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Cline Campbell Pottery

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  1. Neil, Could you please tell us about the yellows you used on your striped mug? Cynthia
  2. I love those pots. Could you please tell us what book you used? I've been making pots for a while but still consider myself a glaze chem beginner, but I'd like to try crystalline. I'm lucky to have access to both gas reduction and electric ox. Cynthia Also in NJ
  3. I've been told that many Mason stains don't survive cone 10 firings and burn out to black. But I've also found ^10 recipes that call for Mason stains as colorants. I guess that which colors can survive high fire varies with their chemistry, and that makes sense. Does anyone know which stains are hardy enough for cone 10 , which aren't and which vary depending on conditions? Anyone know how to find out based on other people's experience rather than doing my own tedious and expensive testing? Thanks, Cynthia
  4. Here is a recipe for a glaze with the word 'shino' in it's name. I've found it doesn't have the orange peel texture of the ^9-10 glazes or the orangey colors of reduction shinos. It could meet some of your needs. Try 100 grams and see how you like it. Cynthia Falls Creek Shino ^5-6 Gerstley Borate 18.7 Lithium Carbonate 6.5 Soda Feldspar 9.4 (Minspar 200) Alberta Slip 56.1 (Albany Slip Substitute) Silica 9.3 Superpax 9.4 (Zircopax) Tin Oxide 4.7
  5. I hope you can get Amaco products down under. Here is a chart from Amaco's website. They have several different lines of underglaze, but I like the velvets. I've had good results mixing them like watercolors and gouache, though you need three coats or they'll wash out in the glaze fire. If the picture doesn't transmit, follow the link. Cynthia https://www.amaco.com/products/chart-selector-velvet-cone-05?ref=3
  6. Thank you to all who responded. Tinbucket and Glazenerd, where can I find Additive A ? Cynthia
  7. I have a Bailey ST entry level (lowest price) wheel. I love the big splash pan, which on this wheel is removable. My Bailey doesn't make a lot of noise, even at its top speed. I got mine second hand and didn't know much about wheel brands at the time. One Bailey ad in Ceramics Monthly a few years ago bragged about how Alfred U replaced a studio's worth of wheels with top of the line Baileys. I've needed new belts and a new potentiometer over the years. These parts cost less than $20 each. I contacted Bailey and described what the wheel was doing wrong. The tech diagnosed and prescribed immediately. The new parts came within a week, complete with easy directions. I've used Shimpo Whispers in classes and like how they stop and start instantly, and they are as quiet as the name implies. But I've also heard a story about someone who had to send to Japan for a new part. Cynthia
  8. The cake will be fired. It is a lidded container, thrown in one piece. Right now I'm not planning to glaze it and I'm trying to decide between cone 10 reduction or cone 6 oxidation. I don't have my own kiln and the university where I take a class has both gas and electric. The cone 10 will fully vitrify the clay and pretty much seal the surface without making it uncharacteristically shiny. But the reduction will give the unfinished porcelain a gray cast. I'm thinking of adding a little pearl luster for accent later. The cone 6 oxidation will keep the grolleg white, but the surface will be more porous. I'm thinking about clear or white matte glaze at either temp. If you have a good cone 10 matte white or clear, or know where to find one, I'd appreciate your help. I've been using both a cake decorating bag with tips and a mini syringe type extruder. The roses are made by squeezing a ball of clay between my right thumb and the palm of my left hand, then rolling the petal. This is where the crumbling is the worst. When I tried to make them the standard icing way, the slip was either too firm to go through the bag, or too soft to maintain its shape. The leaves were easy to make with the cake tools. The strings were the hardest and I didn't make as many or as thin as I wanted. I made the strings on a flat surface, then moved them to the side of the cake. High failure rate with that. I'm planning to add a gallery of some kind to the top to hide the line of the lid. This is a time consuming winter project. After this I think I'll make a few dozen little things for the craft fair season. Cynthia
  9. I'm working on a trompe l'oeil porcelain wedding cake. The clay is Laguna cone 10 and has their added plasticizer. Porcelain doesn't behave like sugar and shortening, of course, and sometimes crumbles when I try to extrude elements. Can I add some sugar based material like corn syrup or regular sugar or maybe something like gelatin or agar agar to make the clay stick together better? The additive or any mold that grows on it will burn out, but could it cause problems with drying or pitted surfaces? I don't plan to reclaim any scraps. Cynthia
  10. When you've called Orton, Please post their answer. Now I'm curious too. Cynthia
  11. Denice, Could you please post a picture of your drying cabinet? I've been taking a class a state university that has a great dry box. I estimate its footprint is 4'x 8' , and about 5'6" high. It has no bottom, but because it sits right on the floor and the sliding doors hang from rollers like some closet doors so there's no sill, carts of shelves can be wheeled in and out directly to the kiln room. I've also hung my newly washed apron in the dry box, the prof likes towels and puts them in the box to dry. I'll have to check out where the heat comes from. Cynthia
  12. Marshall McLuhan wrote that art is what you can get away with. Picasso designed...well, just about everything. But when he designed an etching, someone else made that etching plate and printed it. That someone else was, without a doubt, practicing a craft. Same with the carvers who made marble statues from clay prototypes. No one would argue that Picasso was an artist (except those who dislike his work). I have recently made some covered urns that could be used as cookie jars, but are not intended for use at all. I am also an art college grad. So am I an artist or an artisan? I usually think of myself as a person who makes things, not an artist or a craftswoman. Cynthia
