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Found 165 results

  1. From the album: July 2019

    Copper & cobalt oxide glazes applied to bisque fired (950oC) pieces. Fired in a dustbin raku kiln at recent kiln building workshop. (1000oC) then plunged into sawdust to reduce.
  2. Hello all, Looking for firing schedules. I have a small manual electric kiln with a kiln sitter and wondering if anyone has a simple, clear firing schedule they follow and could share? I am a beginner trying to learn how to fire for Cone 04 Bisque and then another schedule for Cone 6 Glaze Fire. I am using buff stoneware. Any firing tips appreciated! Thanks so much, Natalie
  3. I took ceramic classes in college and loved it. I quickly became good on the wheel and that is my primary focus, however I also sculpt. I had the pleasure of working with multiple different clays. I primarily used stoneware and porcelain but occasionally earthenware as well. The stoneware I fired at cone 10 and 6 and porcelain at cone 10. I would consider myself a beginner as far as mixing the clays because I never had to do it and all the clay was made for us. I would like to mix my own clay bodies at home because I assume it’s cheaper than buying pre-made clay and I also will have more control with my preferences. I really liked stoneware and porcelain and wondered if anyone had any good recipes to share and advice to get me started. Like I said I mostly do wheel throwing (mugs, plates, bowls, teapots, etc.) I have the capabilities to fire up to cone 10. Thanks to everyone in advance!!
  4. Hello, I became a member today, because I'm looking for some info. A couple days ago, I bought some second-hand plates under the brand "Faria & Bento". After a thorough search on Google, I just gathered the following info: The plates are handcrafted and made in a small historical village in Portugal. There are no contact info with the ceramics workshop, so I can't retrieve anything further regarding the plates. Also, the search results are pointing to auctions or eBay sellers. I would be grateful if anyone could give me more info on the brand, the historical background of it, even workshop's contact info. Attached you will find a sample how the plates look like. Thank you in advance. P.S.: I don't know if the topic is in the right forum. If it's wrong, please inform me where else I can post it.
  5. I have been experimenting with gold lustre over the past six months - simply applying it over a stoneware clear glaze. I accidentally applied it to an unglazed surface on one of my pieces but I really ended up enjoying the satin finish of the gold. I tried to replicate this finish but the gold flaked! I mean...I know all gold lustre instructions say to apply to a glazed body, but I figured it looked so good on my accident then perhaps I could replicate it, right? Wrong! I am looking for either a satin or matte clear glaze to apply onto a porcelain body so that the lustre can be have more of a satin or matte finish. This is for jewellery pieces, so I have some carving and slip detail added to the pendants, so ideally I don't want the glaze to hide the carving or slip trailing detail. It would be even better if this glaze could go in with my other pieces which I fire to 1260c, but not essential. - Ash
  6. Hi, I’m new to the world of clay so forgive me if this sounds like a silly question. I have a pot I’d like to refire (it’s gone through a cone 10 firing ) it did not have glaze, just a white clay only slip and a bit of oxides. I want to add more slip and oxides and refire but would it be okay to apply a clear glaze on top of an unfired slip?
  7. Hi, My very old small top loader has finally given up on me and I am looking at buying a second hand replacement. I've been looking at a cromartie hobby tech 40 with a sitter, and the seller says it will fire to 1260 cone 7-8 I use, on 13amp plug, but I've seen someone else blog that working it out technically such a kiln will never reach stoneware. Can anyone advise me whether this kiln will really reach stoneware regularly, it's all I fire to? Or whether the person is correct and it is a theoretical temperature of 1300 that is achievable but not what will happen in the real world. I don't want to buy a white elephant. Thanks
  8. Hello everyone, I’m a working sculptor with 40 year’s experience using clay but am entirely new to firing. Could anyone advise me about the best programme for firing in an electric kiln for this sculpture? The construction is made from 1” (25mm) square solid pieces and the clay is Scarva Earthstone ES20 smooth textured and is stoneware. Fires bisque 1000 degrees c and stoneware at 1280 degrees c. My concern is that because of the open nature of the construction, it may warp and crack if the speed is wrong. It is approx 40cm long and 15cm wide. It should be completely dry by now, but may have picked up some atmospheric dampness (although it has been in a cupboard for 8 months). Also, is it safe to put other objects made from different clays (but within the same firing temp parameters) in the same firing? I would be utterly grateful for any help. Thank you in anticipation. Simon
