Jump to content

All Activity

This stream auto-updates     

  1. Past hour
  2. Help me alter this glaze recipe...

    Maybe it's my old hippie aesthetic, but I think the speckles make the glaze more interesting than if it had none. The test tile is just my speed!
  3. Paper Clay Installation

    Amazing work!
  4. Wow! So much useful information. Thank you!
  5. Starting Point for Yellow

    Later... The photo' doesn't really quite show the exact colour - it is more like your example than it appears here, although perhaps not quite as dense. This is 6407 Marigold reasonably heavy, on a Mason-friendly glaze (i.e. lots of Calcium, and no Zinc). If applied heavier still, it gets quite muddy. If applied lighter, it's a rather lovely light-ish yellow. I suspect that there will be a concentration which pretty much approximates what you want. I have happily mixed 6407 50:50 with a cadmium-based red (not shown), which gives an orange-yellow. The cadmium stain is not a Mason one, however. But if straight 6407 doesn't give you quite what you want, then a little something similar added will move it in the right direction.
  6. Today
  7. As for doing a small test first. That sounds like good advice. Will do. As for mixing them I guess I could keep it simple. Save myself some time and money. As for the size of the pot - bonsai pots are small relative to the tree inside them. I have lots of smaller pots , (some shohin size that you can hold in your palm , some larger) A bigger one is harder to find and can be really expensive. But assuming normal shrinkage this would end up say....15× 11. (The wood positive is actually 17.5 ×13.5) That's really not out of the ordinary at all. Its large, but I've seen rectangles as big as 20 inches long . and I know lots of people with bonsai it takes 2 men to move , lift, and work on.
  8. Starting Point for Yellow

    Funnily enough, that pantone no. is very similar to the way 6407 Marigold works for me, when reasonably strong. I'll try to find a 'photo later, but definitely worth a go, I think.
  9. ( I can make something I really love, and I never make another because why do it again? What is next? One of the reasons I decided I would probably never be a production potter.) The reason is to bring that same joy you felt to other humans who use that something special pot you made. They then want the next item you make and on and on so it builds. No matter what you make the Chinese did it better a thousand years ago so it goes. I just got a few e-mails from customers explaining how they feel about the pots I sent them and the joy they bring-thats the reason to make some more mugs right there.at least for me. Can I ever make a better mug after 30,000 mugs or 50,000 well I guess theoretically yes but why try-the reason is the customer for me. Now back to porcelains I do not think they are that different or harder to manage but its not as easy as stonewares for begins to get the hang of. With stone ware you can make any mistakes and end up with a pot like use to much water to center and throw-with porcelains this is just not as forgiving. Thats really the only reason I suggested stoneware. My biggest flaw is thinking back in beginners experience as I'm not a teacher an in my professional life really do not interface with beginners that much so its harder to recall being a biginner. I have taught a little as volunteering over the years and I tend to try to keep it simple. Porcelain for most is a later in clay deal as its less forgiving in most areas . In real life I know the limits of clays and have tested them. They are now what I was taught but there are limits. One of the reasons I like porcelain is its dry capabilities and the way glazes look on the surfaces-the other reasons is the strength and non -chip nature of the clay has its so dense.I can throw a pot in the am trim in the nom and fire it that night if the solar conditions(sun) is just right(summertime). Its never been about cost for me as thats so little overall as clay is cheap. Doc if you are still reading this thread get some Daves Porcelain (laguna) as it throw super easy or some Coleman Porcelain(ardvark) and give it a try.
  10. I think adding a few clay types to a barrel of water and hoping for good end results in slip casting with some darvan and water may be a little optimistic . I suggest testing your body out in smaller quantity 1st to see if will work.The reason you supply store has no Porcelain and stoneware mix is its very un-orthodox. Again I suggest trying a small amount 1st. Why do you want this two kinds of clays together? The other question is about bonsai pots which usually are small to begin with ,is this giant one for some special reason ? or everything bigger in Texas?
  11. Owls

    Nice
  12. c6 glaze too soft

    Undersupplied in silica as it is. You could add silica to it but it's going to gloss it up a bit. I like this dolomite recipe blended with clear to fine tune the balance between amount of gloss/matteness and no cutlery marking. If you have a clear that fits your clay just use that for the clear for the line blend. Your recipe with silica just brought up to the bare minimum amount needed would be recipe 2 in the screenshot below. I kept everything else balanced the same as in your original recipe. Welcome to the forums!
  13. Don't ever go into glaze making.... You are me are a lot the same. I can make something I really love, and I never make another because why do it again? What is next? One of the reasons I decided I would probably never be a production potter.
  14. I will give porcelain a try....since i am an experimenter at heart. Once I successfully make something, I rarely make another. It is more fun to stretch my skills in another direction.
  15. CONE 5 VS CONE 6

