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Everything posted by cstovin

  1. cstovin

    Weight/size Charts?

    I understand the average weights of clay for a 12oz mug; but given a very general / usual mug; fairly straight walls, etc - nothing fancy - how tall and wide is the average 12 oz mug before firing? Nevermind - I didn't look close enough lol
  2. Hi there I have no idea if this is the right place for this, OR if these questions have already been answered - I searched, but couldn't find what I was looking for I wanted to know how to use Red Iron Oxide in sections of a regularly glazed piece (see attachments), such as a coffee cup with a red iron oxide section.... 1) How/what is the suggested ration for mixing up red iron oxide to be used as a glaze? 2) Do I do the red iron oxide part of the glazing first, then add the rest of the glaze? (see picture for better idea of what I am trying to explain) 3) There are also pieces that appear to be raw clay in parts of the piece, and then regular glaze? (see white and red tree photo and green coffee cup with faint tree lines) - are these types of works still covered in some sort of oxide? Or is it really just un-glazed areas of the work?
  3. One more question though - if a wax resist is used, say on the mugs that are red and have the bottoms un-glazed....is that food safe? Are there any worries about getting someone sick? What about if that was done on a plate?
  4. Thank you so much, and thank you for giving me the recipe on how to mix it; I was especially lacking on that!! Appreciate the time and help C.
  5. Hi all One more question I wanted to make some mugs, and either add another small slab to the top of the mug that has a saying on it, or carve a saying directly into the mug How you get the words to be smooth? Is there a tool that makes this kind of thing easier? I can see using a needle tool, but it always leaves slag. If I used a slab/plate and attached that to the mug, it is better to use waterslide/decal paper? Are stamps the preferred method? Also, my handwriting stinks I searched the site, but it didn't return what I was looking for, but I am sure someone posted something here like this before
  6. you guys are GREAT - so much work for something so basic lol
  7. Hello all this seems like it should be easy, and I tend to make things harder than they need to be; I have to make two picture frames that have an 8X10 opening; what I am struggling with - how do you assemble the easel and glass? around the opening do I trim 1/8" so when the glass is inserted, it sits flush with the bisque after the clay is fired? Do you glue the easel back onto the back of the frame? Any help/suggestions would be great - it really can't be this hard
  8. thank you all, a lot of good ideas; this seems more complicated than I thought it would be lol I actually tried searching for bisque frames, but I need an opening for a 8x10 photo; all I can find is mostly 4x6 or 3.5x5"; so that doesn't really help much I have a customer that wanted 2 photo frames, horse haired - and I just can't seem to get the frames made. Granted it is harder for me to do on bisque - but at least that was an easier and much quicker option
  9. Hi all, Most of the pottery I fire I intend to horse hair or Raku; thus I bisque fire it to cone 06. Most ceramics, or other dishes that are used to eat off of, or bisque that you buy are typically fired to cone 04. Say I accidentally fired some of my pottery that should have been fired at cone 04 at cone 06; and I had not intended on horse hairing these pieces, but rather using them for candy dishes, or ?? although they still could be sold as "decorative pieces", what is the real reason pieces are fired first at cone 04, then refired at cone 06? I know I can put these few pieces back in the kiln and fire then at cone 04; then all is good - but I am left wondering really, what are the ramifications of: 1) having under fired my piece (fired at cone 06 instead of cone 04) 2) if it is a decorative piece, not intended for food, but still glazed with cone 06 for final product - does it matter that it was accidentally fired at cone 06 for the bisque firing? Charlene
  10. Hi all; I have been doing craft fairs for a little while, and I have a decent product; my downfall is the selling point; I have tried to find older posts - for some reason, my "forum" now displays horribly like old HTML layout - which makes this impossible - but how do you engage customers, without running them off, but at the same time, acknowledging them and increasing sales? I always greet them, watch body language to see how to proceed next; I don't pounce on them if they are "just looking"...but I can't seem to find a way that works for me....any suggestions?
  11. Thank you - will read the blog you posted (GEP)....I did read that standing gives a much better presence than sitting - will try that I just started pottery a few years ago, most of the items I have now are decorative; I know I need more functional things, which will help. Maybe that is a followup question - if you have items that are more "decorative" - how do you sell a vase lol; I have done hang tags which has been suggested on here, I also have setup examples which has helped. One more question - what do you do with your items that are not 100%? Example: I had some jewelry cups for earrings and brushes that the glaze was too think n the bottom; they are still nice and functional, just not as perfect as I like. do you put them on a "markdown" shelf? Do you throw them away so you don't have a "shelf of shame" lol - thank you all - appreciate the help C.
  12. Hi all I have a cress 25P for the life of me I can't figure out how to run; my pottery teacher said that firing it for pottery isn't going to work, it is more a "hobby kiln", but I am sure they are able to fire to cone 6 it has a temperature wheel, a thumb-wheel numbered I think 1-10; and the hourly timer. the hour and temperature timer I think I get. what their instructions are lacking, is information about the thumb wheel There is also a setting on the side that you can set to fire faster or slower So, here is the question, how is the thumb wheel supposed to work? If I fire on the slowest speed, put the temperature at cone 6; once the thumb wheel has reached 10, does the kiln shut off? ANY HELP would be appreciated - I just can't get a clear picture of how this is supposed to work; have a manual, but it doesn't have any information on this specific configuration thanks in advance
  13. cstovin

    How To Fire Cress 25P

    Thank you, I have called Cress and wasn't too impressed with the help; they also do not have a manual. they directed me to their website, which manuals do not have the specified controls/combination of controls that mine has
  14. cstovin