  9. I need to find the best All-In-One clay for cone 5, great for both hand building and wheel throwing I know. That's a tall order. But I can dream. I have a pug mill and don't want 2 bodies. Problem: I have too many problems with my gas kiln for cone 06 anymore. I'm DONE. I am moving to cone 5. Criteria / Factors: I'm in Southern California I teach 180 high school students grades 9-12, all levels of art skills, so it has to take punishment Not too sandy on the wheel, not too smooth or squishy for hand building Not too dense so it is so top-heavy when trimming I'm willing to pug the new clay to soften it for throwing, if it is stiff and great for hand building, or visa versa Doesn't stain clothes or the tables, rolling pins, or make a mess everywhere Is not pure white (students can't see where they missed glazing spots when using light color glazes - painting) Good leather hard, doesn't soften up too easily when re-wetting to score things together Doesn't take every indentation to the surface of pieces, temperamentalD Centers on the wheel fairly easily, especially for teen girls with tiny hands Can take a good amount of water from beginners Pulling walls, it is strong, doesn't warp or sag easily Won't dry out too quickly in hands while hand building Doesn't bend or warp easily when removing from the wheel Not so soft that it caves when cutting and sliding off the wheel Doesn't make teens hate the class because it stains clothes or gets everywhere and of course, takes glazes well and can handle a little fluctuation in gas environments Cone 5 clays I've Tried: Laguna - Dover White: Nice clay, but pure white. easy to center, but A little soft when hand building Laguna - Plain (Buff): Nice light tan color, easy center and to rehydrate if repairing, but a bit too squishy and shows every dent Laguna - Moroccan Sand: I love this clay, doesn't leave residue - color, but a bit dense to center. It is really dark grayish brown, if they only could lighten it Laguna - Buff with Sand: Nice tan color, but WAY too sandy for students on the wheel Laguna - Greystone: Too dense and top heavy for small pieces, hard to center, but really takes a beating with water, warps when thin due to density of surrounding clay Laguna - Speckled Buff: A bit dark in color, has iron so it gets read everywhere, could stain (think girls with pure white vans) Laguna - LB-6: hmmm, can't remember, but nixed it very soon after Laguna - Sante Fe: OMG - red EVERYWHERE, like a crime scene Aardvark Clay - SBF - Too dark tan - a bit sticky for students Aardvark Clay -Arctic White: Too white Opinions???? Go!!!
  10. Good Morning everyone, I'm considering moving from stoneware to earthenware and I would like your reasons for your throwing preference. Thank you and have a good Wednesday
  11. Hey guys...help! So I have been doing low fire work (jewelry) for years and have just ventured into mid fire work. My question is likely somewhat dumb but here goes. I purchased my first bit of cone 5-6 stoneware clay and had a question about temps. With my work that I have been doing in low fire, I bisque fire to cone 04 then glaze fire to 06. What temp do I bisque fire the stoneware? Not knowing any better, I bisque fired it to cone 5 and then glaze fired it to cone 5 and none of the glazes turned out to look like they were supposed to. Thanks in advance for the help.
  12. Hi all, I'm hoping someone can give some technical tips on repairing my Cromartie Hobbycraft kiln with controller and which is not hard wired but runs off a 13 amp plug. It is a top loader. Bought as a used kiln, I have been using this quite happily for a number of years until recently where it has stopped reaching a stoneware glaze firing of 1240C. I have replaced the elements and ceramic insulators, checked and cleaned up all the connections and tightened the belts around the body and lid. I have also changed the electrical lead from a short one which fitted into a socket not on the main circuit to a longer lead, about 5-6 meters, to reach a socket on the main circuit as I understand it can cope better with the energy required. I wondered if it makes a difference that the lead is much longer than the original which was no more than 2 meters. Any advice or tips will be very gratefully received. Thanks Kathy
  13. Introduction of SAS Formulation - hypothesis The industry standard has been formulation based on particle size distribution (PSD), which includes density packing. The Zameck article proposed formulation based on the PSD principle; which included emphasis on density packing. However, particle size is a measurement that only determines the plane (face) of a particle, but does not include the depth. A sugar cube represents a perfectly square particle: which has the same plane and depth equal. Clays however can have the same particle size on the face, but vary widely in depth. So a large grain of clay could be represented by a sugar cube shape: but in reality the depth can be anywhere from a thickness of hair up to a normal sugar cube shape. So using PSD as a determining factor for packing density is inaccurate; because it does not include the measurement of depth (platelet.) Specific Area Surface (SAS) is:Specific surface area (SAS) is a property of solids defined as the total surface area of a material per unit of mass. The SSA can be simply calculated from a particle size distribution, making some assumption about the particle shape. The SAS is far more accurate, in that it takes into account both the width (particle size) and the depth (platelet size) of clay. In common calculations: a potter will factor in a 200 mesh clay: but has no idea if that platelet size is 20-50-100-1200 mesh thick. So determining packing density solely on the basis of particle size is inaccurate, because platelet size is not factored. A 200 mesh clay could have a SAS as low as 18, and as high as 28: which this variance alone confirms the inaccuracy of using particle size alone. In addition to using the SAS in determining accurate grain size; the SAS will also give the potter insight into the plasticity of the clay of choice. The higher the SAS goes, the more plastic the clay will be. (Applicable to ball clays and bentones primarily). More importantly, the SAS becomes the basis of formulation because it factors total grain size. So from here, the SAS formulation needs to be applied.. Nerd
  14. From the album: Curves and Crisp Edges

