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Found 90 results

  1. Clay Composition - Kaolin

    Hi! I've been researching on what the best clay composition I can use for floor tiles, looking at 1-3% water absorption after firing. A supplier offered me this clay composition (see photo). It's Kaolin clay, with 87-88% whiteness. Our idea is that we wouldn't have to go through applying engobe on top of the tile to make the surface white, since the clay is pretty white already we can print on it directly after drying (is this right?) We're starting a bespoke tile company, and we are quite new at this so we would definitely have to hire experts to help plan everything. I was told this is ready to use clay, just use the hydraulic press with it and it's good to go. Any clay nerds around who can help? Thank you so much in advance! We have absolutely no knowledge of the proper composition for this!
  2. Hey everyone! I'm in the process of creating a home studio, and I thought it would be a great idea to start making my own glazes. What are some good resources, magazines, or books that have helped you guys when it comes to introductory to advanced glaze making? Also, are there any tips or suggestions when I'm starting out! Thank you so much and any input would be greatly appreciated.
  3. Call for Entries: The Art Students League of Denver will be hosting delecTABLE: The Fine Art of Dining - Fourth Biennial Juried Exhibit of Functional Ceramics in April-May 2018. This is a national exhibition of ceramic works from artists across the United States chosen to represent the best in contemporary tabletop clay. The exhibit will feature ceramic works by juried artists, juror Marty Fielding, the ASLD ceramics faculty and 'cuisine themed' two dimensional artwork by select artists. Juror: Marty Fielding Eligibility: Open to US ceramic artists over age 18. Apply at www.CallforEntry.org between October 2, 2017 and January 22, 2018. Exhibit Dates: April 6 - May 18, 2018 Visiting Artist Workshop with Marty Fielding: April 28-29, 2018 For further info contact s.schreiber@asld.org View flyer: delectable 2017-flyer-1.pdf More info to follow....
  4. Hi everyone, I've been throwing for a little while now and bought a wheel to keep practicing. I'm working towards a raku fire next month so have been working with a fine grogged raku clay. I can't seem to centre more than 550g of clay on my wheel without it slipping from the center of the wheel. I'm using particle board bats. Not sure if i'm using too much/not enough water, wheel is too slow. Any help to prevent slipping when centering would be great. Thanks
  5. after i grind the anoka sand and let it settle , i pour off a very fine clay , that is in the pan , and its mud cracking when totally whet. its totally covered in water and is mud cracking .I remembered in my geology studies, that the souix quartzite and the Fondulac sandstone has layers of finer sediment that are mud cracked as well and the geologist say it dried out . but i think this is not true but if the underlaying sediment is hot it may still mud crack and be totally wet
  6. Hi folks, again we have another quiz based on a book. I chose some of the questions this week to clarify terms that I have heard potters use interchangeably when they shouldn't be, so be careful. Week 7 _______________ is the ability of liquid to penetrate and be distributed through a material. It specifically relates to the working action of a dry clay surface when in contact with water. Porosity Shrinkage Marbling Absorption _______________is the quantity of the pores or voids in a clay body. Porosity Shrinkage Marbling Absorption _________ _____ is caused by a contamination in the clay, best described as a half moon shaped pit in the pot, with a light or dark nodule in the center. This can occur immediately after firing, or several years later as calcium chloride expands. Contaminated grog Lime pop Alkali salting Wet blistering Preventing S-crack formation in pottery in thrown pottery is dependent on __________________ alignment of the clay platelets during the throwing process. Much of this is dependent on the coning , opening up, and compression stages of the throwing. Linear asymmetric concentric random This weeks questions were taken from text in The Potters Studio Clay & Glaze Handbook, Jeff Zamek, 2009. Quarry Books Note from Pres: I could have gathered hundreds of questions from this book, but chose those which I thought would be of interest to the largest audience. I believe that I will return to some books after some time to add more. For those of you interested in glazes, and clay bodies, this is a well constructed and informative text. Answers: Absorbency and Porosity (Answers to both 1 & 2 are included in the text here) 1. (d) Absorption 2. (a) Porosity Two terms that are frequently used interchangeably but describe different conditions ore absorbency and porosity. Absorbency is the ability of liquid to penetrate and be distributed through a material. It specifically relates to the wicking action of ct dry clay surface when in contact with water. Porosity is the quantity of pores or voids in a clay body. ( Lime pop occurs when moisture in the air comes into contact with a carbonized lime nodule, causing its expansion in an unyielding tired clay body. This can occur when the pottery is removed from the kiln. li can also happen years later, as lithe expands (in the torm at calcium hydroxide). Lime pop is a semi-elliptical 1/8- to 1/2-inch (3- to l3-mm) crack in low-temperature bisque or high-temperature fired ware. A conical hole reveals a black or white nodule (lime) at the bottom. © concentric See image below.
  7. Hi folks, This weeks Question of the Week comes from Diesel Clay up in Calgary, Canada. She asks: I have questions about resiliency, and getting back to work after various events that have either failed, or gone extremely well. How do you deal wth artistic setbacks, or get back to work after the high of an achievement? Please describe an instance of either. This is an interesting question, and was hard to put into a title, so I took a little creative license to come up with one that I think fits. For me, there have been several ups and downs with my work, but just one solution to get through it. . . keep on working. Part of working meant getting more aware of what I really liked in pottery I admired, choosing what I believed was relevant to my work, and integrating it into what I was doing. What were some of my set backs? In the 90's I had pots that were white with in-glaze decoration that used a lot of lace, and plant leaves with atomizer shading finished with brush strokes. I was using a white glaze that was eggshell. Some way or other I just completely lost the feeling for it, and couldn't decorate that way anymore. These pots were large jars, and not really functional ware, but decorative, and I sold a lot of them. My smaller ware-mugs, casseroles, bowls etc were using the same decoration and glazes. I found that they were not as durable as I had thought. At the time the larger pots were "canvases" for paintings and glossy surfaces made it harder to see the decoration. Should have used different glazes. So I left the whole idea behind going for other types of decoration. Worked for a long time on developing glazes that were durable and that I liked. Changing my approach completely. I you haven't posted a question in the pool, please, please do. It makes this job easier! best, Pres
  8. Just made a sculpture using coils. It is 17 inches high and 12+ inches wide. It is drying under a drying box made of cardboard covered with plastic. How long should it be left before it is completely dry? One old book suggested putting a dry sculpture in the kiln and heating at 100 degrees F. for 19 hours. Is that a good idea? How fast a rate should the sculpture be fired to maturity? It is a cone 6 sculpture clay with a good amount of grout.
  9. Clay In Glazes.

