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atanzey

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Everything posted by atanzey

  1. Pres - have you seen a video of this anywhere? I'd love to see, rather than trying to picture how you're doing this. Alice
  2. I bought a used L&L, and immediately dealt with their service to get new elements, some replacement bricks and element holders. I found them to be helpful. Maybe not 'southern friendly' but I got everything I needed with a minimum of effort. The support information on their website is the best I've found, although I haven't cruised 'all' the manufacturer's sites, since I really wanted the L&L. I also have an Olympic gas, and a Cress test kiln. Alice
  3. I've been thinking about this for a long time - a good many people mention throwing their scrap in the back yard. Please be aware that runoff from clay, when it enters any waterway or storm drain, would be a pollutant. Not because of toxic materials, but because of the turbidity it causes. So, if your yard drains to any waterway without treatment (like a stormwater pond), please don't. At certain times of the year, the turbidity impedes the development of some of the critters that keep our streams healthy. Likewise, if it ends up in a bay, it's a bad thing. Alice
  4. Based on her blog photos, Mea Rhee does this: http://www.goodelephant.com/recent-work.html - Fourth photo down on the left. She's on here as GEP - you could PM her and ask for some direct advice. Alice
  5. From the album: Photo Booth Dec 2013

    My new PVC Photo Booth. Try to ignore the studio clutter - this had to go in a junk corner!
  6. I love the first one - which appears to be the second one from your original post. The slightly muted colors don't distract from the layers and edges. The more intense color in the second distracts from what I think you're trying to convey, i.e. the layers. I like the third, but the more brittle feel of the 'broken' edges says something different to me - I like the flowing feel of the rolled-to-thin edge. I agree that thinner will make them even better. And the idea of something hidden inside was what prompted my previous suggestion of texture between the layers. I was thinking of very tiny occaisional texture marks, like hidden treasures peeking under the layers. I love your work! We make frequent trips to Raleigh; I keep thinking of seeing if I could come visit you! Alice
  7. I like the center one the most, and would love to see that many layers with the looser look in a 'more color' version - maybe there's more color to come out in the high fire? The first gives the appearance of 'separate' vessels. At first look, I didn't care for the one on the right, but looking again, the smoothing/flattening does make the piece more singular. Not sure how you're forming them, but it might be interesting to add some partially hidden textures in the 'underneath' sections. Alice
  8. My favorite is Axner - but I live up north and they're down south, and shipping is a bear. I still order smaller orders from them online - I've had excellent customer service there. And when we go to Florida to visit our son, a trip to Axner is usually on the agenda. I order some stuff from Clay-King because their prices are good. Alice
  9. Order the element, then when you have it on hand try heating and stretching. It would be a good learning experience, and at least in my world the only way something like that would work is if I already had the 'fix' on hand! Alice
  10. I have two Clay Boss wheels, one bought new and one bought used. I love them. I have used Shimpo and Brent, and I'll readily admit that there are benefits to spending more, but if you don't have it.... My 'used' wheel is better than the newer, store-bought one - go figure. The used one was an e-bay purchase, but I'm not sure I'd buy one again without being able to try it out first. I was just very lucky! I definately recommend plugging it in and seeing if it runs smoothly, if you buy used. Alice
  11. I dip my bisqueware (without pre-wetting), and then I load it into the kiln and turn it on. I haven't had any issues yet. I would recommend a little more of a wait if you thouroughly saturate the pots. If you're glazing greenware, I'd recommend a much longer wait! Alice
  12. I think you're going to hear most everyone say that it's not quite that simple. Glazes mixed by different people, and fired on different clays with different firing schedules may have different results. Then when you want to vary the color in a base glaze, the colorent oxides have varying toxicities and have varying effects on the glaze stability. That said, if you aquire the book 'Mastering Cone 6 Glazes' by Hesselberth & Roy, they have several base glazes that have been rigorously tested, and they consider very stable. They do an excellent job explaining the complexity and justifying their conclusion. If you do enough research, you'll get a good sense of what combinations and glaze types are more stabile, but the only way to be completely sure is to have laboratory tests performed. The above referenced book also recommends a laboratory which performs the tests, assuming it's still accurate. Alice
  13. Larry - I had the same problem with Wright's Water Blue - on my stuff, the first coat would be okay, but any overlap (even almost immediate runs) would flake off. Applications over other glazes ended up on the table or in the bottom of the pot. I tried wetting the ware, working faster, etc. I finally just quit using it, as it had a serious crackle problem on my clay, any way. Sorry to not be of any real help, but I'll be watching to see if anyone has any input as to why this happens. Your glazes both have Strontium and Lithium carb - I wonder if that's a coincidence... Alice
  14. During communion this morning, I had a driving desire to ask the pastor to hold the chalice up higher so I could see the signature. I resisted the impulse... Alice
  15. Now that you mention it, I think it might be just while it's cooling, but I'll have to think more on that later, when I've actually carried something into the house and put it on the counter! So, yes, it's not like the serious crazing I was getting with some badly fitting glazes, but it IS releasing some potential energy. No offense taken, here at least. The reason is basic - I like it. There's a look I'm going for (first attempt in my avitar) that I want for my own dinnerware, as I aquire that much skill. After that, I may never bother, if it's a pain! I guess a secondary reason, for me, is that it's proven to be more of a challenge than I expected, so I keep 'trying'. Good thoughts though - I'm already working toward eliminating a glaze that I REALLY like, simply because it's a pain to work with. I also have to learn some more interesting layering techniques, but I'm getting some basic colors developed that give me hope for the future! Alice
  16. Weeeeellll.... I don't HAVE to try it - what I'm using works, as long as you don't mind the occasional PING! And I only use it on the outside of funtional ware, so I don't feel like there's a sanitary issue, (and please, don't anyone jump into THAT aspect here!). But realistically, I probably WILL try it. My other three glazes I've developed in Insight have made me very happy, so I'm inclined to play some more! I'll try to remember to post some results here, if I do. Alice
  17. I've been in search of a floating blue that works for me. I've tried about three variations of basically the same formula, and the most recent has produced the best results. However, it apparently crackles. (Ping!) Not visibly, but audibly. I wanted some opinions (and this is usually a great place to get them) about whether the crackle is likely a function of the movement that creates the floating effect? I suspect that if I put this formula into Insight and manipulate it to get rid of the crackle, I might also get rid of the 'float'. Any thoughts, anyone? Alice
  18. Based on how my kiln shed smells as the wax burns off, I don't recommend it - that stuff is supposed to be highly toxic. I know it burns my throat, so I stay kind of clear of the space while it's burning out. The whole house will probably be filled with it. Alice
  19. It does look satin instead of high gloss. But I find the result very pleasing on that form. For me, glossier might not be as nice. But as to the 'why' - is HF9 indicating Cone 9? And you went to Cone 5? It seems that would be underfired, which would usually result in an incomplete melt. Alice
  20. And while we can't speak to why YOU would want to use it, the choice often lies in the firing limitations. It's easier (and less expensive) to get to earthenware temperatures. Alice
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