    Slab construction, stoneware with terra sigilata
  15. Hello! I have recently made the transition from earthenware to stoneware to create mugs and dinnerware. I am fairly confident I applied the glaze to thickly to these mugs as I have made three and all three have small thin hairline cracks around the areas of thicker glaze... bummer.. a lesson learnt. I wonder if i can save these mugs though? The cracks are only on the outside surface there are no cracks to the bottom or inside. Shall I write them off (use might be dangerous) consider them seconds or try to repair the cracks? I have seen a few methods of repairing on google, I don't want the repairs to be too obvious, Would be nice if i could repair and re-glaze to blend the appearance of the repair. Any advice would be greatly appreciated, I may be a little sentimental over these as they are my first function stoneware makes.. Emma
  16. The next series of online classes are posted on TeachinArt Instructors to look for is Marcia Selsor that is pushing forward with discovery in Alternative Firing. David Voorhees is giving tips about successful throwing of porcelain. Connie Christensen makes a tea set; tray and all and later this year we will add her shino expertise to this school. Nan Rothwell is the latest addition and we are very excited to add her stoneware throwing class. Antoinette Badenhorst added 4 classes in porcelain from Understanding porcelain to making projects in hand building to wheel throwing. Her pinching teapots for the complete beginner is very popular and the pinching porcelain teapots will be available late fall to early winter. An introduction to understanding glazes will also follow later this year. Instructors to look forward to is Paul Lewing, Curtis Benzle and Marie Gibbons. Each one bringing their specialty to TeachinArt.
  17. I have been having a strange issue with my Cone 6 Black Stoneware Clay from Standard (266). It gets these big cracking bubbles upon glaze firing. I bought this clay to marble with Porcelain (Standard 365) because it had a similar shrink rate. The marbled pieces came out SUPER bubbly, really horrible. I thought it was just poor clay preparation on my part because of the mixing of the two. However it has been happening with pots I make solely out of the Black Stoneware. I prepare this clay the same way I do all my other clay bodies and never really have this issue otherwise. Has anyone else had this problem with this clay? Any advice?
  18. Linda Lees

