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Found 83 results

  1. I'm looking for any advice on properly maintaining a pouring table and the slip in it. Any advice is welcomed! Thank you in advance.
  2. Hi all! The company we work with that formulates our slip is having difficulties achieving the necessary properties for casting. The issues are due to the fact that they are taking a plastic throwing body, and are trying to convert it into a casting slip. Due to the fact that we have little control of that formulation, I do not know the exact recipe for the slip. We are just curious how difficult it is to create a Mid-Range Red Casting Slip that is properly flocculated, and casts evenly with no issues. After firing, the color we are trying to achieve is a Red-Orange, preferably something that withstands thermal shock since we are creating drinking vessels. Does anyone have any recipes, or reasons why a high-iron casting slip acts weird? Thank you all for your time!
  3. Hello, I am fairly new to slip casting (about 9 months), and have been trying to learn as much possible through books and videos. I haven't delved into making my own slip yet, instead I have been using Dover Slip from Miller (Laguna). It is a Cone 6 White Stoneware. I am having some issues with the slip: 1) A film forms on top the slip after sitting in the mold for about 10 minutes. 2) When I do the hand dip test no webbing is forming at all. 3) I believe the Specific Gravity is 1.8 (which should be right) I measured out 100ml and it weighs 180 grams. 4) It is pretty thick, pours out of the mold poorly leaving behind some gunk on the rim of the mold (makes for an uneven lip of my tableware) 5) It doesn't pull from the mold well, sometimes even 2 hours later I still can't get a simple cup out. Just for some addition information the room I am casting in lately has been around 85-95 degrees F, with pretty high humidity. What I am trying to figure out is if I need to add more deflocculant or if the slip has come over deflocculated from the factory, or perhaps I need to add more water. Thanks for the input. -Matt
  4. Iron Oxide Slip

    Hi, i'm having trouble with iron oxide slip applied at the greenware stage. i've noticed that a thin layer gives varied colours and a thick layer gives either black or nothing- does it burn off? (i use a transparent glaze over this) additionally, a lot of the colour washes out on cleaning after bisque. what's going wrong and how can i stablize the slip to give me a solid black? i use stoneware fired to cone 09 bisque and cone 6 glaze. thanks!
  5. HI, I have some slightly pink clay with (iron?) rocks which generally crush up in the mixing process. I am using it to low fire 30cm flat +-5mm tiles in a sawdust firing without bisquing first. Firstly, how fine do these particles need to be? Can I get away with a 5mm mesh or will sediment this big blow up piece in firing? (given that I am only firing low and it is not functional ware?) or do I really need to get all the lumps out?? Secondly - I found a page that recommends about 1.85 specific gravity for slip casting. Any thoughts? Thirdly, does anyone have tios or useful videos of how to keep temp rising fairly slowly to reduce thermal shock. I have ref. bricks that I am making a rectangle with and using a piece of reo. bar to hold tiles vertically off base so they don't fall and break. Doesn;t matter if some break as I can put those on the base of this conceptual installation piece. Making +- 300 tiles. Fourthly - to defloc or not?? I have sodium silicate - am pouring a 1.5 sq metre area and then cutting up tiles... Yes, I am on a steep learning curve here! Assistance gratefully received. Cheers, Fiona
  6. Crater Slip

    I am looking to find a slip recipe for trailing. I need something bubbly, fluffy like a crater glaze or something like that. I'm looking for a rough concrete look with little holes... any idea or low fire recipes ?
  7. Slip Recipes

    Spring is on the way, and I saw robins in the yard already- a month ahead of schedule. I have finished my porcelain study, almost done with stoneware, and done with crystalline. So this spring and summer, I am going to look more closely at slips and standard cone 6 glazes. I have an interest in slips; to be used in non-traditional applications. Have these thoughts rolling around about using slip as color nodes, or for colorant fields for a runny glaze to leach color from as it runs through it. I am sure there are books out there, but I usually do not read them until after I get done experimenting. Do not learn very much by reading them; they tend to be shy on technical information (chemistry). So if you have some generic slip recipes floating around that I can "rearrange"; please send them along please. Nerd
  8. So what is your experiences with stains in your making/glazing process? Do they separate or pool when you use them in glaze? Do they create a course texture when used in a slip/engobe? What are some of the problems you have had in their use? Just curious?...well more than that.. but Nerd
  9. 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
  10. Coffee Mug

