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Everything posted by Mart

  1. I had a studio in a office building for more than a year. I rented the office, had my kiln, pottery wheel and all the stuff I needed there. I only had 22 sq meters Your kiln will not get remarkably hot at the bottom. My kiln was standing on a wooden pallet it did not even get warm. My kiln vent was "connected" (it is not a airtight connection) to office ventilation duct and it caused zero problems. Only problem you are going to have is dust on the floor -> footsteps in other areas of the office. Cheers!
  2. Are you sure you do not need a 3 piece mould? (I can not tell form the picture, how your piece looks like) - 2 for sides and one for the bottom. If not, use 2 piece - one for the bottom. I mix olive oil with "household soap" (old school stuff still used to hand wash clothes on washing board. I have no idea how it's called in US.) aka mould release etc. The bottom part for your mould (blue). When the plaster gets hot and then starts to cool, it pushes lots of water out from the plaster. Sometimes (not always) this is the best time to open the mould. But it obviously depends what plaster mix is used, how big and what shape etc is the piece etc. I have left stuff sitting overnight and never had problems. Start with that.
  3. Sure you can use banding wheel for throwing (why is it called throwing in English? ... never mind). You need the one with really heavy metal wheel. If you do not have one, pour miniature concrete "wheel", centre it and connect it to your branding wheel. It can keep enough momentum. It will not be like your kick wheel but it still works with soft slippery clay. If you have a correct size lifting weight (those round ones, that go on a bar) you can use that as a flywheel. Use soft clay for connecting the bat to your modern "stone age" throwing wheel Make a hole to the top side of the bat and use a stiff stick to spin it up.
  4. Spoon rest must be a American thing. Really interesting that people buy those. Nobody here wants them even for free ( I made few to see do people like them) They ask: "Why use "spoon rests" if we have saucers that work as well"
  5. use water and wet sandpaper... dust problem solved.
  6. +1 As mentioned before, use cheep stuff for wax (personally never used wax) and good stuff for painting lines etc. Natural hair (dog, squirrel, sable, ox ear, pony etc) watercolour brushes are the best. For a really fine lines, I actually use really thick (>10) but fine tipped brush. Forget the synthetic bristles. Yes, some of those will soak up paint/gaze well but will not let it go so well as natural hair does. I got myself few Escoda pony hair round oval shape brushes with short handle. Wow... I wish I had the money to buy more of those They will probably last for a long time. To be honest, covering large areas with brush is, simply put, BS and I like to avoid it if possible. Pouring, dipping, throwing o_O or what ever you can come up with, will give better results. I wish I had a spray booth
  7. Got back from Catalunya. Barcelona was awesome, like always. I spent a nice week in the studio called El Torn Barcelona (http://www.eltornbarcelona.com). Martin Loew is a really cool guy to work with. Learned a lot. Thank you. I can not recall who recommended me El Torn here but thank you for the tip.
  8. One of the most important ratios you need to understand is water:plaster ratio. It will make huge difference how your final mold behaves. Same plaster can give you very different results. Last time we made molds we used about stetson hat more than a 1/4 of a metric ton of plaster.
  9. So basically this stuff can be used to make supporting firing moulds for thin objects that can fall flat. Glass and thin porcelain come to mind.
  10. What is this huge red monstrosity, attached to Bailey's kilns? OK, I know, it's the relay etc box that gets hot too. But why is it on the front of the kiln? Really awful design. Rohde moved all this stuff to the left-back side of the kiln so you can have better access to your kiln from the front. Hard wiring the controller to relay box is also really weird design decision. Never mind that... Those Advancers made me drool too. Any idea, who imports Advancers shelves to EU? BTW, you can get those from that damn China for less than 100 USD a pop, if you buy 30 or so shelves.
  11. If it was sticking to your mould too, you be in real trouble. Before you waste too much time with this "clay", test fire a small piece of this stuff in a bowl. If it melts, it can not ruin your kiln shelves. BTW, someone's free crap can cost you your kiln. LOL, what if it's not terracotta at all but a red iron oxide rich glaze? If so, this will be one of those o_O moments.
