n Buff® orother finishes. Finished pieces canbe made water resistant by coatingwith AMACO® Antique BronzeFinishing Glaze.

MARBLEX™

Self-hardening. Modeledobjects are permanentwithout firing. A gray

clay, Marblex™ is prepared inmoist form and ready for use. Air-dried pieces are hard and durable,but not waterproof. Decorate withRub ‘n Buff® or other finishes.

Pieces made with Marblex™can be sealed with AMACO®

Antique Bronze Finishing Glaze.Let the piece dry completely beforecoating it entirely from all sides, inand out, to give it durability. Afterthe glaze is completely dry, it willhold water. However, do not use forsurfaces that come in contact withfood or drink. Use only for decora-tive items.

STONEX™

Self-hardening. Thiswhite modeling clay isprepared in moist form,

ready to use for all methods ofmodeling including wheel throw-ing and sculpting. When com-pletely dry, finished pieces aredurable but not waterproof. KneadStonex™ to increase plasticitybefore modeling. Keep unused clayin a plastic bag or wrapped indamp cloth to prevent drying out.It will shrink during drying, so it isbest to hollow out bulky sculpturesor wrap a slab of clay around aloose crumpled paper armaturebefore modeling.

Allow the finished piece to dryslowly and evenly on all sides atroom temperature and away fromheat until hard. When piece is com-pletely dry, decorate with AMACO®

Rub ‘n Buff®, school paints, tem-peras, acrylics or liquid crayons.After decorating, it is a good idea tocoat with shellac or varnish to seal itand make it water resistant.

MAGIC MUD

This non-toxic, non-staining, air-dry nat-ural clay is fun to use

and reusable! Developed by aclassroom teacher, Magic Mudpromotes endless learning,encourages unlimited discovery,

increases sensory motor develop-ment, and allows self-expression.Air-dried objects made with MagicMud can be turned back into mudagain by just adding water! Air-dried objects can also be fired in aceramic kiln to Cone 05 (1911°F,1044°C) to achieve maximumhardness and strength.

CRAFT PORCELAINMODELINGMATERIAL

Craft Porcelain is a pure white,non-toxic, air-dry modeling mate-rial that’s ideal for creating flow-ers, floral decorations, figurinesand other sculptures. It dries in 24hours and has a porcelain-like fin-ish that can be further decoratedwith oil or acrylic based paints.

AMACO® CLAYFLOUR AND MOISTCLAY

A natural stonewaregray clay that fires toa light buff at Cones

AMACO® ART AND CRAFT PRODUCTS

32

5-10 (2185°-2381°F, 1196°-1305°C). AMACO® Clay Flour andAMACO® Moist Clay are natural,gray water based pottery clays.Exceptionally smooth, pliable, andsuitable for hand modeling andthrowing. They are not self-hard-ening clays.

AMACO® FLORALCLAY

A rtificial flowers andplants are secured ingraceful arrange-

ments and held firmly in containerswith AMACO® Floral Clay. Freshflower arrangements are tip-proofwhen the needle-point or other typeof holders are adhered to containerswith pliable AMACO® Floral Clay.This special formula clay is leafgreen in color, never hardens andmay be used over and over.AMACO® Floral Clay adheres to anysurface and is non-tarnishing,Non-Toxic and will not harm silver.

ARTONE VENUSMODELING CLAY

Non-hardening. Thissuperior quality plas-tic clay is specially

recommended as a medium forprofessional sculptors. Thisresponsive clay is Gray-Green incolor, firm yet smooth. Additions ofmore clay will stick to the existingpiece and can be easily smoothedor shaped. Modeled objects willneither crack nor sag and areunaffected by temperature andhumidity. Artone Venus will notshrink and is perfect to make mas-ters in order to cast plaster moldsor build rubber latex molds. Thisclay contains sulfur, therefore it isnot recommended to be used with(RTV) rubber molds.

INDUSTRIALSTYLING CLAY HBX-2

A MACO® HBX-2 is anindustrial styling clayfor designing large

and small models. It is a mediumfirmness clay that can be carved,extruded, shellacked, or painted.For large models a kneading typemixer equipped with a heatingjacket is required. If such a mixeris equipped with an extruder itmakes it easier to retrieve the clayas it comes out of the mixer.

Procedure: Set the mixer toa low heat, then place the clay in itand let it mix. The heat from themixer and friction produced will heatup the clay. The clay temperatureshould be about 90°F-100°F while inthe mixer. Do not heat the clay above120°F at any time. For small projectsheat the clay in a kitchen oven to90°F-100°F. Do not heat the clayabove 120°F at any time.

Once the clay has softened in themixer or oven, take out or extrudethe quantity that you would like towork with, and spread it with thepalm of your hand onto the modelby pushing the clay against themodel, away from you. Base mod-els are made out of wood or styro-foam. For small projects there is noneed for a base model or armature.HBX-2 is a self-supporting claywhich can be used by itself whenmaking small projects.

Let the clay sit until it is firmagain, then using a hard metalscraper, slowly scrape the surfaceuntil you have achieved yourdesired form. Additions to the formare possible by following the samesteps of application and sculpting,mentioned above.

A minimum of a two inch layerof clay over a large base model is

recommended, however a thickerlayer is also possible. This clay maybe used indefinitely.

This clay contains sulfur, there-fore it is not recommended to beused with (RTV) rubber molds.

EASY SQUEEZY™CLAY

This soft, brightly col-ored clay is non-hard-ening, non-toxic, avail-

able in neon and bright colors, andgreat for small children. EasySqueezy™ clay is so soft right outof the package that kids can beginplaying immediately. Children willlearn how to express themselvesusing their hands while having funmaking their favorite charactersand animals.

Easy Squeezy™ Clay is non-sticky, odorless, color fast and non-staining. It is available in chalk-sized sticks or larger blocks for useby children of any age.

SUPER DOUGH™MODELINGCOMPOUND

A MACO® Super Dough™Modeling Compound is a special plastic

composition of harmless, colorful

ingredients. It is not a clay. Thesmooth, soft, pliable modelingcompound is clean and greaseless.It will not stain or stick to hands,furniture or clothing. Colors may beblended and Super Dough™Modeling Compound can be usedover and over if protected from air inits own attractive plastic container.When exposed to air it will dry hard.Lids show color of contents.

AMACO®

SCULPTAMOLD®

Sculptamold® combinesthe best feature of clay,plaster, and papier maché

while eliminating the disadvantages.In dry form, this white, Non-Toxiccompound is quickly prepared byadding water. Shake closed bag tothoroughly mix product beforeusing, as some settling may occur inshipping. Sculptamold® sets in 30minutes. Therefore, mix onlyenough Sculptamold® to finishmodeling within this time. It willcling to almost all clean surfaces anddoes not shrink so it may be appliedto an armature or any core withoutfear of cracking. By adding morewater to your mixture, Sculptamold®

may be press-molded or cast in sand,rubber or plastic molds. Surfacesmay be decorated with any paint,tempera, acrylic, or Rub ’n Buff®.Although Sculptamold® is notwaterproof, finished pieces may bemade water resistant by coating withAMACO® Antique Bronze FinishingGlaze. Finished pieces are very light-weight, strong, and durable. May becarved, sanded, or sawed.

CLAYCRETE® — Instant Paper Maché

Pure white and drieswhite. It is easy to pre-pare, easy to model,

very economical and exceptionallywhite when dried at room temper-ature. Finished projects are verylightweight. Furnished in dry form,it mixes with water and is ready to

33

use immediately. Claycrete® willstart to set up in about 30 minutes,at which time fine modeling andsmoothing of the surface is easilyachieved. Additions of moreClaycrete® are possible at any timeduring the modeling process. Mixonly as much as can be used in 1/2

hour of modeling time.Claycrete® will not stick to your

hands or tools, making it excep-tionally easy to work with.

