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    • Jennifer Harnetty

      Moderators needed!   12/08/2017

      Ceramic Arts Network is looking for two new forum moderators for the Clay and Glaze Chemistry and Equipment Use and Repair sections of the Ceramic Arts Network Community Forum. We are looking for somebody who is an active participant (i.e. somebody who participates on a daily basis, or near daily) on the forum. Moderators must be willing to monitor the forum on a daily basis to remove spam, make sure members are adhering to the Forum Terms of Use, and make sure posts are in the appropriate categories. In addition to moderating their primary sections, Moderators must work as a team with other moderators to monitor the areas of the forum that do not have dedicated moderators (Educational Approaches and Resources, Aesthetic Approaches and Philosophy, etc.). Moderators must have a solid understanding of the area of the forum they are going to moderate (i.e. the Clay and Glaze Chemistry moderator must be somebody who mixes, tests, and has a decent understanding of materials). Moderators must be diplomatic communicators, be receptive to others’ ideas, and be able to see things from multiple perspectives. This is a volunteer position that comes with an honorary annual ICAN Gold membership. If you are interested, please send an email outlining your experience and qualifications to jharnetty@ceramics.org.

Joseph F

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About Joseph F

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    Always Experimenting
  • Birthday 08/12/1984

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  1. Congrats everyone. Good to see all my fellow potters rocking it out.
  2. Glazes That Break

    I imagine looking at the colors is romantic in a sense as well. You feel more connected to the process maybe? Can't imagine doing this myself, I am super thankful for my controller.
  3. Glazes That Break

    Bad loads are part of testing. Usually it comes from a lack of good testing practices. Take time to make good notes and run good test and you will have quicker advances and happier openings. Don't jump to conclusions based off a tile and do and entire load in that glaze. Slowly scale up your test. Go from tile to small cup to budvase to an actual pot you plan to sell. This way you get to experience a few things about the glaze like how it keeps, how it applies, and how it fires over different surfaces and shapes.
  4. Cone 6 call today-no help

    Correct. The ability to remove post was removed.
  5. Ian Currie Test Tiles Forums?

    For sprayed yes, because you could measure the amount you put into the container to spray, but then you would have to say your getting 100% onto the pot. which is unrealistic unless your holding the gun point blank. of course you could do this or atleast estimate the amount going on a pot say like 75% or something, then add that into your calculations, but its not very scientific. I guess you could do it for dipping as well, by weighing the container after the dip to see the amount of liquid weight removed, then see how much 1 ml weighs and do the math.
  6. Ian Currie Test Tiles Forums?

    On a flat tile you know how many grams will be on the tile based on how many ml you add to it right? So if your adding 2ml of glaze fluid and that contains x amount of glaze per ml then you can work out the rough math. In reality, what is the point of it because application on real pots is never done this way. It is either sprayed, dipped, or poured all of which would be absurd to try to measure.
  7. Glazes That Break

    /agree I always, always place a final kiln shelf over all my work at the top of my kiln. I find it makes a difference.
  8. Glazes That Break

    Updated my post with all the tiles with my schedule for those who were interested. Thanks Marcia for reminding me to follow my own words.
  9. Glazes That Break

    It is funny that you mention this. Because I literally said that people should be doing this on the currie tile thread but then I didn't do it here! I will edit them to include the schedule I used when I fired them.
  10. Glazes That Break

    Not sure if this was a question or not, but yes. Flint = Silica.
  11. Glazes That Break

    Well it is worth a shot firing them both, who knows. Glazes are soo different between kilns usually unless your firing same clay, same schedule, and mostly same ingredient sources. It doesn't cost much to mix up 100g of each and dip a few tiles. Please post your results, I am very interested in seeing how they traveled.
  12. Glazes That Break

    Don't thank me yet. Wait till you fire them lol. Do you slow cool at all?
  13. Glazes That Break

    Here are two of my favorite glazes to use: Folk Fireborn White is a modified version of a cream glaze that was in john britts book. It was originally called Folk Art White. I changed it pretty substantially, but left the folk part to give credit to the original glaze creator. This glaze is a glossy white glaze that if slow cooled turns into almost a glossy satin. If it is put on thin, it will show reddish colors where it is thin. Note you don't have to use 13 tin, it makes the glaze absurdly expensive, you can try different amounts to see what works best for you. I like it at 13 though. If you want it more cream increase the RIO and you will get something that looks like this: The area on the right corner is a titanium glazed sprayed over it to add variation to the base. Obviously it was a bit thick = ) ---------------------------------- The second glaze, is called Charles Titanium, I am not sure what the glaze is actually for. I like glazes with titanium in them so I tried it and it produced a clearish runny looking glaze. However when you slow cool it, it changes drastically. I ran a grid of it to find better versions which I use above. This is the glaze with a gunmetal stain added to it. Notice it breaks nicely on the edges. Also it reacts well to seashell flashing. Same glaze just fired on shells. Another version of the glaze. Again this has to have a slow cool or it will be a clearish looking glaze. Tile on the far right is the same glaze above. Except this time it has 2% yellow orche. So as you can see it is very adaptable to colorants. I don't know what your firing schedule is, but give both of them a try and see what you get. Might be terrible, might be completely different, might be exactly the same. I usually dont post recipes because I find they don't travel well, but who knows you could find something you like. EDIT: found a picture of it on stoneware that shows the clearish properties: EDIT FOR CLARITY(thanks @Marcia Selsor for reminding me.) The above glazes are all cone 6, the clay bodies are red rock, and black ice. They were all single fired. Materials sourced from US Pigment. Single Firing Schedule as follows: 1. 200F/h - 220F - 30min hold 2. 300F/h - 500F - 15min hold 3. 400F/h - 1550F - 30min hold 4. 400F/h - 2032F - 0 5. 108F/h - 2232F(other cone 6) - 5 min hold 6. 175F/h - 1800F - 30min hold 7. 50F/h - 1600F - 45min hold 8. 50F/h- 1500F - 30min hold This is basically my current schedule for singlefiring. I found the holds at 500 and 1550 improved the surfaces on my single fired red rock. It is about a 10 hour slow cool to 1500F.
  14. Glazes That Break

    Why don't you just take an existing glaze you know breaks and change the colorants around? Unless it's a very refractory colorant it should work fine. If you need some glaze recipes I can post some.
  15. Lepidolite

    Can we all just agree that this conversation as degraded into madness and get it back on track instead of pitchforking each other. I am not a mod nor want to be, but I value opinions from both sides and I think all good discussions come with an open mind. The ability to keep that mind open relies on people not beating each other into a pulp if one disagrees with the other. If people start to feel afraid to make a post, even if it was a bad one, then what are we doing here as a community?

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