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Found 179 results

  1. LeeU

    Incense Cone Holder

    From the album: LeeU 3-16 Smalls

    Holder for cone incense.
  2. LeeU

    Incense Holder

    From the album: LeeU 3-16 Smalls

    Table piece used for cone or resin incense
  3. LeeU

    Incense Holder

    From the album: LeeU 3-16 Smalls

    Table piece used for burning cone or resin incense
  4. LeeU

    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.
  5. LeeU

    Small Flowered Box

    From the album: LeeU 3-16 Smalls

    Small box, porcelain, clear glass in well, stamped outside
  6. LeeU

    Small Flowered Box

    From the album: LeeU 3-16 Smalls

    Small box, porcelain, clear glaze in well, stamped outside.
  7. Hello there everyone! First post from a porcelain newbie. Tell me if I'm being ambitious here, though I'd like to undertake a process of creating many super thin 15-20cm long porcelain feathers for a project. I've only ever worked with stoneware, handbuilding with slabs and pinch pots, I've never used slip before - so this will involve a lot of first time experiences for me. I'm trying to plan out how I'll make these forms, preferably double sided. I have access to a kiln a few months from now, so will be able to do some home experimenting (though I'm a total novice in that regard, so I'd probably want to fire them with my local studio instead - however they only do mid-firings, so not sure if I'd be able to) Regardless, I'm happy to make the greenware and store them until I can get access to a kiln. So here are my ideas, let me know if they spark anything in your mind and you can give me any advice/tell me that it's never going to work First idea: On a dampened plaster slab, using different nozzles on slip trailers, I pipe out the stem and an outline of the feather shape, with none of the feather 'prongs' (?) touching each other, leave to dry for a few minutes: (Sorry in advance for my terrible MS paint skills) Once the first piping has dried a little, I pipe out a second layer of 'prongs' and repeat this process until there are no gaps to achieve a 'feather like' texture: I then finish it by piping out another stem on top. Leave it on the plaster slab to dry, then peel off? Second idea: Buy feather silicone moulds used for cake decorating and create plaster slump moulds from them: The trouble with this idea is that the feathers would only have texture on one side, do you have any ideas on how I could make double sided versions? Third idea: Scrap using slip and use a plastic porcelain instead, roll it out thin and cut out leaf/feather shapes before applying a texture to each piece. (Time consuming?) -------------------------------------------------------- Ultimately I'd like to make 60-70 pieces to start with - and maybe more in future if it all turns out well, so efficiency is important to me. I like the first idea the most since it would make every piece unique, though if you don't believe it would work, let me know as while I'm happy to experiment, everyone's previous experience and knowledge is a fantastic gift and it'd be a shame to waste it
  8. Jroe

