Roberta12
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Posts posted by Roberta12
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8 minutes ago, Rae Reich said:
I have had some success with mixing a little of my clear base glaze into the underglaze colors.
Also, I’m not sure why one would bisque to a higher temperature when that makes the ware less porous and absorptive Wouldn’t that tend to make the underglazes bond less well to the clay?
I wonder if it was because it was porcelain that I had the issue. less porous and absorptive. I may have to revisit this situation.
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@Helena1 I had the same thing happen a few years ago. I use a lot of underglaze on my pots, and thought I would simplify my life by underglazing the interior of cups, bisque firing, then dipping the entire pot in clear. I would get the color on the interior without 2 glazes (interior, exterior) the Turquoise Amaco underglaze shivered off the lip of the mug on several pieces. As did the Chartreuse. I tried to problem solve this, to no avail. I gave up. When I am using underglaze in designs, it does not shiver. It was only on the rim of those mugs. I fired to cone 6, bisque 04, it was a Laguna porcelain. I hope you can find answers.
I should try it again. I am using a different porcelain now and firing to 5.5. Who knows?
Roberta
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@HenryBurlingame I live in Colorado and all I have are accolades for Rob Battey. He has been my "phone" support for 11 years. When I call or email with panicked questions, he is there and walks me through everything. I have 1000 firings on my L&L e23t. It is a great piece of equipment. A friend of mine has a Cone Art. Again, a great piece of equipment. As far as I am concerned, the only drawback with a cone art kiln would be the extra element in the bottom. It's another element to replace.
Roberta
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@neilestricke23T cone 5.5, Slow glaze slow bisque Yes, we have a meter. I have not measured. Glaze firings, 15 minutes.
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I have elements and TCs on hand, but I have held off changing them. You can see why from the photo. As expensive as elements are, I have hesitated. The reason they have different firings on them is because there was an issue with the top element. I had glaze on it and it burned out. So I changed just those 2 top elements. The top 2 elements have 73 firings, the bottom elements have 62
The kiln is still running, bisque firings are not extended, glaze firings are a little longer. What would you all do? Change them all out? I can't seem to flip the photo. Sorry.
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@Biglou13I started seriously making sourdough bread 6 weeks ago. Sooooo much fun. I took a class and learned what I had been doing wrong! I use cast iron skillets, aka dutch oven. I would recommend that as well.
- neilestrick, Hulk and Rae Reich
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@BeccapLovely glaze! cone 5/6? Lovely mug, too!
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No. Not exhibitions. Even donations do not "generate great marketing" (that's what the people asking will say) If I donate, it's because I believe in the cause. Not because it will be a marketing tool for me.
Juried shows are a different situation for me. A show versus an exhibition.
Roberta
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@Katie S I have become quite adamant about "what clay is it?" Name, rank, serial number, when firing for others. If they do not know, I politely decline. A friend of mine just had a horrible kiln accident with that very thing. Melted cups and plates all over the shelves. Yes, they were low fire. Fired to mid fire. The person making the request didn't do their work. You would probably be fine with 04, probably. But.....
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@chris123 When I dry my slab plates and trays, I put a bag of rice in the middle of them while they are drying. I do this with porcelain and stoneware. It's just one of the small things a potter can do to try to insure a measure of success. Along with maybe changing glazing or how you fire or or or....
What clay are you using and what temp do you bisque and fire to?
Also, just a thought, "toss it on the wheel" going with clay has a memory situation, maybe carefully put the clay slab on the bat?
- Rae Reich, Min and Kelly in AK
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A corner might be good. Clay is such a therapeutic way to manage all sorts of stress, life events. As we have all witnessed the last 4 years, prices have gone up and up and up. If you decide to go back to clay, your cost outlay would not be as steep. I hope you can find a corner. As @Denice suggested, maybe the slab roller? If it takes up a lot of space? Your life is crazy busy right now, but it will change. We had 3 kids. We get it. Best of luck to you Joseph.
