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  1. Much better! The fadingcould be higher or lower, atthis height it creates a line in the pots waist that might be bad for the experience of the pot. Personally I would like to se a soft soft shadow and maybe the camera a little heigher so that the rim is less a single line. Small changes so they might not make it apperently better.
  2. Sounds like you got a good solution. I can surly see why this would be and many clays have this problem more or less. If the pinholes appear directly after glazing you have a solution but if they appear first during the firing an option could be to fire the glaze kiln slower in the cone 05-1 range to fire out the organic material creating the holes. With the crawling it really sounds like the oversaturation is the problem. I have that problem on raw glazed pots if the glaze if applied to soon. Lowering the amount of water in the glaze and bisquing higher is a option if the glaze doesn't become to thick. Another option is to bisque lower if the pieces doesn't fall apart when glazing.
  3. Contact me via mail...you can find it on my homepage: www.ceramics.se
  4. I use organic stuff, like leaves, but mostly larger plants as decoration in the firing. I just wrap the pieces in the plant and fire, in oxidation or reduction. The result is a redish blush of the salts and a clear glaze at the stem (only a little). Different plants give different results but as a start the ones tha grow fast are generally better.
  5. I would Hold for 20 – To give a more even temp distribution and I feel like heavy feldspar glazes develop with time.
  6. The new kiln is up and running. with some tweaking the kiln is preforming really well. Watch this from my latest firing. I use a homemade pyrometer where 10.7 indicates cone 10 and 10.2 is about cone 6. The kiln roof is pulled up for loading via a hoist . Also pay note to the easy way I have strapped the metal bars to the kiln, usually this involves some welding. The kiln gives me free stoneware temp firings (not counting 1100 watt air compressor and a 100 watt heating element for the oil.)
  7. Hi there, I am refiring it as it is broken in three pieces, and the break has destroyed the pattern on the front so I have made a new back out of paper clay filled the gaps with white earthenwear paperclay, and then re-touched the design, and will fire again. I learned this tecnique from a german who specializes in ceramic restoration work in Germany. It works great and has a better result than glue ect... T Sounds very interesting. How do you get the clay colors and glaze (?) to match?
  8. A picture of a vase from the previous kiln. This summer I am holding courses in Sweden about the kiln so by the end of summer there will be 20 more veggie-oil-burner-potters here in Sweden
  9. The kiln is under reconstruction. This time it will have two burners and the chimney outside the roof. The previous one worked just fine but I am interested in some heavier reduction. For this reason I even added some stoke holes for the odd wood stick.
  10. I single fire most of my work. I dip or pour the glaze on large pieces and have very little losses today but while learning I lost alot since my teachers didn't know much about it. With simple glaze work I feel that I could be a raw ware production potter but It would effect shapes and workflow. I belive I would save time equal to the bisque. I think you can raw glaze most things if you get the timings and techniqe right but that takes time to learn. Another problem is the need to dry the pieces evenly, before dipping and after as glazes tend to flake if they dry to fast in the stage when the pot changes color; this will take some extra managing if you don't make some special drying space - not to dry, not to cold. But it seems like you have a super glaze there. Another feature is that I can rawglaze my work at home, bisque it (!) and trasport it, glazed, trouble free. (I use a lot of different kiln over the country.)
  11. I think that if you look at the video ha has a mall dish in his hands when he has pushed the cone down after centering. I would grab it between thumb on the inside and the index finger on the outside (is the index finger the right word? The one next to the thumb) and pull it out. But that is for speed. If you can take it slower I would make a cylinder and push it out into the dish with a thick rib tool (with the dish profile). This will make the dish stroger at the point where it usually get weakest and you can therefor make the wall thinner (and skip some trimming)
  12. I wish to second that. As long as the pots are dry you can fire really fast in kilns with draft (like gas, oil, wood). I will give some examples from my own work but keep in mind that different firings gives different results. With bisqued ware I used to fire my woodkiln to 1050 degrees celcius in two hours. At this point i reduced and reached cone 9 in two hours. On raw ware it is also possible to fire fast as long as it is dry (If unsure I use a small heater to keep the kiln at 50 degress during the night with the chimney open a little). In my oil fired kiln i regularly fire large raw ware pieces (handbuildt sculpures and large vases) to cone 10 in 5 hours (reduction of body). When accidents happen it is with thick walled pieces not dry (cracking early, ~200 degrees C) and with pieces already fired to stoneware temp (cracking before the kiln starts to glow).
  13. is in swedish but notice the pinch of the bottom to compress and the scissor grip to turn the shallow bowl into a cylinder. has another technique (in Japanese) to compress the bottom via making it during centering (It takes some practice to get the right amount of clay). I am not sure why you say that it´s important to work fast off the hump. Can you explain why you feel that´s necessary?
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