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  2. Callie, I am understanding from you that it is ok to use Frit 3124 and 3124 interchangeably in an underglaze but not in a glaze?
  3. welcome, you might want to add another website to your search. it is something like Cone6pots, google that one and you will find a community of potters of all types who work at cone 6 with stoneware. cone 6 is a very wide field with all kinds of clay that is useful for your purpose. the difference between the groups is that this one seems to have more people who are interested in making their own glazes, physically making kilns or other equipment and much more technical and chemistry interests than the other one. there are many who fire porcelain and stoneware to cone 10 here. those folks appear to mainly use commercial glazes. both are very useful but there is that slightly different emphasis. it would also be very helpful to put your location in your avatar so we know what country you live in. BTW that is my dog but he is black and white, not green and white unless he rolls in the grass too much.
  4. Since you want to try out stoneware, you might try Laguna B-mix ^5. It is a white clay that I use primarily for throwing, and I've also used it for hand building and a sculpture with good success. What range are you looking to fire to?
  5. Today
  6. Hi, everyone. I've been working with earthenware for a couple of decades now, doing mostly hand-built work and sculptures, too, around 1-2 feet tall, all on a white clay surface with underglaze and glaze finishes. I've begun throwing bowls, etc., now and want to switch to a stoneware that would be compatible with all three methods of construction (sculpture, hand-building, and throwing). However, I can't seem to find a white stoneware that fits all my needs. Is there a way I could give it a white surface for my underglazes to look good on? (I've attached a photo of one of my little sculptures, around a foot tall.) I have never used stoneware and don't know much at all about it and can't seem to find any "how-to's" on using it. I'm not necessarily asking for a tutorial from anyone here but rather some recommendations on sources that I might be able to use to learn as much as possible about working with stoneware, its properties, how it behaves, etc. Thanks in advance, Dottie
  7. Wow I knew i would get some interesting feedback. Ive been reading these forums for a cpl years now. Thanks for letting me break the ice!
  8. Thank you old lady. The cones were from my accumulation of spent cones which were arranged when the clay was wet, removed, then glued in place after the glaze firing. I used the same process with the bed of cones for "Lazarus". If van Gogh could have watched HGTV, he would have had an en suite!
  9. Thanks for the welcome and congrats, Lee! — and the detail about Portland Supply. The NH Potters Guild looks great. Maybe I'll plan a trip to enjoy the 2021 Biennial Exhibition.
  10. CONGRATULATIONS! Lazarus is really well thought out and executed. Remodel would have made van Gogh proud. how did you make the throne with all those perfectly melted cones?
  11. Just to mention when I search the materials database on Glazy it also shows similar materials as well as other language matches and ......... similar recipes. So for instance I can get the chem analysis for each frit but when I search 3124 I also get a mason stain recipe that someone has contributed. The materials database on this site is extensive from the admin of the site but allows contribution from the greater glaze community . Often it’s worth the search which is free BTW A couple examples below
  12. Yes, 3 pieces. Lazarus, Remodel: Bedroom at Arles With En Suite, and Cone Throne.
  13. Precisely!!! And in my world, that is as it should be! I have an affinity for Voulkos' observation about technique & having something to say--however one says it. Once I'd mastered those blasted 100 perfectly same, perfect cylinders I was DONE!!! My only consistency is in my inconsistency...which annoyingly enough loops right back around to consistency when seen as a cumulative body of work (mixed media), even when I thought I had shaken it off.
  14. I like the "banner" up top--the graphic affect & pallet is kinda "soothing" and intriguing simultaneously-nice vibe.

    1. Mr. Ray

      Mr. Ray

      Purely by accident. 