Roberta
- Joseph Fireborn and Hulk
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Good question. I have 1000 firings on my L&L. My husband and I work together on it, Mostly I could do it myself, replacing elements, thermocouples, wiring etc. But it is nice to have the help. We have even replaced bricks (yes, the one on the bottom ring). And patched bricks. I helped a friend replace bricks and elements on a larger, older L&L. But I have never attempted repair on other brands. Not sure if there would be a lot of difference or not. We are hours away from any sort of help, so we had to do this on our own. L&L has GREAT over the phone, email, support. My hat is off to Rob Battey. He patiently listens to my kiln problems and gives such down to earth sensible advice. Over the phone, and via email. I really appreciate L&L. They have made it possible for me to keep my kiln running.
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@akilpots I like RSMC as well. I have one box left. I have to special order it from the clay supplier. Recently I have been trying some of Kentucky Mudworks Clay. Their Kota is wonderful. I just purchased Big Turtle, Mullhollun, and White Bear. This will be for Empty Bowl throwing. It will be a nice way to do some testing with glazes, etc.
I am always on the lookout for a cone 6 red that performs well. I like the Kota porcelain, so I will use up #16 from Laguna, and I also use Speckled Buff from Laguna and I like the New Mexico Chocolate from Santa Fe Clay. All of those are available from the Denver supplier. and yes, it does appear I have a clay problem.
Oh, change of subject, I was at the supplier on Tuesday and casually asked about Gerstley. They had it in stock $224 for 50 pounds. I picked it up for my friend. I have 50#s and not sure what I will do when it's gone. They told me Laguna held 2 pallets for them, but that is probably it.
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18 hours ago, Sandi0720 said:
Hello,
Is it possible to use wadding on a bisque firing of cone 04. Can you us wadding with porcelain? Thank you, Sandi
Thanks for asking this @Sandi0720 I have wondered the same thing myself. I have some small dishes I make for a local pet store. The stilts work fine for that. But I have wondered about using wadding for bisque and glaze firing on porcelain!
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I took a workshop where they had a "drying room" All of our pieces (we were using porcelain) went into this room which was outside of the studios. It was sort of cobbled together plywood walls with lots of shelves and fans and heaters. The interns educated us about the importance of air flow surrounding the drying pots. We did not have one piece that broke, cracked or anything. I have used that here at my house. Admittedly I live in a very dry climate, but I put all the drying pots in the spare bedroom, turn on the fan, if necessary add a heater to the mix and close the door. If you could find a way to do that, close off the drying pots so the fans aren't blowing clay dust everywhere. However, I only do that if I am crunched for time. No sense in using extra resources.
Roberta
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@Bam2015 I like what @GEP said about stylistically original, and what @Kelly in AK said about making pots that are beautiful and interesting to the artist and what is pleasing to hold and touch. @Mark C. comments about changing up what was pleasing to his eye and what actually was selling. I will add that you have to know your venue and customer base. I live in an area where function is the key. I have had people pick up a bowl and ask what they could use it for. It's not that they don't know what a bowl is used for, it's that they wonder if there is a specific function for a handmade bowl. I always try to have an answer for that. (mashed potatoes, oatmeal, applesauce), but my customers like color and pattern. Maybe that's because what I like to make. Circling back to what @Kelly in AK said. You have to have your heart in what you make.
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I took a 3 day in person workshop in 2022 from Matt Katz in Denver. He explained the UMF and Stull chart. That was an eye opener for me. I will admit I barely have a grasp on the 0.3 R20:0.7 RO But I did immediately sign up with Glazy and I do turn to it when I am either trying a new glaze or looking at my standby glazes with a fresh eye. I try to find the sweet spot on the UMF chart depending on the glaze I am looking at. I would like to take a deeper look at glazes either with Sue Mcloed or Matt and Rose Katz, but my time for that has been limited the last few years with family stuff. It's still on the docket for me, perhaps this year it will happen. But to go back to the original question from @Min I do look at the UMF. And if a glaze is not where I would like to see it on that chart, but I still want to try it, I do a fair amount of testing. Freeze, boil, lemon, dishwasher, micro, all those things, just to see. One example was a glaze called Ayumi Aqua. We used it at a workshop. I really loved it. Nice feel, soft color, I mixed a small batch. It was in the "crazed" part of the chart. I have not been able to make it craze on any clay, but it does not perform well on any clay. Pitting, bubbling etc. So, there you are. I should have "listened" to the chart.
Roberta
QotW: How do you level the bottoms of thrown pieces?
in Int'l Ceramic Artists Network (ICAN) Operations and Benefits
Posted
Well Pres, that sounds slick! I think I need a visual!