  12. Hmm... this sounds interesting, especially the "continues in the dry to fired stage".Can you elaborate on this particular phenomena? Here is a picture I'll let sensei John explain. (Plus not sure how to explain it). But there were cracks in bone dry stage and even bigger in, fired. I look to refire these . A picture is worth a lot o words. (3 day woodfire, self made clay, granite inclusions, aka chicken grit, first firing) http://community.ceramicartsdaily.org/gallery/image/3712-image/ Was unable to resize to post If you got visible cracks at try stage, you will get bigger cracks after the firing. There is no magic involved in this, grog or no grog. This is how clay behaves. What I was curious about, are those micro cracks, John was talking about. Maybe it's a question of definition? When most of the added water has evaporated, dry clay is one big pile of "micro cracks" As little as I understand, those "micro cracks" vanish in firing thanks to vitrification. Biglou13, that little plate looks awesome. Refiring will ruin it for sure.
  13. Under the kiln, with the rest of the kiln furniture.
  14. We fire our small kiln to 1249C when glaze firing and it's not that expensive at all. We also have a meter for the kiln so we know exactly what it costs. BTW, with our small kiln, the difference between fast or slower firing (lets say 2 h difference) about the same kWh of electricity is used. For some reason, I am absolutely convinced that fast firing will ware out the elements faster.
  15. Completely missed the "dark side" joke. Are you squeezing out coffee mugs and noodle like handles?
  16. Fine grog is good for you. Why even worry about it? How can this be a mistake? You used wrong "tool" to smooth the surface If you get clay with >2 mm grog, this starts to be a tricky stuff to throw because it's really hard on your hands. Ever fallen down on coarse asphalt and got your palm all scraped? Hmm... this sounds interesting, especially the "continues in the dry to fired stage". Can you elaborate on this particular phenomena?
  17. Interesting case indeed. Did you fire it way above allowed temperature? Glazed the rims by accident? Low quality clay that can not take the temperature it supposed to? That wax you used, burned in to a crap that fused your lids to the pots? (why did yo even add wax?)
  18. At the moment we get no noticeable warping in bisque firing and yes, we fire so the ware rest on the rim. Those particular "bowls" can have unglazed rim so glaze firing was easy. PeterH, we were thinking about doing something similar with our bowls too, but we need to get the glazes match perfectly. This can be complicated. Another path is firing the clay to almost maturity first and then glazing at mid temp. Getting the glaze stuck to the ware when absorption rate is few % is not as east as it sounds. We must mess around with glaze "clue". But, I like that idea more than mixing 2 different temp glazes to perfect colour match. I'll post some pictures of warping. It's a good example of what happens, when kiln shelves are not clean and smooth (not our kiln so we can not complain) After that incident, we made huge slabs out of the same material and placed those under the bowls when bisque and glaze firing. Norm, I'll get some Ortonkegels LOL, I like how this word sounds (obviously not using English pronunciation) because I do not speak any German)
  19. First think I noticed was the drawing of this black dude, with sunglasses and beret. Cool. Is this in public domain now and can be used freely in other artwork? Right, there is a painting too...
  20. Let me rephrase my question: What clay body gives us the most strength and least warping while underfired to achieve least warping/streching. To make it more complicated, in next phase, we have to turn few bowls upside down and rest tiny part of the inside of the bottom at relatively narrow post. Reason for this is that we need to glaze the entire object so only a very small area inside is unglazed. Huh... time for a small illustration:
  21. bciskepottery, strength at greenware stage is fine. We already made the moulds, slip cast and fired few very good exemplar's but I started to think, maybe we can get an even better results with low/mid fire clay.
  22. Lets say you have to slipcast relatively large bowls. Top diameter (widest) is about 45 cm (18.3") and hight is about the same. Final walls (after firing) can not be thicker than 6 mm and the shape is relatively complicated (not just a nice upside-down arch). Q: Is it better to use low, mid or high fire clay? Or lets ask this way: will low fire white clay warp less than a mid- or high temp white clay or half porcelain. Pieces will be glazed with what ever the clay temp requires (forget the glaze for now)
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