Claycrete® dries best slowly atroom temperature, however dryingtime could be shortened if dried inthe sun or in an oven at 150°F(65°C). Claycrete® must be thor-oughly dry before painting or dec-orating. It may be sanded, carved,or sawed.

CREA-STONE™

C rea-Stone™ is a light-weight, stone-likematerial in powder

form that is mixed with water andcast into shapes planned for sculp-ture, plaques, and various artforms. When kept moist, it can besculptured and carved with easeover long periods. When aged,Crea-Stone™ is stone-hard with arough, granite-like texture, lighterthan stone, permanent, andweather-proof. Simple implementsor special tools may be used.

CASTING COMPOUND(Plaster of Paris)

W hen mixed withwater and pouredinto a form,

AMACO® Casting Compound setshard in a few minutes. Cast piecesand molds are white, fine texturedand durable. See Pottery Plaster forMixing instructions and ratios(Page 28).

MIX-A-MOLD™ —make a mold in minutes

Mi x - a - M o l d ™makes it easy tomake perfect repro-

ductions of three dimensionalobjects. Mix-a-Mold™ is fast andfun and picks up every detail.Supplied in powder form, it mixeswith water and the mold is ready intwo minutes. Fill the mold with cast-ing compound, plaster or any othercasting medium. Make copies fromone original mold. Mix-a-Mold™ isNon-Toxic when wet.

Casting of hands, or a baby handand foot prints can be made with

Mix-a-Mold™. Follow instructionon the box, however you can adjustthe setting speed by increasing ordecreasing the water ratio. To makea casting of your hand, take a galloncontainer, put one pound of Mix-a-Mold™ in it and fill 3/4 full of water,then mix very quickly. If lumpsremain, do not worry. Put your handinto the mixture, wiggle it a little tolet air bubbles escape then remainstill until Mix-a-Mold™ changesfrom liquid to a gel.

Using a drinking straw, put itbetween your hand and Mix-a-Mold™ and blow air to detach itfrom your skin. Repeat this in several places around your handuntil you feel your hand move freely.Pull out your hand very gently thenpour plaster of paris or setstone in themold. The mold will have to be cut intwo to remove the plaster hand.

FLEXWAX

This versatile mold mak-ing material is simple touse—simply melt it

then brush it on. Ideal for use withthree dimensional objects, makingface masks, casting hands, etc.Molds made with Flexwax can beremelted and used again and again.Procedure For Making SimpleMolds Using Flexwax:

1. Melt the Flexwax in a double

boiler. When it is completely melted,allow it to cool to a working tem-perature of 125°F (52°C).

2. Apply Vaseline sparingly overthe surface of the object for easyrelease.

3. Brush the liquid Flexwax overthe surface carefully.

4. After the entire surface iscoated, cover with pieces of netreinforcing material such ascheesecloth.

5. Brush a second coat ofFlexwax over the reinforcingmaterial to the necessary thicknessand allow it to cool.

6. For larger pieces, make a sad-dle mold using plaster bandage.

7. Remove the mold carefullyand chill it by placing it in a tub ofcold water.

8. Cast plaster, polyester or mostany other material in the usualmanner.

9. If you have used cheese clothto reinforce the mold, carefullyremove it from the wax when youremelt it.

AMACO® CARVINGWAX

Make master sculp-tures for reproduc-tion with this excel-

lent carving medium. AMACO®

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Carving Wax can be sculpted rightfrom the block as supplied. For largesize or different proportion original,melt one or more blocks in a doubleboiler. Carves easily with simple toolsor utensils. Sculpt details and intri-cacies not possible with any othermedium. Additions to the sculpturecan be made by using the meltedwax and adding it where needed.Finishes to an extremely smoothsurface. Use the finished piece as amaster to produce a mold in order tocast multiple copies of the samesculpture.

FRIENDLY PLASTIC®

MODELINGMATERIAL

Friendly Plastic® is aNon-Toxic plastic thatcan be used to create

exciting jewelry, accessories, homedecor, and wearable art projects.Finished pieces made fromFriendly Plastic® can be usedalone or combined with jewelryfindings, picture frames, porce-lain-like faces or anything avail-able from your local craft store.

Free-form designs can be madewith Friendly Plastic® softening inwarm water (140°F, 60°C) andthen shaping with your hands,craft tools, or other householdobject. Friendly Plastic® can alsobe used to create two-dimensionaldesigns by layering different colorsthen carefully placing your designon a cookie sheet and baking in astandard or toaster oven at 275°F(135°C) for 2-3 minutes. FriendlyPlastic® cools and becomes hardagain in just a few seconds whenplaced into cold water, but can beresoftened for reuse or to make

changes when placed back intowarm water. Friendly Plastic®

Designer Sticks come in 74 metal-lic, primary, fashion, and florescentcolors (see color chart in theAMACO® ceramic catalog or artand craft catalog).

Friendly Plastic® Pellets arewhite pellets, that soften in warmwater (140°F, 60°C) for sculpting orpressing into a mold. No specialtools are required. Friendly Plastic®

Pellets are completely reusable. Ifyou don’t like the shape, simply re-soften and start over.

FIMO® CLASSICPOLYMER CLAY

F IMO® Classic is a versa-tile, easy-to-handlepolymer clay which

hardens in your kitchen oven. Ithas particularly brilliant colorintensity, is fade-proof and odorless.Unhardened FIMO® Classic, evensoft-kneaded FIMO® Classic can beused again and again if well-packed and stored at normal roomtemperature. Any desired shadecan be achieved by kneading morethan one color together. WhiteFIMO® Classic lightens the tone ofindividual colors. Larger models,or models with delicate projectingparts, should be supported fromthe inside with an armature.

Condition FIMO® Classic byholding it gently in your hand orsetting it in a sunny location for afew minutes. You then can wedgeit in your hand so that the heatfrom your hands will soften it andmake it very pliable and easy towork with. NOTE: Excessiveheat will damage the clay. Aftermodeling, simply place the object in

a pre-heated kitchen oven set at265°F (129°C) maximum (00Translucent at 212°F, 100°C) for 30minutes. Baked FIMO® Classic canbe added to and baked again, pro-viding it hasn’t been varnished.Hardened FIMO® Classic can becarved, sawed, filed, cut, and paint-ed; is watertight and washable.

FIMO®soft

A ll the qualities ofFIMO® Classic onlysofter! FIMO®soft

takes less time to condition thanFIMO® Classic yet its consistencystill has the firmness crafters havecome to expect from FIMO®.Fimo®soft is available in brightcolors and the softer formula alsomakes it easier for children toenjoy working with polymer clay.

PUPPEN (DOLL)—FIMO®

T his polymer clay fromthe makers of FIMO® isspecially designed for

modeling dolls. Puppen (Doll) —FIMO® hardens in the oven just likeordinary FIMO®, but it is softer,which makes it easier to shapeheads, arms, and legs. After hard-ening and cooling, smooth the surface with fine sandpaper thenpaint, varnish, or add accessoriesto complete your doll. Follow thesame safety precautions as forFIMO® (previously mentioned).NOTE: FIMO®, FIMO®soft, andPuppen FIMO® are not toys.Supervise children during baking.Verify oven temperature with acooking thermometer and do not

heat over 375°F (190°C) since itwill cause decomposition of theproduct and release hydrogenchloride gas. Do not inhale fumes.

