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Found 174 results

  1. Hi, I am a total newbie to making glazes and I just ran some tests at ^6 on Laguna Frost. My objective was to find a clear glaze that didn't craze, and I tried a few glossy and a few satin/matte options hoping to find some success. To test for crazing, I used a procedure described in Mastering ^6 Glazes, where the sample is heated in an oven at 300 degrees, then quenched in water. Then I used a blue sharpie marker to reveal any cracks that formed. All of my samples crazed after this test, so I am hoping to get some advice on how to interpret the results. I've attached a couple images of the results. The tiles are arranged in order of the expansion coefficient (as generated in GlazeMaster), with the lowest on the left (6.29) and the highest on the right (7.16). The tiles labeled 9, 6, and 11 are satin/matte and the rest are glossy. Tile 15, on the left, is the low expansion recipe from Mastering ^6 Glazes, which I had been optimistic about since the book suggests it won't craze on the majority of Cone 6 bodies. I've read that adding silica will help solve crazing issues, but since even the low expansion glaze crazed, it leads me to wonder if I am doing something else wrong that is causing problems with the clay body itself? I bisqued the tiles to ^04, but did not do any sort of controlled cooling on the bisque. Also, the cracking seems to extend pretty deep into the porcelain body, as shown in the detail image. I added more ink to the sample on the unglazed portion to reveal the cracking. Is that a normal byproduct of crazing, or is it possible the body itself is cracking and the glaze defect is actually appearing as a result of that? A few more details: The witness cones on the same shelf as the test tiles show the 6 cone bent properly and the 7 cone just starting to lean. I tried to do a controlled cooling using a portable pyrometer (it's a manual electric kiln) but suspect I went a bit faster than is recommended in M^6G. When I opened the kiln to take everything out, I got a reading of 185F on the pyrometer, so it seems that should have been a safe temperature. Any advice on next steps I should take would be appreciated. Adding silica to the glazes is on my list, but are there other things I should be considering? Thanks in advance for any help.
  2. Jennifer McCurdy Testing the Limits of Porcelain: Thrown, Altered and Carved Sculpture WS01 – Saturday & Sunday, 10-4pm, February 15 & 16, 2014 Fee: $200 member/$225 non-member This 2-day demonstration/discussion based workshop that will explore basic wedging, centering, and throwing techniques unique to porcelain. McCurdy will take participants through the production process of forming the cylinder followed by the technique of “dry throwingâ€, using two metal ribs to create the shape of the piece. Next, she will show her technique of altering these pieces off the wheel to create soft shadow ad movement. Day two will demonstrate carving techniques on leather hard porcelain vessels. The workshop will conclude with a discussion of sanding techniques and firing strategies for porcelain which take advantage of the material’s qualities. McCurdy will discuss the concept of “strength vs. plasticity†inherent in the porcelain as it moves through the working stages; from wet to bone dry and finally through vitrification; the transformation of porous clay to translucent porcelain through heat fusion, a process that occurs in the firing. Jen will offer candid conversation about the creative process, the importance and value of setting personal goals and about the development and transition of her work over the past thirty years while offering tips on making a living in the art world. This course is recommended for students with a working knowledge of clay coupled with a willingness to explore new ideas before enrolling. JenniferMcCurdy received a BFA from Michigan State University in 1979 and then learned how to formulate and throw porcelain at Florida Atlantic University under John McCoy in 1980. She has been selling her porcelain in art shows and galleries for the last thirty years, and her work is included in the collections of several museums, including the Smithsonian Renwick Gallery in Washington, DC. She maintains a studio in Vineyard Haven, Massachusetts. Her focus on the reflective and bone-like quality of the bare porcelain has led her to explore the light and shadow of the clay forms, resulting in a unique melding of line and structure. She is looking forward to sharing some of the tricks she has learned along the way – tricks of the trade, and tricks of porcelain. Perspective students are encouraged to review Jennifer’s website at www.jennifermccurdy.com. WS01 – Saturday & Sunday, 10-4pm, February 15 & 16, 2014 Fee: $200 members; $225 non-members Contact Matthew Hyleck at matt.hyleck@baltimoreclayworks.org for more information. Baltimore Clayworks 5707 Smith Avenue Baltimore, MD 21209
