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Member Since 31 Mar 2010
Offline Last Active Yesterday, 08:06 PM

#65153 Honey/amber Translucent /transparent Cone 6 Glaze

Posted by Min on Yesterday, 06:27 PM

 This kind of colour? This is over porcelain, lowish expansion of 6.11



EP Kaolin                    14.00
Silica                           23.00
Frit 3195                     16.60
Bentolite L                    2.00
3134                            4.80
Australian Spodumene 15.00
Dolomite                      15.00
Nepheline Syenite        10.00
Manganese Dioxide       3.00
Iron Oxide Red               2.00


    total:                        105.40


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#65130 How Would You Describe Your Current Studio Location. Suburban Garage, Urban B...

Posted by Min on Yesterday, 01:53 PM

Basement workshop with kilns (2) in covered and enclosed deck in the back. 1 kiln is a 10 cubic' front loader, the other a small top loader that i use mostly for tests, I fire to ^6/7 Only problem with having a home workshop is my "mess" seems to take over the house. Have taken over 3 bedrooms now, 2 for storage and 1 for packing.

#64454 Slip Trailing - Silly Post

Posted by Min on 14 August 2014 - 04:00 PM

So, I had to make some cookies for a wedding shower this weekend. Turns out you can use slip trailing for other things.  :blink:  



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#64304 Cone 6 Body Or Cone 6-10 Body: Much Difference?

Posted by Min on 11 August 2014 - 11:12 AM

When you have your glazes sorted out to fire at ^6 -^7 but the clay needs to go to ^8 or so to be tight then it's a problem. 

#64054 Why Is Our Work Better Than Imported Work?

Posted by Min on 06 August 2014 - 03:36 PM

The direction this thread has taken is one which I’ve seen happen a few times in the past couple years. Someone with great passion for working in clay takes umbrage with a reply or critique of what they have said. Emotions get involved, things get taken personally and the conversation goes downhill from there.


I think that what is so very important to remember is that we are all just expressing our opinions, nothing is written in stone. Some of us have more life experience than others, be it with marketing, chemistry, design or so forth. The crux of the matter is to endure in this field you need to eat, sleep and breathe clay; it is such a ruthless career to be in that it’s very hard to succeed unless you feel that way. It is because we are so involved with clay that our comments are perhaps at times so abrupt.


Patsu, you are obviously very passionate about clay. With all due respect, so are all the people who have replied to your posts.  They are only trying to broaden your perspective as you are with them. Some of us are a titch more gruff than others but everyone’s heart is in the right place.


There are many, many wonderful sharing people on these forums,  I urge you to stick with it, there is no such thing as wasted knowledge and there is plenty to learn here. 

#63868 Is Kiln Wash Necessary?

Posted by Min on 04 August 2014 - 06:38 PM

After kiln washing do you bisque fire before use?

As a first timer .....grind and coat...... I do not like...... (Them.....Sam I am)


Would you like them wet or dry?

I would not, could not fire them wet.


Would you, could you dry them in the kiln?

From here to 200F for an hour or three.


If you feel them you will see

Cool means they're too wet to fire


I do so like dry shelves for me

Bisquing is not necessary


(deepest apologies all around, it's been a long day)

#63778 Why Is Our Work Better Than Imported Work?

Posted by Min on 03 August 2014 - 07:18 PM




This has been the single most successful day of my artistic life.  I feel powerful and strong about it.  I may be a hot mess of a human being from time to time, but I sold a lot of good pottery today.  May be hit by a bus tomorrow but today, I lived. Yes!



Oh if only we could bottle that euphoric positive energy and keep it in a locket close to our hearts when we have one of those Christmas Shows filled with the ticky tacky kitsch that prevails at that time of year. Sounds like you had a wonderful day, here’s to staying off the bus route tomorrow  :)

#63716 Campana Kiln Wash

Posted by Min on 02 August 2014 - 05:24 PM

What's your opinion on washes that add a bit of flux. Eg nepsy?


my 2 cents worth, 



#63115 Refring?

Posted by Min on 23 July 2014 - 05:28 PM

Another question. If you refire to your glazes maturation point could this repair pinholes without affecting the look of the piece to much? I suppose it would depend on how runny a glaze is?


I hate pinholes, they turn up in all the wrong places don't they? Yup, refiring can smooth over pinholes but not always. You can rub a tiny bit of dry glaze into the pins and refire. I would put those pots in the coolest area of your kiln if possible. Yes, most glazes do move more on subsequent firings to similar cones. Sometimes they look better, sometimes not so much.