FIMO® MIX QUICK

A neutral mixing com-pound that’s perfectfor blending with

crumbly or hard FIMO® to makekneading easier. When used inproper proportion (approximatelyone part Mix Quick to five partsFIMO®), colors will not change.Excellent for children.

LIQUID FIMO®

DECORATING GEL

Now you can have allthe advantages ofregular FIMO®

Classic and Soft in a liquid! • Liquid FIMO® is transparent/

translucent and can be used tomake transfers from photographs,color photocopies, newspapers andmagazines

• Tint with Genesis® ArtistColors from AMACO®, oil paints ordry pigments to create your owncolors for painting onto wood andmetal or onto unbaked polymerclay designs

• Liquid FIMO® is an excellentadhesion medium for connectingunbaked or baked polymer clay

Liquid FIMO® hardens in anyhome oven at 265°F in 15-20 minutes.

FRIENDLY METALLICPOWDER™

Perfect for use withFIMO® or other poly-mer clays, to highlight

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or add an elegant richness to yourdesigns. Brush on before baking ormix with Friendly Lacquer™ andapply after cooling to achieve thedesired effect.

FRIENDLY LACQUER™

Use to protect, seal andenhance colors whencrafting with FIMO®

or other polymer clays, andFriendly Plastic®. Brush on afterbaking polymer clays for a matte orgloss finish. Brush over designsmade with Friendly Plastic® to givethem a shiny appearance. Non-Toxic, waterbase formula.

FIMO® METALLICPOWDERS

A pply with brush beforeheating or after cool-ing with FIMO®

Lacquer to add a touch of sparkleto your creations.

FIMO® LACQUER

A fter cooling, itemsmodeled with FIMO®

can be coated withFIMO® Lacquer. Lacquer providesan additional protective coatingand intensifies the brilliance ofFIMO® colors.

LITHO-SKETCH®

L ithography is a printingtechnique which hasevolved since the late

1700’s when treated stone tabletswere used to transfer images topaper. With Litho-Sketch® prod-ucts, designs are created on papermasters and then reproduced.

1. Draw directly on the whiteside of the master — the back sideis colored. Avoid fingerprints onthe drawing surface. Since handstransmit some natural skin oils,unwanted fingerprints will showup in the final print.

2. Excellent drawing results can

be obtained with ordinary waxcrayons. Fine line techniques can be executed with Litho-Sketch®

Tusche. Litho-Sketch® Tuscheshould be allowed ample time to drybefore desensitizing or printing.

3. Desensitizing your drawingwith Litho-Sketch® Plate Solutionprepares the master for acceptingink. Place plate, with drawing sideup on an old newspaper to absorbany excess solution. The solution isapplied to the master with a softapplicator, cotton pad or sponge.The applicator is dipped into thesolution, the excess squeezed outand the entire master surface ismoistened. The amount of thePlate Solution that is deposited onthe drawing should be moderate. Itis important to always work with

clean applicators and change themoften to ensure that prints areclean. IMPORTANT: Themaster MUST BE moistenedwith Litho-Sketch® Plate Solutionbefore each inking. NOTE:Excessive Plate Solution on theLitho-Sketch® Master can betransferred to your printing papercausing slight yellowing. Allow thePlate Solution to evaporate afterinking the master and beforeprinting.

4. Keep your master on thenewspaper after desensitizing. Itwill keep the brayer from inking

your table surface. Litho-Sketch®

Printing Ink is recommendedbecause it is specifically preparedand formulated for precise printand for immediate use. It will takethree or four proofs for the masterto build up a full charge of ink,after that it will begin to ink upfully with a few passes of the bray-er. For the smoothest ink applica-tion, roll on two inking slabs,which could be any non-absorbentsurface (marble, glass or glazedtiles) use one slab to roll freshlysqueezed ink and the other forevening the application on thebrayer. The roller is correctlycharged when there is a slighthissing or adhering sound as it isworked back and forth. In order toprevent emulsification (mixed ink

and solution) roll the brayer light-ly over a paper towel prior torecharging it on the inking area.

5. After desensitizing and inkingyou are ready to print. The appli-cation of pressure transfers the inkfrom your master to the printpaper. Litho-Sketch® inks willprint on most papers, however let-ter quality papers are most effective.Carefully place a clean sheet of paperover the inked master. The papershould be slightly larger than themaster. While holding the paper inplace with one hand, rub the back ofthe paper with a flat wooden spoon.

Rub back and forth along the entirepaper surface, then reverse and rubon the opposite side. Before remov-ing the print paper from the plate,raise one corner to check that inkhas been adequately transferred. Ifnot, replace carefully and continuerubbing until the desired effect isachieved. Effective printing resultsare achieved more quickly and easi-ly by using a press or wringer typeroller.

NOTE: The number of printsyou will receive from one masterwill depend on the materials usedin the drawing and how detailed itis. You can expect approximately10-30 prints from each master. Formultiple color reproduction, eachcolor requires a separate master.Registration is very importantwhen using multiple masters. Oneeasy registration method is to use atwo or three hole paper punch topunch the master and the printingpaper. By using Carlson 250 x 110pins which fit into two holes, it willautomatically align the mastersand the print paper on top of themaster. This is aligned by tapingthe pins to the board with ducttape. The pins will then align allcolors drawing side up and print-ing paper print side down.

6. Clean up. Much of the ink onthe brayer can be removed byrolling it in the newspaper. Usingmineral spirits on fresh cottonpads, wipe away any excess ink onthe brayer. Repeat this process toremove ink from your inking slab.IMPORTANT: When workingwith children DO NOT USEMINERAL SPIRITS. Useonly special hand soap. Just latherthe hand soap, place it on the cot-ton pads and wipe the ink from thebrayer and slab. Or use BrushFlush® from the AMACO® ceramiccatalog. More detailed informationabout Litho-Sketch® is found in aneight-page brochure which can berequested from AMACO®.

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RUB ‘N BUFF®

Rub ‘n Buff® is a deco-rating, antiquing andfinishing medium that

produces a UNIQUE finish. Rub ‘nBuff® can be applied on any clean,dry surface such as wood, glass,plastic, plaster, fabric, metal,ceramics, paper, leather, and overother painted surfaces. Rub ‘nBuff® has a durable, lasting finishwith a lustrous sheen.

To apply, squeeze the tube gentlyto bring finish to the tube opening.Stroke fingertip over opening topick up a very small amount of fin-ish. Rub it evenly and thinly oversmooth surface or raised designs. Asoft cloth pad or dry, firm, short-bristle brush may be substituted forfingertip. Use a gentle, rubbingmotion rather than strokes. Rub ‘nBuff® dries instantly—buff withsoft cloth or facial tissue to fullbeauty. Buffing a single color finishwill intensify the metallic tones ofthe high surfaces in contrast to thedeeper tones of the low relief areas.When using Rub ‘n Buff® as a basecoat on a rough or large area,where the fingertip won’t penetrate,use either a dry-brush application

or use a brush slightly dampenedwith solvent (mineral spirits or tur-pentine). Use a paper towel to blotexcess solvent from brush beforestroking it across the finish in thetube opening. Then apply as youwould paint. When dry, buff.Fingertip highlighting may beapplied at once if desired.

Rub ‘n Buff® colors can beintermixed to achieve a desiredshade or color that is not available.

Because Rub ‘n Buff® dries sofast and the finish colors may beused over or under each other, morethan one highlighting color is oftenused. Gentle buffing of each color,with a soft cloth will reveal a lasting,lustrous finish of “hand rubbed”appearance. Surfaces which willhave unusually hard wear shouldbe protected with a suitable, work-able spray, like Krylon, which youcan buy from a hardware store orbrush on AMACO® Antique BronzeFinishing Glaze.