    Where To Buy "iron Spangles" In Us

    thank you all, will give it a try
  15. Hi everyone, I have a glaze recipe that is yellow, with dark specks/streaks in it; It says the specks/streaks are "Iron Spangles" I googled that, and found that iron spangles: Iron oxides give a wide range of colours ranging from honey yellow, brownish reds, black, purple dependent on firing conditions. In reduction a blue colour is possible. - Iron spangles are actually LARGER pieces of iron oxide I can't find any place in US where they sell them, only sites in the UK; anyone know how I could/would get my fingers on some?
  16. HI all I have been scouring Google, and I can't find much information on using englobes and combining them with mid-fire glazes? I know the studio I used to take lessons with would for example roll a leaf into a plate, cover the surface with a black englobe and then fire; after it was initially fired, he would then use a combination of mid-fire glazes - I can't remember if this was the correct sequence; what glazes work well (cone 6) with englobes, or anything about how to even approach this Any info would be much appreciated! C
  17. cstovin

    Engobes And Mid-Fire Glazes

    I was trying to find out what mid-fire glaze combinations you could use with a black or red engobe? I can't remember what they used to do at the art center I used to go to; and I can't find much information on using engobes with mid-fire glazes.
  18. Hi all I thought I had seen some posts on here before, but I couldn't find them, so forgive me. I have seen the hang tag approach, and thought that was cute, but .... When a person has a lot of different items, some functional and some non-functional - what do you feel is the most aesthetically pleasing way to put prices on your work so they do not distract from your work or your booth? Forgive me again but: Hang tags: I hate hang tags: to me, they look sloppy; they fly all over in the wind; they litter your booth floor when they fall off; people always have to turn them over to read them. Overall, I just think they make my booth look more like a thrift type booth than more upscale. Round Sticky Dots: These do have some advantages over hang tags; they don't fly around; however I still find they fall off and litter the floor of the booth; they don't stay on, so if things don't sell, I always have to reprice everything once they get unpacked again for the next show. They do look slightly better to me than hang tags, but one other disadvantage is they are small; not everyone can read them. Tent Cards: I tried these, but where I have so many items that vary in price and usage, it was almost like every item has to have it's own tent card; then they don't stay put either So: What is your favorite method of marking your prices on your items so they still appear clean, professional, and pleasing - yet people don't have to search for the prices, can read the tags, and they stay where they are intended? Thoughts? Would love to hear what works for you and why.
  19. Thank you - I actually didn't realize the round labels were sold with "removable " adhesive. That is one thing I dislike about those, is that you peel them off to reprice, or whatever, and can't get the darn little things off I am picky aren't I Still would like to hear what works well for others
  20. Hello all, I have my own equipment at home (manual cress kiln and pottery wheel) and I also take a class; last night there was a comment that firing pottery is much different than firing traditional ceramics. (Meaning on average when firing ceramics it would take about 8 hours, pottery should take closer to 12-16 for Cone 6) Is that a true statement? That firing pottery is a much longer process than for ceramics? C.
  21. Thank you all, maybe I need to refine what I am asking; we were talking about for example the next fiiring (glaze firing) when doing "ceramics". The thought being in ceramics, still making greenware, firing to cone 04 then glaze fire. The statement that was made was that a "glaze fire" for "ceramics" as I eluded to takes less time than "pottery" glaze firing. Thank you for the input; I never really saw a different between making/mold pouring and associated process vs. Clay/Pottery hand building and now wheel works.... Input helps a lot! C.
  22. Hi all, I have scoured Google, and have found one or two Waterfall Brown recipes, but they were for Cone 10; does anyone have a Waterfall Brown recipe they would be willing to share that they have had good success with? (steady, etc.) Cone 6, Waterfall brown thank you C.
  23. Hi all, I am just starting to try mixing my own Cone 6 glazes, and I thought I would start with an easy one. The recipe didn't really have a name, but only has 3 ingredients. 80% Alberta Slip 20% Frit 3134 4% Rutile It is SUPPOSED to be Bluish (see attachment); I have tried this twice now, actually three times, and all I get is brown.... I tried: 80% Alberta Slip 20% Frit 3134 (3431?) 4% Rulte I also tried: 80% Ravenscrag Slip 20% Frit 3134 4% Rutile after doing more research, it said for alberta slip more than 50%, to calcine the rest. Questions: I have heard that I don't have to calcine the additional amount over 50% (30% If I do, does anyone know any place that sells calcined alberta slip? Or do I need to do it myself? Thank you all for any advice -
  24. Thank you all; I didn't necessarily mean a three ingredient glaze would be "easy", but easier in terms of only three ingredients to potentially trouble shoot, and much less to spend at first I liked the comment about cheating lol Thank you for suggesting it go on heavier, I thought the second time around two coats would be good; and I did mix it with a little less water but will try it again C.
  25. Hello, I have heard some people bisque fire to cone 04 and glaze (if their glaze is also cone 04) at the same time; I bought some Mayco elements to try, and it is Cone 06 to cone 6; but I have never used it, and DO plan on experimenting - for those that have fired and glazed at the same time, what has your experience been with this? I have glazed for example at the same time when clear glazing the inside of vases and things like that, but have never tried it using a colored glaze? Any pros and cons I need to be aware of? Is this totally a bad idea to glaze with elements glaze and fire to cone 04 with bisque firing and the glaze firing occurring at the same time?

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