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Found 173 results

  1. Detail "Emerging"

    From the album LeeU Hidden Mask Series

    This piece was fired in the anagama kiln at the Sharon Art Center in NH.
  2. From the album LeeU Hidden Mask Series

    This piece was fired in the anagama kiln at the Sharon Art Center in NH. It is porcelain with a celedon glaze on the facial planes and a temmoku on the stamped area. The orange on the right side is on unglazed clay and is an attribute of the firing.
  3. Dante makes a small impression

    From the album WIPs

    More WIP. Some molds I made along with some random objects used for impressions, including a cameo of Dante. -The cup in the upper left is not my work btw.
  4. WIP phase2_Utilitarian Vessels

    From the album WIPs

    Just excited because of the pinch pot mug body I managed to make without too much trouble. Archiving some prototypes in progress.
  5. Hi, I have a question regarding mixing of large quantities of porcelain into colour. Like 10 kg of each colour. Would you recommend a pug mill for doing this job?
  6. Hi everyone I am a currently teaching myself to work with porcelain. I am about to take a general ceramic course soon, but there are still a lot of specific techniques involved in making small ceramic pieces, that I want to learn. I am making necklace beads and earrings and I have a few questions regarding finishing techniques: - Do you sand or polish greenware, or just use a wet sponge or paint brush to smooth little rough areas? Some of my pieces are really small and have angles so I would need something kind of small, pointy to get to some of the corners. Any tools that you can recommend? The pieces are fairly smooth already, but there are some details on the surface that I would like to smooth, specially in the joins. Any jewellery/small piece makers out there that can give me some advice? Thanks!
  7. I've been using Elaine's Cone 6 porcelain from Sheffield for a few years now, and I love it. I love the feel of it on my hands, I love the way it takes glazes, and overall I've been really happy with it. But over the past, say, 9 months, I've been having new problems with attachments: handles and other attachments are cracking even when I dry super-slow. Does anyone else have experience with this? Any suggestions? I don't want to switch clays, but I'm getting frustrated. Thanks!
  8. From the album LeeU Hidden Mask Series

    This piece followed a friend's suicide.
  9. Hello! I hope someone with more experience out there can help me! I am making a wall hanging piece that is essentially a collage of flowers within a round frame, probably around 18 by 24 inches. I am in need of advice on the logistics of this project. I am unsure if it would be more effective to make a large slab and attach the flowers to it before firing (this option scares me!) or if I should divide the overall piece into 4 quadrants and arrange the flowers so when the pieces are put together on the wall- you cant see the seam. The other approach I was thinking of would be making individual flowers, firing them and then adhering them to a wooden backing. Lots of options and things to think about. I will be using cone 5-6 Leguna Frost Porcelain. I attached a photo shopped image for reference.. Thanks! Audrey
  10. C11 Porc.

    From the album Crystalline Glaze / Tile

    New cone 11 porcelain body, with crystalline glaze. Only given 30 minute soak time.

    © TJA 2017

  11. 100 0717

    From the album Memorial Work

    Cone 6 almond porcelain, with colored porcelain banding: clear glaze. The almond color is from the clay.--once fired.

    © TJA 2017

  12. Hi Guys, I am not sure if this is the right place to post this, but I would like to share this interview with you. I will be teaching porcelain in Europe again in 2018. This video is a glimpse of the fantastic opportunity I had in the summer of 2016. I taught in 6 different countries. This video was made in Slovenia
  13. Online Workshops

