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About preeta

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    Sacramento, California
  • Interests
    Cooking new things, especially vegetables I am not familiar with, starting a garden, reading, my sketchbook, writing, hiking and camping

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  1. Bisqueware at any temperature is fragile - whether earthenware or ^5/6 or ^10 claybody. because of its porosity. i would definitely experiment with earthenware just coz you have so much. you can use the principle of onggi potters. modern western ones who bisque and glaze fire but underfire the glaze and claybody so it remains porous but not as fragile as bisque. Could a vitrified earthenware be stronger than a cone 10 body glaze fired to cone 6?
  2. oooh so now i have questions. (sorry but i dont understand exactly what wares you are talking about? gradations of colour? kinda the feather pot bill posted above?) Because i am really interested in gradations of colour. 1 colour. how do you get that? do you further thin the glaze stain mixture to get different shades? Right now I am playing with Oxides. i make a base 50% oxide and 50% GB base. then i thin that base out like chinese ink painting so i can get gradations of colour. i wonder if i could do the same with Mason stains . Basically Mason stains are a mix of various oxides right? because pigment basically is some sort of oxide (i mean some sort of precious stone chemical form). if they are from clay they burn out. but if they are rock based pigment or created in a lab, then they usually can withstand high temperature. I am going to try your way as i have a few stains available to me at school. because i am so confused. why is mixing the stain with glaze so big. is it easier to move with glaze? ive used the 50% mix to paint on bisque and then covered in clear. on vertical faces the design does run a bit. (an effect i discovered by accident some people love). other than that i have faced no issues. ( i have had issues with black underglaze with too much clear which lead to leaking of blue). Old lady i had to take a materials class to understand medium.
  3. I've helped a classmate with her mothers ashes. ^6 electric - using school glaze. Thus a community area. Her urn had shoulders. What we found is if we dusted some of the ash on wet glaze right after dipping everything went well. Used a fine small kitchen sieve. If we dusted the ash on dry glaze the ash did not melt and left a rough area.
  4. Nancy I can so relate to you. I wrote a similar post a couple of years ago because I learnt so much from here despite being in a community college ceramics class. It's not just technical knowledge but I learnt so much about being an artist. And a machine who loves repetition. Welcome to the wonderful tribe here.
  5. Kristina this is the kind of question that will get you many answers, none of which is wrong. Are you a baker? Bake a lot? Wedging is not just about hands on clay mixing. its also about height of wedging area, your own body stance, AND unlearning other methods of kneading. I would try without wedging and see how you do. I’ve tried to not wedge, but when i touch the clay i feel its wrong not to wedge. It’s a head thing that i cant get out of. I think its because i really love the process of touching clay and deal with the rest to finish the product so I take every opportunity to touch clay. Plus i’ve been brought up by old school potters who talk so much about wedging ‘waking’ up the clay. Their words live within me that i cant shake of.
  6. Anna did you know the one country where ceramics is mighty popular major where they are churning out gobs and gobs of ceramicists is actually S Korea specifically Seoul. The university there or that famous museum there might be better able to guide you. You are in the hotbed of ceramics. A lot to learn there I am sure. Hope you find the answers.
  7. Woah! That's a big can of worms. Here's my advice. 1. Check out some glaze books printed in the last 10 years. To see all the different thoughts that went into it. 2. Find a potter near you. Someone who has wood-fired, gas fired and electric fired and more. Someone who is still selling wares or teaching. Have this conversation with them. I am not familiar with LB. I really appreciate your generosity. I really do. There are lots of ingredients that have been taken out of glazes in the last 20 or so years. The future generation might even consider what we use a danger. You need a partner. Without being in the ceramic world you need some help. Or at least a consultation.
  8. Aha Y if you post here you gotta give more info. I'm curious about general medium too. How thick was the underglaze you applied. How did you apply and how many layers did you use. Did the rest of your class use the same underglaze or did you make yours separately. Though my knowledge of earthenware is very limited I must admit.
  9. Curious why you would like to trim a pinch pot on the wheel? To make if look wheel thrown? My pinch pots are lumpy. I would never trim them on a wheel. How would I treat each lumpy area. For me I'd rather make a slab bowl on a mold. No trimming. I love pinch pot bowls. I love the gnarly feel on them (Tho I must admit I love gnarly. In fact I miss my old self. The beginning student bowls and cylinders. They had a natural movement that I have to now fake, but alas it's never like my beginning student work) I must also admit I love traditional pottery more than modern. I love buying other potters clean lines, but myself making its boring. I have actually wheel thrown a basic bowl to help with time and then trimmed it by pinching.
  10. Hey! Welcome back, Preeta! I missed your contributions. What are you up to now?

    1. oldlady


      yes!   glad to see you back.   hope all was well during your absence.  miss photos of your work.

    2. preeta


      Awww thank you guys. Just have had a lot going on. Mainly my teenage daughter's medical issues. Just trying to find answers which we are close to finally after suffering for 5 years.  