BRUSH ‘N LEAF®

(INTERIOR)

Brush ‘n Leaf® Interiormetallic finishes go oneasily with one appli-

cation. Just brush it on almost anyclean surface. Brush ‘n Leaf® for-mula features metallic flakes thatleaf into a solid shiny metallic lookthat dries quickly to a durable fin-ish. Decorate picture frames, lamps,and craft projects like ceramics.

When using ceramic bisque, it isrecommended to first seal thebisque with an acrylic paint. Abeautiful and simple project to do,would be as follows.

Take a sculptural ceramicbisque piece or plaster of yourchoice. Paint a brown or redacrylic paint all over the piece.Pour some Brush ‘n Leaf® on aglazed ceramic tile or a piece ofglass. Using a sponge dip into theBrush ‘n Leaf® and pounce overthe whole sculpture. The brownacrylic underneath will give thegold a rich antique look. Let drythoroughly. Then, dilute the brownacrylic stain with water and applyall over the gold. Next, before itdries out, take a soft rag and wipethe stain off the high surfaces,leaving it in the indentations. If toomuch is left then you can applyBrush ‘n Leaf® where it is neededby pouncing it on with the sponge.

BRUSH ‘N LEAF®

(EXTERIOR)

B rush ‘n Leaf® is a richsemi-matte metallicpaint that will not dull

or tarnish in winter weather orsummer sun for a full two years ormore. Just brush on Brush ‘n Leaf®

and the exclusive outdoor formuladoes the rest. Brush ‘n Leaf® workswonders on almost any clean, dry,outdoor surface to decorate lamp-posts, lawn furniture, house num-bers ... anything on or around yourhome that is exposed to the weather.Brush ‘n Leaf® is the one-step out-door metallic paint that works onmetal, plastic, wood, stone, stucco,and concrete. Naturally, it workswell indoors too! Brush ‘n Leaf®

exterior is recommended to beapplied over sealed surfaces.

ANTIQUE BRONZESTENCILING

With precut stencils,latex or acrylicbase coats, Rub ‘n

Buff® Metallic Wax, and water basedvarnishes, bronzing is fun and easy.

Rub ‘n Buff® is a wax basemetallic finish in a tube which sets

37

up in about 30 minutes. It is a dec-orating, antiquing and finishingmedium which is a formulation ofimported carnaube waxes, finemetallic powders, and selectedpigments. It produces a uniquefinish that no paint can duplicate.Just follow these easy steps:

1. Select a surface and prepare itby sanding, scaling and base coat-ing in your selected color. Use agood quality acrylic latex basecoat,apply it smoothly and allow ade-quate drying time. Basecoat a pieceof tagboard or cardboard in thesame color to practice.

2. Practice the stencil and thetechnique. These practice piecescan be taped in place to determineplacement and intensity of color.

3. Place the stencil in the appro-priate place and tape to the surfacewith drafting tape.

4. Place a small amount of Rub ‘nBuff® Metallic Wax on a palette.Hold brush as a pencil with bristlesflat on surface and handle straight.NOTE: Bristles of the stencilbrush are cut specifically for thisaction. Pick up a small amount ofRub ‘n Buff® and work into thebrush with a circular motion, mak-ing sure it is evenly distributed. Workthe bristles into a paper towel toremove any excess. You must buildcolor slowly, placing the metallic waxon layer by layer. This enables you tocreate wonderful shading variations.

5. With brush in upright position,

start on outside edge of cutouts withvery light pressure, working in acircular motion towards the center.A light coat overall begins the pro-cedure, then additional highlight-ing can be done on top of originalcoat (i.e. the center of a piece offruit would have a strong highlight,while the outside edge droppedaway to the background). Reversethe circular motion to add addi-tional color. Contrasting colors canbe used to highlight or shade.

6. Lift the corner of the stencil tocheck intensity of color beforeremoving stencil completely.

7. If using more than one color,use a stencil shield to cover theadjacent areas while you paint.

8. When stenciling is complete,allow a setting time of approxi-mately one hour.

9. If stray bits of Rub ‘n Buff®

appear outside the stenciled area,remove with a pencil eraser, thenwipe surface with a tack rag.

10. Using a good varnish brushand AMACO® Antique BronzeFinishing Glaze or Stencil EaseStencil Cote, apply several coats,allowing adequate drying timebetween coats.

Clean-Up: Clean stencilwith paper towel which has beendampened with an odorless brushcleaner, such as Brush Flush®

available from AMACO®. Brushes can also be cleaned

with Brush Flush®.

BATIKIT®

Instructions forDyeing One Pound of Cloth or Yarn with Batikit®

Coldwater Dyes

Place cloth to be dyed ina container such as asink, plastic or metallic

bucket, or washing machine (ifcycles can be controlled). Addenough cold water to cover clothand allow free movement (not morethan 11/2-2 gallons). Ideal watertemperature is 100°F, 38°C. Removecloth, wring out and set aside. Adddye (1-3 teaspoons) to one cupwarm water. Stir until completelydissolved, add to dye bath and stir.Now add cloth and stir. Allow tosoak ten minutes. Now add 11/2 cupssalt; 1/2 cup at five minute intervals.After all salt is added, soak twentyminutes (remember to stir everyfive minutes).

Completely dissolve three table-spoons of washing soda or sodaash in one cup hot water and addto dye bath, while stirring. Stir fiveminutes, allow to soak one hour,stirring every five minutes.

IMPORTANT: Washingsoda makes the dye react andbecome permanent, otherwise alldye will wash out.

Washing soda is not necessarywhen dyeing paper.

Remove cloth and rinse in coldwater. Wash in hot, soapy waterand rinse. A lot of excess dye willwash out. When the rinse waterruns clear, all dye remaining in thecloth is absolutely permanent andit is safe to wash your dyed clothwith other clothes in the wash.Bleach and enzyme products willremove some colors.

NOTE: Equally permanent,but less intense colors can beobtained in half the dyeing time byreducing recommended times ineach step by half.

To dye more than one pound,multiply the recommendedamounts of dye, salt, washingsoda and water by the number ofpounds to be dyed. Recommendedtimes remain the same. STIR ATLEAST EVERY FIVE MINUTESTHROUGHOUT DYEING. Ifcloth is soiled or sized, wash it firstto get an even color.

Silk Screening,Painting or Printingon Fabric

Screen printing inks andpaints cannot compareto the individually,

hand-made designs achieved withBATIKIT® Dyes mixed with BATIKIT® Dye Thickener. Even onthe finest silk cloth, you will feel nodifference between the screened

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and unscreened areas of the fabric.The process requires mixing the“Thickener” and dye and washingthe fabric after printing. Very finelines and permanent colors areproduced on all natural fibers: cot-ton, linen, viscose rayon, and silk,also, with less effectiveness on wool.

Add dye powder to BATIKIT®

“Thickener”, a mixture of sodiumalginate and urea, to obtain asmooth print paste. Details onamounts to use are included in“Thickener” instructions. Whenscreen printing, use a 12XX screenthat is not water soluble (use 10XXwhen a lot of dye must go throughthe screen, such as printing on terrycloth). “Thickener” is availablefrom your local supplier or directfrom American Art Clay Co., Inc.

After screening, painting, or blockprinting, the colors are set with heatby ironing, steaming, or baking. Ifcloth is to be worn or exposed tomoisture, a final wash in cold waterand hot, soapy water is required toremove excess dye and chemicals.Clean up with soap and water.