    Porcelain twist

    From the album: Jewels

  9. Jroe

    Blue and white squares

    From the album: Jewels

    Blue and white porcelain pieces as a necklace with matching ring
  10. Hello! I'm new to the community, and I've been trying to find information throughout the other threads, but haven't had too much luck... I've been working with Sculpey polymer clays and glazes to make little charms and figurines, but have been wanting to move on to heavier clays and their beautiful glazes.I particularly love the look of porcelain, but I am a complete newbie, and don't know where to begin. I live in Seattle, so I am hoping to check out Seattle Potter Supply sometime this week, but I'd love to have an idea of what to get before I go. Mostly, I will probably stick to making charms, ring holders, and bracelets at first, but I've always loved the idea of making my own dinnerware. I will be hand building everything, and most of the charms I make are fairly tiny (1" or smaller). The ring holders and bracelets would obviously be bigger, but probably nothing over 4", and everything should be less than 1/2" in thickness. I am wondering if there is any clay I should start with that could achieve a look similar to porcelain, or if I should try to jump into porcelain first. I am aware polymer clay has incredibly different properties, and that porcelain is notorious for being difficult to work with (cracking, shrinkage, slumping, etc). I am hoping that since the pieces I'd be making will be small and not too complex in form (I am fairly quick at forming them now), that it shouldn't pose too much of a problem. Grolleg, Kutani, Dove, Awaji, and Crystal White Porcelains were some of the ones I was looking at that had descriptions that seemed to match my needs. But I also saw Alpine White, which is a stoneware, and wondered if that also might be what I am looking for. I an image (the unicorn) of what I'd hope my work will eventually similarly translate to in ceramics. Thank you!
  11. Hi Folks, I have started to use cone 10 porcelain from sheffield pottery. Since it is full of impurities, I decided to fire my porcelain pots in oxidation. My pieces are pretty thin and I get crawling just along the rim of each piece....like clockwork. Crawling is also a problem along sharp ridges where curves of the form jut out and then recede. Does anyone use Sheffield's porcelain cone 10? If so, would you be kind enough to share a clear porcelain glaze recipe that does not crawl, with me? FYI, I wear gloves to handle the ware, glaze immediately after bisque so dust and grease are not a problem. I have added 1.5% bentonite to my glaze to add some small platelets to my glaze mix which has made little to no difference. The recipe which I use (from Mary Risley (RIP) at Wesleyan University 40 years ago....): Custer spar 33 Flint (silcosil) 32 Whiting (snocal 40) 20 Grolleg Kaolin 15 Help?!!! Does anyone have any recommendations (bedsides switching to EPK in the glaze. I am in the process of testing it)? Sharon Nahill Oak Hill Pottery Meredith, NH
  12. EDIT 2 : January 2016 - I've tested the porcelain-paper-clay-based engobes, and I haven't noticed any difference. Even with regards to sgraffito, there's no difference that I can see. Thank you all for your input EDIT 1 : November 2015 - The answer seems to be "yes, of course it's possible". I'll update the message again once I've tried it for myself. posted November 2015 Hi ! *Background information :* I use an expensive porcelain, and generally go to great lengths to reclaim every scraps. I throw my pots on the wheel, and decorate my pots with home-made engobes that I formulate on the basis of a slip made from the same porcelain body, to which I add various pigments/stains/oxides etc. I usually use a commercial glaze, glossy transparent, and electric-fire between 1280°c and 1320°c (which converts to cone 9-10 ?). Last year, for the first time, I prepared a batch of paper-clay using the same porcelain body I usually use. After playing with it, I was left with a pile of bone-dry paper-clay. I crushed it, added water to slip consistency, sieved it through 80 mesh, and stored it in a bucket for 18 months. I'm now left with 30 liters (8 gallons ?) of porcelain-paper-clay slip that I'd like to use in some way. Hopefully as basis for engobe, because I need big quantities of it, and always find myself running short. But I'm concerned about the presence of paper fibers in the mix. Could it significantly affect the bonding between the slip and the pots during the drying process ? during the 1st firing ? Could it affect the texture of the surface of the pots ? Could it affect the color ? Could it cause significant issues with regards to the glazing ? *Question :* Can I use this porcelain-paper-clay slip without further a-do as a basis for engobe, as I usually do with "normal" porcelain slip ? If yes, great ! If no, what do you advise ? Is there something I could do to make this slip usable as a basis for engobe ? I'd be very thankful for your advice, if you had experience with this. Emma Disclaimer 1 : I've been working with clay for only 5 years, with my own studio for 6 months. I try to experiment as much as possible, but now that I have my own studio, I often feel too caught in the production process (to be able to live and pay rent !) to go as thoroughly and systematically as I'd like in the trial-and-error approach. Disclaimer 2 : English isn't my 1st language. I hope I managed to explain my process/problem clearly enough !
  13. Hi everyone I use porcelain clay and I hand paint each work but I'm looking at making a new series of work that I want use the same drawing in multiple pieces say 100. So maybe a decal or transfer? I want it to be a crisp image and on unglazed work that is fired to 1280 degrees Celsius. I'm happy to apply it at any stage after it's built but would be best on bisque. I can only think of those glossy 80s decals that need to be applied to glazed work, but I want a more seem less matt finish with no outline. I wanted to attach an image to this post as an example but I can't work out how.. Oh and these will it be functional works Thanks Lilly
  14. rakukuku

    work In progress 1

    From the album: rakukuku

  15. Hello, I would love to start working with porcelain. I found a used kiln which has highest temperature 2300F. Is it enough for firing porcelain? I do understand that different types of porcelain require different temperature. I hope that this kiln will be suited for all of them?
  16. Since I can't work with clay for a certain time, but can't be without either, I was looking for books I could read about our passion. And just in time our colleague Edmund de Waal's new book is on the market. I've already read a third of the book and it's a real page turner if you are obsessed with clay and, in particular, porcelain. Edmund de Waal: The white road (mount Kao-ling - a pilgrimage of sorts). Happy reading! Evelyne
  17. Hi! Does anyone know whether it is possible to attach porcelain to glass? I mean, attaching a small amount of glass to porcelain is easy, but can a little bit of porcelain be attached to a piece of glass? For example, can a drinking glass be covered with porcelain (lets say 0.5mm thick layer) and then fired? -Harry
  18. rayaldridge