    From the album Fun Fun Fun

    © Pottery by Penny

  11. Hello Fellow mud mashers, I work with Stans red earthenware and decorate it with a basic 4 ingredient slip. The slip has been perfect for years, now, all of a sudden it is settling like a gooey rock and will not stay suspended. I cannot for the life of me figure out what has happened, I have not changed a thing. Here is the recipe: 25% of each.....EPK, G200, Silica and OM4. Kinda hard to mess this up. Could it be a problem with one of the ingredients, It seems as though the prob started when I purchased new silica and EPK. I cant manage this problem with wholesale orders coming in, especially when I mix colors from the base and they ALL settle. Any help would be soooooo wonderful!! Penny
  12. Happy Sunday to all, I have a bowl (a large one) that is slipped on the inside with a red mason stain slip. What would the effect, detrimental or otherwise be if I didn't glaze the inside? The bowl is functional and is cone 8 stoneware Thank you all
  13. Deborah Bedwell Workshop Surface Academy: Velvet Underglazes, Classroom Engobes and More! WS04 – Saturday, 10-4pm, May 21, 2016 Fee: $100 member/$115 non-member Scribble, doodle and dot! This 1-day workshop will introduce students to the colorful world of velvet underglazes, engobe slips and more. Participants will explore application techniques underneath glaze and on top of the glaze surface in this class. This class will encourage you to utilize line and color on your ceramic pieces while you learn how to bring a casual, playful, graphic sensibility to pottery making. Participants are encouraged to bring both leatherhard and bisque, either porcelain or stoneware, and experiment with the classroom materials. Open to all levels of artists with curious minds, previous clay experience is recommended, potters or hand-builders welcome. DEBORAH BEDWELL is one of the founding artists of Baltimore Clayworks and led the organization as the founding Executive Director from 1980-2011. Beginning in 2012 Deborah was elected NCECA President Elect. She holds a bachelor’s degree from Berea College (KY), a master’s degree from Towson State University (MD), and studied arts management at U. Mass. Amherst. She has received much acclaim for her success in creating Clayworks’ community arts programs, which has made the arts accessible to underserved individuals throughout Baltimore and the region. Her extensive knowledge of contemporary ceramics has taken her throughout the US and abroad where she has served as a panelist, curator, lecturer and workshop presenter. In addition she is an accomplished potter who continues to exhibit her clay work both locally and nationally. In the 1st quarter of 2013 she worked as artist-in-residence at Tainan National University for the Arts in Tainan, Taiwan ROC. WS04 – Saturday, 10-4pm, May 21 Fee: $100 Members; $115 Non-members Contact Matt Hyleck at matt.hyleck@baltimoreclayworks.org or Mary Cloonan at mary.cloonan@baltimoreclayworks.org for more information. Baltimore Clayworks 5707 Smith Avenue Baltimore, MD 21209 www.baltimoreclayworks.org
  14. It's me again. Some advise please. My teacher suggested I use Indian ink to emphasize crackels in a glazed piece. If I did that would I have to refire? If I used say cobalt or black iron oxide instead of the ink, which would give a better result? The pot in question is
  15. Evening all, Quick question - Can you recycle slip cast mistakes?
  16. 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
  17. I have been wanting to make a plaster mold of an ice cream cone but am worried that it will get soggy and fall apart. Does anyone have any tips or advice?
  18. Hello, and apologies for such a basic question. I'm just starting out and trying some handbuilding at home before my next lesson next week. I painted a piece with black slip, a commercial slip straight from the pot (from potclays) last week, and it was very thick to brush with. I am wondering if I can dilute it or will tht cause problems with it 'fitting' the clay body? thanks, Linda (Also I have saved my profile pic to correct size but site still doesn't upload it?)
  19. HI all , What is the best way to create a base for my porcelain slip figures? Right now, I pour them and they are hollow and completely open at the base. - Would I need to buy actual clay to roll into a slab and attach to the bottom? - Is there a simple way to add a bottom base using the liquid slip? I am using Laguna porcelain slip, cone 6 for the figures. I am self taught with ceramics so thanks for your patience!
  20. Teapot

    From the album Some work

    Slab built teapot with slip, "Otto's black slip". Green ware.
  21. My question is this, after watching Lana Wilsons video where she is using Paper Slip multiple times ie many colours on one piece of work can the same method be applied using Under Glazes.
  22. Firerose Goddess

    From the album Late 2015

    This is my best mug to date. The back has carvings, but it was impossible to photograph...well, for ME it was, haha! It probably holds 20oz, so it's a good size. I wanted to make a new mythology about how flowers grow... Terracotta with white slip and greenware-applied underglaze, fired to ^03.

    © Cavy Fire Studios

  23. I use a lot of slip trailing on my work. I had originally been using casting slip for my slip trailing because it was easier and at the time I had no place to mix slip, but now that I've made my own I'm never going back. A few months back I made up a big half gallon jar of B-Mix slip that I use both for slip trailing and for painting inside cups and bowls of dark clay so I can do a bright color inside. I like it really thick, like sour cream, just thinned out enough that it will come out of the slip trailer, but when it's thick like that, it holds its shape really nicely and gives a beautifully defined line, which I love. It was mostly just B-Mix and water, but I used a little vinegar so it wouldn't get stinky and it had maybe 8 oz of white stoneware casting slip too, just because I thought it would help my slip set up nicely. It worked out really well on every single clay I'm using right now. Over the next few months I used all but the last 1 1/2" of slip in the bottom of the jar, then I went a few weeks without using any. On Saturday I went to slip trail some things and it had turned liquid, like heavy cream, and it looked, felt, and behaved like pure casting slip and was very runny. It did not hold its shape when used at all. I didn't add anything since the last time I'd used it. I wouldn't have been surprised if it was thicker or dried out but this was just weird. The only thing I can think of is that perhaps the vinegar had something to do with it? Or is it possible that the casting slip had settled to the bottom of the jar somehow and that was mostly what was left?
  24. Hi guys, I have some pieces I want to cast in plaster for a mould. The pieces will not be particularly flexible and I worry they wont release properly. Its a basic vase shape that narrows in at the top like a pair- this taper part is a 6cm diameter x 8cm long pipe that I feel the plaster will grip too tightly to release and slip out. I haven't had much luck with soft soap and I'm wondering could I rub a candle on my piece to give it a shiny and slightly slippery surface for the plaster to cast? I worry it will ruin the porosity of the mould though. Has anyone done such a thing? Other solutions are welcome but I'm mostly wondering if wax will ruin plaster or there are similar products that wont. Cheers!
  25. Mishima Cup

    From the album Wheel Thrown Work, 2015

    © Copyright Giselle Massey 2015

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