Recommended only for jobswhich require the finest results.

Wool DyeingInstructions (1 lb. Cloth or Yarn)

Silk may be dyed byeither this hot watermethod or the cold

water process described in clothand yarn instructions. STIR ATLEAST EVERY FIVE MINUTESTHROUGHOUT DYEING. Ifcloth is soiled, wash first in warm,soapy water to insure an evencolor (Do not use detergent).

NOTE: Wool dyeing instruc-tions are very similar to the coldwater process except: dyeing is doneon the stove at simmering tempera-ture and three cups of vinegar areused in place of three tablespoonswashing soda (per one pound cloth).Also, there is very little wash off as

wool accepts the dye extremely well. Place material to be dyed in a

large metal pan that can be heatedon the stove. Add enough warmwater to cover cloth and allow freemovement (not more than 11/2-2gallons). Remove cloth, wring out,and set aside. Add dye (1-3 tea-spoons) to one cup warm water.Stir until completely dissolved, addto dye bath and stir. Now add clothand stir. Place pan on stove and setat medium heat or low flame.Allow to soak ten minutes. Nowadd 11/2 cups salt, 1/2 cup at fiveminute intervals. After all salt isadded, soak twenty minutes(remember to stir every five min-utes). Adjust heat to bring water tosimmering temperature (do notboil). Add three cups householdvinegar, while stirring. Stir fiveminutes. Allow to soak one hour,stirring every five minutes.IMPORTANT: Vinegar makesthe dye react and become perma-nent when dyeing wool. Keep tem-perature at simmering. DONOT BOIL.

Turn off burner heat and allowdye bath to cool slowly for 1/2 hour,or until water temperature iswarm. Remove cloth or yarn andrinse well in warm water. Wash inwarm, soapy water (use soapflakes) and rinse.

Tie-Dyed Tee Shirts

1.Wash garment orfabric before you dyeit. This step removes

sizing and the fabric will react bet-ter to the dye. Remove excess waterby running through spin cycle ofwashing machine if necessary. Adamp shirt is easier to manipulateinto knots, pleats, etc.

2. For best results use 100% cot-ton fabric (any natural fiber isokay). Fabric containing polyesteris not recommended.

3. Colors may appear darker in thedye bath than when they are dried.

4. Be very careful when removingbands or ties from the project as it iseasy to accidentally snip the fabric.When using tee-shirts, the fabriccould “run” and ruin your shirt.

5. We do not recommendputting dyed articles in the dryer tospeed the process. The tumblingaction of the dryer causes dyedareas to rub against each otherwhich could ruin the design.

Directions: (It IsImportant to WearGloves While TieDyeing)

1.Mix one package offixer in hot water toform a paste, then add

mixture to two quarts of hot water.2. Rinse article in the fixer and

wring out.3. Let article sit for 5-10 minutes to

set the dye and make it permanent.4. Lay shirt out flat and put

string down the center. Fold shirtin half over string.

5. Place another piece of stringin center of folded shirt and foldhalf over string. Your shirt will befolded in quarters.

6. Arrange shirt into a U-shape.Pull the strings until fabric is in tightball. Tie ends of string together.

7. Place rubber bands aroundcenter of the fabric ball.

8. Mix one package Batikit®

dye with a small amount coldwater. Then stir into one quart ofcold water. For lighter colors addmore water. For brighter colorsuse less water.

9. For one-color dyeing, immersethe ball into the dye bath. For two-color dyeing, immerse each half ofball into different colors. Squeeze outexcess dye from ball. Place in plasticbag for 24 hours.

10. Rinse with cold water untilwater runs clear. Wash with a deter-gent and rinse until water is clear.

NAIL HOLE ANDCORNER FILLER

A pliable f i l ler forcrevices and nailholes, Nail Hole and

Corner Filler is especially usefulwith picture frames. It will notshrink, harden, or dry, thereforecare should be taken not to placeframes on furniture, fabric, or car-peting. Nail Hole and Corner Fillermay stain these surfaces.

Do not use AMACO® Nail Holeand Corner Filler in nail holes inthe walls because it will not harden.

New shades of colors can beachieved by mixing two or morecolors together.

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TROUBLE SHOOTING GUIDE —AMACO® GLAZES AND UNDERGLAZES

UNDERGLAZES (LUG, VELVETS, VELVET-1-STROKES, DESIGNER VELVETS)Bleeding: This defect is due to a heavy application of clear glaze,especially if applied without a pre-bisque firing of the underglaze.

* This problem cannot be corrected once it has been fired. Next timemake sure to fire the designed piece to a mature Cone 04 (1940°F, 1060°C)then apply the clear glaze thinner and fire to the maturing temperature ofthe glaze.

Milky Look: This appearance is the result of underfiring or a heavyclear glaze application.

* Refire at a higher temperature. Next time apply the clear glaze thin-ner. In most cases two coats of clear glaze is usually sufficient.

Milkiness could also be due to devitrification over certain colors ofunderglazes.

* Refire at a higher temperature. Next time apply underglaze design togreenware, bisque fire to a mature Cone 04 (1940°F, 1060°C) bisque. Thenapply a thinner coat of clear glaze. Two coats is sufficient.

Peeling, Chipping, or Shivering: Can be caused by the fol-lowing—(a) Too heavy an application of underglaze (b) Dust or greaseon the surface of the ware (c) Incompatibility of the clay body with theglaze.

* For best results apply underglaze on greenware then bisque fire to amature Cone 04 (1940°F, 1060°C). Whether on greenware or bisque,always apply thin coats of underglaze, waiting between coats for the wetsheen to disappear before applying the next thin coat, etc. Do not applyunderglazes heavily at one time. Clean greenware with a moist sponge toeliminate dust before starting your decoration.

Uneven Color Application: Before glazing, it is possible tohold the fired, underglazed object under running tap water. The water willact as a magnifier and expose any color variation. Correction can be madewith additional application of underglaze followed by refiring and thenglazing.

Firing Out: Can be caused by improper application, particularly oflight colors and/or overfiring. Although most AMACO® underglazes willfire at high temperature, it is always advisable to check the temperaturecolor variation chart in the decorating colors section of the AMACO®

catalog as to the recommended temperature of each color.

Black Specks (Sun Strokes underglazes): Specks mayoccur if the colors or the clear glaze is applied too heavily, or if the bisquehas not been matured to a Cone 04 (1940°F, 1060°C).

Color Burn Out (Sun Strokes Underglazes): To avoidcolor burn out (a) Fast fire Sun Strokes (b) Do not over fire (c) Apply onlyon bisque ware (d) Do not fire greenware with Sun Strokes.

GLAZE PROBLEMSPinholes: Pinholes are a common occurrence and can be caused bymany different factors. (a) When the glaze is applied over greenware,rather than bisque (b) Pinholes will also occur when the glaze is appliedover immature bisque (c) When the glaze is underfired (d) When using aslip body right after agitation when air is still trapped in the slip; use slipthat has been aged (e) Using clay with coarse particles or an excessiveamount of organic material; the large holes left in such a clay body can-not be covered in the glaze firing (f) Wet coat over wet coat of glaze with-out permitting glaze to dry between coats may cause pinholing.

* Correction can be made by reglazing and refiring to the recom-mended temperature.

Cratering and Bubbling: Will occur (a) If glaze was appliedover an immature Cone 04 (1940°F, 1060°C) bisque (b) If glaze applica-tion is too thick (c) If glaze firing is too fast especially when using lead freeglazes (d) Cratering can also occur because of underfiring and sometimesbecause of overfiring.

