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Showing results for tags 'bone dry'.
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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!!!
AndreaB posted a topic in Studio Operations and Making WorkQuick question. I have a bone dry piece that has a clean brake. Can I join using sodium silicate? TIA regards Andrea
hantremmer posted a topic in Studio Operations and Making WorkI've got a bone dry bowl. Arctic white stoneware. It has thin walls and has been sitting for about a month. I also have a 'raven black' slip (description below). Is it possible for me to paint the pot with the slip, then paint patterns with shellac and wipe the black slip away, revealing the clay underneath? I'm unsure if the bowl will take the slip and whether it's possible to wipe the excess away, so I'm left with a black pattern. Ideas: These decorating slips, are suitable for use on both Earthernware and Stoneware bodies. When manufacturing our slips we believe in using high percentages of stain to give strong, vivid colours throughout the range. The slip can be applied to leather hard clay with brushes, sponges or slip trailers. After biscuit firing the pots should be glazed with a suitable transparent glaze which will further enhance the vibrant colours. Our sample is fired to 1060degC.The colours darken the higher you fire. Wide firing range - 1000-1300°C" Is it possible for me to paint the pot with the slip, then paint patterns with shellac and wipe the black slip
So as beginner, I am going through the growing pains of not enough education in ceramics. My pots are really thick walled and heavy, just due to the learning process and insecurities with clay and its fortitude. I have had many pieces "die" in the kiln due to many factors - air bubbles, not enough wedging... I have had the kiln operator at our local guild leave pieces out of the firing for me - thank god, due to the fact that they are not "Bone Dry". How important is the fact they are not "Bone Dry" before bisque firing and how do I tell if they are or not? Im new to my local climate, the other members tell me their experience is about 1 week of drying time is good....But I am a scientist, love details and facts, figures, and would love a quick lesson on how to tell if the moisture in my clay has evaporated enough in order to go to bisque firing.... Thanks for any feedback for my "beginner" questions.