Is anyone else seeing some strong similarities between those two pots?
The pieces don't look at all the same to me, between the two sellers.
Actually it is true that I'm not making them by myself and I'm just a seller. The maker lives in a village and mostly sells his items at Kyiv and Chernihiv area. But I can ask him about some specific questions.
Ayjay looks around, and leaves again: complete with smug grin.
Speaking as a Brit who learnt the Imperial system at school and went on to work with the metric system as a carpenter (and one who is very resistant to change) I can assure you that the metric system has many benefits.
Of course despite changing to the metric system about 40 years ago we can still buy things like a 2'6" door, etc. etc, .but for calculating rafter lengths or balustrade spacings the metric system is a joy compared to the Imperial system.
I will say though, for some reason, I still cant see e.g.- 519mm - but I know exactly what 20 -7/16" looks like.
There's nothing stopping anyone from using the metric measuring system for their own purposes, but if you decide to make a start, I'd say forget about centimetres - just work with millimetres and metres.
Can you buy metric rulers and tape measures in the USA?
I like it too. What is it? what clay? What firing schedule
Thanks doc: It's just a small pot, the basic buff stoneware that we use at college, some torn newspaper strips applied as a resist while still on the wheel and then sodium silicate applied and dried with a heat gun and then ribbed out a little - bisque fired to ^05 then a wash of Iron Oxide, FF3110 and China clay applied to the cracks - (surplus sanded off the high spots) and a glaze of Jen's Juicy fruit with Liquorice on the rim - my glaze firing schedule is very simple - 100°C per hour to 1100°C and then @ 75°C per hour to 1200°C and a 20 minute soak - and then allowed to cool naturally.
it seems like unique firing schedules are in fashion this season. Every time I find a new glazes I want to try it has a different firing schedule than anything else I've dealt with. Since I have a fairly large kiln, Skutt 1227, it is unlikely that I would want to fill it kiln with pots all having the same glaze. On the other hand I'm not really excited about firing it was just a few pots in it.
Is anyone else frustrated by this?
Have you found a way of coping with this besides avoiding glazes that have unique firing schedules?
I know exactly what you mean: I don't have the amount of production which allows extensive testing on a sensible time scale, so I do use published glaze recipes and sometimes change them a little to suit my purposes (sometimes I even convince myself I know what I'm doing).
I just remain grateful for those published recipes which someone has probably worked hard on and decided to share with the wider community, they don't have to share, any many don't, if they don't fit my simple firing schedule I usually try them as is the first time and if they don't work for me they get tweaked once or twice and then abandoned if they still don't work - there's plenty of good glazes that do - how many do you really need?
I'm reaching the stage where I want to have a half dozen glazes that I know will work, can interact positively with each other and maybe test a new glaze with each firing, hoping for one of those spectacular results, (I've managed acceptable so far, still waiting for spectacular).
Here's my most recent favourite, not spectacular by any means, but I rather like it (and I need to sort out the lighting for pottery pics).
I made one, it's in daily use, no fancy gaskets just a well fitting lid, it's deliberately small enough that it needs emptying daily into a larger plastic dustbin just outside the kitchen door which gets transferred to the compost bins weekly.
If it helps to know the scale: the black tiles are 4"X2" and the white tiles are 3" high - don't know why I didn't just measure the pot.
I often brush my own stoneware glazes on (although spraying is beginning to take over), I make a solution of CMC (5mg to 1 pint of water)and add enough of that to thicken the glaze.
It won't need much, 20ml of the CMC solution to 100ml of glaze would almost certainly be too much: it's going to depend on how wet they are to start with, but if I'm mixing small quantities of glaze I normally use 90 -100 ml of water to 100g of the dry glaze.
Then brush on three coats, the CMC stops the water from being instantly sucked out, but do remember you're not house painting, you're applying glaze with a brush, a soft fan brush is best.
(I would fret however, if my tests were applied in a different way to how I intend to make the finished product).