      Taking a principals of cooking class (3 hours straight standing and cooking. I loved every minute of it but it was only on the way back home the exhaustion would hit me) , starting a garden at a community plot plus working more. 

      I've taken all the community college classes in clay so now I volunteer to keep using the lab. So I have had no free time.  Plus i really got into researching the political world. I had to leave that now because it got too depressing (But thanks to Vaclav Havel i havent lost hope) and so I'm back here.  

      Clay is my first love and you guys are a great bunch to hang out with. I've missed the clay talk. So I've come home.  

      I love this sense of community. I found that in culinary and gardening as well as clay. 

      Eeh one day I'll have the guts to post pictures of my work.  I've got the form to where I like it but now am working on the skin I'd like to complete my work. I love our gas kiln. I've also finally accepted who I am as a potter. Which influence I want to show more. My political research helped me with that. I was grateful to find my voice of protest through my pottery. Now finally as a potter I am at peace.  

    3. Rae Reich

      Rae Reich

      Wow! What a lot of new input for your clay work - will we see "message" veggie steamers? Serving dishes for Peace? With all the talk about "kitchen table issues," the table surely is where community begins.

      Love and best wishes to you and your family 


  11. So many things to consider. Where is the crack? Vertical or horizontal. I’ve had more success with glaze filling in horizontal cracks than vertical. However for a time. Eventually over time and use its leaked. Ive fixed cracks using a similar formula mentioned here. But then I had it go thru another bisque fire before a glaze fire. If it worked then I’d continue glazing. The cracks grow bigger in glaze fire. Patch attach works for greenware. So works at 04. If I remember right earthenware glaze fire is lower than bisque. So cracks growing in glaze fire is not an issue.
  12. Nancy i agree. attend a few firings before you get a feel for what you want. everyone i've noticed does their firing differently. before going for a firing see if you can meet and talk to some of the people who have fired in the kiln. there is the book knowledge and then there is the actual experience. keep the book knowledge for yourself but go by any guidance (from solid sources) you get from the soda fires you will attend. forget how you want your wares to look. just do some testing intially. do some glazed, unglazed and slip look. i was all gungho in the beginning. until i actually took part in the firing i didnt understand it. i had lots of book knowledge.. just go and have fun. talk to the folks around you. actually sign up to help during the firing. you will learn so much from the people around you. look at their pots. trying nothing where they put things in the kiln (so help with loading) so you can understand what flames touching - got soda, too much soda, etc looks like. soda is my favourite firing. all my own favourite pots that i made came out of the soda kiln. bringle blue and yellow slips were my favourite with colour, flashing slips and honey lustre glaze (i think Pete Pinelle's recipe but not sure) . By the way the best way to approach this IMHO is to learn how to make work that will look the best in a soda fire. i've only done gas soda firing, not wood soda fire. ive dont wood salt and just wood firing and i make my wares different for both the fires. i put all my books away and stopped looking at others work and focused more on how other people's stuff came out of the kiln . you will be surprised how much work soda firings are and how HOT it can be esp. when you are not spraying in the cool of the night.
  13. Nah that should work. not after a week. a week is a long time. 150 to 190 degrees for maybe 6 to 8 hours. and then just be careful how you transport and pick up the ware. can easily create fine cracks at this time. though why convection oven. are you firing in a community kiln - or your own kiln? if your own kiln why not candle at 200 overnight and then start bisque. if community just find out if they candle overnight.
  14. extra water according to me creates more cracks esp. if both the items are really far apart with drying. there are some things that i learnt that saved me the surface cracks. - timing. i'd pull the handles, then trim my mugs, and then attach the handles. not more than 3 mugs at a time because i was using trimming to shape my mugs. - since i am heavy handed with water/slip i would put slip/water on one item - either the cup or handle not both. i'd score both. ~ for me the most important ~ turn the cups upside down, have all the handles facing in and cover and slow dry just for the night. give both the handles and cups a chance to reach similar wetness to bind well. however as i got better with understanding when to trim and how dry the handles should be i didnt need to dry if i was too impatient. however i do usually cover with plastic overnight. the way i attached handles and how i pulled handles when i was a beginner has changed considerably over time. one of the things that has improved is how much time i spend on the handle attachment. before i would spend a lot of time with a brush and tools. these days i press and two or three finger strokes on the top and same in the bottom and my handle attachments are done. i never use magic water. nor do i use slip. slip and score with water has worked really well for me. i do score really well (i lost my fear of scoring too deeply). my cups are treated quite roughly from toddlers and very helpful preschoolers. never had anything fall off.
  15. A couple of members here once fires. I think Oldlady is one of them. I tried the same G in our school test kiln. I was blown away by how different they turned out. I also noticed a difference in glaze outcome when test tiles were fired in test kiln vs regular kiln. I no longer use the test kiln for testing glazes.
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