Couple other thoughts about pinholes if they are a real problem, apologies if you already know this stuff.


- clean bisque firing to around 05 - 04 with good ventilation, avoid stacking pots inside each other


- sub out any ingredients that have a high loi rate, for example if your glaze has a large amount of whiting it helps to reformulate glaze to use wollastonite in place of it (and some of the silica). Talc and dolomite have high loi rates also. Can't always get rid of them but helps if you can swap for something else like frit 3249 to supply the magnesium for example.


- glazes with high viscosity take longer to heal over the pins. Longer soak at the top temp without over firing sometimes helps.

#62895 To Share Or Not To Share

Posted by Min on 20 July 2014 - 07:45 PM

I think my presence here is testament as to how I feel about sharing. You will notice that I refrain fromtalking much about glaze and clay chemistry. I don't know enough, so I leave it to those that do (sensei John). I loved teaching, and here I can still help someone.


Maybe this is the thread summed up in a nutshell. We share what we are comfortable to share. 

#62516 Trimming Lids.

Posted by Min on 15 July 2014 - 07:07 PM

I don't use a chuck, throw upside down then trim right side up on a neoprene disc. Piece of firm foam in center to stop from deforming it if I'm throwing a knob on. Flange on the lid, no gallery on the pots.

#62277 Getting The Perfect Gloss From Terra Sig.

Posted by Min on 12 July 2014 - 11:39 AM

Was re-reading Vince Pitelka's terra sig article this morning. Near the end of the article he speaks about the glassy surface achieved by the ancient Greeks with no burnishing. 


This is the first paragraph, he goes on for several more expanding on this theory.


"Is it Possible to Make a Terra Sig that will Develop a Gloss with No Polishing?
I believe that my reference to "super refined terra sig" is appropriate in the context of other contemporary studio terra sig processes, but it recently came to my attention that the glassy surfaces on classic ancient Greek red-figure and black-figure wares were achieved with little or no polishing, and thus the terra sig must have been refined to a far greater degree. Recently I was contacted by a man conducting experiments to create such a sig. His process started out like mine, but after concentrating the liquid back to a specific gravity of 1.20, he repeated the whole process again, and again, and again, I believe about ten times. This process is ripe for experimentation. On the second and subsequent siphonings, you wouldn't encounter any distinct layer of identifiable sediments, and would have to simply sacrifice some arbitrary amount at the bottom of the settled mixture each time - again, an area for experimentation. The beauty of this process is that on the way to re-concentrating the suspension to a specific gravity of 1.20 after each siphoning, you could pause at 1.15 and try out a bit of sig on a piece to check the degree of spontaneous gloss.


Rest of the article is here: http://iweb.tntech.e...l/terra_sig.htm

(bottom of the article is the Greek subject)



#61966 Ways To Sign Your Pieces?

Posted by Min on 07 July 2014 - 09:20 PM

I had a stamp made at Jet stamps, they use acetal, a hard plastic, which makes a very crisp, burr free impression in the clay. They have a fast turnaround time and can help with design if necessary.


#61735 Cones Or Rods For Kiln Sitter? Which Ones?

Posted by Min on 03 July 2014 - 05:35 PM

 The clay I bought can be fired anywhere from cone 6-10, and all of my glazes I'm considering are either 6 or "5-6"


Are you making functional pots with this clay? A ^6 clay can't go to ^10 without bloating or warping and a ^10 clay will be underfired and porous at ^6. No worries if it's for sculpture but not advisable for functional pots.  A clay rated at ^6-10 might be okay at the higher temps but not at the lower. I would look into a clay rated as ^5 or ^6 if you are using glazes in that range.


As dhPotter said, since you are considering ^5-6 glazes then I would get 5, 6, and 7. For bisque I go to ^04 (for a ^6 or ^10 clay) For a sitter use bars, for witness cones use the full size regular or freestanding ones. (regular ones are cheaper and it only takes a few minutes to make the clay bases to place them in, just get the angle right). For the glaze firing I would use a ^6 bar but watch the witness cones.

#61489 ? Secret Ingredient In Underglaze?

Posted by Min on 28 June 2014 - 09:10 PM

I've tried a few underglaze bases, none of them have worked as well as Spectrum underglazes. Spectrum sells their underglaze base to which you add stain in approx a 2:1 ratio. (500 series base)