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  2. Well--that was just sad. (The videos exposing the hording disorder--some of the clay work was interesting). The condition is so resistent to treatment, and so very distressing to family members---hard to watch, let alone live with. Any idea what the little holes in the spheres are--they look rough or accidental or a flaw, but maybe there is an aesthetic or purpose there?
  3. I use a water-based resist from Bailey. Every once in a while if it gritty/clumping I add just a tad bit of water-not much-and zap it in the microwave for a minute or so, then whisk it smooth--no problems at all, covers and seals just like new!
  4. I have been making a two quart open pitcher. I have not figured out how to make them pour, and they tend to drip down the side. Fortunately, most people want them for vases, but I like to have things functional, and would like them to pour. This is one of the first. I have tried a narrower spout, and a more pronounced lip, I haven't tried thinning the lip, mainly for durability. Also I've already changed the handle for better control and aesthetics. Any suggestions
  5. Today
  6. Can I add glaze and glaze fire again?

    1. Show previous comments  1 more
    2. Artebella

      Artebella

      Porcelain , slow bisque fire to 04 unglazed in electric crucible kiln, Matt commercial glaze two coats, food safe no lead,  liquid glaze brushed on, fast glaze fire to 6;   I am a bronze sculpture artist new to ceramic sculpture.   sculptures came out too light and uneven color, not attractive and can not be sold looking like this.    If I can fire again with the exact same glaze and get full cover with no clear or pale parts, that would save the sculptures.  

      All were completely room temp before glazed and returned to kiln for glaze fire.

      Thank you for your response

    3. LeeU

      LeeU

      Hi Artebella---my suggestion is add this as a new topic in the Clay and Glaze Chemistry forum. Use a title like Glaze and Refire so it will be clear and easy for people to respond. You will get good feedback and direction in that forum.  You can copy and paste the info along with your query.   Welcome!

       

    4. Artebella

      Artebella

      Thank you   for the suggestion.   I have a lot to learn about this.

