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  1. Terracotta & glaze compatability

    My first guess is what Marcia said. Bisque to a higher temperature than you glaze fire to. Red clay has lots of impurities/organic matter which leads to a high loss on ignition and off-gassing (matter burns out of the clay and produces gas, the gas is trapped by the glaze).
  2. Leaving glazed pieces unfired

    Chris Gustin sprays his pieces with some type of glue (regular white Elmers, I think) after glazing to protect the glaze from chipping off before firing. I think you could easily dip them if you do not have access to a sprayer. Similar to using hairspray, which I have heard of. I'm not sure if either is better than the other
  3. Making terra cotta bricks

    I think (70) redart, (20) 30-40mesh silica sand, (10) om4 ball clay
  4. Making terra cotta bricks

    Yes. You might look at some old brick making techniques to give you some ideas. My brother makes wooden molds for custom shapes of bricks, fills them with clay, then wires the excess clay from the top of the mold. The clay he uses is Redart for the color, sand as an aggregate/adds a coarse texture, and some ball clay for plasticity. I fire them to cone 04 and he uses them like regular bricks. The bricks when installed act like a crown molding/baseboard trim. It’s inefficient but it makes his home unique. Adding some type of coarse material will improve the drying properties of clay. Also, I’m not sure why you would add further detail after the clay is fired, it is easier to work with when plastic and holds detail very well.
  5. Please tell me I'm not crazy...

    Unless you have a pugmill, lots of buckets, and free time I doubt it will be financially sensible to go through with it. It can be a lot of work to reclaim clay if you don't have a good set up. To contradict myself I would probably do it depending on the circumstances. I've never heard of the clay but that doesn't mean much. You could take a small chunk of the clay, place it in a bowl made of high fire clay and fire it to cone 6 and 10, if possible. The absorption of the fired clay/just looking at it will give you an idea of what you have. Because she's insisting it's low fire it may be a talc/ball clay body but it's hard to say. Best luck to ya
  6. Others have said this but to reiterate - use Pottery Plaster #1 not Plaster of Paris
  7. Digitalfire has a few cone 6 glaze recipes, along with an explanation of why certain materials were used and how to adjust if needed. I agree with Tony Hansen when he says focus on making one glaze and adjusting to suit your needs instead of trying 10 different recipes without knowing how to adjust them. https://digitalfire.com/4sight/recipes/index.html
  8. The graphic/impression was most likely made with a wooden or metal stamp. It may be a sprig like Pres said or it ma have been stamped directly into the surface of the pot. I think it would be less work (after some trial and error) to stamp the pot directly. There are a number of companies that will make a stamp from a graphic. A quick online search will give you a number of companies and their pricing. You can also try an office supply store. If they offer customized rubber stamps, I assume that would work too. If I was trying to replicate the photo I would throw the pot, stamp it, apply underglaze or stain wash to the logo, wipe away the high areas of underglaze with a sponge, bisque it, wax the stamped area, then dip the entire pot in glaze.
  9. Sheer Thinning

    I would contact the materials guru Tony Hansen of Plainsman Clays and Digitalfire
  10. Looking For A Mentor

    I would take a class at a local community college or art center and see if any of the instructors resonate with you/have the knowledge you seek. See if they tutor on the side or would be willing to barter your time assisting them for their time teaching. I would look for anyone experienced in the field close to you and tell them what you are looking for. Even if they are not the person to teach you they might put you in touch with someone who will. I'm a big believer in seek and you will find, something like that. If you go out there and talk to potters or art teachers in your area, you will find what you are looking for.
  11. Cone 02-06 Colored Porcelain.

    If you haven't read it already, here's an article written by Bryan Hopkins. It gives the surface/basic ideas behind his "low fire porcelain." I have had good results with 60 NZ kaolin and 40 frit 3124 and a pinch (3) vee gum t. Tony Hansen has a recipe for an 03 "porcelain" on his website, digitalfire.com but I found I liked the translucency/surface qualities of mine better https://static1.squarespace.com/static/50ea736ae4b08880418d6c1c/t/53ff5411e4b0516a0c50e326/1409242129781/HopkinsFINAL.pdf
  12. ^03 Porcelain

    I have tried this recipe and I have found that 60% NZ kaolin and 40% Frit 3124 (sub any borax frit) +3% Veegum appears less grainy when comparing the translucency. Similar to photography where a higher ISO film looks more grainy,
  13. Biodiesel Fired Kiln

    I don't know antthing about this subject but I find it very interesting. I know Sam Clarkson (Santa Cruz, Californina I think) used to fire his kiln with vegetable oil, he may be a valuable resource to you
  14. Here's one: earthenware fired to cone ~7

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