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  2. Hi Folks, Our Clay International 2018 Exhibit Call for Entries is live! Please click here to apply online: www.juriedartservices.com 2018 Juror is Eva Kwong Good Luck! and Thank you! for your continued support. Dale Marhanka
  3. Today
  4. Goldenrod Glaze

    @C.BanksI don't think it was ill advised at all. This is typical for crystalline glazes, I just wanted @Shelly M to know what to expect from that type of glaze.
  5. This is the week of shipping one mug at a time-its brutal

  6. The roots that are supporting my ceramic branches and flowers, so to speak, are grounded in parental family dynamics (don’t know much about the ancestors). My mother was craft-competent in several artistic areas, such as music and sewing. My dad was a decent illustrator/draftsman, played a nice piano, and could make anything and make it well. They were supportive of my affinity for drawing, painting, and making “artful” things out of lots of cool stuff my dad kept in his shop or mom put together for little projects (like papier-mache and dough-clay). As a family, we took full advantage of the great museums in NYC. After H.S., I did graphic art for the Teamsters Union, print shops, and box die companies. When I finally got to art school (single parent on welfare, in my 30’s, with serious health problems) I couldn’t keep up with the pace of the communication arts/design program and switched to ceramics (a bit more laid back). I loved it, & was good at it, especially formulating clay bodies and glazes. Not a prayer of supporting my child, tho, and myself, and I did not want to stay in graphics. I went into a field that enabled me to make a living and do some good at the same time. Other than keeping up with the art world, from a distance, I didn’t have my hands on clay again until 2014, after I retired. That root, gratefully, survived, and is now getting sufficient nutrients and nurturing to thrive. I owe special “thanks” to the generosity of many ceramists in NH, where I live, and this CAN Community Forum (the people in it).
  7. Yesterday
  8. My mother was an at home mother who sewed both for family and for sale and had a sewing room where things were always in progress. She also drew fashion sketches as part of that work. It was important to her that we be artistic- that girls should be artistic. As inspiration she was full of stories of her artistic endeavors in youth, things like that when her friends at school were coloring, she was painting on silk. I am guessing some- but few- of these stories were true. There is no question, though, where and when I fell in love with clay in particular, though I haven't pursued it until recently. Mrs. Werner, my kindergarten teacher. had us on a rotation in which each day a third of us painted (tempera, on easels in the kindergarten patio), a third played with big wooden blocks indoors, and a third made things of clay. There was an enormous tub of wet clay. My haven. I still remember what I made in kindergarten, figures with a basic blob-shaped body, two with a blue matte sort of paint and brown hair, and one with a cherry glaze and black hair, plus one really fat crawling baby with a top knot in a translucent greenish glaze that I have today in my dining room. I loved the feel of the clay in my hands and that one could manipulate the clay to make a form. I particularly liked heavy, roundish objects. Despite my mother's personal interest in art or craft, aspirations for me and my sister were very much academic. So other than taking art electives in school, my direction was very academic, involving imagination of a mental rather than physical sort. It was almost impossible to get into a studio art class in college unless one was in the department, which I wasn't. My professional path, then, had nothing to do with art- had no physical character. About ten years ago I became involved in creativity studies and physical making, exploring what sort of making I wanted to be doing. I started with two dimensional forms, simply because these requires little space, no kilns, ... But my aesthetic interest, both to do and to see, has always been 3D. Over many years of attending crafts fairs I have gathered a little collection of the kind of clay work I love, functional and not, and decided around a year ago to get started in clay, alongside the other things that I do. About two months ago my husband cleared me a space in the basement so that I can work on clay without interfering with whatever is going on in the kitchen.
  9. Not one person in my family were involved in or showed any interest in art. Back in the 80's my wife would by bisq and glaze it: and the shop would fire it for her. (Cone 04). I have always loved art, went to museums, art shows, and art fairs. On a scale of 1 to 10 for artistic ability: I would score 0.50. I have tried oil painting, water color, and fooled around with stain glass: all of which eluded me. While on vacation in 2007, we stopped at antique shop in Williamsburg Va. When I saw a crystalline vase. The owner did not know what kind of glaze it was, and it took me almost a year to figure out what it was. I knew nothing about clay or glaze, but fortunately a working knowledge of chemistry. At this point, I would estimate I have read nearly 2000 hours of research papers, abstracts, and. Few dictionaries on crystalline and clay chemistry. My artistic skills are still lousy, but my working knowledge of clay and crystalline glaze chemistry is fully functional. Then again, I view a finely developed clay body a work of art. Nerd
  10. Goldenrod Glaze