  7. I'm having the same problem as MichaelP. Also with Amaco brand wax resist. Never had this problem before with other brands of wax resist. It works but it's much more difficult to deal with than usual.
  8. Yesterday
  9. So do think the orange color on the plain clay part is coming from some sort of soda ash or baking soda in the glaze?
  10. Mary said: “Notice how the clay appears stained reddish from about 1/2" from the bottom up. I'm sure the cups were clean when they went in and not sure where this discoloration is coming from. could it be that the Iron soaked from the glaze through the clay?” try a thin wash of either baking soda or soda ash on raw bisqued area and see what happens. I get an orange stain in high fire reduction; some colleagues have gotten orange flashing at cone 6 oxidation. LT
  11. I bought a used RK2 a few years ago. $150. We put some work into it. New plug, cleaned it up. Works great, just a bit noisy. It's a good spare. Roberta
  12. inspirational mark. well thought out scheme!
  13. LOL - do they come in tan? Years ago, my Mom asked my daughter what to get for my birthday, she said, "Clay-colored overalls."
  14. Mary: in my testing, I noticed Hudson clay is extremely sensitive to application thickness. Also noticed color shifts when I increased potash content. Soon as I get time, going to slurry down a sample and spray it on. Tom
  15. To much money for old wheel with cone drive
  16. Yes! Go to Croton Point, park in the big parking lot facing the playground. Walk in past the playground parallel to the river. You'll be walking South. When you come to the end of the field you'll see a path/dirt road that goes up and to the left a bit. Follow that up about 100 yards and you'll see a path on your right which leads down to the river. Now just keep walking South along the river and look to your left. There are many places where trees have fallen over and you can see the clay entangled in their roots. Also where the walls of the river get steep and high you will see clay there. You'll need to check the tide chart and go at low tide. I imagine if Croton Point is not close to you you can probably find the same anywhere that you have the river walls exposed. PS... I had the clay analyzed and it came back surprisingly clean
  17. One of the skills I'ld like to have training in is decorative brushwork, sumi-e type work. Not necessarily black like traditional sumi-e paintings and calligraphy but I'ld love to have the skill (no small ask there!) and instruction to make fluid graceful brushwork with underglazes, stains, slips etc. edit: I realized I only answered half the question with my first reply. I would call it a trait not a skill but I can be very determined, relentless, persistent when it comes to trying to figure things out. I think this helps with sorting out the never ending ceramics related issues that arise.
  18. Its funny how things work out sometimes... I had posted a photo from a book a while back which pictured a "rust red"platter. I had to take the photo down as it was copyrighted, but the discussion talked a lot about obtaining the red I was looking for that I saw on that platter. I had given up on the idea after many failed tests. And subsequently moved on to develop the Hudson River Clay glaze. The last tile I pictured here in this post showed some really great rust red blooming from the dark glaze. I fired that in my test kiln and matched the heat rise and fall of my large kiln, or so I thought. Until I went to run these two mugs when I noticed that after it reached temp I had the numbers put in wrong and the kiln actually cooled much quicker than it would have in my large kiln. So I fixed the error and let the cups fire with a slow cool of 190° per hour to like 1490 the let it cool the rest naturally. The results were a rust red alternating with shiny black very similar to that elusive platter red I was trying to achieve. I do have a question in all of this... Notice how the clay appears stained reddish from about 1/2" from the bottom up. I'm sure the cups were clean when they went in and not sure where this discoloration is coming from. could it be that the Iron soaked from the glaze through the clay? Maybe if I cool at 200° per hour or let it cool naturally next time it'll have less time to soak through?
  19. That price is too high IMO for an old used RK-2. Like Liam said, they are tough wheels that last a long time, but they don't have the smooth pedal control of a more modern wheel.
  20. Hi folks, I am sorry that I did not get a question of the week out last week as I really didn't know what to ask. However, I thought why not ask the opposite of the week before. However, when I go to thinking of it, it would really be two questions. So this QotW is: What ceramic skill do you wish you had more training in, and what skill do you feel very confident with? This is one that I have thought often about, as I was trained in college, never having had much more than simple pinch pot experience before even though my parents did a stint with painting cast ceramics at an on base ceramics shop in Hawaii. In college, I had a professor with an MA from Alfred, who was into large forms, but would demonstrate a few forms for us, the plate, the bowl, and the cylinder. Most of what we learned we picked up by doing, but he did cover things like lids and spouts and throwing off the hump. He was very adamant that nothing thrown could be fired until we had thrown a 3# cylinder 9" tall. Most of my time in Ceramics 1 was focused on that. Ceramics 2 saw me with mostly lidded forms, pitchers and casseroles, and a teapot. It was when I began teaching that I really refined my work. Much as doing production work will make a potter, teaching will do much the same. To be able to go into a group of HS students and demonstrate without fail day in and out was tough, and mad me more aware of my flaws than anything else. So I practiced after school, investigated new forms, mad larger forms pushing the amount of clay I could handle and the height of the form. In the end the challenge to the student was to find a form that I could not throw. Hmmm no problem as I had pretty much done all from double walled to large to lidded, rings, multiple piece, combined handbuilding and throwing and more. Not bragging just saying if they wanted a demo, they got one. Now where do I wish I had more experience? Two areas actually mold making, and glaze chemistry. I am not the best with glaze chemistry, but have come to inherently know what chemicals will do what for me in a glaze, but really don' understand the balancing of amounts. However the good new here is that glaze formulation programs are available so easily now with things like Digi Fire giving the potter the tools to make their own based on what they understand. Of course this does mean testing, testing and more testing before use. As I get involved with the wholesale orders lately I have wondered whether making a few different molds from thrown forms and casting would be better. . . Naw, but it is something I haven' t done and probably if I had knowledge of it might say Ya! best, Pres
  21. Rk2 are good little machines, but you'll have to pray to the kiln gods that it doesn't break down because they won't make any parts for it anymore.
  22. Was wondering about this wheel, found one used here in BC Canada for $650. Would like a VL Whisper but they are over $2,000 here . What to look for in problems, are they worth buying?. Pros/Cons? Thanks.
  23. yep, as a newbie, trying some different clays seemed a good idea - the next break after 100 lbs is 500 lbs, so went with 100 each of several clays in my first "big" order; for glaze mats, went with 50 lb bags of what I thought for sure would be useful, e.g. silica, epk, neph sy… Perhaps by next order will have figured which frit(s) to bulk up on; so far, looks like glazes with frits 'have better. There's another cost analysis topic...
  24. One take away is buy what you can use and store in terms of a whatever price break you can get. Just keep in mind about price breaks and see if you can benefit . If you have a break at 500#s its best not to buy 400#s also the same is true with glaze materials
  25. My minivan can carry up to 1450# of cargo, so I buy 1000# of clay at a time. I do this three times per year. My supplier is only 45 minutes away. I still get a decent price break at 1000#. A delivery costs $50, which negates any savings from buying a ton. Plus, all of my clay needs to be carried down into a basement, one box at a time. 1000# is only 20 boxes, which is not that big of a job. I have done 40 boxes in a day plenty of times, and it’s a big difference in terms of energy needed. Overall, these proportions work well for me, my car, my back, my legs, my studio.
  26. Lots to think about, thanks Mark (an' y'all). Four bags/100 lbs vs one bag/25 lbs is more like $3/bag an' drops more at each discount - 500 lbs, 1000 lbs, ton, etc. ...an' clay prices go up from time to time as well. If shipping, cost per bag is lower in bulk, much. Behaviour is more likely to be consistent as well, given all is from same batch. Ordering, moving, handling, etc. all at once should save time over breaking into several episodes. I'm still working through my first "big" order - five different mid fire clays; next order will likely be just the two or three clays I like most... When eyeballin' costs, I try to remember what it costs me to spend a dollar - it's not just one dollar - I had to pay to both earn an' spend that dollar, taxes on both sides, state and fed income tax, sales tax, plus costs in th' middle as well, e.g. time and expense to/from work, lunch, clothing, equipment, not to mention grief from coworkers, customers, ugh. On t'other hand, having more "bad" clay (and/or un-liked clay) is no advantage! Incurring any hurt/injury should never be "worth it"! Taking a chance, imo, shouldn't be worth it either. One has to find a place to put it as well. Here in Los Osos the temps are temperate an' it's not terribly dry, hence stacked boxes in the other garage covered by tarps seems to be holding moisture ok (so farr) - and it's not in the way either. Also, there are no ceramic suppliers nearby - it's 'bout 250 miles to nearests.
  27. Well, no to money on the table. There are lots of other factors involved, as Mark laid out. Moving, storing, moving again, checking moisture, adjusting moisture. If I can't easily use the last box, then I've wasted money. Worse than not saving money. At $2 a box, a pot using 6 lbs of clay would add $0.25 to the cost. That's at least a $30 pot for me. What seems to me to be important is the time involved.
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