Read on for a good introduction to spraying glaze, from sourcing a spray gun to setting up a dedicated station in your studio for easy glazing sessions.
If you want to achieve a layered, flowing appearance of glaze on your work or a very even, smooth application (1), spraying glazes is a great option. Learning to spray glazes is quite easy and the setup is not too expensive.
Choosing a Spray Gun
Although there are many spray guns on the market, for your first foray into spraying glazes, choosing the least expensive spray gun might be the best approach.
The main criteria for selecting a spray gun are:
Price—Spray guns can range in price from $70+ to $20 at a discount tool supply store or online. There is no need to get an expensive one. It might not last as long, but it will work fine if you keep it clean.
Type—It should be a high-volume low-pressure (HVLP) gravity-fed spray gun with a regulator.
Quantity—Get two of the lower-priced spray guns. This way, one is always ready to use and you can switch between glaze colors easily (2).
Size—Some of the smaller spray guns can be a good option for additional glaze colors, but make sure that the little container for glaze stays in place and doesn’t fall over (this can happen to the container when attached to the spray gun) as this creates a problem when spraying.
Setting Up a Spray Booth
Things you will need when setting up a spray booth are:
A table or rolling cart to use as the base for your spray booth (see 4).
A turntable or banding wheel is essential for good, even application of glaze.
A small air compressor (3-gallon, 1⁄3-horsepower, oil-free pump), lightweight 1⁄4-inch compressor hose, and the proper connectors for the gun and hose (see 3).
Be sure to always wear protective eye wear and a properly fitted respirator to avoid breathing in the small particulates of glaze.
Use of a spray booth attached to an exhaust system is ideal so that glazing is done in an efficient, organized, and tidy manner. If that is not available, spraying outside is a great option. Spraying indoors creates quite a lot of airborne glaze, which is not good to breathe in and leaves a powdery residue on everything.
If working outside, setting up a portable/temporary backdrop or wall behind the turntable can contain the excess spray to one area. To make one, attach hinges to three pieces of plywood and then stand it up on the table.
Another option to contain the spray while working outside is to use an old plastic drum with a side cut out, allowing room for the turntable (5). This setup will allow excess glaze to be captured and recycled. With the equipment ready, you can now get busy spraying.
Process
Begin by mixing your glaze thoroughly using a hand or stick blender. Strain the glaze into the spray gun’s container using a tea strainer with a fine mesh. You would be amazed at all the debris in your glaze. Avoiding any clogs in the spray gun is essential to success. Note: Avoid filling the spray gun container so full that it is heavy to hold. Add more as needed with the PSI set to 30–60.
Next, place the piece to be glazed on a turntable and while it is rotating, spray the glaze onto the piece. A good rule of thumb is to spray for three revolutions of the piece while turning it a medium pace. Put a piece of tape on the turntable so that you can ascertain each revolution. Begin by glazing the back side of the piece first.
Keep a bucket of water adjacent to the spray booth and wash out the spray gun immediately after use and in between different glazes.
After the glazing session, always take your spray gun apart and clean it thoroughly by spraying heavily with water and using brushes to remove any leftover glaze. Leave the gun unassembled to dry. Spray the gun and all parts with WD-40 and store after thoroughly drying, unassembled (6). This will alleviate the possibility of rust and keep your guns working for a long time.
the author Marian Williams is a full-time potter living in Texas since her return from Australia, where she lived and worked for 15 years. Her functional pottery and figurative sculptures have been exhibited in the US and Australia, and most recently at the San Angelo National Ceramic Competition. Learn more on her website (www.marianwilliamspottery.com) and on Instagram (@marianwilliamspottery).
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Read on for a good introduction to spraying glaze, from sourcing a spray gun to setting up a dedicated station in your studio for easy glazing sessions.
If you want to achieve a layered, flowing appearance of glaze on your work or a very even, smooth application (1), spraying glazes is a great option. Learning to spray glazes is quite easy and the setup is not too expensive.
Choosing a Spray Gun
Although there are many spray guns on the market, for your first foray into spraying glazes, choosing the least expensive spray gun might be the best approach.
The main criteria for selecting a spray gun are:
Setting Up a Spray Booth
Things you will need when setting up a spray booth are:
Use of a spray booth attached to an exhaust system is ideal so that glazing is done in an efficient, organized, and tidy manner. If that is not available, spraying outside is a great option. Spraying indoors creates quite a lot of airborne glaze, which is not good to breathe in and leaves a powdery residue on everything.
If working outside, setting up a portable/temporary backdrop or wall behind the turntable can contain the excess spray to one area. To make one, attach hinges to three pieces of plywood and then stand it up on the table.
Another option to contain the spray while working outside is to use an old plastic drum with a side cut out, allowing room for the turntable (5). This setup will allow excess glaze to be captured and recycled. With the equipment ready, you can now get busy spraying.
Process
Begin by mixing your glaze thoroughly using a hand or stick blender. Strain the glaze into the spray gun’s container using a tea strainer with a fine mesh. You would be amazed at all the debris in your glaze. Avoiding any clogs in the spray gun is essential to success. Note: Avoid filling the spray gun container so full that it is heavy to hold. Add more as needed with the PSI set to 30–60.
Next, place the piece to be glazed on a turntable and while it is rotating, spray the glaze onto the piece. A good rule of thumb is to spray for three revolutions of the piece while turning it a medium pace. Put a piece of tape on the turntable so that you can ascertain each revolution. Begin by glazing the back side of the piece first.
Keep a bucket of water adjacent to the spray booth and wash out the spray gun immediately after use and in between different glazes.
After the glazing session, always take your spray gun apart and clean it thoroughly by spraying heavily with water and using brushes to remove any leftover glaze. Leave the gun unassembled to dry. Spray the gun and all parts with WD-40 and store after thoroughly drying, unassembled (6). This will alleviate the possibility of rust and keep your guns working for a long time.
the author Marian Williams is a full-time potter living in Texas since her return from Australia, where she lived and worked for 15 years. Her functional pottery and figurative sculptures have been exhibited in the US and Australia, and most recently at the San Angelo National Ceramic Competition. Learn more on her website (www.marianwilliamspottery.com) and on Instagram (@marianwilliamspottery).
*Photo: @grit_ceramics.
Unfamiliar with any terms in this article? Browse our glossary of pottery terms!
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