    Thanks so much! Nice test tiles. I think this is a good solution
  11. I was a raised in a creative family-mostly of teachers. Mother taught until retiring High School and Junior Collage Father sold insurance as an independent agent Both not on planet now. Art was something well all did from early age-same with building things , diving,surfing in the 50's-all water sports as well as track and field (had our own pole vault and high jump pit in backyard)and traveling as a family. I had been to Mexico 10 times at age 10. I was the youngest of 4 siblings-3 brothers and a sister-age spread was 11 years from oldest brother to me. My brothers exceeded at art-I could not draw well. In high school I was exposed to clay and the rest is history -bought a power wheel in HS as well.Never looked back.Never thought about the future with clay either. My oldest brother got a scholar ship to Stanford as a track star and was headed to Tokyo Olympics in 65 and later taught art at California UCSB in Santa Barbara in 1966- 1992-they built him a print lab building back then when the schools had money till presnt.Died of melanoma in 1992 My sister taught elementary-all grades for 35 years-is retired in Summerland-next to Montecito,Ca-still surfs every week at 73 Middle brother did art, Track and collage and committed suicide at age 23-had some serious health issues I did art ,track until High School, clay and have had melanoma removed 5 years ago. I'm on get looked at every 6 month program for life for skin cancer. Pottery full time since 76-till present-still diving and traveling
  12. This is an old thread, but I wanted to correct some potential problems that could arise from advice here: Slip problems arise from one or both issues: weight (specific gravity) and thickness (viscosity). Any slip recipe has an "ideal" weight and thickness. Both of these properties can fluctuate as slip ages. If your slip is too heavy, you can lighten it by adding water. BUT: Do not add water to your slip without checking specific gravity by weighing your slip -- not a hygrometer. Research has proven this, and it's what you'd be taught if you went to school to be a ceramic engineer. Your slip recipe will have an "ideal" specific gravity, likely between 1.75 -1.78 If your slip is too thick, you can fix it by adding deflocculant. But: Do not add deflocculant without checking viscosity with a viscometer (unless you're adept at estimating viscosity by look/feel). Bubbles in slip and castings result from air being suspended in the fluid. This often happens with a new batch of slip, when the dry materials have not fully soaked, and if the slip remains too viscous (too thick) to allow the bubbles to easily gather and rise. Proper mixing and proper deflocculation typically remedies the bubble/pinhole issue. Check the specific gravity and viscosity of your slip before you begin pouring for the day, and you'll be able to fix these issues before they arise. Then you can rock the casbah.
  13. Goldenrod Glaze

    @Shelly M, expanding on what Neil said about blending stains to get the colour you want. I'm working on a chartreuse / pale bright green using stains. In the picture below of my test pieces the first tile is a light green stain, the last is canary yellow the tiles in between are a blend of the two. Takes about 15 minutes to do a blend like this, total stain in each glaze test is 2% which got me in the ballpark of what I want, now I'm fine tuning the amount of stain as I want to reduce the strength of the colour. Easy to do a blend like this if you need to in order to get the goldenrod yellow you are looking for.
  14. Goldenrod Glaze

    Looking back I did a lot of ill advised stuff. I was younger and didn't know any better. It had issues for certain but the result was worth it, for the most part.
  15. Goldenrod Glaze

    If this is a crytalline glaze, it will not behave at all like typical glazes. For starters, it has no clay in it, so won't stay suspended in the bucket. Second, crystalline glazes are super runny, to the point that they require a catch basin underneath them to collect them. Firing this cooler, like to cone 6, may solve that problem, but I would still put a dish underneath the first round of tests.
  16. Goldenrod Glaze

    I think I have that one, if not it's easy to get. Thanks Min
  17. Goldenrod Glaze

    These are all great suggestions! Thank you
  18. Goldenrod Glaze

    this one sounds exciting! I'll try it!
  19. Goldenrod Glaze

    Since custer is a potash spar, thinking you meant a soda feldspar like Minspar?
  20. Goldenrod Glaze

    When I was working in oxidation I got mildly infatuated with crystals for a bit. One happy result was a very runny yellow. I was more naive back then and didn't have the luxury of software or 'professional' advice so all excuses aside this was a remarkable yellow as long as you took caution and were prepared for some mishaps. custer feldspar 58 whiting 15 Zinc Oxide 15 copper oxide 1.5 Titanium Dioxide 3 Spodumene 3 Tin Oxide 4 We used it at a 9 but i suspect it might work lower. Potash feldspar might work better - or worse I found something that worked first try and never looked back.
  21. Goldenrod Glaze

    You can also blend stains to get the color you want. Also try changing the opacity of the glaze it's in, as that can change how the glaze reacts.
  22. Goldenrod Glaze

    Mason 6464 looks the closest to a goldenrod yellow to my eye, have you tried that one? It's not fussy as to the base glaze. How much stain are you using? Reason I ask is with many stains you don't need much to get a nice colour.
  23. Goldenrod Glaze

    I have tried using stains in the past but can’t seem to get the right color. Guess I’ll just keep trying
  24. Goldenrod Glaze

    Why don't you want to use stains? That would be the easiest way to do it. Yellows are difficult at best, without using stains.
  25. When I was four my mother received a mosaic tray kit as a present. She decided she didn't want to mess with it, I told I did, so I set on her lap and glued all of the tiles into the tray. After that I didn't want dolls I wanted arts and crafts for Christmas. When I was 11 our art teacher gave each of us a ball of clay to make anything we wanted. I sat there with my ball of clay and watched the other kids pound out ash trays. To start with my parents didn't smoke and the ash trays didn't look much different than the ball of clay. I walk up to my teacher and asked her if I could really make what I wanted, she said yes. I had been reading a book about Egyptian cats, so I decide to make a pendant of a Egyptian cat. It turned out great and hung in the schools art showcase the rest of the year. I walked by it everyday think how amazing clay is, you can make anything you want out of it. My parents didn't even decorate the house, the only picture on the wall was one of Jesus and my dad had a plaster American Eagle on top of the television. I guess I just fell in love with clay. Denice
  26. Goldenrod Glaze

    Happy New Year to All! I'm trying to come up with a goldenrod or deep yellow-gold colored glaze (gloss or matte) that will work at cone 5/6 in oxidation. I'd like to achieve the color without using stains but am open to all ideas. I'm using it on white stoneware. I'm new to mixing my own glazes and have a library full of books on glazing but can't seem to find a recipe that I like. Thanks in advance for your suggestions!
  27. Carving into clay

    I have a sweet little set of carving tools about 4 inches long- various shaping chisels. I work when leather hard. To avoid flaking, spray a little water on the immediate area. Just enough to rehydrate. Carving can be tedious, but very absorbing and rewarding by the results. Enjoy. Marcia
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