  3. I am just getting back into clay after a long hiatus due to lack of studio space and other responsibilities. In the past I have usually known other potters where I could get some leads on good clays and glazes and check out some samples. I don't know any potters where I live and have had to rely on manufacturers write ups and test tiles at a supplier. At the clay store everyone says "you'll have to test it". Well, that's for sure but without a glaze studio I have accumulated some clays and glazes that are not working the way I hoped. I am hoping I can shorten the learning curve with some advice from those who have used Western clays. I do smaller scale hand-building: a good cone 5/6 porcelain and a white stoneware with a bit more strength (really fine sand or grog only) would both be desirable (no wheel work). So far I have had a lot of glaze fitting issues with the bodies I have tried (some success with clear glaze on porcelain, but success with a celadon type glaze is on my wish list) My location is Arizona so I would probably be looking at California manufacturers. I am considering a couple of Aardvark clays for my next clay trials (Nara 5 and BeeMix with sand), any comments on those? I do both slab construction and pinching and like a smooth body. I prefer white bodies so that I lessen the chances of contaminating porcelain with another color and I also plan to use body stains in porcelain. Firing is electric oxidation. Just to eliminate a few questions: I have already tried to fine tune bisque firing and I don't think it is the problem. I have called the clay manufacturer and spoke to a tech guy there, and I also talked to a guy in the back at the clay store. In the end I got honest comments about both clays I have been using that lead me to think they are less than ideal for my purposes and one is particularly difficult to get a good glaze fit under any circumstances. So I am back to looking at trying other clay bodies and hope that I can stick with one manufacturer to help with shipping. With any luck I might even find that some of the glazes I have already purchased might fit better on another clay. It isn't practical for me to start up a glaze studio right now so I would probably do best to find commercial glazes but would use glazemixer.com for a proven winner. I would be grateful for any suggestions since my time is limited and I want to reduce stress in my life by having more fun with clay and enjoying the end result. As you might imagine, this is my first post.
  4. Hello all! My name is Michael. I am a woodworker by trade, and have always wanted to integrate ceramics into my furniture and other pieces i make. I think the time has finally come to dive in, as I have a real project I want to try. I have a CNC router I use for making complex things my meager carving skills cannot do. Of these things, backlit lithophanes in corian is one of them. They come out wonderful, but my problem is the cut time- for a 5x7 litho, you can be looking at 5 hours each. Also, there are more people with CNCs in their garage that are playing with lithophanes; the market online is getting flooded with people putting out product. My idea is to manufacture the original style lithophanes- in porcelain. The plan is to make a master on the CNC, use that to make a plaster mold and slip cast out of the mold. These will be made into luminaries, lamp shades, art pieces, etc. I have the corian. I have the plaster. I need a kiln, I need slip. - I am thinking to go with a medium fire porcelain, something ^6 max for the kilns I've been looking at. Needs to have good translucency for the lithophane to work. Any ideas on a slip to use? I am in Southern California, so it seems Laguna is the standard around here. -Kiln; 110v or 220v? Here's the contenders thus far: -Paragon A-88B. 220v. Comes with 6 half shelves. $100 -Cress B1411-H. 120v. Comes with 1 shelf. $75 -Cress B27-H. 220v. Comes with an analog pyrometer and a couple ceramic casting molds. $100 I am on a very tight budget to try this out, which is why I'm looking at these options. from a price perspective, the Paragon seems to be the cheapest option to get started, as it comes with shelves. The others are pretty much useless without further expenditure on furniture. Both the Paragon and the B1411 have chipping and small missing pieces of the firebrick, with cracking in the bottom. The B27-H looks to be in very good shape with minimal fire brick chipping, no real breaks and no cracks in the bottom. From a condition standpoint, the B27-H is the best option. For ease of testing, footprint and electrical use, the B1411 is the best. I know slip casting lithophanes will take some testing to learn how to do properly, trying to get a good firing without warpage or cracking due to the thinness of the material. Is this really much harder than I think it is? Am I doomed to failure without years of experience with other materials/ designs? Any input would be greatly appreciated. Thank you, Michael
  5. IMG 7912

