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  2. btw, Leach credits his source for that/similar translation: "...a more or less condensed and paraphrased extract from an essay on popular, or folk, arts and crafts by Soetsu Yanagi…"
  3. Magnetite should be fine, it is iron oxide and not a metal. You can use pretty much anything to make glaze, that doesn't mean it will be good or safe though. Clays, bedrock, limestone, granite, ash, etc will all turn into a glaze in the kiln, but it's hard to calculate or predict what will happen because you don't have an assay for them.
  4. Today
  5. I have been using an aluminum barreled Bluebird pug mill for many years. I understand that the aluminum can have a chemical reaction to porcelaneous clays, also, the barrel has become pitted. I am considering having the barrel powder-coated to solve both of these issues. Does anyone have experience with powder-coating aluminum pug mill barrels? Are there potential problems I should be aware of? My biggest concern is the possibility of coating material wearing off and contaminating the clay.
  6. I've recently come upon a video demonstrating that you can make your own whiting or calcium carbonate by bisque firing egg shells. I've tried this myself and now have a jar of fine white powder which I am keen to test in a predominantly whiting glaze recipe. I love the thought that I can make an attractive glaze out of materials that I can gather myself! I was wondering if any of you have any nifty ways that one could make their own glaze materials for cheap or by recycling household leftovers (Perhaps even materials that can be dug from the ground and refined). Bonus side question: Does anyone have any simple glaze recipes between cone 6 and 10 that use whiting and not much else? Bonus Bonus side question: I have also found very small particulates of alluvial gold (may also be pyrite) as well as a small amount of magnetite, any ideas for these? I was thinking of mixing the magnetite into a clay body to get a speckled appearance but am worried about the suitability of magnetite when a functional piece is placed into a microwave.
  7. Min- The link for the pdf from Frank Gaydos doesn’t work. Is something missing? Edit: never mind. My problem. I copied too much information because I didn’t see the hot link on my phone. Apologies to all. Regards, Fred
  8. Hi folks, I have a small electric kiln that I have converted to gas. I am rebuilding the chimney and am curious what temperature rating bricks can be used for the upper layers of the chimney. I plan to have 2-3 courses of soft firebrick rated for 2350 degrees at the bottom connected to the flue opening, but I was wondering if I could use bricks rated at 2000 F for the rest of the chimney. That's the best I can find locally. Kevin
  9. Frank Gaydos was generous enough to allow us to post his Frit Substitution Chart here on the forum. It contains a chart of some common frits with substitutions plus a lengthy list of frits with their composition. Included are Ferro, Hommel, Pemco, PotClays and PotteryCrafts. I've added a link to the DigitalFire reference list of frits to include Fusion and other frits not included in the Frank Gaydos pdf. Frank Gaydos Frit Substitution Chart Frits.pdf DigitalFire reference list of frits edit: posting pdf's is new here, it looks like you need to be signed in to open the pdf link
  10. +1 for soaping the brush before using wax resist. Dampen the brush and work some dish soap or hand soap thoroughly into the bristles, right down to the ferrule. Try not to get it too wet or bubbly, or it's hard to point the brush. Even the crusty gross wax resist rinses nicely. I've been using the same artificial sable brush for wax and other things for about 8 years now.
  11. babs, the channels are lined with a very hard brick and pins will not go into them.
  12. If there are larger than normal gaps in the coils, you can squeeze them together with needle nose pliers.
  13. Yesterday
  14. It's important to understand terminology as well. For instance, one does not "paint" clay, one glazes clay. And, unless you know what you are doing and why, common painting techniques (and certain brushes) do not necessarily lend themselves to the technique of applying glaze, even as illustration or line work. For example, a commercial glaze applied with a brush usually requires three coats, letting the sheen dry off between coats. Also, glaze does not usually blend like paint mediums and knowledge of how pigments work in ceramic applications is important. As Neil & Stephen noted, much of the details needed to produce decent quality slip ware will not be found in most pottery classes or courses. I would also add that if you have not built and run a business before, knowledge of planning a business planning is also essential. Another Forum here, Business, Marketing, and Accounting might be right up your ally--great place to post this type of situation/questions etc. Best wishes---don't get discouraged as you discover it's not as simple as it might appear!!