* To correct the problem, grind the blisters carefully without cuttingyourself. Apply one coat of the same glaze and refire slowly at the recom-mended temperature. For new pieces follow label instruction of the glaze.

Crazing: Crazing can occur due to the following reasons: (a) Thebisque was not fired to a mature Cone 04 (1940°F, 1060°C) (b) Glazeapplication is too thick, especially if firing too fast (c) The kiln was cooledrapidly (d) Clay and glaze are incompatible.

* To correct, fire at a higher temperature. However for best result, makesure bisque is fired to a mature Cone 04 (1940°F, 1060°C). Glaze applica-tion should be moderate, especially if using lead free glazes. Fire to thecorrect temperature of the glaze.

Crawling: Can occur due to: (a) Too thick an application of glaze (b)The presence of a hard spot on cast bodies (c) Dust or grease are presenton the bisque (d) Force drying certain glazes (e) Thick old glaze appliedas is or if only water is added to thin it.

* Make sure to work on good bisque, use a wet sponge and wipe dustoff your bisque. If using old thick glaze, add a small amount of water andAMACO® Gum Solution before using. Correction of a defected piece can bemade by reglazing and firing to the correct temperature of the glaze.

Milky or Cloudy Glaze: This appearance indicates that theware was: (a) Underfired or application of the glaze was too thick (b)Ware is too close to an open peep hole or too close to the wall of the kilnwhere there are no elements.

* Correction is sometimes possible by refiring to the right temperatureof the glaze.

Grainy and Rough Surface: May be caused by one of the fol-lowing: (a) There is a deficiency of glaze on the ware.

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* To correct, simply reheat the ware and then reglaze and refire.(b) The glaze that was applied is underfired. This may be because the

kiln has shut off early for some reason and thus underfired, or a high fireCone 5 (2185°F, 1196°C) glaze was applied by mistake instead of a low fireCone 05 (1915°F, 1046°C) glaze.

* To correct, verify the kiln, check the elements, or if you have applieda high fire Cone 5 (2185°F, 1196°C) glaze. Try to reglaze with a low fireglaze and refire to Cone 05 (1915°F, 1046°C), the result may not be whatyou wanted, but you will be able to save the piece. If you still want to use aCone 5 (2185°F, 1196°C) glaze, make sure you are using it over astoneware or porcelain body, otherwise the low fire ware will melt if highfired to Cone 5 (2185°F, 1196°C).

(c) Too much water added to dry glaze causing it to settle. Applying aglaze that has settled or not properly mixed may result in a grainy andrough surface because not all ingredients are picked up by the brush insuch a case

* To correct, make sure you have followed the mixing instructions forthe dry glaze making sure it is a creamy consistency before re-applying.

Black Specks and Gray Discoloration ofCadmium Reds and Orange Glazes (i.e. LG-53,56 and 66): An indication of contamination. It is recommendedthat the kiln walls, shelves and floor be kept dust free. Vacuum the kilnregularly to clean off glaze particles and foreign matter. Specks may alsooccur in red and orange glazes when they are fired with other colors orwith greenware in the same kiln. Red and Orange need to be fired in aclean kiln with an abundant amount of oxygen. Therefore, do not over-stack the kiln, leave plenty of room between the pieces and fire fast. Referto directions on pages 15 and 19.

Gray or discolored Red and Orange will occur if there is insufficient applica-tion of glaze, if the firing was too slow, or if the ware was overfired.

* To correct, heat the piece, then apply at least two coats of glaze, letting itdry completely between coats. You can reheat it again or use a hair dryer to dry

it during application and between coats. Refire fast to Cone 06 (1830°F, 999°C)or lower.

Excessive Flowing: May occur mostly in leaded art glazes likesome of the LT Series glazes or the L Series glazes. It can be caused by tooheavy an application of the glaze in combination with a fast firing.

* To correct in such instances if you tend to glaze heavy, then apply onlytwo coats and make sure not to overfire.

Glossy Appearance of Matt Glazes: Will occur if theseglazes were overfired or if the firing was too fast.

* To correct, apply one coat of glaze and refire slowly to recommendedtemperature.

Failure of a Crackle Glaze to Crackle: Will occur if theglaze was overfired, or if application of the glaze was too thin.

* To correct, apply a thin coat if you think it was a thin application oth-erwise just refire to the recommended temperature.

Splitting of Ware: Can occur when using slip cast ware, wherethe ware is thin, and glazed with Crackle glaze on the outside after theinterior of the ware has been glazed and fired with a non-crackle glaze. Itis recommended to glaze the non crackle interior and the crackle exteriorand fire at the same time.

SP PEBBLE—POSSIBLE PROBLEMS Flaking Off: Sometimes occurs while Pebble is drying.

* To prevent this, we recommended applying one coat of AMACO® GumSolution or Wax Resist before firing. To achieve an even all over pattern ina large area, apply Pebble with a fan brush and with a criss cross applica-tion for even dispersion.

OIL BASE VERSA COLORS—OB SERIESPinholes and Crawling: Pinholes and crawling in the VersaColor can be caused by: (a) Dust on the ware or grease from handling

* To correct clean the prefired glazed piece with alcohol before apply-ing the Versa Color.

(b) The prefired glaze surface is not perfect. Any defects on the glazedpiece will show in the Versa Color when it is fired

(c) Dust on the decal paper if you are doing decals * To correct wipe the paper clean with a soft lintfree cloth.

Blisters: Blisters are caused by: (a) Too thick an application and byoverfiring.

* To correct, sand down the rough area, apply another coat, and refireto the right temperature.

(b) Firing too fast* To correct, fire in four hours from start to maturing temperature.

Reds and Pinks: Reds and Pinks will fire out when fired too slowor applied too thin. Apply a reasonable thickness and fast fire in threehours or less from start to maturing temperature.

Decals: Blisters are caused by a thick application of Versa Color* To correct apply decals thin. Put pressure on the squeegee when silk

41

APPENDIX I — THE ART & CREATIVE MATERIALS INSTITUTE, INC.

T he Art & CreativeMaterials Institute, Inc.began in 1936 as the

Crayon, Water Color & CraftInstitute, Inc., a non-profit associ-ation of manufacturers of chil-dren’s art materials. Since its be-ginning, the purpose of theInstitute has been to establish highquality product standards and tobe of service to industry, school,and the public. In 1939 theInstitute initiated its CertifiedProducts Bureau to provide assur-ance to educators, parents anddoctors that its members’ productswere safe. Since 1940, formulassubmitted to the Institute havebeen evaluated by an independenttoxicologist and the labeling hasbeen nationally recognized by the

Poison Control Centers.Several years ago the Institute

changed its name in order toencompass all art material manu-facturers and provide a standard forall types of art materials. The APseal which originally designated thequality of materials has come tomean much more as the Institutebecame the driving force behindtesting and health labeling of all artmaterials. The Institute’s standardsfor safety and quality have becomethe national standard.AP: “Productsbearing the APApproved ProductSeal of The Art andCreative Materials, Institute, Inc.are certified in a program of toxi-cological evaluation by a medical

expert to contain no materials insufficient quantities to be toxic orinjurious to humans or to causeacute or chronic health problems.This program is reviewed by theInstitute’s Toxicological AdvisoryBoard. These products are certifiedby the Institute to be labeled inaccordance with voluntary chronichazard labeling standard ASTMD-4236. In addition, there is nophysical hazard as defined within29 CFR Part 1910.1200 (c).”CL: “Products bear-ing the CL HealthLabel (CautionsRequired) Seal of theArt and Creative Materials Institute,Inc. are certified to be properlylabeled in a program of toxicologi-cal evaluation by a medical expert.