    Someone asked me recently how I get the smooth interiors of my bowls. Potters that want smooth "non-drip" appearing glazes often struggle with it because they do not understand that clay(and opacifiers) in the clay will basically form a double layer in the areas where drips are formed. The only ways to prevent it, is to spray the glazes in a very controlled manner, or to sand drips that form down very carefully after it dried completely. Of cause drips are not necessarily wrong, but it must work along with the design of the object and not fight it. Anyone that have more ideas around this? Antoinette Badenhorst PorcelainbyAntoinette.com TeachinArt.com
  10. Post removed under agreement. Published in Ceramics Monthly. Nerd
  11. As I search for my perfect clay, I see quite a few that have a very wide firing range. Is a pot that's fired to the low or middle range of that firing range less structurally sound than one fired to its highest end? Does it make a difference other than with the glaze fit? Does it matter in some other way? Or not? Are these ranges realistic? I've been using one with a 4-10 range and also another with a 6-9 range and firing to about cone 5 3/4. Glazes fit fine. But what's actually best for the structure and health and happiness of the pots? My pots are all quite young, but will they age well? Thanks in advance! Irene
  12. Check My Work

    Hi to everyone. Please check my YT channel and let me know:-) https://www.youtube.com/channel/UCqGNbVXdITzcuqsUJaaP-mw
  13. Guardian of oak forest

    From the album My work - Lucy POTTERY

    Ceramic art plastic of Guardian of OAK forest. For more visite me on my YT channel: https://www.youtube.com/channel/UCqGNbVXdITzcuqsUJaaP-mw

    © Lucy POTTERY

  14. Bowl with liquid effect

    From the album My work - Lucy POTTERY

    Bowl with liquid effect made from glass. You can see instruction video here: https://youtu.be/9uFZ1OxogDo

    © Lucy POTTERY

  15. Forest Guardian

    From the album My work - Lucy POTTERY

    Guardian of forest. For more visite me: https://www.youtube.com/channel/UCqGNbVXdITzcuqsUJaaP-mw

    © Lucy POTTERY

  16. I have a question about clays. I've found that the Standard Ceramic Clays I am buying are very inconsistent in hardness. Is this true of all clays? Just when I think I've found a clay that I can throw easily, the next box has a totally different feel. It's not a problem for handbuilding, but really limits my throwing size. I work with cone 6, and there's only one ceramic supply place nearish-by, (hour and a quarter away on a good day), and it only carries Standard clay. I really liked the Little Loafers I bought online and would be happy to do that again, if it will feel the same each time. What's your experience on this issue? Are all clays inconsistent from batch to batch or is there a difference between manufacturers? Thanks!
  17. Hi, I've been using Amaco 38 for about two years but...I'm just thinking there has to be a softer solution. Yes, I wedge. The bag has not been sitting for long at all. So, I'm looking to others for some guidance. I can center and pull fine but, I have to use more force than others in videos that I watch. I cone up and down normally to center and then use another strategy to make sure it's truly center. However, coning seems to take so much work and I see others doing it and its like they are playing with play dough. I want to do this for a long time because I love it...but, something has to give. Thanks, Leslie
  18. Pmc Kiln Use

