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Found 103 results

  1. Is there any scientific way of measure the plasticity and tell it in numbers ? I know the easy way by rolling out a coil and wrap around the fingers to check the plasticity in no time but I wanted to know is there any way that I can measure it and keep noted so that it can be a reference is future ...
  2. Hi, I have this problem of cracking or clay splitting when throwing in the wheel, pls find the attached picture and also, after firing at cone 08, the clay has a lot of surface cracks and sometimes structural cracks pls find the attached pic, pls advise why this is happening and how to avoid this in future. Thanks.
  3. I have this heavy blisters and pinholes issue and I m doing the Bisque at cone 08 and glaze temperature is at cone 6 + 40 mins soak., Whats the reason behind this blisters and pinholes ? Is it a clay issue or its something to do with a glaze chemistry ?
  4. Hi, We have been doing the jigger for the first time and the pieces whatever we are making have a cracks in a same pattern in a same location, and we are using Terracotta clay to make the pieces and here I m attaching the cross sectional pieces of the molds., and in the molds I have few doubts and I would like to get clarified so that I can reduce the cracking doors one by one., Does the thick and thin portions of the molds absorbs water differently so that the pieces are cracking ? As you can see the picture of the pieces the cracks are happening in the place where the side wall is connecting with the curved edges, and the cracks are happening only with our terracotta clay and we have tried quite a lot of receipes to avoid cracks but nothing is helping out and the cracks are happening in the inside of the pieces and the outside wall is just fine. Also we have tried jiggering few pieces with our stoneware clay and we havent have any cracks in the stoneware. Does the uneven wall thickness is the reason to get the cracks ? Wi only the Terracotta is cracking and not the stoneware ? Wi the inner wall is cracking and it didnt extend to the outer wall ? Does it anything to do with the plasticity and the composition of the clay? As far as the design is concerned, we make sure theres no undercuts in the design and even the wall is not striaght and it has an angle of 10% for easy releasing., we used to have few issues with our clay body which I was working with Tom (Glazenerd) to solve the issue, but apart from that I would like to know what are the other possible reasons for the cracking.
  5. 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
  6. Hi everyone, I am experimenting with sponges, submerged in slurry/ slip. I have seen a view examples that I am trying to replicate. I have done a view test using natural sponges. I do not want to use any artificial sponge due to unhealthy fumes that might occur wile firing. However, the results so far did not really satisfy me. The remaining structure of the sponge looked interesting but it was very brittle and fell apart easily. I fired it at cone 05. I am wondering if anyone has some experience on that subject and a tip what I could do differently? And do you have any recommendation for natural spongy materials that I could use, alternatively to a sponge? Thank you so much for any advice , best wishes, Seb
  7. Davidpotter

    Sand On Clay?

    I had an interesting idea today and that was to sprinkle sand on my freshly thrown pieces to add some interesting designs. My teacher is going to try in the older kiln since it doesn't matter as much if it does something bad. However that kiln can only get as high as cone 6. I was wondering though if maybe the sand will melt possibly. I don't have any specific details about the sand except that its high in silica. Has anyone had any experience with this yet? Any suggestion would be appreciated.
  8. I have been busy with firing pieces for several exhibitions since the weather broke. The obvara was pretty successful. I have been experimenting in the saggars using tiles as baffles to help hold combustibles in place. I am including two pieces of framed baffles because I find them so intriguing. the pots range from 8-12" in ht. I am using terra sig on the sagger pieces as well as on the smooth areas of the obvara pieces. I use ball clay TS so that it absorbs the obvara and the fuming in the saggars. I just added the poster for the Invitational show. Marcia
  9. sheppard.lin

    Woodfiring Clay Bodies

    Hello again, another wood firing question for those of you with more experience! I'm going to try a few different clay bodies in an wood firing next month. I'm in Ontario, Can - so I'm going to test a porcelain and Tony Clennell's clay body for sure. I've also seen a lot of work with gorgeous deep purple/brown tones. Are there any clay bodies/slips/kiln placement that I might experiment with to get this color? Thanks, Lindsey
  10. Hi all, I have a question that has probably never been asked before: is clay-based cat litter usable as content for casting slip? I ask this because it's cheaper and I can buy it from a local store rather than order my usual clay online and have to pay an exorbitant delivery fee. I like to experiment so was going to make something small to see what would happen but I also thought I'd put the question out there in case anyone had actually tried this. Thanks in advance!
  11. Hey gang! I'm curious if there is a way to achieve the look of MG2 over soldate 60 - that cool speckled look, at cone 6 in an electric kiln? I love the look and miss making it, and would love to recreate it at home if possible. Thanks!!
  12. It has been a long time since I have done anything with molds as I am mainly a wheel thrower. I have a plaster fruit bowl mold (hump mold over a year old but have never used it before until now) and my clay won't release from it and I'm scared that if I don't take it off soon that it will crack (its been on the mold for almost a full day uncovered). I can't get it off, what should I do? And how do you keep your clay from sticking to your plaster molds?
  13. Art Students League of Denver Please join us for our upcoming workshop “Abstract Archetypes” with Marty Fielding (https://martyfielding.com/ ) April 26, 2018 - Artist Talk -- 6 -7:30 pm April 27, 2018 - delecTABLE Exhibit Artists Reception with Marty in attendance -- 5:30-8:00pm April 28-29, 2018 - Demonstration Workshop -- 9 am- 4 pm During his slide lecture, Marty will speak about his career, philosophy and approach to working with clay. His demo workshop will explore slab building techniques for constructing functional pots such as cups, dishes and pouring vessels and surface decoration with underglazes. To Register, please call 303-778-6990, or register online at: http://asld.org/adult-classes-workshops-student-information/visiting-artist-series/ This Visiting Artist Series workshop will be held in conjunction with the juried delecTABLE exhibit - April 6 – May 18, 2018. To view images of juried artists and dates for exhibit and receptions: http://asld.org/delectable/ Thanks! Shelley Schreiber Ceramics Studio Manager Art Students League of Denver s.schreiber@asld.org
  14. 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....
  15. BARAKE SCULPTOR

    OLD MAN

    From the album: SCULPTOR

    HIGH TEMP.FIRED SCULPTURE.UNIQUE PIECE

    © Barake Sculptor

  16. 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.
  17. Patternedtile

    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!
  18. 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
  19. 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
  20. 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
  21. 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.
  22. 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.
  23. moo00se

    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.
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