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~janie

Member Since 28 Jul 2010
Offline Last Active Aug 19 2014 11:59 AM
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#53618 Paint Brushes

Posted by ~janie on 28 February 2014 - 09:38 AM

You don't really have to pick up dead animals on the road to get hair for your brushes, although my husband did volunteer to get a skunk tail for me.... :wub:

 

Any of the sporting places, like Pro Bass, Cabala's, etc., etc.  carries supplies for fly fishing and the guys who tie their own lures.  I have ordered Artic Fox, squirrel, and elk, and they have a ton more.

 

My grandson is also a prime supplier of fur and hairs.  He saves tails from deer, squirrel, fox, rabbit, raccoon, and anything else he harvests during hunting season.  He saves horse hair from grooming his horse and hair from the bull's tail when he is being groomed for show.  He is a really good grandson!  (and an excellent hunter)

 

Oddly enough, the one species that I am coveting and have been unable to find is from a goat.  I want some hair from between the shoulder blades of the goat, but I don't know anybody who has goats who will share a bit of hair.

 

We also have a never ending supply of bamboo for handles.  I do mean a NEVER ENDING supply!

 

I have an abundance of hairs, tails and etc.  If you will send your address, I will be happy to share.  :)




#19510 Crack filling--Magic Water and Paper Clay?

Posted by ~janie on 18 July 2012 - 11:30 AM

I use paper clay slip for just about all my joins, and paper clay and slip for repairs. My formula is slip from whatever clay I am using, a drop or two of dish detergent, to help with the mold, and a dash of sodium silicate, or other suitable defloculant (not too much). Add an amount (30-40% volume of slip) of paper that has been shredded and soaked in boiling water until the water cools. Drain the paper, reserving the liquid to make more slip, mix it all together, using a blender or juicer, and it is ready to go.

I attach all kinds of things with this stuff. Bisque to bisque, green to green, green to bisque, and repair glazed pieces and refire. You don't need to worry about it drying too fast, it will be just fine. I have used it to adhere different types of clay. No problem seems to be too bad for paper clay.

For big cracks, I dry some of my slip mixture on a plaster bat and use it to roll coils. For easy application of the slip in hard-to-reach places, use a cake decorating bag filled with the not-too-wet slip, and pipe it into the cracks.

I love paper clay for repairs. I may one day get around to actually making something with all paper clay.Posted Image


#18126 firing scheudle

Posted by ~janie on 13 June 2012 - 11:16 PM

I love the Potter's Choice glazes and I use a lot of them.

I went to a mini workshop put on by Amaco that was just about these glazes. I had not been having fun with them, and I had SO MANY! I have to use what I have, or I can't have any more. Rules from the Man.....

The #1 secret to applying the glaze is the brush. Use a #4 or #6 fan brush from Amaco. It has some natural bristles, don't know what, but they make all the difference in the world. They hold a lot of glaze.

#2, when applying, use a cris-cross pattern to apply, or at least, not a formal pattern. Allow each coat to dry before applying another coat! Otherwise, you will just smear the glaze around and will never get enough on the piece. The glaze must be thick, or you will not get the pretty results. It will just be brown mud. Ugly.

On the other hand, if you get it too thick on the bottom of the piece, it will run and make a mess on your shelves. I graduate the coats from the bottom, and set my pieces on cookies that I make just for this purpose. Apply kiln wash to the cookies.

You might check with Amaco or with your ceramic supply store to see if they have a packet about the Potter's Choice glazes. A description of each glaze is included, and a page (double sided) on each base coat with all the combinations that they know of. What goes well on Firebrick (2 coats base, 2 coats top), on Blue Midnight (1 thick coat base, 3 coats top) , on Blue Rutile (2 base. 2 top), and on Deep Olive Speckle (2 coats base, 2 coats top).

One of my favorites is Deep Olive Speckle (2 coats) with (2 coats) Umber Float on top. Gorgeous!
Also, Deep Firebrick under Seaweed. Spectacular!

As to the dry glaze, we did buy the Deep Firebrick and the Ancient Jasper, but we have not yet worked out the dipping thing yet. It seems that the dry glazes don't have any binders in them, and do not have the same chemical reaction as the ready to use glaze does. The top coat doesn't seem to stick to the base coat very well. (Also, if you dip, one dip is equal to 3 coats brushing.) We have had some serious crawling occur. I have talked to the best glaze experts I know and have been offered various advice, but the last one made some pretty good sense. He said the glaze was too thick, we need to thin it down, a lot. We are going to try that, then I don't know what we will do with it if that doesn't work. I thought about brushing on the base coat and dipping the top coats...might try that after I thin it.

Trying to think of anything else. This is a good start. So much to remember. Do remember to write down what you put on each piece, so you can repeat it if you like it. Best of luck! Enjoy!


#13553 whats everyone been up to?

Posted by ~janie on 14 February 2012 - 05:02 PM

Negative reputation!!! NOT! That is terrible! I noticed I had a negative reputation, and have no idea how I got it. I just figure some people don't have enough positive things to do.

I appreciate you very much, Teardrop.

Marcia, are you teaching a workshop this weekend, or attending one? I wish you would teach a good workshop, I would certainly travel to Brownsville to attend.

This 'addiction' is perfectly healthy for me.


#2339 Bisque Firing Temperature For Raku Clay

Posted by ~janie on 01 September 2010 - 05:32 PM

What is an ideal bisque temperature for raku clay before raku glazing? Will bisque firing temperature will have effect on results of Raku glaze? please help.


I am not the most experienced person to be teaching anyone, but I will share what I have been taught.

Bisque is bisque, regardless of the clay. Clay is formed, dried and dried, then fired to bisque, usually between 1700-1800 degrees, although we fire a bit higher, at cone 06. The point where clay becomes ceramic (the ceramic change) occurs at 1112 degrees, however.

I cannot imagine that the bisque temperature would affect your raku glaze. It will only be affected by what you do after you put the glaze on your piece. We fire all our raku at cone 06- 1830 degrees, and use glazes formulated for that temperature.

If I have got this backwards, I would appreciate being set straight, too.