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  2. Starting Point for Yellow

    Mustard yellow - is that a browny-yellow, or a yellowy-brown? Or a yellowy-browny-yellowy-orange? Find a pantone number you can share with everyone - it'll give a better idea than a single word description, even given the limitations of colour reproduction of different monitors/screens. I suspect that if you are after reliable, reproducible, pretty much solid blank colour, then a stain is the way to go - but much will depend on your base glaze, cone, etc. Mason 6407 'Marigold', when used strongly, and on/in my cone 6 majolica glaze, gives what some might call a mustard yellow, for example. Although when used with a little more thought, it's a lighter, brighter shade.
  3. Today
  4. I agree with you Joseph. It is different. For me the lack of grog makes a huge difference because I am still not a confident thrower. Not just porcelain but even b-mix without grog involves a whole different learning curve. Ultimately I discovered I preferred iron body clay with white slip because our school fires ^7 gas and clay reduction plays an important role in my surface thoughts. And also that I really didn’t care much for the porcelain look. I much prefer buncheong over porcelain. So doc I’d definitely encourage you to try porcelain - just to experiment. Not just with throwing but how differently you also have to relearn glaze application. And I will admit 3 bags of porcelain improved my throwing abilities. Just like a student driver who finally had to get on the freeway.
  5. Starting Point for Yellow

    Hey everyone. Anyone have an idea on where to start for a yellow glaze ? Mustard yellow is what I'm aiming for and so far its been hit and miss. At this point I have tested. Cerdec Degussa Yellow- Soft lemon yellow Mason Golden 6103 - Weird peachy color Yellow Ochre- Weird yellow with a green cast I've read some about Rutile making yellow but have only seen it in Cash Blue recipes. Would this be something to try next? Any input would be greatly appreciated. Thanks
  6. If you're going to leave the pots outside, and you get frost, you need those pots fully vitrified. Guess how I know?
  7. I used kurust to treat a number of items that live in my damp (greenhouse) studio. We had the same problem with the pugmill at the centre I go to. removed it, didn't notice any rust anywhere else. Good luck.
  8. firing large ( 40"x30" ) sculpture

    I believe there is a brief overview of "in sutu"firing in the following book... https://www.amazon.com/Alternative-Kilns-Firing-Techniques-Ceramics/dp/1579909523/ref=sr_1_fkmr0_1?ie=UTF8&qid=1519370593&sr=8-1-fkmr0&keywords=alternative+[pttey+firing
  9. Why not underfire clay

    Just a note or consider it a tip.I have seen it myself in many others situations . When working with a low fire body and another higher temp body its a matter of time when the low temp body end up in the high temp kiln and it can be a big costly mess.Glazes running onto shelves and elements not to mention the deformed body slumping . So take precautions as you can NEVER be TO careful in this situation. I just want you to know you are playing with fire-no pun intended .
  10. Ideal studio setup

    A working potter thinks about work flow-clay coming into studio pots leaving on the other side. do a search on Amin page`as we have covered this more than once.
  11. Thank you again. I was thinking the buffalo wallow type and the 213 porcelain mixed something like 50-50 or 66-33 and throwing in a few (3 or 4) lbs of kyanite. Just because a bonsai potter said he has found it helpful and I was reading that some porosity makes good slips as opposed to plasticity . as for it being vitreous I don't think 0 percent absorbtion is necessary. Both those clays are approx. 1.7 I think ... I think something mostly or semi vitreous is sufficient. Would those two clays and kyanite be more or less off white at cone 6? I don't want any unglazed part (around the feet or inside or underneath) to be bright toilet white.
  12. Take some of the same clay and make some circles just slightly smaller than the base diameter of the mugs and about 1/4" thick and dry them between boards so they stay flat. Bisque fire them then set mugs on the bisqued circles of clay. If your glaze is fairly stiff this should work, if it's runny then you're going to have to grind off glaze drips. If you cut more of an undercut at the base of the mug you don't really see much raw clay at all.
  13. I really doubt the clay I used would be available to you, F78G from Plainsman Clay in Alberta. Haven't used any clays from Armadillo and don't know if they are an option for you but their Buffalo Wallow looks like it could be tight enough with a posted porosity of 1.73 There should be someone on the forums who knows about their clays and/or other ones in your area. I would look for low porosity figures, some sand or grog for strength, the colour of the fired clay. I would just buy a bag to start with and run your own porosity and absorption tests on it before making the pot. Compress the clay slabs with a rib to push any grog or sand into the clay. If the unglazed clay is too rough you can sieve some slip made from the same clay and right after rolling and compressing the slabs brush a couple coats of slip on the slab.
  14. Ideal studio setup