    Celadon Bellarmine hand Pipe

    From the album: newer work

    Hand pipe with bearded face sculpted on to bowl.
  19. rayaldridge

    Baby Bird hand Pipe

    From the album: newer work

    Hand pipe in the form of a baby bird. Ash glaze over white titania glaze.
  20. Hello everyone! Another question from me: is it possible to cast a flat plate (without a foot) with a one-piece plaster mold? I am usually throwing a prototype with a simple white clay on a wheel, then wait until its dry enough and cast a mold, but when i tried making a plaster mold for a flat plate, plaster seemed to heavy for the clay to hold, clay got softer and caved in. As the result: the mold is with a little knob in the middle. Any advices? Thank you! Nata
  21. Dear everyone, I am quite new to a slip casting technique. Have made several plaster molds for casting porcelain. And had some success, but recently I have noticed that some of the greenware gets tiny pinholes and then, (because some cups doesnt have it) there are SOMETIMES also pinholes on the glaze. If i got it right, those tiny pinholes are the result of air bubbles or pieces of dust in the casting slip, right? But i wonder, do those pinholes influence the glaze? I am a bit confused, because some of the porcelain cups are not having those pinholes on the glaze and some do have. The thing is that the kiln in the studio where i used to fire my work is very old, and as a kiln technician said, it fires hire than it should and moreover fires unevenly. I wonder if this could be the reason for the pinholes on the glaze surface? Or maybe pinholes on the greenware? Or both? Do you have any ideas? Or similar experience? Thank you in advance!!
  22. Dear colleagues, I have to make a decision as I could have a Venco Super Twin in a few days here in my studio what would normally take months to be delivered and I have a big order of lots of plates to throw. In my research about pugmills I have come as far as that I think I have to decide between buying a Peter Pugger vpmss20 and a Venco Super Twin, both stainless steel and de-airing. I throw porcelain and run a studio production, means around 2 tons a year, getting more (sorry, I'm not a native speaker)... I'll need it in the first place for replacing the wedging of new porcelain clay as I find this extremely power- and timeconsuming for production. I let the wet material dry a little bit down to have a stiffer clay for throwing thin bigger pots. That means the clay has stiffer parts outside from the drying and softer ones inside even if I dry it slowly under a soft fabric to avoid too fast drying. I hope such a machine could mix and de-air it for having a homogen porcelain body ready for throwing. That's what I intend mainly. To reclaim crap is also an idea but not really important as I can sell trimming crap for a small money to someone who re-uses it for small sculptures. i know in stoneware de-aired clay is a gorgeous thing for throwing, but porcelain is different and it seems to absorb air whenever possible so the vacuum effect might be a problem? What I have heard about the Peter Puggers: Some potters have problems with porcelain coming out with no plasticity. Also heard a rumour that the pugging chamber of the PP is too short for good de-airing. The advantage of PP seems to be that the clay can be stiffened or dried down easily and that any stiffness doesn't seem to be a problem at all as the mill is very strong so it won't stop with stiffer clay. About the Venco: the twin spiral shall have a quite well mixing effect but the de-airing pump shall also not be so good. Another disadvantage of the Venco is that I heard it stands still if the clay is too stiff and you have to open it to pull the clay out before going on with softer clay. I'm afraid I will have spent so much money to have small air bubbles in my fired ware what must be quite horrifying and / or that I have a machine that stops when i put a bit stiffer clay for bigger pots into it. It would be SO GREAT if anyone working with porcelain with these machines could share his/her experiences... thanks so much, claude
  23. jim keffer pottery

    Porcelain Vase 10" Fired to cone 6 Oxidation

    From the album: Jim Keffer Pottery

    Porcelain Vase 10" Fired to cone 6 Oxidation with Black Opulence Coyote Blue and Saturation Metalic
  24. rayaldridge

    Tall Green Bird Effigy Water Pipe

    From the album: newer work

    This is a one-piece water pipe, thrown in sections and joined. The visual inspiration was a kind of melding of a number of ideas.
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