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Found 184 results

  1. Hello All! I wonder if someone here has the knowledge to solve a very annoying problem I have been facing lately: I create Porcelain plates, about 9" in diameter. The wight of each plate after glaze firing is about 200 to 250 grams which makes them pretty thin. When bisque firing them, all is well - Always. When glaze firing them (1230 C) , many many of the plates are broken WHEN TOUCHED, that means that when I open the kiln, they all look fine but when I come to pick them up, they break up in my hands. Those that do make it in one piece, have a hollow sound when knocked and break soon after. A few facts to add to the mystery: 1. I do not use a slab roller. 2. Other plates that have a wavy edge style also made from the same Porcelain and with the same method do not break at all IN THE SAME FIRING, 3. Some plates do come out OK. 4. Am using an electric Kiln. 5. The plates are only glazed on their top side. 6. Some plates have a supporting ring element (made also from Porcelain) underneath their circumference to keep their shape (raised edges) and some don't. They all break. 7. The plates are bone dry when entering the glaze firing - the glaze is air dried for a few hours before I fire up the kiln. Any help on this issue will be greatly appreciated! Thank you, Diana.
  2. From the album: July 2019

    Thrown porcelain vase, cut vertically from rim. Textured slab attached with slip. Copper & cobalt oxide wash applied to bone dry greenware. Bisqued to 1000oC. Transparent glaze poured inside and brushed on textured addition. Fired to 1200oC (cone 6/7). Gold lustre highlights added then fired to 780oC.
  3. From the album: July 2019

    Thrown porcelain bottles (sometimes off the hump) - 3-4” tall. Underglaze transfer decoration applied to leather hard clay. Bisqued to 1000oC. Poured and dipped in transparent glaze. Fired to cone 6/7 (1200oC)
  4. From the album: July 2019

    Thrown porcelain. Wax resist all over, carved when leather hard. Black underglaze inlay painted over and wiped back. Bisqued to 1000oC. Orange underglaze highlights added. Transparent glaze poured and dipped then fired to cone 6/7.
  5. From the album: July 2019