    From the album Going with the flow

    PORCELAIN
  6. Unique pieces for the unique individuals. Enjoy a piece of art in your everyday life, something you can touch and use, that expresses yourself. That is not mass manufactured, provides ergonomic hold with different texture, satisfy your sensation in visual, touch and taste. Enhance the experience of drinking tea, like the Japanese tea ceremony. The purpose of my collections are to bring joy to people through the appreciation of the beauty in ceramic, and carry the passion from one to another in our daily life. The stamp you see on the pieces is the last word of my Mandarin name, pronounced “showâ€, meaning Jade like stone. I stamp this on my pieces in hope that it will be as what the word represents. Please come and have a look during Oct. If you would like to have a chat, I will be there on the 5th of Oct fro 1-3pm. If you would like to see more, please visit http://imisabellawang.blogspot.com.au/ I am also on intragram - username: imisabellawang Have a look, let me know what you think.
  7. Hi all, I have been throwing with Babu porcelain, glazing with Reeve's Clear glaze. I fire to cone 10, in a light reduction, gas kiln. I notice that the Reeve's clear seems to craze more than I want in a food vessel, even when thinly applied. It seems to fit stoneware better than porcelain, with much less crazing. I know Babu shrinks more than stoneware, so it's clearly a glaze fit issue. Has anyone found a better clear glaze that doesn't craze, for use on cone 10 porcelain? Do you have any suggestions as to how I might get a better glaze fit on Babu? I use Babu because of its clear, white color. I'm willing to use a different porcelain if I can get better results and keep the white color. Any ideas? It's very frustrating. I want to use this clear base and add colorants, such as Mason stains to get translucent, "celadon-like" colors. Thanks for any help.
  8. I have been given a 25kg bag of powdered porcelain. If I want to use this to make casting slip, what other ingredients would I need and in what proportion? Also, could I use it for throwing - if so, same question, what else would I need to add? I hate to waste a 'freebie' so would welcome any helpful comments.
  9. Small porcelain cup with pink hue

    From the album Gas kiln 2013.09.05

    gas kiln, reduction , cone 10
  10. clay and porcelain tea cup

    From the album Gas kiln 2013.09.05

    gas kiln, reduction , cone 10
  11. Small porcelain bowl with a dot

    From the album Gas kiln 2013.09.05

    gas kiln, reduction , cone 10
  12. Small porcelain bowl

    From the album Gas kiln 2013.09.05

    gas kiln, reduction , cone 10
  13. Porcelain Slip

    I'm back after I long hiatus! Pottery, I've missed you so. After careful consideration of my physical abilities I chosen slip casting molds as a start. I have made molds in the past and am now brushing up on the steps. I want to start with porcelain slip casting; however, I cannot seem to put my fingers on a supply of porcelain slip here in Palm Springs California. I looked at one recipe online to make porcelain slip myself and would like guidance on a good recipe for porcelain slip. Is it hard to make? If so, maybe someone could point me in a direction to buy porcelain slip here in the Palm Springs area. I am setting up the studio now and I look forward to getting started. Thanks in advance.
  14. From the album Return of the Duck - Return of the Duck in Orange Sauce

    ^06 glazes over previously fired ^6 glazes, with melted glass sauce

    © Norm Stuart

  15. Jack Troy – Pottery Forms: Intention and Happenstance WS05 – Saturday & Sunday, 10-4pm, November 9 & 10 Fee: $200 member/$225 non-member This 2-day demonstration/discussion workshop includes presentations on Japanese teabowls as well as both contemporary and historic pots to help enlarge our approach to our persoanl work and emphasize the evolution of personal forms — pots with a unique identity. Using the cup as a take-off point, Jack will demonstrate how the cup reflects a concern for functional and aesthetic values, including surface decoration, tactile qualities, inside-outside considerations, spontaneity and control, as well as focusing attention on the cup as a whole: weight, lip, foot, body, handle. Thrown cups will be altered by faceting, carving, paddling, stamping and heavy slip application. His most recent, tactile, sculptural teabowls are altered significantly from thrown components. Jack will demonstrate extending the scale of work, and will apply a variety of altering techniques to thrown forms while addressing how and why some pieces are made specifically to be fired with wood. Pitchers, jars, and bowls of various scales with be thrown and altered, befriending asymmetry. Jack Troy's anecdotal style of information-sharing covers a wide range of topics, including technical and aesthetic issues in ceramics, personal goals, and the dilemma of being a literate potter while knowing that most of the world's best pots were made by people who couldn't read, write, or do glaze calculation. The aim of the workshop will be to meet each other and exchange ideas that help extend our personal knowledge of forming and firing so the choices we make about our work might enliven the clay we use. Participants are asked to bring with them 2 pots “lived with over time†– one made by the individual and one by someone else – to illustrate two types of “meaning†with regard to how a piece convey’s significance to us. 2013 is Jack Troy’s 51tst year of making pots. During the past year he fired 11 different kilns, including the anagama at Golden Bridge Pottery, in Pondicherry, India, in February 2013, where he taught his 230th workshop. Other events include workshops in Washington State, at Fern Hill Pottery, Brush Prairie; and Shoreline Community College, Seattle. In Maine, he held a Residency at Watershed Center for the Ceramic Arts, judged the 2012 Strictly Functional Pottery National exhibition, and received the 2012 Excellence in Teaching Award from the National Council for Education in the Ceramic Arts (NCECA). His education in ceramics has included trips to 26 countries. Having published over 80 articles in ceramics publications, he also wrote Salt Glazed Ceramics, Woodfired Stoneware and Porcelain, and Calling the Planet Home, [poems]. His work has been exhibited widely, and is in numerous collections, public and private. He has said, “I made my first pot - a wretched little bowl with a pitted glaze - in November, 1962. This simple act changed my life, leading me to believe, 51 years later, that potters may change the world for the better, one handful at a time. “We potters finish our work, but only others can complete it, through use. Pottery, then, is only finished once, but can be completed endlessly, by a succession of users, keeping it active in a variety of settings.†WS05 - Saturday & Sunday, 10-4pm, November 9 & 10 Fee: $200 members; $225 non-members Register on-line or contact Matthew Hyleck at matt.hyleck@baltimoreclayworks.org for more information. Baltimore Clayworks 5707 Smith Avenue Baltimore, MD 21209 www.baltimoreclayworks.org
  16. hexagonal

