deborah.

#2: Exactly. I'm pretty sure it's 266 in slip form but I may be forgetting the exact clay #3 It loves texture! It breaks on anything (lettering, throwing lines) but it sometimes has to be more of a severe texture like the mug to get it to break with two glazes, depending on the combination (test!). And yes, it plays well with almost all of our glazes except for the really funky ones that don't like to play well with others. #1 I only use 266 on rare occasions. I don't worry much about it wet but am super cautious doing anything that might create dust with it.

I know the falls creek shino really, really well. It's one of the favorite glazes my studio works with, and I've used it myself hundreds of times. It's the clay body that (mainly) causes the color change. It's always creamy/oatmeally on white clays. On anything darker, it's great. The first picture is using a really dark clay (Standard's 266), the second is using a porcelain with a dark slip decoration, and the last is Standard's Hazelnut clay (312, I think) with a green glaze over the top. All the pieces have the same thickness of glaze. On the darker clays, a thicker application can lighten up the glaze, but it always is creamy on the white clays no matter how thin of a coat you apply. Hope this helped some, Deborah

I'm a huge fan of Standard's 551 porcelain. It's really white, throws well, and doesn't seem to be particularly prone to warping. It's happy to be thrown thin, tall, collars in well, and doesn't collapse easily like when you're making large wide bowls. I've colored it with mason stains which also worked. It's a bit more expensive than highwater's little loafers which I've also used and liked. The two of them are almost identical in terms of whiteness at all stages. I prefer 551 for throwing (by just a tiny bit), but the cost difference may not be worth it for you. Hope this helped some. Deborah

They both feel pretty similar to me and throw about the same. I liked how they both threw. I prefer throwing with less groggy, smoother stoneware (as you said, slimy) as well as porcelain. I liked how my glazes came out on both, but a few were more variegated and had more interest on P5. However, I have had issues with P5 bloating. The P5 batch that was over fired (went to cone 7) really bloated, and the next firing was a perfect cone 6, but there were still a few spots of bloating (not nearly as bad). Using pieces I made in little loafers around my house, they seemed more susceptible to getting grungy (moldy?) on the bottom which to me suggested that it wasn't as vitrified as I would want in a functional piece. Long story short, I blended them and both problems seemed to be solved.

I carry a single sketchbook with me everywhere. The front starts with anything that's not related to glazing, and the back starts with glazing. When they meet, it's time to get a new one! Deborah

We use a few glazes by Standard at my community studio including both their bright red and dark red (firing to cone 6). They're #1194 and #1210. I have plenty of experience with both. Neither appear to run, pinhole, craze, or any other glaze flaws. They're pretty happy, stable glazes which is why we continue to use them instead of mixing our own red. Here's the website for them: Standard cone 5/6 glazes Best of luck, Deborah

I'm a pretty new, young potter (one extensive year in). First time poster but have been reading the forums for the past few months. This bowl is glazed with one of the studio's house glazes overlapping in the middle the Fall's Creek Shino glaze (Recipe) on Standard's 266 clay body.