    Thrown porcelain. Wax resist all over, carved when leather hard. Black underglaze inlay painted over and wiped back. Bisqued to 1000oC. Transparent glaze poured and dipped then fired to cone 6/7. Gold lustre applied before third firing to 780oC.
  6. Hi Everyone, I'm so inspired by the posts in this forum. I've never worked with ceramic, but have been considering it recently. I've found this picture below. I would like to make a similar item using a piece of crochet or a doily. I suppose I would need to work with high firing porcelain clay and need a high firing temperature furnace. I can't wait to experiment I have two questions - Is there a book or an online course that can teach me the basics for working with porcelain clay, materials tools and process? What temperature furnace I need to purchase?
  7. The 2nd FRANZ Rising Star Project call for entry is open! The FRANZ Rising Star Project was launched in 2018 hoping to alleviate students’ financial burdens caused by prototype expenses etc. FRANZ expects the new generation to fully develop their creativity and become rising stars in design that shine in the future. Come join us and show your talent! Application Window: May 1st to August 2nd 12:00 noon (GMT+8) Scholarship Announcement: September 30th What are the qualifications? (1) The applicant must be a current student studying (No limitation to any department and academic grade) or a 2018 / 2019 graduate. (2) Original artworks of actual ceramic proofing must be completed, simulations and drafts are not accepted. (3) The entry itself must be more than 50% porcelain. (4) Artworks that had won scholarships in 2018 may not apply again. *For each applicant, the number of applications is not limited, but only 3 entries at most to be awarded. The Prizes: 1. USD$ 1,000 per scholarship, 100 scholarship in total 2. The Top 10 may have a chance to exhibit to exhibit in Porzellanikon Selb, MIC International Museum of Ceramic in Faenza, 2021 British Ceramics Biennial and Beijing Today Art Museum. Moreover, they can sell their artworks in Beijing Today Art Museum and the Artling! Check out our website for more: https://bit.ly/2WX01ua Or contact us via info@franzproject.com
  8. Hello. I have a hige problem with bubbles in my work. It is slipcasted porcelain in a closed mould. Does anyone know what the problem could be? The air shouldn't be trapped as there are enough holes in the highest places. The bubbles are inside and on top and bottom of the casting. I would really,really appreciate any help!! Anna
  9. I have made my own black stains with the same bodies of porcelain I’m using ( Audrey Blackman & Parien )They fire up to 1240 degs ( one fire ) My problem is the stained surface ALL have blisters Any suggestions on how I can resolve this issue ? Is there mayb something else I should be adding aside from porcelain body stain and water ( which I then pass through a mesh sieve) Commercial stains seem fine Would appreciate input Kind regards Nicky
  10. 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!!
  11. Hello, I am trying to build ceramic baskets using extremely fine coils of porcelain, and wanted to try making porcelain paper clay so that I can work as fine as I would like to. I am wondering where I can find the best recipe to make it, and what paper pulp I should use. Would it also be beneficial for me to add porcelain grog/molochite to the mix? Many thanks!
  12. Hi, I have a lot of difficulty with wedging in large amounts of clay. I want to mix stains into 5 lb. increments of porcelain. Any suggestions on type of machine. Would A dough mixer or pug mill work. I’m not looking to spend a lot. It’s just for my home studio. Thanks, Liz
  13. As found groove crack after firing , Attachment :-Top view of Groove with crack in shell Item
  14. 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?
  15. Hello! I was hoping to have a discussion with anyone who may be more educated/experienced on the topic of porcelain warpage. Primarily what I am wondering is - is it possible to make porcelain wares without any warpage at all through glaze fire? I have tried a number of different drying and firing techniques but it seems impossible to achieve a perfect net form. I am slip casting, so my wares have very consistent wall widths. I have read time and time again that the design of the object dictates warpage (along with drying/firing techniques), but I can't really think of a design that doesn't have at least some varying wall thicknesses as a result, other than a perfectly spherical bowl or something. For my purposes, I will need to have at least some variation in thickness, and I hope to learn of a way to consistently achieve near net form through glaze fire. It would be great to hear from you all on the subject. Thanks for reading Cole
  16. Dear everyone, I am quite new to a slip casting technique. Have made several plaster molds for casting porcelain. And had some success, but recently I have noticed that some of the greenware gets tiny pinholes and then, (because some cups doesnt have it) there are SOMETIMES also pinholes on the glaze. If i got it right, those tiny pinholes are the result of air bubbles or pieces of dust in the casting slip, right? But i wonder, do those pinholes influence the glaze? I am a bit confused, because some of the porcelain cups are not having those pinholes on the glaze and some do have. The thing is that the kiln in the studio where i used to fire my work is very old, and as a kiln technician said, it fires hire than it should and moreover fires unevenly. I wonder if this could be the reason for the pinholes on the glaze surface? Or maybe pinholes on the greenware? Or both? Do you have any ideas? Or similar experience? Thank you in advance!!
  17. Hello folks! I am a porcelain painter in Brazil! I work with china paint for 25 years... This week I lost seven plates in my kiln. Six at a time (Second firing) and another one in another time (fist firing) ... have lost some, rarely, very uncomon one piece or 2 but at this time I am very anxious because is the There have been losses of dishes a few times but so this is the first time ...I'm scared because it's a big order, the biggest one I've ever taken and this has never happened to me ...What could have been?Exaggerated load of the oven? I've done other burns like this and there's never been a problem ...Concentration of the pieces arranged in the same way in the oven?They were on separate shelves ... two on each shelf. Some broke that one that was in front and the others in the background.I changed the batch and then burned the other dishes without shelves and with less load and yet lost one more.I do not use level ... I burn straight as I have always done my whole life and I never had problems ....Can anyone give me a hint of what might be going on?Today I'm doing another burn and I used it this time ... but I'm scared to death ... The photo of the bad firing is bellow! Thank you if anyone has the knowledge to help me ...
  18. FRANZ Rising Star Project is a scholarship project held by the top porcelain brand in Taiwan – FRANZ Collection Inc. https://www.franzcollection.com.tw/en The aim of the project is to ease students’ financial burden, due to the high expenses for making their artworks and pursuing their porcelain design dreams. 100 artworks would be chosen and we would reimburse USD$ 1,000 each for their outstanding performance and hard work, as our token of appreciation. Qualifications: 1. The applicant must be a current student studying in 2018 or a new 2018 graduate. 2. The artwork itself must contain more than 50% of porcelain/ceramic. Call for Entry: 6/1 - 8/31 Discover more about FRANZ Rising Star Project : https://bit.ly/2O5WvWd Facebook: @RisingStarProject Contact: info@franzproject.com
  19. Not sure if this is the right place for this. If it is, then admins can whoosh wherever is best. I have been using a dark clay body, which I love, but have a bit of fatigue in working with the dark color....I need to work with lighter colors a bit, even if I work in two different clays. I have done some small stuff with Coleman's porcelain and it was okay. I have tried Dave's and fought with it the whole time. I would like to find a nice porcelain that works for me. I am looking for some reviews of porcelain or thoughts on various clay body. I do some mild altering of thrown forms, and deep sgraffito. I also like to do taller forms, but realize that may be more challenging with porcelain. Any thoughts?
  20. I have a bucket of old porcelain casting slip that I made a couple of years ago, and I'm wondering if I can reconstitute it. It's pretty chunky, it was originally deflocculated with Darvan 811. Can I get it back to a proper consistency for casting? Should I add more Darvan? Also, does Darvan expire?
  21. Hi - I am using porcelain for the first time, and while I knew it was persnickety, I am having an unexpected problem: it keeps breaking while I'm glazing. While one pot was a very thin (too thin probably) vase, I have had multiple cup handles break in the middle or away from their attachment site. The handles were not pulled - they were coils that I smoothed with a sponge, so I wondered if maybe the clay was not compressed enough? The handles were relatively small but the cup was small and thin, too, so I don't think that is the problem. It is a cone 10 Narra porcelain, and they were bisqued to cone 06. They seemed very stone-like and sturdy, no visible cracks, so the breaks were a big surprise. I'm getting really frustrated...any ideas would be greatly appreciated! Thanks, Anita
  22. Hi all Have just flipped through the last 20 forum pages (eyes hurt!) looking for a PDF paper some very clever soul once posted last year on making your own ceramic tape sheets of porcelain, a 'homemade' version of Keraflex sheets......of course cannot find it! Have used the Search option with several combinations of words but still no luck! The primary binder was PVA glue that gave the thin translucent porcelain its plastic flexibility but with a bit of water would soften the glue base allowing complex shapes to be formed from the sheets. Much, much cheaper than buying Keraflex no matter how wonderful it is. There was a very specific way of making the slip formula and handling the sheets in drying so am looking for that PDF.....does anyone remember the post?....have the PDF on file?...have another recipie I could use? Help ........! Irene
  23. A series of online courses for 2018 offered through Teachinart.com Teachers : Nan Rothwell, Antoinette Badenhorst, Marcia Selsor, David Voorhees and soon Paul Lewing and Connie Christenson http://teachinart.com/index.html
  24. From the album: LeeU Hidden Mask Series

    This piece was fired in the anagama kiln at the Sharon Art Center in NH.
  25. 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.
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