    Most clay bodies will probably be fine at cone 6, but you'll just have to test them to know for sure. If you end up having to fire to cone 5 instead of 6, it would only take a couple percent of frit to lower the glaze melting point.
  16. CONE 5 VS CONE 6

    Did you mean: "if I'll have any problems with firing them to cone 6? The only way to know is to fire some test pots and see. The worst thing that can possibly happen just going a cone higher is bloating or warping. The only way to figure that out is to test it yourself. I figure firing cone 5 to 6 is fine as most cone 6 bodies fire fine to cone 7. Glaze fit will be the only real question, some of your previous borderline glazes might craze since the clay change.
  17. I am trying to imagine how a frustrated or ASD-affected student would feel being told that she might understand better with more experience. Probably more frustrated. I would probably say I would dig up something- maybe a good link online- between this class period and the next that the whole class can look at to understand better all the ways glazes can turn out, something with plenty of pictures- that it's kind of tricky and full of surprises. If someone were repeatedly belligerent toward me, I would suggest privately to her or to her guardian that she might be happier in another class.
  18. CONE 5 VS CONE 6

    I am accustomed to firing cone 6 clay with cone 6 glazes. now i've moved south and am using Laguna cone 5 clays and wondering if i'll have any problems with firing them to cone 5 so my cone 6 glazes behave as I'm used to. Any advice? thanks carol
  19. c6 glaze too soft

    I have this lovely off white glaze c6 that I've been using for awhile but its too soft. It will mar slightly with a knife. I'm not very strong in glaze calc - I"ve messed around with some other fluxes but haven't gotten any results for a better melt. I fire to c6 via the programmed firing with a half hour controlled cool down to 2130 on my Skutt kiln. I would love any advice on getting a better melt with this glaze without effecting the color and finish too much. OFF WHITE Neph Sy 59 Dolemite 19.5 Zircopax 14.7 OM4 Ball 2.4 RIO .9 G Borate 10 Bent 2
  20. That's the thing I don't want to wedge 75 lbs or more of clay together - sounds like a lot of work ... Correct me if I am wrong but if I mix it up as a casting slip then I don't have to. I will mix the moist clays in a trash can with more water with the drill mixer , let it dry out , bust it up , remix it thoroughly with the darvan and water . that way it gets two mixes. The ceramic supply store doesn't have a stoneware porcelain mixture . I don't want to mail order 75 or 100lbs of anything. I started building the wood positive. Its big! Is something this size (more like 17.5 x13.5 ×5 now) going to fire thoroughly in the standard cone 6 firing if say the walls are 3/4 of an inch thick?
  21. Yesterday
  22. top cage assembled

    Just thought it would be pretty hot even with the flame off! But we'll see. I'll likely try it out then decide if I need accessories!
  23. Starting Point for Yellow

    Something along the line of this. I'll have to look into Marigold. So far I haven't seen any from the clay shop that were the right tone without maybe mixing some stains together.
  24. Glazing to the base without freezing to shelf?

    I often fire pieces in a cone 10 reduction kiln on seashells filled with wadding when the support point is in a glazed area. The shell does leave a slight mark where it makes contact, but knowing that will happen, I plan for the mark being a part of the overall design. The wadding inside the seashell to provide a supporting the structure since the shell itself is decomposed into burnt lime, a.k.a. calcium oxide. the wadding inside the shell can be scraps of clay that will withstand the firing temperature. The lime will absorb moisture after the firing and will wash away after a few minutes of soaking in water. Some touch up of the glaze might be needed to remove sharp edges. LT
  25. Brent CXC wheel problem with fuse?

    Just for your future reference -the rectifier is that 1 inch square box like thing in your photo of the back of your control board. Its in the left hand upper corner in front of the transformer with about 4-5 wires coming from it.You can always buy this seperately from Brent if it ever got out again . Go to know they took care of you.
  26. I am firing to cone 10 with those mugs so none of the pin stands will work, I can use an old cone holder or, what I will probably do, just fire a small circular plinth stand.
  27. Absorption doesn't have to be zero, there is open and closed porosity which can make a difference but at 1.7 I think you will be fine. Not sure why you want to go to the work of wedging porcelain into the stoneware? I'ld give the supplier a call and ask if they have a clay body with low absorption suitable for outdoor use that contains sand or grog. You can always use an oxide stain on the feet if the colour of the fired clay is too light. Can you get Laguna clay? They have some good outdoor claybodies too. I would suggest starting another thread asking if anyone has recommendations for an outdoor claybody in Texas suitable for handbuilding.
  1. Load more activity
×

Important Information

By using this site, you agree to our Terms of Use.