  13. I think this technique has been described in a CAD video, see if you can find it on YouTube. When you've selected your design, get a negative, and mirror, image using a computer. Print this image using a laser printer or photocopy machine; an ink jet printer doesn't use toner and won't work. When you have the printout of the negative image very gently dab underglaze onto the bare white areas (Not every brand or type of underglaze will work. I've had success with Amaco velvet). The underglaze will bead up on the areas covered by toner, dab it off with a clean brush. To transfer, place the design face down on leather hard or bisque ware. Sponge the back of the paper with water, use a squeegee like tool (I've use a red rib) to smoothe the back of the paper. Turn up a corner to see how the design is doing, and continue the wetting and squeegeeing until you're satisfied or the paper starts to fall apart. You can also use an ink jet printer an print a positive, mirror, image. Put it ink side down, wet and rub and the ink will transfer. The ink will burn off in the kiln, so go over it with underglaze or glaze. Good luck, Cynthia
  14. to JohnnyK I don't mean to be a pain, but the violinist was Joshua Bell and the city was Washington DC. You may be able to find the video on Youtube. And you're right, the experiment took place during morning rush hour and Bell had his violin case open on the floor in front of him. A few people recognized him, a few didn't but stopped to listen and put tips in the case. Context counts. Cynthia
  15. Bill van Gilder has a Youtube video where he puts clay on the wheelhead, presses it flat, then uses his finger at different distances from the center to make concentric rings. This pad is about a half inch thick. The surfaces of the raised ridges need to be scraped with a metal rib so they're not sticky. The pot to be trimmed is centered and held down with a hand on the bottom, or a poker chip or snapple cap or round piece cut from an old credit card. There are also foam bats made for trimming. Look for one on a supplier's website. Cynthia
  16. You can go to the manufacturer's websites (Amaco, Spectrum, Coyote, Mayco, etc.) and check their color charts for bright colors. I've been experimenting with Amaco's satin matte series. There are a bright red, orange and chartreuse among others. They are cone 5-6. Cynthia
  17. Courtney, Not sure any glaze is necessary. Could you post a photo of greenware or bisque? I do like the blue, though. The photos make me think of breaking waves. Cynthia
  18. I get very fine watersand papesr at the car parts store (in my area, Pep Boys). It comes in grits up to 6000 (not a typo, six thousand). Use your machine and maybe those foam emery boards from Sally or other salon supply places. Work from rough to finer and finer. I've never used six thou, never needed to. Cynthia
  19. I used to stare at the casserole in the middle of the kitchen table on Downton Abbey. (apologies for bringing in TV. But it is PBS) Cynthia
  20. Here are a couple of ways I have used rubber (or silicone, etc.) stamps that haven't been mentioned yet. I''ve used them with normal stamp pads to print designs on greenware, then go over the designs with wax and water etch the pot. I've also used them the traditional way with underglaze stamp pads like this one (http://www.theceramicshop.com/store/product/12888/Black-Potter's-Ink-Pad/). Cynthis
  21. I can't find a 'start new topic' button on my pages, so I'm asking my slightly relevant topic here. Please accept my apology. I have some Spectrum cone 5-6 food safe gold glazes. I've used them only a very few times, but haven't got a gold result. The best I've seen is a black with a metallic sheen. I don't have a kiln, and can't control a firing. My work is fired at a community arts center. At first I thought I was brushing on the accent color too thinly, but when I put it on thickly, it ran. Didn't wreck the pot because it was only on the rim, but was a surprise. Any advice? Cynthia
  22. Here is the monologue from "The Devil Wears Prada". This stuff’? Oh, ok. I see, you think this has nothing to do with you. You go to your closet and you select out, oh I don’t know, that lumpy blue sweater, for instance, because you’re trying to tell the world that you take yourself too seriously to care about what you put on your back. But what you don’t know is that that sweater is not just blue, it’s not turquoise, it’s not lapis, it’s actually cerulean. You’re also blindly unaware of the fact that in 2002, Oscar de la Renta did a collection of cerulean gowns. And then I think it was Yves St Laurent, wasn’t it, who showed cerulean military jackets? And then cerulean quickly showed up in the collections of eight different designers. Then it filtered down through the department stores and then trickled on down into some tragic “casual corner†where you, no doubt, fished it out of some clearance bin. However, that blue represents millions of dollars and countless jobs and so it’s sort of comical how you think that you’ve made a choice that exempts you from the fashion industry when, in fact, you’re wearing the sweater that was selected for you by the people in this room. From a pile of “stuff.†If I felt it necessary to even respond to the comment, I'd wish I were as articulate as Meryl Streep's character. But I might just say that any thing that didn't grow that way was designed by someone .We are all surrounded by art all the time. Even cave dwellers modified and ornamented their surroundings and themselves. And if art is pointless, why even comb your hair? Isn't that rearranging something so it is better looking, or provocative, or just more interesting? Cynthia
  23. I've been able to get very fine lines with underglazes applied with some things like this: http://www.theceramicshop.com/store/product/18669/Applicator-Set/ These applicators and tips are like those that Lana Heckendorn uses http://lanaheckendorn.com/section/164467_Current_work.htmls The tips are available in teeny tiny sizes. They're used industrially to oil small parts. Good luck Cynthia
  24. What a success! A beautiful box. Where can we find more info about laser transfers? Cynthia
  25. Nancy, I think the ceramist you're thinking of is Dorothy Feibleman. She was a pottery major at RIT when I was a metals major. Dorothy was very interested in coloring clay even then. I remember her mentioning how the different coloring agents change the clay and and shrinkage rates which have to be taken into account, especially when using more than one color. Now I'm making pottery, and while I use what I learned making jewelry and holloware every day, I like the immediacy of clay and, aside from centering, it's easier on my hands. I find your post interesting. It seems a lot of the shows and fairs I go to are full of potters and not so full of jewelers. I live in South Jersey in a suburb of Philadelphia. Cynthia
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