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About Riorose

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  • Birthday 04/02/1950

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  • Location
    Cascais, Portugal
  • Interests
    Traveling for a purpose, wine tasting, cheese tasting, gardens, Portuguese history and its place in the world, complaining about my former home, Brazil. gazing out into my garden as I type on the cmputer.
  1. So, why would someone hate you because you live in Ann Arbor? You will have a new pottery neighbor soon and I just wondered what you mean by that.
  2. This makes so much sense to me. Even though I am just starting out, my costs are roughly the same as those of very experienced potters. My work, however, is not the same. Regional influences also need to be taken into consideration. Because I live in Ann Arbor (don't hate me) I have to be realistic about what other potters in my area are making/selling/charging.
  3. Well I am just now teaching myself to throw on a wheel. The bowls are heavy doorstop things even after trimming 1/2 away. No handles, so she couldn't have used it as a weapon, unless she is actually innocent and just dropped one of mine on his head? Now that is a possible court defense. As for looking into the condition of their marriage, well maybe they were married more than a few years and typical she held her anger for 50 years and then just cracked.
  4. I disagree about the Giffin grip. We use it for too many things to mention. It was pricy but in our opinion more than worth it. and this is coming from a woman who doesnt like to pay for anything that I can make especially in view of the fact that here in Portugal we can't get all the fancy stuff you can easily find in the USA.
  5. 10 hours is probably too short for a ^6 glaze fire. We never do less than 12 and our reference is John Britt. We fire no faster than 100C/per hour until it reaches 600C. Then we can go 125 to 150 pretty easily. The first hour or so of firing is done with the door open and one burner until we reach the first 100C. They we may close it loosely to keep the heat rising no faster that 100C/hr. After 200 we shut it tightly and fire slowly until 600 then we light the 3rd and 4th burners. We usually only light the 2nd burner after 250 or 300C is reached.
  6. If the manufacturer cannot tell you then test. cut off 100 grams. wait til bone dry and calculate physical water loss FYI. then high fire the piece, weigh on a gram scale. then use your pre algebra skills to exyrapolate to the full 10 kilos. while you are at it form the 100 grams into a tile and carefully mark off 10centimeters. the shrinkage % CAN THEN BE ESTIMATED AS WELL.
  7. We can't figure out what is going wrong. We have had successful celadons in the past ranging from the paleest blues to greens and greys depending on the formulas used and differnt ball clays or kaolins used. My ceramic partner here in Portugal insists the firings are the same as before. I think she is reducing too late in the game. Our kiln is about .75 square meters. Gas, Spanish made. Could you please make comments and suggestions? We fire to 600C over 6 hours then speed up to around 120-150 hour until we hit 1000C. Then she introduces reduction by tightening the air intake rings (we have 4 burners) and reducing the exit opening til we have a strong blue flame. 45minutes then we open it a bit til we see a greenish flame which we keep until we have hit 1240 or 1250. We try to not go over that temperature to reduce deformation in the porcelains. Especially since she does a lot of Limoges casting materials. the kiln slows down quite a bit when we start reducing. overall the firings last around 12.5 to 13 hours. I think we are starting the reduction too late in the game. According to John Britt cone 10 book he seems to suggest starting celadon reduction around 850 -900C. We dont have an oxygen meter. If we started that early our firing time would be extended to probably 14 hours because of the slow down it does. Also she has been warned by other Portuguese ceramists to keep the gas pressure no higher than 2.5 whereas I feel up to 3 would feed more gas and keep the temp moving faster.
  8. I had the same problem and in fact I think I posted it here in the forums. I made my own stoneware casting slip from some smooth stoneware. The first casting was smooth on the outside and inside but by the time i casted the second the inside appeared sandy. I reasoned it must have been the fine grog in the stoneware and maybe had something to do with the increasing moisture in the plaster mold.I switched to a commercial slip but it only fired to cone 04, hardly a stoneware. Does anyone have any ideas? one thing though, the stoneware from my own casting slip did not distort in a cone 7 fire. porcelain castings make me bonkers with distortion.
  9. Sorry about our website. It was cancelled acidentally but will be back up this next week.
  10. Depends on Altitude. Some places in the Rockies the piece would blow up at 195 degrees F. I don't think there's anyplace that high in Portugal, though. Jim I live on the coast. In fact all of this area is flat except for some mild hills sprinkled here and there. BTW, I candled for 7 hours between 50 and 90degrees centigrade. I developed a flu and turned the gas kiln over to my workshop partner. I will go over today to see how they survived. I was still concerned about water contained within thick walls on some pieces. They had tight fitting lids.
  11. Could someone please advise me? I have some thick and slightly damp porcelain. What temperature should candling be done? Would you do it until pieces seem bone dry? thank you
  12. to my dismay, at present, I am using porcelain and other studio users are using black stoneware. We work hard to keep everything immaculate that touches the clays. I remember a black piece I made that had a fog of white over it after firing. Ever since then I have tried my best and everyone does their part.
  13. I just saw some of these at the Bernardo Museum in Lisbon. It was shocking to see floor to 20 foot ceiling shelves of STUFF. My first impression was "lack of soul"
  14. I have my housekeepper come every other week to scrub everything down!
  15. Chris can you refer me to information about supporting unglazed porcelain in the high fire?
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