    From the album New works July-2013

  17. Azul

    From the album New works July-2013

  18. trio

    From the album New works July-2013

  19. Red Flower

    From the album New works July-2013

  20. Orange

    From the album New works July-2013

  21. Gwynn Tir (White Land)

    From the album FdA CCP Final Exhibition

    Gwynn Tir (White Land) is a critical view of social, political and cultural issues arising from the destruction of the Cornish farming and mining communities. I have been exploring the fragile existence of the landscape and these fading industries; the thrown cylinder becomes metaphor for the abundant chimneys that remind us of a past unique to Cornwall. The china clay industry and the geology of the Cornish landscape is the backdrop for this investigation of tension between function and fragility. Whilst each pot is given its own detail and character, grouped together, their individuality becomes essentially apparent. The use of Porcelain in contrast with smooth black stoneware and oxides symbolize the veins and strata of the granite outcrops.
  22. Hi everyone! I'm new here, and new to ceramics. I will be hand building miniatures. My main question right now is, how can you tell when the clay pieces are dry? I've searched online, and the only answer I have found is that they are dry when they no longer feel cold when touched against your face/wrist. I have created some pieces to test my clay samples (various types of stoneware and porcelain clay). After 3 weeks, they still feel fairly cold on my face. They are about 1/2" thick, and I realize that drying will take longer with this thickness. But, it seems like they have felt the same (against my face/wrist) for the last 3 days now, and I'm wondering if dry clay still feels slightly cold? Is there another method to check when they are dry enough for the bisque firing? Thanks for any advice! Melissa
  23. Hi guys, I'm making some porcelain eggs slip cast, I usually do bisque firing ^04 and then clear glaze firing ^06. I need to finish some by next week and I don't have enough ware to do 2 low fire firings, so, I'm thinking to do single firing, I'm using ^6 laguna porcelain slip and the clear is ^06 commercial glaze. Any thoughts on this matter, do you think it would be ok? Pom.
  24. Hello there, Im not a ceramicist (Im learning little bits here, doing workshops there...), Im an illustrative designer, but I would like to create decals of my designs and put them onto dinnerware. I was hoping someone out there could give me a bit of information....I have a few questions. First: I would like my designs to be transfered onto stoneware or porcelain. As far as I can tell there is no issue with that? My designs have very fine line detail, so I feel that an onglaze digital decal (as opposed to a tissue transfer, or screenprint) would probably ensure a sharp image. However, these decals can often look raised or "stuck on"...Im trying to avoid that. I have seen coloured digital decals that dont have that raised effect...so how is that achieved? Do they apply the digital decal on bisque....then fire, then clear glaze, then fire again? Or can you apply the decal, just wait for it to dry then glaze and fire? would that affect the vibrancy of the colours printed, as I understand with digital systems you can have the whole cmyk gamut? I understand there is an entire science behind the make up of clay, glazes and firing. If I wanted to apply a digital decal to bisqued stoneware for example, would it have to be a decal especially for stoneware? Additionally, I was interested to know how difficult/easy it may be applying a seamless design to the inside of a bowl or curved surface? I imagine that you would have to follow maybe a cone shaped template, so it can be applied? Second: Being dinnerware, I would like the decals to be food safe. Even if the decal manufacturer claims it is food safe, are there other factors that could cause problems? for example the type of kiln you use, or other things that may be in the kiln while your firing? Is it expensive to test? Lastly, and thank you so much for you time, As far as producing my dinnerware, I have found plenty of businesses that will custom make digital decals. but Im finding it difficult to find any that will make AND apply the decal to your piece...even though I know they are out there. Iam in Australia, which doesnt host such industry, but if anyone has any leads on any smaller run manufacturers or business (closer to me the better, naturally) That would be appreciated... maybe also because Im new at this, Im not quite sure how to search for this type of business, so any resources or "buzz words" that might help me would be great. Any info at all would be appreciated and helpful. Thanks a lot. J.
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