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  3. I have a few dozen porcelain pendants in the kiln right now. This is my first time using porcelain and since having a bad experience with crazing on my last pendants (in earthenware) I really don't want to mess it up. This is what I've done so far - 1. Bisque fire to Cone 05 at medium speed. Although I have now discovered that if you don't put a hold on my electric kiln, it will shut off when it reaches each temperature and will not soak the ware at that temperature. So going by my pyrometric cones, they reached cone 06 (orton cone puddled) but did not quite bend my 05 cone. 2. Then I hand painted my pieces with Amaco Velvet underglazes and set the electric kiln to cone 7, firing at medium speed once again. This means it will definitely mature at cone 6. Firing range of the slip I'm using is 1220 - 1300 celcius. Cone 6 is 1220. I've put orton cones in again to be sure that the ware reaches cone 6 and therefore vitrifies. 3. The final stage will be to apply the transparent overglaze. This also has a firing range of 1220 - 1300. Should I fire at Cone 7 again? Should I fire on the fast setting or on the medium again? I have a Paragon Firefly kiln and according to the manual the medium speed is 'standard', the fast speed is 20% faster and the slow is 20% slower. I want to make sure I get these right this time, but feel quite nervous. These porcelain pendants will be used as part of fine jewellery pieces and I want them to last many many years and not craze on the surface. Thanks so much everyone.
  4. Thanks Bill and Liam for the advice. I'm going to experiment with it and will let you know if it is successful
  5. Sure why not, you can skip the first few steps of grit too. I'd be sure to put a healthy amount of filler beads in there too though to help cushion them from bashing each other apart.
  6. This was in a batch of pottery supplies I got off Craigslist. There was no description on the bag. There is a lot of grog in it; more than normal to my experience so the previous potter may have added some. I went ahead and threw it just to use it up but I can't make up my mind what cones to bisque and then fire it to. Anyone want to take a guess at what body this is and it's firing ranges? Other than multiple, different cone firings of samples is there a method of testing?
  7. Working with a coarser clay makes the smooth process a little slower, I got into coiling when I was in college. I took a archeology class that was in a competition with other colleges to replicate Anazai pottery. It was held in the pottery studio and I was the only clay person in the class. The professor taught the class how he thought they made the coiled pots, I told him he was wrong that the pots would crack and fall apart. At the end of the semester we fired them in a trench firing, my work come out fine the rest was broken shards. I had a dozen pieces come out of the firing most of them quite large and thin walled. The professor admitted I was right, the archeology department won the competition with my work. Denice
  8. I think you would have success depend upon the desired look. While we have not used a polisher we have achieved various looks by sanding, polishing and burnishing even to a low gloss. By sanding I am talking 500 to 2000 grit. We found it pretty easy to polish to a mild gloss with some effort. All of our items are fully vitrified porcelain. It definitely is easier to use a glaze that provides the intended look though.
  9. Just a little thought I had today...if I wanted Cone 6 fired porcelain to have a satin/low gloss finish without the use of an overglaze, do you think that I could achieve this using a rock polisher? I'm talking about very small items - pendants and beads. I would be interested to know if anyone on here has ever tried putting porcelain in a rock tumbler machine before?
  10. Hi Min, thank you for that suggestion because I would have never thought of that. If the method I'm trying today doesn't work out then I will certainly give that a go!
  11. @LouiseB,this is a long shot but I noticed you used the word "bin" so I'm guessing you might not be in North America. In the UK for example there are some earthenwares that go to cone 6. What info do you have for the earthenware you are using? Might be lucky and have one that goes higher than lowfire temperatures.
  12. If it's jewelry and glaze fit isn't of utmost importance, glaze to the earthenware clay temperatures. Vitrification isn't *as* big a deal for something you're not eating off of or isn't subject to mild acid or base exposure.
  13. Hello, I’m new to ceramics and have been working with some mid-fire porcelain clay as well as white earthenware clay. I made several hundred small jewellery pieces from both clays and had them bisque fired at a local kiln service. Unfortunately they combined all my work together and now I don’t know which is porcelain and which is white earthenware, soI don’t know which clear glaze to use on which piece. Might anyone be able to give me some advice about what I could do? Are these pieces salvagable or bound for the bin?
  14. Yesterday
  15. I want to refire a piece that has been fired to cone #6. Can I refire it at cone #5?

    1. Min


      Sometimes this works, sometimes not so much. It's a crapshoot with refires but if it's not acceptable as it is now then theres nothing to loose by  refiring it. Cone 5 would be good, less chance of the glazes running and / or bloating with the clay. If you aren't sure how runny the glazes get with a refire then putting the piece on a thin scrap slab to catch any glaze runs is a good idea.

      BTW, this Status Update section is more for what people have going on at the moment, for your question the Studio Operations and Making Work section might get you more replies.

      Welcome to the forums! 

  16. Ok thanks. My plans for burner port is currently 3" X 4" opening. I plan the chimney at 6" X 6" inside with 3" thick walls.
  17. Just to echo what @liambesaw said, there do exist smaller private websites with well-curated handmade craft. https://www.artfulhome.com/ is another one. Artful Home is basically a wholesale deal for the artist, you split the retail cost with them, then you drop-ship the work to the customer. You pay Artful Home much more than you pay Etsy, in order to have your work displayed among nothing but well-curated work. The other well-curated online craft sellers that I know of also work on a 50/50 split. It’s a trade off. If you want something with lower costs like Etsy, you can’t tell them to lower the volume of work. If you want to be seen in a well-curated environment, you need to pay them for the added value of their venue. It's expensive! It should be treated it like a gallery relationship, as in you have to compete to get past their discerning selection process, and give them half of the sale.
  18. I'd give another inch of width in the firebox, then just center the shelves in the space. What diameter is your burner port?
  19. When beautiful flooring once laid down it becomes the most wonderful place to visit every time. I can see all the tiles, designs uploaded here, are looking very nice and unique too. I remember last year when the construction of my new home was going on, one of my neighbour suggested my dad to install vinyl flooring Sacramento from the Zothex Flooring. We did the same, and we are still happy with the work done by the experts.
  20. I've had to put this on hold due to money but, now have the funds ready... This is my latest plan after your suggestions and some other reading. 9" thick walls, will probably do 4.5 " arch with fiber over the top and 9" thick floor. I'm hoping to make it work with one burner, my biggest concern from this plan is the space around shelves. It's probably a bit tight top and bottom ( 1½" ) and too much at the flue side (4½") but can't see a better way without having to cut a load of bricks. I plan 8 courses for walls, which would give about 10cu ft total internal space with arch.
  21. Oh, Bill, thank you! It's so good to know someone else has apparently been living in the alternate universe where cones don't behave as expected.
  22. I throw you another twist, on occasion I have had a cone 11 guard cone bend as much or more than the cone 10 firing cone. Universe is way out of order on those days!
  23. Yes, it's a bisque fire, and you have all persuaded me that I shouldn't care -- but again, it's like the business with the rulers. Without a trustworthy measurement standard, the universe descends into pure chaos. Not to nitpick or anything.
  24. Thank you, I’ve thought of that concept for a while now because I do feel in today’s saturated ‘handmade’ market it’s needed.
  25. Last week
  26. ...and the glaze room never ran out of bone ash! (we need to shine flashlights on our faces to tell these stories!)
  27. There are online/b&m galleries who vet/jury artists which is kind of what that platform would have to be. My friend who does metal and wood art is in a few of those hybrid galleries and does fairly well with that being his only online sales.
  28. Yes guard cones on each side would help nail this down. But for a bisque who cares.
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