    I think an important thing to do would be to think about your work flow, and how any given piece moves through your studio before it's finished. Think about a work triangle, similar to the way you would want an efficient kitchen set up. I agree about putting as many things as you can on wheels, with the addendum that I would have a look at how smooth the floor surface is, and make sure the wheels or castors you get roll smoothly enough that ware carts won't rattle too much.
  15. What kind of clay Min? I'm worried about "super coarse". A nice bonsai pot should be vitreous or at least really close. Its wet and exposed to freezing and thawing and triple digit heat for months ...and porous pots will absorb water and break in time. truthfully for me , in texas, this is a vain consideration because it just doesn't get cold enough for that to be a real issue. I have cheap terra cotta pots that have lasted a decade. But if I'm going to the trouble to do it im going to make it nice and the best way. Stoneware and or porcelain. And ill write my name on the bottom . and my grandkids will marvel at my ingenuity and craftsmanship.
  16. Beads Pendants Cabs Minis Low Fire Ceramics

    Standard White 105 low fire cone 05 Paragon SC2 kiln - Feb 20, 2018 very first bisque firing of very first pieces.
  17. Is this going to be a rectangular bonsai pot? If so it wouldn't be difficult to make from slabs. I've made a few really big planters this way. Thick slabs, like 3/4" thick made from a super coarse clay, let them stiffen up then miter the joins and slip / score. No molds or forms or special equipment needed.
  18. Yesterday
  19. I have no idea where or how to fire it, but if ultimately you cannot fire it and you've already made a mold then you might be able to make it again out of Portland cement or some other concrete product. It would be extremely heavy it might even need some steel , but I guess clay is heavy too... Just a thought .
  20. If one of your students....

    She sounds like a muddle of ignorance and personal problems. It was good at least one of your other students supported you verbally, I hope the rest did as well in some way. Maybe that was enough, but if she shows a hint of that BS again I'd take her aside privately and tell her to knock it off. Unless she's a nut, which it kinda sounds like she is, when she bothers to google anything educational about how touchy glazes are, she'll be embarrassed about treating you this way. Some folks just refuse to learn anything though, so I'd definitely be done with her after this class and not accept her back, not that she will ever try and come back. Good story for your life experience. If I were you I'd try and take the graceful way out and neither engage her again nor show her any particular grudge, that will earn you high marks with your current students.
  21. Maybe ill try that chilly . thank you. Even if its 150 lbs full I'm pretty sure I could tilt it and drain it. But just in case, I have a small 4 wheel dolly. Its flat. Similar to the picture below. I can fasten the block to it and the wheels should make it a little easier to tip. One reason the slip casting thing appealed to me is that it requires no attaching pieces together. I've read that those are the places that fail in drying and firing , the ones you glued together with slip which may not dry at the same speed. If the biggest problem with the slip mold is that its big and heavy then I'm cool with that . I'm a big dude. I was more worried about it being a waste if I didn't want several nearly identical pots. Its not cost effective but that's ok. Early on in my research I figured out saving money making your own bonsai pot is like trying to save money growing your own tomatoes . Sooner or later ill try some other techniques. I initially wanted to try the wheel but people here and elsewhere told me that is a lot harder than it looks. Thanks again everyone for the advice and information .
  22. Ideal studio setup

    Any electric outlets in a studio should be GFCI, or controlled by a GFCI breaker. Best to be safe than possibly . . . fried or frizzed! best, Pres
  23. I am just a self taught hobbyist but I have been making some mugs. My handles still aren’t yeh best but my latest attempt is attached (partially dried). It has a cut ring above the rim for decoration and I wanted to glaze all the way to the base of the pot but I am worried about the pot sticking to the shelf. Any suggestions for preventing this but still glaze all the way to the base? Thanks.
  24. just opened the glaze firing and am blown away by the pieces. Some will be refired to enhance the look!

  25. Another good question might be ... basic things you can do to avoid needless failures and disappointment.
  26. Ideal studio setup

    Most of the outlets in my studio are installed at the normal household height, which is near the floor. I have one outlet that was installed more recently, and I asked the electrician to install it at table height. If I was starting from scratch, I would have all of the outlets installed at this height. Or I would first decide where my work tables will be located, and have outlets installed right above them.
  27. Annoying rust spots in pugmill

    There are several products available that convert rust to a non reactive coating. I use them most for automobile repair etc. How long they last will be dependent on how much abrasions is present at the rust spots. As far as the nut goes, you could look for a stainless steel nut that would fit. Google Rust Converters to see all of the various products available.
  28. Hi Textree I would definitely make a first try with a hump mould. You need to make a "master" anyway, before you can make a slip mould, so you might as well. Clay will release from untreated wood but I usually line with thin plastic as it makes it easier. Place your hump mould on a block so the rim is not touching the table, then you can get to the rim of your pot and cut it off level. I have made many large bonsai pots, I've used all methods except throwing. Slip-casting, slump, hump, coiled free-form, coiled inside a biscuit tin, slab-sided, bricked. Unless I was going into production I would not be wanting to make a slip-casting mould. Too much time and effort, too heavy when empty, far too heavy when full. The cast-iron Owl below is 12 inches tall, and the mould is too heavy for me to lift when full. I can just about slide it around on the table, when ready to tip. If you do go for a mould, a plug for emptying is a must.
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