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Found 174 results

  1. Re-Firing

    Hello everyone, I have set the kiln to fire at night time and it switched off in the middle of the firing because of a power cut. Can I fire that again to get to the right temperature? Will the glaze be compromised? Thank you! Tatiana
  2. Hi all, I've had an order for some slab platters for Christmas. I know last minute shopping! So I've slabbed four already, I've been told that porcelain slabs need to dry slowly. Problem being is we're in mid summer with temps of +30 deg C, I have no storage room since I work outside. Can anyone confirm this info? If so how long should I keep them wrapped in plastic? Bearing in mind that every time I work on them they dry even more. Thanks Andread
  3. Hi, I would like to ask a question regarding reduction firing of porcelain. After (some of) my firings there seems to be a thin layer on top of my porcelain objects, which is not very white, more slightly yellowish grey. It very subtle though. But I realised when I sand it for a while it goes off, though this is quite labour intense work. I would like to understand better why this happens. Does someone know if it would be possible to avoid this? I have heard earlier that some ingredients also fired in the kiln might affect the porcelain colour. My reduction firing, was reduction from 950 to 1200 and fired till 1250. In about and around 15 hours. Any tips or information would be very welcome. As I would love to understand the reduction firing process better. Thank you so much!
  4. From the album Monoprinting with plaster

    Tile I made using a plaster slab, underglazes and porcelain casting slip, learned technique in Andrew Wandless' book 'Image Transfer on Clay' and also Joanne Veevers on CAD. This is still in greenware stage, not entirely sure how all of those colors will look as bisque and then glazed
  5. Brush-On Stoneware Glazes

    Hello! This may be a question that's a little silly, but I can't seem to find the answer anywhere. I've taken a liking to brushing on glazes on a banding wheel, as I've used earthenware clay/glazes for the majority of my time making pottery, and just recently decided to try a few different clay bodies and still intend to use brush-ons as much as I can. My question comes from the level of difficulty brushing 3 coats onto Cone 6 stoneware or porcelain (that has been fired and matured to Cone 6) brings, as It's not porous and takes a while for each coat to fully dry. As I've been looking at some different company glazes/glaze combinations and techniques (specifically Mayco), a lot of them have said to bisque fire to Cone 04, and then glaze fire to Cone 6 and it makes sense to me, but I still can't find it written anywhere definitively that that is the way to go about brushing on stoneware glazes. Is bisque firing stoneware or cone 6 porcelain to Cone 04 and then glaze firing to 6 a common practice when brushing on glazes or even dipping? Any information regarding this topic is greatly appreciated or any tips etc. about brush on stoneware glazes are also welcome! Thank you in advance!! Caden.
  6. I just tried making paperclay slip from a recipe that I was given at a workshop. The slip has turned out extremely runny and will not dry. To a 50# bag of dry porcelain clay Add to one qt of warm water • 7 grams Barium Carbonate • 13 grams soda ash To a 5 gallon bucket add • 2 gallons of water Add the barium carb mixture to the water and mix for 5 minutes, and while water is mixing: get mixture ready • ¾-1 oz of sodium silicate • 1 oz Darvon • 2 oz of water The paper pulp is made separately and added to the slip. First, it wasn't clear that you don't add the pulp to the entire 5 gallons of slip, so I added it to 2 gallons. I tried dipping wire and after 30 minutes, it's still wet. I left both the slip and the paperclay slip uncovered overnight in hopes of evaporating water, but that hasn't helped. I would really want to save this batch because I can't afford another 50# bag of porcelain. I wonder if there was too much deflocullent in the slip? Can I save it by adding a flocullent like epsom salts? Btw, are the epsom salts bought at a drugstore the same used in ceramics? Aloha - Eve
  7. Holly Disc

    From the album Avatar

    Small Christmas tree Ornament made with porcelain, stamped with a stamp of my own design, underglazed.

    © My own design

  8. Hi, I would like to ask tips and tricks on finding in Japan a ready made, very plasticity porcelain body which is translucent and white white. I have searched several pottery website and finding Arita porcelain clay body and Kutani. I have no idea which one. Since I'm new here, I thought other people with more experience might have some tips for me. Also if you have any tips on what I should not miss in Japan, it is more then welcome. Thank you so much!
  9. Hello! This is my first post after reading so much fabulous and useful advice on these forums the last couple of years. I'm still a bit of a newbie potter and I've been selling for just over a year. So far I've been really pleased and no complaints or negative comments (exception: why don't you make in blue?) LOL. So I sent off a pair of mugs (Etsy sale) and the new owner is really happy with them, except that he just tried to microwave one to reheat his beverage, and he heard some "pinging" noises. He was alarmed and took the mug out and didn't try again; he's just wondering if I know what is going on. The details: I use Tuckers Pottery 6-50 cone 6 porcelain clay. I fire to cone 6 based on witness cones. (I use cone 7 in the kiln sitter to get there). Glaze: I am making my own glazes. The liner glaze in these mugs was an Assad Opalescent (basic high percentage frit based glaze with no added oxides). Outside was a floating blue glaze (from John Britt's book of Cone 6 glazes: Floating Blue #2) I've used both of these before and have been very happy, and I've personally have had no problems with anything in my home. Unfortunately, I have sold everything at this moment that has this exact glaze combo. Also not sure if a mug done the same isn't necessarily going to be a perfect "test" as glaze thicknesses, exact kiln position, exact top temp, etc may be slightly different? Any advice would be really appreciated! Mostly I'd like to know if in *your* opinion I should tell this buyer not to try to nuke these mugs? I know I've been a bit "reckless" in claiming my things are microwave safe and I'm sorry now I did without being more sure. I've read the forums about the astm standards and I plan to at least test more carefully than just a few things I have at home. Thanks in advance! Cheers, Lorraine.
  10. Online Workshops