    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.
  14. I have been having an issue with the bottoms of my pots getting big chips out of them during a glaze firing. The chipped parts are not really stuck the the kiln shelf, they brush off easily, so I don't think it's a glazing issue. Normally I dip glaze pots with clear and wipe off the bottom with a sponge. I wonder if a little residual glaze is still there and sticking? This is happening with my cone 6 porcelain (standard 365) and a black stoneware clay. Both have a high shrink rate. I do use kiln wash. Do I need to apply kiln wash for every firing? It seems like that must be the issue but on some shelves the wash is getting so thick that it flakes off. Should I be removing the excess and re applying fresh kiln wash?
  15. Hi everyone, Hope you all have had a good holiday weekend. I have a quick question regarding warppaged and drying of porcelain slip casting. I have a couple of plate moulds and I would like to cast using porcelain. Does porcelain slip warp? Should I follow the same rules for plates regarding drying slowly and upside down? Thanks. Enjoy the rest of the day. Andrea
  16. Hi everybody, This is my first post here, nice to meet you all. I have a question about some result of fired colored porcelain. I am making some unglazed porcelain objects, with the goal of having a very matte finish. Now I have made a test with porcelain colored with a black stain, I have added 4 % to the slip. The stain is based on Co-Fe-Cr, it's standard stain I purchased at a ceramic supplier, the same goes for the slip. What I did: First did a bisque fire (electric kiln) until 950 degree Celsius (1742 degrees Fahrenheit) I removed the objects and finished them (sanding) to a more smooth finish In the kiln again, fired until 1230 degree Celsius (2246 degrees Fahrenheit) The result is a matte looking porcelain, but it has some unwanted glossy spots on the surface (see attached photos). I do not understand why this is happening. Maybe somebody has an idea what could be the cause of this? Thank you in advance. greetings, Patrick Hartog
  17. So, I need a crack expert. I have a piece of cone 6 porcelain greenware that keeps cracking when it drys. I've repaired it numerous times, dried it for weeks, wet the entire piece down, nothing is working. It's a small crack on the edge of the piece. 1 cm maybe. I can not make it again, I need to fix this crack. Help me please!
  18. A Splash of Colour

    From the album My work 2017 (Year 1)

    I love the randomness of the colour splashes in these pieces.
  19. Translucency of Parian

    From the album My work 2017 (Year 1)

    I have carved some floral designs onto some of my parian vases. I think they would make lovely candle holders or lamp shades. New direction possible.
  20. Cone Incense Holder

    From the album LeeU 2-5-17 Fire

    Small incense cone holder-porcelain
  21. Hi everyone, I'm going to be doing a lot of hand building of porcelain, plates. platters. Should I bisque fire upside down (on rims), right way up, on kiln washed shelves or on calcite alumina? Thanks Andrea
  22. Every so often, I get excited about a new technique. My latest thrill is Parian ware - the cool marble surface is like nothing else (except perhaps cool marble!) I've searched both this forum and elsewhere for references to Parian ware bodies, and found very little. It's essentially a porcellaneous body, but heavier on the fluxes, which fires to a beautiful marble sheen. No glaze required! So, I fired a test piece yesterday. The result is very encouraging - the body is vitrified, semi-translucent, a pleasing off-white, and 'rings' nicely - no warping. But the sheen is not quite developed yet - you can just see the beginnings of a bloom. It's nearly there. The obvious answer is to fire a little higher, or soak a little longer - the test went to a good cone 6. But I am wondering whether I can introduce a small percentage of a frit into the body, to lower the melt a little? If so, how much to start with? 5%? 10%? And which frit? The Parian body has a reputation for having a relatively wide firing range as far as porcelain type bodies go - am I sacrificing this by thinking about adding a frit? And what would I be doing to the translucency? Or the castability? The body is very simple: China Clay - 40% Soda Feldspar - 60% ...and deflocculants, to form a casting slip. It's a variation of a Val Cushing recipe. Or perhaps I could just up the proportion of Feldspar a little? I have another recipe I have yet to try, from Hamer & Hamer, again for cone 6: China Clay - 33% Cornish Stone - 66% Any thoughts gratefully received!
  23. Hello everyone, I have set the kiln to fire at night time and it switched off in the middle of the firing because of a power cut. Can I fire that again to get to the right temperature? Will the glaze be compromised? Thank you! Tatiana
  24. Re-Firing

    Hello everyone, I have set the kiln to fire at night time and it switched off in the middle of the firing because of a power cut. Can I fire that again to get to the right temperature? Will the glaze be compromised? Thank you! Tatiana
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