Jump to content

Armen Enikolopov

  • Content Count

  • Joined

  • Last visited

Everything posted by Armen Enikolopov

  1. To be honest I'm not sure since this was several months ago. I will mention that the bowls were of reasonable thickness- a thickness that would have faired fine I'm certain using other glazes in our community studio (I.e. Not my own studio, I'm not firing the kiln). Also, our studio manager put some on a just half of a cup, and you could see just that part being squeezed when it came out of the kiln
  2. You're right of course. The extent of what I know is: Glazing inside and out and firing to cone 10 in strong reduction in a gas kiln. Stoneware is a medium grogged ironous body with approx 15% shrknkage, and an English porcelain that shrinks 20ish percent. Ash is from a wood fired pizza place. Not certain of the wood
  3. I have glazed a few pots with a glaze made of 50/50 ash and ball clay. The clay is warping round bowls into tacos (both stoneware and porcelain, made by me and by someone else). I guess this is a fit issue, right? Is there something I should consider adding to rectify the issue? I should add that I know very little about glaze chemistry.
  4. Nicki, Agreeing with you that censoring '' is crazy. Can an administrator look into this? I'm surprised, frankly, that the board is censored at all. Anyway, I think Grayson Perry might be of interest to you. A brief search also brings up this: http://extremecraft.typepad.com/extreme_craft/2008/11/potterys-gay.html, which talks about Eric Scollon, though I'm not personally familiar with his work.
  5. Amazing. Thank you. Thanks for making an account just to answer this. That seems somehow more Mackenzie's speed.
  6. They're all shinos. definitely just iron oxide on the red shino. The black on the very white plate almost looks too black for mackenzie, I don't know what it is but probably just iron oxide and maybe some manganese, over the shino.
  7. There's a specific thing that Warren sometimes does on some of his platters, these lines that are thick on the ends and thin in the middle, and I wonder if people think that this is just done with a brush, or it's poured, or what. I provide links to 3 examples below. http://www.schallergallery.com/artists/macwa/pieces/macw1520.jpg http://www.schallergallery.com/artists/macwa/pieces/macw1387.jpg http://www.jra.org/Get%20Involved/Images/WMackenzie.jpg Thanks, Armen
  8. I'm just here to say that this is really good of you to come in and let us know what happened though you don't stand to benefit.
  9. I think Chinese ceramics are great. If we didnt have Chinese ceramics, the poor would not be able to have nice little this and thats in their homes. The poor cannot afford $24 dollar wheel thrown cups. Scott, you're embarrassing yourself.
  10. The history of modern ceramics was strongly affected by Virginia Wirt, who developed american shinos in the 70s. I seem to find no trace of her after that. Did she continue working in ceramics? Is she still alive?
  11. here's an option: http://www.amazon.com/DCI-Not-Plastic-Lid-Set/dp/B001NZQ70S/ref=sr_1_10?s=home-garden&ie=UTF8&qid=1350510252&sr=1-10&keywords=SILICONE+LID+CUP
  12. I know nothing about kiln management, but I would think that a way to check if the elements are the problem is to switch the elements around and see if the changes change. Like if your elements are arranged A, B, C, top to bottom, and fire to cones 3, 4, 5, respectively, and you switch them to be B, C, A, and you see that it now fires to cones 4, 5, 3, you'd know that the elements are causing the difference.
  13. I just reread what I wrote and see that it's confusing. I didn't mean that I need a body that works at both cone 6 and 10, but rather than I would be happy with a cone 10 or a cone 6 body. It seems, from the above, that cone 6 wihte translucent porcelain is going to be the easiest. I'll look into laguna's oriental pearl. Has anyone had experience with it?
  14. Hi all, Would someone be able to recommend the most translucent, white casting slip for me to use for casting some very thin-walled pieces (something that will end up looking like plastic/paper drinking cups), to be fired to cone 6 oxidation or cone 10 reduction, and commercially available? Is bone china slip an option? I'd like something commercially available wet. Best, Armen
  15. Shino rock. Amazing term. As a student, it's still hard for me to imagine that it's just rock that makes up my glazes.
  16. When you say, give it a day or two, do you mean, at a minimum, or at a maximum. I can glaze weeks in advance of firing. is that better, or do you mean it's best to give it a day or two and no more. Any input on speed of drying w/ regard to crawling?
  17. Thank you John. Unfortunately, I don't have control over the firing schedule since this is being done in the context of a university studio where many other people's work is being fired. I do know that IU have previously achieved carbon trapping here, so the firing schedule used is at least potentially compatible. This is why i'm concentrating on what i can do outside of the kiln. Do you have any advice on crawling, and how to prevent at least large patches of it - I'm happy with the decorative effects of crawling, but when I have large bald patches on the inside of drinking/eating vessels, it becomes impractical.
  18. Mark, when you say smooth the surface, do you mean to get rid of crystal formations or what? I don't know what it (soda ash?) but something crystalizes on top of md shino.
  19. Hi Folks, Hoping I can find someone to give me some advice. The studio I'm in has the oft-published Malcolm Davis Shino. As those who have used it know, it's a finnicky glaze. I was wondering about the effects of the following variations in application on a) the amount of crawling, and b ) the amount of carbon trapping. Crawling in particular is something I'd like to avoid as I'm putting this on functional ware. In the best case, i want to decrease crawling and increase carbon trapping. What are the effects of 1) Drying time before firing. 1-2 weeks vs immediately before loading kiln. 2) Moisture of drying area. Our studio has a 'damp room' which allows for a much more moist atmosphere for drying, vs. drying in the studio. 3) Dampness of the bisqued ware before application. I have seen people mention moistening the bisque before applying MD shino. ... What is the difference between ... a. applying to dry bisque ... b. applying to sponged bisque ... c. applying to soaked, then partially dried (overnight) bisque 4) Thick application vs. thin application I'm going to do some tests, but would like to hear anything and everything that people have to say about MD shino or carbon trapping shinos in general. our md shino has a strong tendency to crawl. *EDIT** I should add that these are getting fired in ^10 reduction in a gas kiln
  20. Darla, don't take this the wrong way, but this sort of indiscriminate use of antibiotics (neosporin) is quite dangerous as it promotes, antibiotic resistence. This is the basic mechanism for how antibiotic resistant strains of bacteria, like MRSA, came to be. It's dangerous for both you and those around you.
  21. I think I will give the bag balm that others have suggested a try, and just keeping my nails very short. If that does not work, perhaps clear nail polish.
  • Create New...

Important Information

By using this site, you agree to our Terms of Use.