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TortoiseAvenger

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Everything posted by TortoiseAvenger

  1. I'm attracted to the whiteness and translucency and supposed strength of porcelain. Will I get this at cone 6 if I use a porcelain clay designed for it? I've been using cone 6 cream colored stoneware. Any ideas on what differences I'll notice working with it, firing it, and finishing it? I've heard porcelain is less forgiving... How do I clean the stoneware clay off my canvas table? So far, I've only used it for off white clays... Nothing like terra cotta, so I wouldn't think if be THAT much of an issue... Your thoughts?
  2. Hello y'all: I'm interested in non-food safe glazes, and wondered if you had ideas on things I could make that didn't involve food or drink. So far, I thought of: Vases Decorative bowls Windchimes? Plant pots Any other ideas? TA
  3. Hello-- I'm thinking of doing a figure with a crown, and I'd like the crown to be gold-ish, though being metallic is more important to me than being yellowy gold. In the end, I want the gold to look very worn, dirty, and antiqued. I don't want to paint it. Is there a glaze that would do the trick? Some wash? Goldleaf after firing? Thanks, TA
  4. I'm searching for a way to get a finish like that in the pictures attached. Both Oxide washes and Mason stains have been recommended. I did a little research, and it seems that a big benefit of Mason stains is that they are more "what you see is what you get." Given what I'm going for, does anyone have recommendations or information on the similarities/differences that might guide my decision? I could always use both, but I'm not sure when to use what. Thanks! TA
  5. The mason stains look interesting. How well do the colors stay at ^6?
  6. For now I've decided to make my own glazes. They turned out pretty good! I'm also interested in the dry look of oxide washes...
  7. Anyone work with this? I'm getting into sculpture and it seems pretty cool. I just finished making a batch. The biggest benefit I see touted is the ability to connect bone dry pieces. Are there other benefits? Anything I should know before I start? I can still single fire with it I assume. (I know about the smoke it creates.) Any tips or info would be helpful. Thanks!
  8. Bummer. Just posted a new thread for red suggestions.
  9. I just posted a thread about using cadmium, and was told that it was fugitive at ^6. Any other recommendations? This stain will be used for small details on sculpture, so I'm not concerned about toxicity. Ideally, the color would be valentine red. Thanks! TA
  10. I worked for quite awhile as a chemist and am aware of what I'm up against.
  11. I have some red cadmium, and I would like to get a nice red oxide stain. If I just mix a little cadmium with some frit, will this get me there at cone six? I heard there were some concerns with cadmium bleaching out higher temperatures. What are you guys think?
  12. I'm trying out some sculpture, and many of the resources use clay supports to hold up arms and things to help support their weight. They state that these will remain intact through the bisque firing. My question is, how do you keep the arm from sticking to the support? Obviously you wouldn't score and slip and not even press down on the piece, but it seems like they would stick together a little bit. If this happens is there a way to separate them without breaking the piece?
  13. Anyone know how to create a finish like that shown in the attached picture? I'm interested in trying out sculpture, and am attracted finishes like this. Specifically, I'm looking for something: Very thin, so the fine detail in the piece remains. Muted colors (but still color present) Matte Finish Fired--not painted. I like the permanency and durability of a fired "glaze" or finish. I've made a few of my own glazes now, and they've turned out well... but they look like a typical glaze. Any ideas?
  14. I found two breaks in the elements and repaired them quite simply. Everything seems to be working now
  15. Hello everyone. I posed earlier that I was having problems with my kiln getting up to temperature. Sure enough, it seems that some of the elements aren't working. (See pic) How do I fix this? I'm just starting out, and I've reached my budget as far as ceramics are concerned, so I hope there is a cheap fix. I overheard someone say that you can cut the element at an effected part and overlap the element to make a connection. Is this so? Thanks, TA
  16. I took a pic of my kiln with the elements on and am posting it to a new topic for help. It seems that some of the elements are not firing up.
  17. I think you misunderstood me. The kiln did shut off just fine from the kiln sitter, but the five manual switches remain in the "on" position, and I forgot this the next time I fired the kiln.
  18. I've been trying to fire some glaze test tiles, and as of this morning, I've failed twice. When I first got my (used) kiln I fired it empty to cone 8 to see if it would work, and it did. Everything went fine. I followed the directions that came with it. Then I put in round one of test tiles. They all exploded on me, because when the kiln sitter shut off from firing #1, I forgot that all of the power switches were still switched to on. It probably ran for 20 mins before I shut it down. I made more tiles, and put them in yesterday. However, even after 11 hours of firing, the kiln wasn't getting up to temperature. I was trying to fire to cone 6. I put in a cone 5, 6, and 7 to observe. Cone 5 may have slightly bent, but I'm not sure. The only difference I can think of is that for this firing I left the bottom peephole open. The directions say to only leave the top peephole open during firing. I also left the bottom open because I needed to see the cones, and I assumed that the open 1" hole would make little difference. During the final hour of firing last night, I closed the peephole in hopes that it would help, but no progress was made in that hour. Could it be that the peephole being open kept the kiln from getting up to temperature? I'm really frustrated, and I don't really want to make another set of 20 glaze test tiles for them to get screwed up again. Any ideas? Thanks, TA
  19. I read that as long as clay dries evenly, it can be dried fast. I made some glaze test tiles last night, and I'd like to glaze them tonight. Think I can put them in the oven to speed up their drying? Low heat? Maybe 200F?
  20. So you can take the needle tool and sign your name or initials... but to me, this often looks clunky. I'd like a more elegant solution. What about having a rubber stamp made and dipping it in an oxide wash, then stamping the piece? This would be great for a logo... Any other ideas?
  21. Hello all: I'm moving forward with my skills, and wondered if anyone had opinions on the best way to avoid glaze on the very bottoms of things. I've heard of using a resist, and also saw someone brushing away the glaze with a wire brush. The latter seems difficult to do, especially since I hope to single fire. Any tips on the best resists? Thanks, TA
  22. Check out the pics here: http://community.ceramicartsdaily.org/topic/6503-bought-a-used-kiln-opinions-on-conditionrepair/
  23. In my world, a water absorbing substance is called hygroscopic. It matters when weighing things out because the more water something absorbs, the heavier it becomes. Thus, 100 g of a hygroscopic substance might only be 95 g of that substance, if the other 5 is water.
  24. My recipe calls for "silica". My supplier stocks "Amorphous Silica." Do you think the two are interchangeable?
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