    Our online School of art is growing! Marcia Selsor's class is open for registration and is filling up nicely. David Voorhees's class on wheel thrown porcelain is open for the second time, while porcelainbyAntoinette is running 3 classes, one a complete beginners class on pinching teapots ( Pinching porcelain teapots will be added to this class in future) Details are available here: http://teachinart.com/frequent-asked-questions.html You can also get a sense of what this is all about here: http://teachinart.com/preview-e-courses.html
  11. Incense Cone Holder

    From the album LeeU June 2016

  12. Fusing Alumina To Porcelain

    Hi guys! Recently I asked about a silicone ring inside a mug and received a lot of good feedback. As a result I decided to ditch the silicone and attach an aluminum oxide piece to the mug instead. I have attached a picture of the test results. It is so close! The alumina sticks well, but small cracks will be formed on the glazing. Do you know of any tricks to minimize cracking? The parts were fired to 1260C with high temp. glazing. -Harry
  13. Kevin Snipes Workshop Heck Yeah: Creativity and Clay WS04 – Saturday & Sunday, 10-4pm, May 14 & 15 2016 Fee: $200 member/$225 non-member Artist Talk: Saturday May 14 at 6pm. Free and open to the public. Heck Yeah! - Creativity and Clay. Come explore the right side of your brain with Kevin Snipes and clay. Stretch, poke, prod, shape, squish and draw out those ideas! Working with both 2 and 3-D materials, he will help you unleash the hidden images and talents buried in your psyche. Engage in fun ways to invigorate your imagination with drawing, painting, collage and sculpting. Brainstorming with paper and pencil can lead to unexpected twists and turns that can be transferred to your ceramic art. Ceramic surface techniques and creating forms will be explored. This is open to all skill levels and artists from a variety of media. Kevin Snipes was born in Philadelphia, but grew up mostly in Cleveland, Ohio. He received a B.F.A. in ceramics and drawing from the Cleveland Institute of Art in 1994. After leaving grad school at the University of Florida in 2003 Kevin has led a seemingly nomadic artistic life, constantly making making no matter where he is. Kevin has participated in several artist residency programs, including the Clay Studio, in Philadelphia and Watershed Center for Ceramic Arts, in New Castle, Maine and received a Taunt Fellowship from the Archie Bray Foundation in Montana 2008. Exhibiting both nationally and internationally, including a recent solo exhibition at the Society of Arts and Craft, Boston; Akar, Iowa City and Duane Reed Gallery in St. Louis. Kevin has exhibited as far away as Jingdezhen, China. Kevin combines his love of constructing unconventional pottery with an obsessive need to draw on everything that he produces, creating a uniquely dynamic body of work. www.Kevinsnipes.com Contact Mary Cloonan at mary.cloonan@baltimoreclayworks.org for more information. Baltimore Clayworks 5707 Smith Avenue Baltimore, MD 21209 www.baltimoreclayworks.org
  14. I am new to using my own kiln, I have an electric one. I use cone 10 porcelain but I don't glaze, I just underglaze. The porcelain after being fired to cone 10 does not come out very white and this is southern ice so it should. The only thing i can think of is that I am putting on a bisque setting till cone 10 (which was recommended by the company L&L Kilns) since I don't do any glazing. Can someone help me out here? Please? Thanks in advance!
  15. Porcelain Cone Incense Holder

    From the album LeeU 3-16 Smalls

    Table piece for holding cone incense.
  16. Incense Cone Holder-Porcelain

    From the album LeeU 3-16 Smalls

    Table piece for holding cone incense.
  17. Incense Cone Holder-Porcelain

    From the album LeeU 3-16 Smalls

    Porcelain table piece for holding cone incense.
  18. Incense Cone Holder

    From the album LeeU 3-16 Smalls

    Holder for cone incense.
  19. Incense Holder

    From the album LeeU 3-16 Smalls

    Table piece used for cone or resin incense
  20. Incense Holder

    From the album LeeU 3-16 Smalls

    Table piece used for burning cone or resin incense
  21. Textured Slab Tray

    From the album LeeU 3-16 Smalls

    Free formed shallow bowl-like tray stamped with crochet lace; has feet, clear glaze and bare clay.
  22. Small Flowered Box

    From the album LeeU 3-16 Smalls

    Small box, porcelain, clear glass in well, stamped outside
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