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Member Since 10 Mar 2013
Offline Last Active Dec 08 2014 01:35 AM

#51491 Self Glazing Cone 04 Porcelain

Posted by AtomicAxe on 01 February 2014 - 07:10 AM

I always did like experimenting with self glazing clay bodies when I was in college.  really any clay body can become self glazing ... it really just comes down to finding that point of fluxing a clay body to where it still holds it shape with in a cone or two higher than you fire but the surface flux melts at the cone you fire to or a little under.  I had one I called a volcanic clay which I used silicon carbide in with high flux on an iron-ish rich clay body ... it fired to cone 10 and would sort of form a bubbled skin looking like course rock for some of my sculptures.  Mind you, it still had warping and distortion in thin areas because of the self fluxing, so that had to be overcome with thickness. 

#38155 Slip casting globes- form?

Posted by AtomicAxe on 02 July 2013 - 07:54 AM

you know, if I was in half an hour driving distance ... I would move to a place if it's named bumbleputz.

#38114 Making clay 101

Posted by AtomicAxe on 01 July 2013 - 09:00 AM

huh. Never thought about flower pots ... that is definitely an interesting way to go.

you could even sew a .... bag ...... perhaps for the inside out of canvas so it is a little more contained.

As for the slurry method, I don't see problems with it. Just like everything else it's all in the details, use some sort of electric mixer to get a good pre-blend when it's slaked and go to town.

As for drying ... depends on the conditions. Where I'm at now, I will pour onto canvas that is sitting on a plaster bat inside then wrap the top so it's like a clay burrito ... 3 day later I wedge. If I need it today, I will still wrap like a burrito, but that clay is sitting in the sun on a big slab of concrete. It's about controlling moisture loss at that point without making it too dry in some parts, but not dry enough in others.

#34740 Silver glaze/ ceramic glaze sealer

Posted by AtomicAxe on 13 May 2013 - 01:48 PM

Nothing you can do with a silver sharpie ... it's just a dye with something to stick ... you can try to clear coat it with a clear spray paint ... but the acetone and xylene in spray paint will dissolve it.

That being said ...

Why did you not think to silver leaf the job? http://www.gildedpla...wtogoldleaf.asp

#34530 Two different worlds out there.

Posted by AtomicAxe on 10 May 2013 - 11:45 AM

I've asked a lot of ceramicists/potters/whatever what they consider themselves ... no one can give me a reply that is standard ... after a while I don't really care how many types of people are out there or what they call themselves ... I really only care what I consider myself.

A mud bug.

I will do production if I want, lord knows I have the experience. I will make ceramic art if I want. I will make mugs all day with none being the same and not save any of them if I want. Trying to label it as something specific is fine, but how many painters and sculpters really define themselves as that specific label ... not many and when I do see it, its a descriptive term they use to let the audience in front of them know a little more about what medium they use, so they know what to expect "i.e. I'm a water color painter" anything else is for a self inflated artist statement.

Pro vs Hobby is an idiosyncratic fallacy. Only thing that should matter is Do, or Do not. I know 'pros' that don't produce and I know 'hobbyists' that can out shine anyone ... Do you produce or don't you. The rest is all shades of grey and frivolous.

#34359 Used Kiln

Posted by AtomicAxe on 08 May 2013 - 01:28 PM

Thanks a bunch for the replys, heres a link to the kiln. I dont know the model number, it still uses firing cones so Im sure its fairley old. The Lady sain the inside is in good condition and the elements all work.


Yeah, judging from that ... i wouldn't touch it for that price. If they can answer my questions I posted earlier and show you photos of the inside and that still satisfies you ... go for it. otherwise I know I would pass. It's got a kiln sitter and they added an extension to the top of the kiln that you can take off if you don't need a full load fired but other than that it's probably been abused to snot or left to rot with heavy junk on top of it killing the kiln lid.
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#34198 Used Kiln

Posted by AtomicAxe on 06 May 2013 - 03:42 PM

Man, calling it how it is mregecko ... I contacted one person about a kiln who actually was the 7th person in a row to buy it and not use it even once ... not even to see if it turns on. Shenanigans.

#34182 Used Kiln

Posted by AtomicAxe on 06 May 2013 - 12:53 PM

ugh, i hate CL kiln listings ... does the person know anything about the history of the kiln? Ask questions to the seller about the kiln. Here is my go-to list;

How often was this kiln fired?
What temps did it get fired to?
Did you fire lead based glazes in the kiln?
Did you fast fire, or slow fire the kiln?
What brand/make/model is the kiln?
Features of the kiln? (i.e. kiln sitter, full manual, vent, stand, etc?)
How old is the kiln?
Is there any damage to the kiln brick?
Does the kiln even turn on?
Where the elements ever replaced?
If so, which ones and how many firings ago?