    I am new to this forum and to the world of ceramics. I was given a PMC Kiln from my grandmother. I would like work with regular clay, would i be able to use the PMC Kiln with regular clay? Thanks a bunch in advanced.
  19. Guys I'm having a serious issue, almost every bisque I have done recently in my new kiln sitter is having explosions. I have been letting my clay sit out longer and get even more bone dry yet it still keeps happening. I've made sure no air bubbles except for one piece had them however this is becoming an issue. Any help or something someone might recommend would be great! With the kiln being a kiln sitter I don't have much control to do holds I can only control the switches on the way up which I have lengthened a lot but once I hit the second switch everything goes boom, very discouraging
  20. I have been thinking about making my own kiln stilts on a large scale for low fired ware. Roselli uses molds and slip casts their stilts, I am fairly sure. Is there a benefit to this method? I was thinking about extruding mine and cutting them down to size. I cant see a downside; faster turnaround time, less initial time spent in preparation, no need to keep large quantities of slip or molds laying around, etc.. Am I missing something though? I've never made my own stilts or even used them, though I understand the premise. Any insight is much appreciated.
  21. 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
  22. Glaze Pitting

    I have been getting serious pitting on my glazed pots. Does not seem to be isolated to one glaze. wondering if one problem could be that the initial bisque is not going hot enough. I am electric kiln firing , using a Bartlett sitter at 04 bisque; completed at 13 hours. Would it be useful to try bisque firing a second time and maybe holding for 45 minutes? Are there major dangers of cracking pot to bisque a 2nd time? Thanks, Stephenw
  23. Come join us for an intimate (limited to 20 participants) weekend workshop with Tim See: potter, teacher, Periscoper, and the acclaimed moderator of Facebook's Clay Buddies. His two days of workshops here in San Antonio promise to be both informative and entertaining. REGISTRATION: https://www.eventbrite.com/e/a-weekend-of-workshops-with-tim-see-tickets-24749727100 Saturday, October 15, 2016, 9 a.m. - 5 p.m.: Throwing and Assembling Industrial Forms (Demos) - Tim will demonstrate his techniques for throwing and assembling his famous forms. The techniques presented will be invaluable. Tim demonstrates with solid instruction every step along the way. Even if you're not interested in industrial forms, what you learn can be applied to anything you do create. Sunday, October 16, 2016, 9 a.m. - 5 p.m.: Decorating Techniques - Tim is the master of decorating techniques using slip, underglaze, and glazes for his effects. Spend the day learning different ways to finish your pieces and all the variations on those techniques. Each day will have a one-hour break for lunch. Several restaurants are within comfortable walking distance from the studio. There are also ample VRBO and airbnb accommodation offerings within walking distance to and several hotels a mile or less from the studio. Single day registrations (if still available) will open on September 15. Contact us directly if you are interested in this option, letting us know which day you prefer. Who is Tim See? A working ceramic artist born and living in Syracuse, New York, he began working in clay while studying art at Onondaga Community College and completed his BFA in Ceramics with Honors at Syracuse University in 2004. His award-winning work has been shown at the Smithsonian Museum in Washington, D.C, the Everson Museum in Syracuse, NY, the Memorial Art Gallery in Rochester, NY, and, Baltimore Clayworks in Maryland, to name just a few. He has taught beginning, intermediate and advanced pottery to adults in a community-based ceramics studio at Clayscapes Pottery, Inc. since 2006. He and his wife Brenda Pierce live in Bridgeport, NY with their cat, Viggo. (MEOW!) WHEN Saturday, October 15, 2016 at 9:00 AM - Sunday, October 16, 2016 at 5:00 PM (CDT) WHERE Alamo City Pottery Workshop - 718 Labor Street, San Antonio, TX 78210
  24. After all the fun stuff is gathered (kiln, wheel, tools, clay, glazes) and you are ready to throw your work into the fiery pit, what temperature should that pit be and how long should you bisque it? I have my favorite clays and glazes (I am using my professors kiln and wheel for now until I get my kiln at home figured out) but I have yet to get a good answer on the correct temperatures and times my bisque firings should be in the kiln. I have mostly been observing and creating the works with glazes while others load and monitor the kiln/firing process (plus they are massive front load kilns over 6' tall and 6' wide). Here is the scenerio: I am using Amaco No. 58 (a red clay). It is a cone 5 clay, but what temperature/cone and how long do I bisque it? I want to put a Cone 5-6 Amaco Shino glaze on it. I load the kiln with the glazed pottery and leave it in there at the setting of cone 5 for how long? I understand it sort of varies depending on the quickness and efficiency of the kiln, but what is the general rule? I am using Amaco No. 11 (a off white clay). It is a cone 5 clay. Same as above, what cone and how long do I bisque it? I want to put on a Cone 5-6 Amaco PC33 Iron Lustre glaze. Once the pots are glazed how long will it take in the kiln? I am just looking for general estimates and I chose simple clays with same-brand glazes to reduce the possibility of bubbling/bloating/other problems. I will be keeping a log and most likely be testing my kiln for quite a while before I delve into putting my better work in it. Any simple formulas would greatly be appreciated!
  25. Morning all, I've coloured some porcelain with a green mason stain and am wondering about the effect during a raku firing. I'm going to do a raku workshop soon and need to make some pieces to fire. I have a buff stoneware and porcelain. The firings covered in the workshop are: naked, horsehair, obvara, traditional and copper fuming. Suggestions please about what clay body would work with each of these methods. Thanks Andrea
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