This program is reviewed by theInstitute’s Toxicological AdvisoryBoard. These products are certifiedby the Institute to be labeled inaccordance with the voluntarychronic hazard labeling standardsASTM D-4236.”

For more information on thehistory and the role of the Institutein art materials safety, write TheArt and Creative MaterialsInstitute, Inc. 715 Boylston St.,Boston, MA 02116 or call (617)426-6400.

screening. When silk screening, use the color as it comes in the tube, donot thin before silk screening.

Cloudy Decals: Cloudy decals are caused by too thick an applicationof Decal Magic (covercoat)

* To correct apply covercoat moderately—too thin an application ofcovercoat will tear the decal when applying it.

WATER BASE VERSA COLOR—WB SERIESPinholes: Pinholes are caused by an imperfect glaze surface on whichthey are painted. Make sure the ware to be decorated is fired to its matur-ing temperature, and is free of pinholes or other defects.

* Usually this problem is hard to correct. Two or three applications ofthe same color with firing in between sometimes corrects the problem.

Uneven Color: Water base Versa Color have to be applied in thincoats with firings in between coats. Two or three coats is best. Make surebrush application is even.

Reds and Pinks: Reds and Pinks are dark. This is caused whenunderfired.

* To correct, apply one coat and refire to the right temperature. Readspecific directions on how to fire WB Versa Color (page 27).

Pink is brown, Red is black when overfired. * To correct apply one or two coats and refire according to instructions

(page 27).

WATER BASE VERSA COLOR—OPALESCENT

Glossy and Smooth Appearance: Caused by overfiring.Opalescents must be fired to Cone 017 (1385°F, 752°C) for the best results.

* To correct, apply one coat and refire to the right temperature. If it isnot corrected, repeat one application and refire.

Visit our AMACO®

web site for the latestsafety information:www.amaco.com

42

APPENDIX II — AMERICAN SOCIETY FOR TESTING AND MATERIALS (ASTM)

W hen exce s s i v ea m o u n t s o f cadmium are

inhaled, lung damage may occur.Excessive absorption may result inkidney damage, damage to thetestes or risk to the developingfetus. Excessive lead absorptionmay result in damage to the ner-

vous system with weakness anddifficulty in thinking, kidney dam-age, anemia, difficulty with childbearing or risk to the developingfetus. Cancer agent based onexperimental data. Excessiveabsorption of cobalt may causedamage to the heart and lungs.Excessive exposure to copper

may cause anemia. Excessiveinhalation of quartz dustmay result in chronic lung dam-age. Cancer agent by inhalationbased on laboratory tests. Healthrisks from the use of glazes, slipsand clays are minimized throughgood personal hygiene, goodhousekeeping practices and the

use of a NIOSH-approved dustmask when mixing clays or slips.Pregnant women or women con-sidering pregnancy who are activeceramists should notify theirphysician of their work withceramic products and avoid allproducts containing lead and cad-mium.

APPENDIX IV — FEDERAL LABELING LAW OF ART MATERIALS

APPENDIX III — MAJOR HEALTH HAZARDS

A STM was founded in1899 and is a private,non-profit organiza-

tion for developing and publishingvoluntary standards for industry.

ASTM D-4236 is the StandardPractice for Labeling Art Materialsfor Chronic Health Hazards. Thispractice is under the jurisdiction of

ASTM Committee D-1 on Paint andRelated Coatings and Materials andis the direct responsibility ofSubcommittee D-01.57 on ArtistPaints and Related Materials.

ASTM C-1023 is the StandardPractice for Labeling Ceramic ArtMaterials for Chronic AdverseHealth Hazards. This practice is

under the jurisdiction of ASTMCommittee C-21 on CeramicWhitewares and Related Productsand is the Direct responsibility ofSubcommittee C-21.08 onStandards of Ceramic Materialsfor Artists and Hobbyists.

These standards are subject torevision at any time by the responsible

technical committee. They must bereviewed every five years and if notrevised, either reapproved or with-drawn. You may write ASTM directlyfor a complete copy of the above stan-dards or for more information on theSociety itself. Please write to ASTMCommittee on Standards, 1916 RaceStreet, Philadelphia, PA 19103.

O n November 19,1988, the FederalHazardous Sub-

stances Act was amended andenacted by the Senate and the Houseof Representatives to require thelabeling of chronically haz-ardous art materials. Labeling isto conform to ASTM D-4236

intended for users of any age.Compliance with this law was to gointo effect two years after its enact-ment which was November 18, 1990.

Even before this new law wasenacted, American Art ClayCompany, Inc. had been labeling inconformance with ASTM D-4236,based on reviews of formulations by

an independent toxicologist,through the Art and CreativeMaterials Institute. Also in confor-mance with this new law, our for-mulations are reviewed periodicallyand labeling changes are madebased on new available data to thetoxicologist.

Although this is a federal law, we

recommend users and suppliers ofArt and Craft Materials to checktheir own state laws which maydiffer and act accordingly. Somestates such as Massachussetts mayhave more severe restrictions aswell as penalties against non-com-plying sellers of Art and Craftmaterials.

43 � Dinnerware Safe

A. Lead FreeFederal Law — Approved for use in GradesK-6 and AboveMassachussetts Law — Approved for use inGrades K-6 and Above

AMACO® LG Series: 1�, 10�,11�, 14�, 20�, 21�, 23�, 24�, 30�, 34�,40�, 42�, 44�, 48�, 50�, 51�, 52�, 54�, 55�, 60�, 61�, 62�, 65�, 760�

AMACO® F Series: 1�, 10�, 11�, 15�, 20�, 21�, 22�, 23�, 25�, 30�,31�, 40�, 41�, 42�, 43�, 50�, 51�, 52�, 53�, 54�, 55�, 56�, 57�,58�, 60�, 61�, 65�, 66�

AMACO® CTL Series: 1�, 3�, 9�, 10�, 11�, 12�, 13�, 15�, 31�, 32�,36�, 41�, 42�, 43�, 61�, 65�

AMACO® LM Series: 1�, 10�, 11�, 15�, 16�, 20�, 25�, 30�, 32�,42�, 46�, 50�, 52�, 53�, 54�, 55�, 56�, 57�, 58�, 60�, 65�, 66�,202�, 230�, 231�, 244�

AMACO® LT Series: 13�, 15�, 17, 30, 32, 34, 113, 132�, 147�, 161�,166�

AMACO® HF Series: 1�, 9�, 10�, 11�, 12�, 13�, 14�, 17�, 18�, 21�,22�, 23�, 24�, 30�, 31�, 32�, 36�, 37�, 41�, 50�, 51�, 52�, 53�,54�, 55�, 56�, 57�, 58�, 60�, 62�, 63�

AMACO® CR Series: 10, 11, 15, 30, 31, 41, 42, 50, 51, 53, 60

AMACO® ST Series: 20, 30, 33, 40, 51, 53, 55, 56, 65

AMACO® DG Series: 1�, 11�, 15�, 20�, 21�, 23�, 26�, 27�, 30�, 40�,41�, 42�, 50�, 51�, 52�, 53�, 54�, 55�, 56�, 57�, 58�, 59�, 62�

AMACO® TH Series: 1�, 2� (High Fire Texturizers)

AMACO® TL Series: 1 (Low Fire Texturizer))