If they can't answer those basic questions ... most I offer is $50 ... price out replacing the kiln elements and rewiring the kiln ... it will make that $450 kiln more expensive than a new kiln.

#33854 Do you feel that it is important to have a sketch book to capture ideas? | 04...

Posted by AtomicAxe on 30 April 2013 - 08:21 AM

I usually carry multiple sketchbooks. Normally the two or three I carry is a sketchbook I throw about every stray idea, observation, life sketch or composition into, a sketchbook for graphic design work, and my ceramics and sculpture sketchbook. Sketchbooks aren't that big, about 5x7 in size and easily fit in my laptop bag. I would lie and say that I could do without them ... but that only leaves me with loose pages and sketches EVERYWHERE ... wife hates me not carrying one.

#33306 My

Posted by AtomicAxe on 20 April 2013 - 11:28 PM

Yeah buddy! now it's starting to get fierce!
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#33008 My

Posted by AtomicAxe on 16 April 2013 - 09:56 AM

I'm familiar with the art deco style, I wasn't implying that it should be photo realistic. as a note, i just did a 3 minute mock up so you can see what I ment by my suggestions from your photo.

as I said, i changed the head and nose to reflect more of a consistant flow from head to maw and removed some chin and that is all.

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#32988 Ashes on glaze

Posted by AtomicAxe on 16 April 2013 - 12:48 AM

Currently I fire to ^6 ox, and all my ash is unwashed ... washed ash is a waste of time. (At least for me) The idea in the 3 to 1 ratio of ash to low fire flux is to move the melting point down to get the ash to do its ash awesomeness so you can tweak as needed. I prefer gerstley borate and FF 3134 as they are borosilicate fluxes which have a negative glaze expansion rate which means less chance of surface crazing as the glaze surface cools and contracts ... neph sy does not have that key component for that but will work. borax is water soluble and not ideal due to its rather unstable nature but will work in a pinch. Simple though, as I just scoop out what I need from my bins ... when I need a more reliable mix, I will mix a complete glaze by weight.

this is my formula for a complete glaze and a good start

Ash 50
FF 3134 20
Flint 15
Kaolin 10
Whiting 5

That fits most needs. some variations on this is my high iron version

Ash 60
FF 3134 15
Redart 15
Flint 5
whiting 5

Decent enough as a tob glaze, stable by itself and good in combo with other ash glazes.
Another is Val Cushings ash ... simple and nice ... little on the matte side but has lovely rivulets and takes to colorants well.

Ash 50
Gerstley 20
Whiting 12
Silica 10

And when I started switching to ^6 firings my original recipe was

Ash 60
Gerstley 20
EPK 20
Silica 20

Not 100% I know ... went more for a ratio formula by weight than 100% calculation ... might notice it ... 3/1/1/1 highly glossy, some surface crazing due to high flux high silica ratio but bonds with glaze body well.

In the past I would have one base that had 5% zircopax, 5% rutile and 1% cobalt which would result in a milky blue glaze with white highlights on the top that would flow with the rivulets. would then top that with the 3 to 1 ratio blend with a heavy cobalt mix on top to make that dark cobalt fade from top to bottom with a partial dip and a stable liner glaze inside of functional ware.

oh, and 5% yellow ochre works well in ash especially with other iron bearing glazes.

Found that straight ash glazing doesn't sell in this area (too georgia rustic for texans) so I go for a more subtle approach and that is ash as an accent on glazes to change the surface.

#32908 Left at the Altar

Posted by AtomicAxe on 15 April 2013 - 12:02 AM

Pretty much nothing you can do that is worth while. Small claims court only says you're entitled to the money, not that they are forced to pay you. Also, keep in mind it will only further destroy your professional relationship with that person in addition to the personal relationship. You can sell the debt to a collection agency ... but again, same end results and you don't get full money. Also bear in mind that those mugs will have to collect dust until things are settled whether you sue them or sell the debt.

Since you can still use the mugs for other things ... do so. Chalk the rest up to learning and always get a deposit as well as a binding agreement. Also, real friends will understand agreements that protect you and them ... so don't give special treatment because you like them. (Can't really say special rates ... that is your decision to make ... but conditions and treatment, no.) All the rest is up to you.

I wish you luck.

#31911 How to achieve this glaze effect

Posted by AtomicAxe on 31 March 2013 - 06:20 PM

you just need a more stable glaze on top of a more fluid glaze. the bottom layer will melt and move with the top parting. pretty simple, just takes some testing.

#31619 transparent glazes?

Posted by AtomicAxe on 26 March 2013 - 08:28 AM

I suspect you are looking for a glaze that breaks ... by that I mean a glaze that falls off high surfaces and pools in crevices.
I will post some example images and you can see if that is what you mean.

That is what she means.