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Mudslinger Ceramics

Member Since 16 Apr 2010
Offline Last Active Dec 16 2014 06:17 AM

Posts I've Made

In Topic: Re-Firing Commercial Porcelain

06 December 2014 - 05:17 AM

Hello Dave


Welcome to the forums. 


I have fired decals onto commercial pottery and most results were good but you do need to know if the piece is earthenware, stoneware/porcelain or bonechina as the glaze chemistry for these categories of pottery are different and may change the colour of the design on the plate or the decal as the glaze softens and starts to activate again. All metal accents on a piece will permanently tarnish or burn out completely because the layer of metal is so thin, ditto with lustre colours and  porcelain painting because these colour films are also very thin.....


....having said all that, decals are great fun and will fire onto most china most of the time with very little trouble because the firing temperature of the decal is much lower than the glazes on the piece.


I am Australian so I think metric.... my firing schedule is...60C/hr to 150C to thoroughly dry the decal, 120C/hr to 570C hold 10mins, 120C/hr to 810C hold 10mins, off.


Would also suggest doing a test piece first.  Good luck and show us the results.



In Topic: Ceramic Rings

25 November 2014 - 02:53 AM

Hi Judith


First find out the shrink rate of your clay, your supplier will have marked it on the bag, or phone them and ask (my usual clay shrinks 12-15% as written on the bag)........


........OR do a shrink test.......roll out a strip of clay, mark out a 10cm (4") line with 1cm (3/8") markings on it, fire it to C10. Remeasure the whole line to find out how much it shrank, this will give you a percentage result.


Cut out a thin strip of paper, wrap it around your finger and put a mark at the point where the 2 parts come together, this gives you the circumference measurement of your finger. Lay the strip flat and measure the circumference as a straight line measurement.


Compare the paper line measurement to the fired clay line measurement and ADD THE EXTRA PERCENTAGE AMOUNT you found out from your clay bag, clay supplier or your shrink test firing. This is how I have done mine.


Good luck


In Topic: What Does Centering Clay Mean To You? | September 6, 2013

10 November 2014 - 07:31 PM

Like JLowes, being eager to 'get on with it' I used to fight to centre the clay and would start when I thought 'near enough is good enough', would then fight to correct wobbles, slumping and uneveness accepting it as part of the unpredictable nature of clay!!


.....took nearly 4 years to 'get it!'....that if I took the time to centre well then everything that followed would flow easily from the centre of the lump itself, effortlessly and exactly as I envisioned it. I basically had to stop, backtrack and re-train myself again until I got used to the feel of well centred clay before going onto the forming stages


I can't centre well when I am agitated or distracted, those pots invariably end up in recycle but when I'm in the 'zone' the clay follows suit and we get on well from there.



In Topic: To Submit Or Not To Submit

06 November 2014 - 09:27 PM

Been a potter for 12 years making domestic ware for sale in accordance with what the customer ''wants'' and then ''my own'' work for me which is just what I liked and which piled up around the studio.


2 years ago I saw an exhibition call out with 2 hours left to apply that had a category specifically for Paperclay and... beyond my reason today, I thought  ''I want be a real artist' and jumped in, I just wanted the experience.


Turned up for the Opening event with no idea of anything but having a look at all the work and my son had to push me forward when my name was called as the winner of that category.....I didn't hear it and for a moment I didn't understand what my son wanted!!  Gob-smacked I approached well known Australian potter Greg Daly to accept my award.....frightfully aware of the industry's eyes upon me! Went home laughing and crying.


 Have only applied 3 times more and won one more....competition like that is not my goal but it did change my thinking....I did start to think of my √≠nternally driven'' work  as ''art'' and my √©xternally driven work as ''√°rtisan''..................it's ok, story is about my experience and I know we all think differently about the art/craft debate.....


The experience changed my thinking about the work I love doing as having the same value, or more to me, than that which I make for commercial sale, so I now have 2 lines - the work I sell at art/craft shows for income and the work I exhibit in art galleries for income and prestige.


So my thoughts on the question is that it's worth trying a couple of times, even if it is nuts, just to find out what it means to you to have done it.  


(Whole leather and chains thing is optional in mixed media ceramics too I guess!)



In Topic: Lowfire Glaze Depression.

06 November 2014 - 07:31 PM

Look at British potter Kate Malone's early work.....all about striking form, all about unashamed colour, all about multiple glaze layering of commercial glazes...many a straight clear e/w commercial modified by herself with colour and/or texture ingredients in the one glaze bucket .................her Masters degree was spent on a massive commercial glaze testing regime....and there is nothing ''meh'' about it and what lowfire can do




 OR...if it has to be the high fire look, do the real deal...bisque at home and share a high fire gas or wood kiln with others


Take time to show us your experiments!