AMACO® O Series: 10�, 11�, 12�, 30�, 42�, 52�, 54�, 57�, 60�

AMACO® SE Series✽ : 701�, 702�, 710�, 730�, 731�, 732�, 740�, 760�

AMACO® LUG Series✽ : 1�, 10�, 15�, 20�, 21�, 22�, 25�, 26�, 30�,31�, 40�, 41�, 42�, 43�, 50�, 51�, 52�, 53�, 54�, 55�, 56�, 60�,61�, 65�

AMACO® GDC Series: 1, 10, 15, 20, 25, 27, 28, 30, 31, 40, 41, 42, 50,51, 52, 53, 54, 56, 57, 58, 59, 60, 62, 65

AMACO® Semi-Moist Underglaze Tube Set # 408: Maroon,Light Yellow, Blue-Green, Dark Blue, Dark Green, Light Brown, Black,White, Set # 409: Medium Blue, Turquoise, Lilac, Pink, WarmGray, Mahogany Brown, Bright Yellow, Irish Green, Set # 410:

Purple, Light Blue, Aqua, Rose, Orange, Peach, Chartreuse, Suntan,Set # 411: Amethyst, Hunter Green, Light Red, Real Orange, Red,Salmon, Violet, Electric Blue

AMACO® Semi-Moist Underglaze Pan Set # 108: Maroon, LightYellow, Blue-Green, Dark Blue, Light Brown, Black, White, Dark Green,Set # 109: Turquoise, Medium Blue, Lilac, Pink, Warm Gray, Mahog-any Brown, Bright Yellow, Irish Green, AMACO® Semi-Moist Un-derglaze Pan Set # 110: Purple, Light Blue, Aqua, Rose, Orange,Peach, Chartreuse, Suntan, Set #111: Amethyst, Hunter Green, LightRed, Real Orange, Red, Salmon, Violet, Electric Blue

AMACO® Underglaze Pencils: Black, Brown, Green, Rose, Yellow

AMACO® Underglaze Crayons Set #208: Turquoise, Yellow, Rose,Brown, Dark Green, Black, White, Set #209: Lilac, Yellow-Green, Gray,Medium Green, Light Brown, Blue-Green, Dark Brown, Medium Blue

AMACO® V Series✽ : 301�, 302�, 303�, 304�, 308�, 309�, 310�, 313�,314�, 315�, 316�, 317�, 318�, 320�, 321�, 322�, 323�, 325�, 326�,327�, 328�, 332�, 333�, 334�, 336�, 341�, 343�, 345�, 350�, 353�,354�, 355�, 356�, 357�, 360�, 361�, 366�, 367�, 368�, 369�, 370�,371�, 380�, 381�, 382�, 383�, 384�, 385�

AMACO® GDC Series: 1�, 10�, 15�, 20�, 25�, 27�, 28�, 30�, 31�,40�, 41�, 42�, 50�, 51�, 52�, 53�, 54�, 56�, 57�, 58�, 59�, 60�,62�, 65�

AMACO® Arroya Series: White, Black, Brown

AMACO® CR Series: 250, 260

AMACO® UT Series: 1001, 1002, 1003, 1004, 1005, 1006, 1007, 1008,1009, 1010, 1011, 1012, 1013, 1014, 1015, 1016

AMACO® DV Series✽ : 3302�, 3308�, 3316�, 3320�, 3325�, 3327�,3328�, 3334�, 3354�, 3360�, 3367�, 3368�, 3369�, 3371�, 3372�,3374�

AMACO® Water Base Versa Color: 3, 12, 27, 36, 48, 56, 62, 66

AMACO® Water Base Opalescent Versa Color: Amethyst,Emerald, Turquoise, Ruby, Silver, Pewter, Copper, Gold

AMACO® SP Series: Snowfluff, Mender, Overdrift, SP-400

AMACO® V-1-S Series✽ : 1308�, 1309�, 1313�, 1314�, 1317�, 1322�,1326�, 1336�, 1345�, 1353�, 1360�, 1370�

AMACO® Semi-Moist Overglaze Pan Set # 508: Red, Red-Brown,# 509: Yellow-Green

APPENDIX V — QUICK REFERENCE LIST

OF ALL AMACO® GLAZES AND UNDERGLAZES


B. Lead Free — These products contain ingredi-ents other than lead which require the CLseal along with specific directions for theirsafe use.

Federal Law — Approved for use in Grades 7and Above

Massachussetts Law — Approved for use inGrades 7 and Above

AMACO® LG Series: 2�, 25�, 26�, 27�, 45�, 46�

AMACO® LT Series: 3�, 12�, 16�, 22�, 48

AMACO® F Series: 26�, 27�

AMACO® O Series: 2�, 20�, 21�, 23�, 26�

AMACO® HF Series: 26�

AMACO® CR Series: 26

AMACO® ST Series: 23, 25, 42

AMACO® DG Series: 25�

AMACO® CTL Series: 20�, 22�, 26�, 34�, 35�,

AMACO® SE Series: 720�

AMACO® Semi-Moist Pan Set #108: Dark Blue, Black

AMACO® Semi-Moist Pan Set #109: Medium Blue

AMACO® Underglaze Chalk Crayons: Dark Blue

AMACO® Underglaze Pencils: Blue

C. Lead Bearing — These products requirethe CL seal along with specific directionsfor their safe use.Federal Law — Approved for use in Grades7 and AboveMassachussetts Law — Approved for use byindividuals Age 19 and Above. (Not suitablefor schools, nursing homes, etc.)

AMACO® LG Series: 9�, 32�, 36�, 53, 56, 66

AMACO® LT Series: 24, 31, 115, 121, 122, 130, 133, 142, 144

AMACO® CTL Series: 33, 50�, 54�

AMACO® SP Series: 10�

AMACO® Semi-Moist Overglaze Pan Set# 508: Yellow, Blue,Green, Black, White, Orange

AMACO® Semi-Moist Overglaze Pan Set # 509: Peach, Tur-quoise, Violet, Gray, Pink, Chocolate Brown, Special Blue

AMACO® Oil Base Versa Color: 1, 12, 22, 32, 46, 54, 60, 64

AMACO® Glass and Metal Enameling Colors: Red, Pink, White,Yellow, Blue, Green, Black, Turquoise

AMACO® SS Series: 201�, 202�, 203�, 204�, 205�, 206�

AMACO® L Series: 511, 512, 514, 516, 518�

AMACO® Fine Art Glazes: SP-510, SP-2001

✽ AMACO® LUG, SE, V, V-1-S, and DV Series Underglazes have only beentested and approved as dinnerware safe when applied and fired underAMACO® LG-10 Clear Glaze. Other glazes may also be used. Tablewareproducers must test all finished ware through a certified laboratory toestablish dinnerware status due to possible variations in firing temperatureand contamination.

CONCLUSION

We hope that theinformation pro-vided in this

booklet will enable teachers, stu-dents, parents, administrators andpotters to understand that by usingAMACO® products, whose quality

you can trust, ceramics can be justas safe as it is exciting. To againquote Monona Rossol, “Ceramicswill persist as a vital art and craftbecause people will continue to beintrigued, as they have for thou-sands of years, with the mystery,

majesty and enjoyment of turningplain clay and minerals from theearth into strong, permanentobjects...I know that with care,thought and planning, ceramicscan be created without harm to meor my students.” (Ceramic Scope,

October, 1980, p.6)The American Art Clay Co., Inc.

offers you both the safe productsand the complete informationnecessary to provide a safe ceram-ic environment. We urge you touse both.

45

NOTES

46

NOTES

(317) 244-6871 Fax: (317) 248-9300 (800) 374-1600

American ArtClay Co., Inc.Indianapolis,Indiana 46222

www.amaco.com

www.genesisartistcolors.com www.brentwheels.com www.genesisdecorativeart.com

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