       

  15. Well, I just learned that something I have been doing since first putting my hands on clay, which I call "excavating" (series Excavations) has a name for the approach, the Japanese term kuri nuki (carving out). I didn't know the term--it is just something I do 'cuz I like it! Cool.
  16. Portland Supply is a nice little store, has an attached studio operation, and also a great healthy foods cafe right in the shop, which is fun! They only carry 2 brands of clay and 4 of glazes-mainly Laguna, Standard & Amaco. I go a few times a year, but driving from central NH, I do almost as well having my clay/glazes shipped when I want other brands and my order is large enough. Portland at times has items that are out of stock---I always call first to be sure they have what I'm looking for & they are very accommodating about getting & holding things. Large orders definitely need a phone conversation well in advance, just to be safe. You probably know about the Southern Maine Clay Guild, but there is also the New Hampshire Potters Guild, which is open to potters in other states-quite a few are from Maine. https://www.nhpottersguild.org/ The dues are inexpensive and benefits include a Biennial Exhibition (next in 2021/we're planning it now). Congratulations on the studio!
  17. Hi @Lesley Anton and welcome! For the purposes of making underglaze, Frits are largely interchangeable because the important thing is that they melt. There are lots of different oxides that will make pigments flux just enough to stick to the pot. In the specific substitution that the original poster was speaking about, the only difference between the two Frits is their alumina content, which isn’t a big consideration in that specific situation. For the purposes of making glaze, the chemistry matters a lot more. According to Digitalfire, the composition of frit 3195 is here, and the composition of frit 3110 is here. You can see they’re pretty different from each other, especially in the sodium and alumina department. The sodium will affect both glaze fit and the bright blue colour, and the alumina will affect how the glaze runs (or doesn’t). You can try switching them with each other, but you’ll wind up with a very different glaze. As a side note, I find Digitalfire and the Stull chart on Glazy to be nice compliments to each other. Glazy shows you the what, while Digitalfire points to the “why.”
  18. ? D you have work in this show?
  19. Go to the 21st century kilns website and get the book also available from Paragon kiln website . The book will give you the information you need. LT
  20. Never seen RIO go white or even anything near white! That's very unique I think. Only thing I can think of is maybe microbubbles turning the clear glaze clouded?
  21. @Olinda Hi and welcome back! Some of the reasons for the speculative answers are simply that you have to test things with the materials you have with your specific clay and your specific firing circumstances. Another reason is that a lot of things could work in a situation like this, and you may just have to pick one and try it. I know these answers can be maddening, so let’s try and narrow some things down. I personally have had clear glazes crawl off an iron oxide wash cut only with water and no flux, I’ve had it turn green or various ugly/undesired things, but I’ve never had it go white. Can you give us an example of the look you’re going for and describe more precisely what you’ve tried? What temperature are you firing to and what clay are you using? Oxidation or reduction? What glazes have you tried? Are you mixing your own or using store bought? How thick have you put your wash on, and what fluxes or other things have you added to your mix?
  22. https://theconeboxshow.com/product-category/best_in_show/ https://theconeboxshow.com/product-category/purchase_awards/ https://theconeboxshow.com/product-category/jurors_choice_awards/ https://theconeboxshow.com/product-category/2020show/
  23. Hello! Im a potter of 8 years, and I am starting to want to take a leap into reduction firing. I want to have a gas kiln in the future of at least 12 cubic feet. I have looked at all gas kiln brands and I like Geil kilns the best. My pottery teacher has the 12 cubic ft downdraft brick model and I love it. But his was extremely expensive, and so I have done my research and feel that I want to build one similar to the Geil design, but for cheaper. I love how it uses natural draft venturi burners that are contoled by one valve,and are placed below the kiln, and the one damper in the back in the flu. Does anyone know how I should draw up plans for something like this?
  24. I have not yet found any clear glaze that could go over red iron oxide. Even zinc free clear glazes turn RIO white. I have tried multiple suggestions for getting some shine or gloss on my iron oxide pieces so they don’t look so raw. Ive asked many people if they know a flux or a frit that can be added to red iron oxide but have never gotten an answer that wasn’t speculative. Someone commented in the above thread with suggestions of frit or flux, but later when someone else asked about this, he never replied. I have tried using underglaze that looks similar to iron oxide, such as the mahogany colored Amaco underglaze but that doesn’t have the look I want and I don’t want it to be so shiny. Anybody out there have a solution?
  25. Hi Callie, Another similar question. Are Ferro Frit 3110 and 3195 interchangeable? Trying to make this Water Blue Original glaze and I already have 3195 here. https://glazy.org/recipes/11680 Thanks! Lesley Anton
  26. Yesterday
  27. My kiln is outdoors and will get a leaf blown on top of it once in a while. They've never caught on fire though. It's great to be extra cautious, but I think the 10-12 inches or whatever your manufacturer recommends is likely plenty.
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