    IMG 6849

    From the album: Curves and Crisp Edges

    Hand built using Clayworks LGH Stoneware clay. Terra Sigillata finish

    © Linda Lees

  19. Linda Lees

    IMG 6827

    From the album: Curves and Crisp Edges

    Hand built using Clayworks LGH Stoneware clay. Terra Sigillata finish

    © Linda Lees

  20. I have been studying plasticity in stoneware bodies, as most know. I am finding some results that are making me question the accepted belief that plasticity equates to ease of throwing. Plasticity in general comes from the electrostatic charges on the clay particles; which changes as the body ages. I am looking for articles that specifically review the relation of sub micron ball clays, to the ease of throwing. I am trying to determine/figure out how mass plays a role in throwing. Ron Roy and I had this discussion at NCECA; what is the cut-off point for large and intermediate mesh sizes, before those additions create a denser mass: which makes the clay harder to push around on a wheel. It is very common for stoneware bodies to have 80% total clay content, there are some even higher than that. So I still find myself questioning if mass is playing the larger role in determining if a clay is easier to push around? Not sure if I am articulating my thoughts correctly, but hopefully I have made the question clear enough. As a comparison: everyone knows how easily porcelain moves around when thrown. The most common analogy is that it throws like cream cheese. That is because porcelain in general has 25% silica, and 25% feldspar; which has much less mass than fire clay. One of the major differences is mass: stoneware has more clay content; and much larger particle sizes. I have tested this theory by adding V-gum and macaloid to high percentage formulas of fire clay/intermediate clay. These additions are not the norm; solely done to test if plasticity is the determining factor in ease of throwing. Nerd
  21. From the album: WIPs

    At least it turned out nearly flawless. Large 12" across, planter from a gritty brown stoneware with off-white slip painting under clear glaze. Formed inside an automotive oil pan with coils.

    © Ann Nielsen

  22. Hi guys. Im about to lose my mind. I started pottery about 6 months ago and have been progressing really well. I started with buff stoneware and went on to white stoneware with no problems. I was throwing upto 800 gms till now. Recently I tried throwing a 1500 and then 2000 gms and was so pleased that I was successful. And then one day I couldn't center anymore. And the worst part is I cant figure out why. Not even 600 gms. Not even less. Nothing. I always get a twist right at the bottom on the clay where it touches the wheel and lumps/knots throughout my clay ! I just dont know what it is. After failing on my wheel at home, I tried it in my pottery class in front of my tutor as well. As soon as I touch the clay it gets this nasty twist at the bottom that I cant get out. My pottery teacher and two other students tried to center it as well with no luck. I just dont understand why this is happening. Ive tried different clays, different wheels - nothing. Im getting so frustrated. To explain my centering process - I used to cone up and down to center and then I had more luck recently with pressing with the heel of my left palm on the side and with my right fist on top of the clay to center. It used to get centered under 2 minutes. But none of those methods are working at the moment. Ive struggled for 30-40 minutes at a stretch without any luck. Anyone face a similar problem? How did you solve it? Just to let you know - I have no personal problems or anything that are affecting this - and since my tutor wasnt able to center my clay as well im guessing its not related to anything going on internally with me. Maybe its my wedging? I dont know. Any ideas?
  23. howdy. I have been experimenting with low fire glaze that is safe for food use with stoneware clay. I am firing bisque at cone 05 and glaze firing to cone 05. My mugs look great and then I add in hot water and they start to craze. the craze is faint but, I can see lines. Should I bisque fire to 04 and keep glaze to 05? I have an old kiln so, I don't really want to use any high fire glazes so, this works best for me. Any advice will help.
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