  15. I'd be putting pins/ posts dont know right term on any area where they are not sitting down into the channels. A couple where they hit the beginning of the channels on coming through the wall of kiln. Also where they are looping upward away from bed of channels. And in the corners. Don't give them a chance to slip out and stretch or they will.
  16. Excellent point...and I am guilty not only of failure to stay updated and current, but also of not indicating that I am absolutely still active, live & kickin' and making clay objects! I need to get off my lazy bones and do something about it, or take it down.
  17. Excellent point...and I am guilty not only of failure to stay updated and current, but also of not indicating that I am absolutely still active, live & kickin' and making clay objects! I need to get off my lazy bones and do something about it, or take it down.
  18. Load your brush with dish washing liquid...thick stuff before dipping in the wax resist. Washes out easily.
  19. Your class may not involve a lot of technical info, so ask a lot of questions, and ask your teacher if you can help load kilns and mix glazes.
  20. The wax that Ceramic Supply Chicago sells will rinse out of brushes with just water. Awesome stuff.
  21. One other possible cause is too much glaze or using a runny glaze on the inside of the pot. Maybe when you are pouring the glaze out it is taking a while and the inside has a thicker than normal application? If the glaze is too thick at the bottom of the pot, and if the glaze doesn't shrink at the same rate as your clay body during firing, the thick glaze pooled at the foot is creating a stress crack and the sudden temperature change is causing it to fracture along the spot where the thick glaze ends and the clay wall begins.
  22. I threw a wax pot and keep the brush inside. It's just a stout closed neck bottle. As long as the brush doesn't dry out, it won't die.
  23. I feel an extruder is noit the best tool for tile.To many ways for it to warp from the barrel to the table.
  24. Plastic bats seem to cause more cracking than plaster or masonite bats. If I have to use plastic, I wire it off immediately after throwing, and flip it onto it's rim when the rim is strong enough to support itself. If the base is too soft to flip and will sag, then I transfer the plate to a board with newspaper so the base can move easier as it dries and contracts. With plaster or masonite bats, I think they wick away enough moisture from the bottom of the plate to avoid the stress from uneven drying on the rim and the foot, and I don't have to be as careful.
  25. Hi Rebekah, The type/brand of wax might matter - I'm using an emulsion type that Aardvark Clay sells. I have two brushes devoted to waxing. During a session, I'll put the brush in water between uses (so the wax doesn't congeal), and at conclusion of session, wash out with soap (Dawn or some other good grease cutter) and hot water. A toothbrush or small wire brush helps in the cleaning, and combing out the filaments as well. Reset the brush whilst wet so it's all straight for next time. There's some wax in the heel of the brushes - just about impossible to get all that out - hence I'm not using anything expensive for waxing.
  26. I have stopped signing my work for a variety of reasons. I am considering using wax resist for signature and using water etching to bring it out. Due to the nature of wax, I have had difficulty with being able to use a brush more than once. Does anybody have techniques to preserve their brushes for wax? Is it a lofty goal to expect wax to be used for writing without having to burn through 200 brushes per year? I would love more ideas on how to achieve this. Thanks!
  27. Etsy's suitability is largely related to scale, and the level of professional involvement you want to engage in. I fully agree that Etsy isn't a good choice to stay with if you're wanting to build a business that pays you an actual wage or salary. It's a poor choice to build a brand on. It is however an inexpensive place to start out on, learn with and eventually transition off of, or to have a part time presence on. Keep in mind the OP is a retiree. I'd be giving different advice to a 20 or 30 something just starting their business. Etsy is a tool, like a hammer. It's great if you need to pound some nails, but not the best for driving screws.
  28. Hey Mark, I did contact Bailey and the main take away was keeping in mind that the barrel has to be reloaded frequently for tile so there's that. I also wonder how fast it is. I haven't found a video yet and some air powered things such as jacks move pretty slowly if there's resistance and clay extruding is going to offer a lot of resistance. If you were buying this for health reasons that wouldn't matter but if speed is an issue then it makes it a lot slower than the hand lever one or the one called big blue from North Star that has a wheel. I'm coming to the conclusion that this isn't the answer for me.
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