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bciskepottery

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Everything posted by bciskepottery

  1. Unless you apply alumina to the rims, they are likely to stick during a glaze firing (unlike a lower temp bisque firing). Understand the desire to maximize kiln space, but work with what you have and focus on quality, not quantity. Cost of electric firing is not that much in terms of overall price of an item. May be a few pennies more per piece now, but you'll make it up later with larger kiln. Think long term, pottery/ceramics is not for those who tend toward instant gratification. But you already knew that -- as evidenced by your journey so far and your work to achieve your own voice in glazes, etc.
  2. 6 of one; half dozen of the other. Comes down to personal preference. Many community studios use 05 as it the bisque is hard enough to prevent over-absorption of glazes by beginning students who all count to 1003 (or 1005) at different paces. Not sure you'd notice a difference unless some glazes are real sensitive to thickness.
  3. Gas bubbles in the 266. The glaze is maturing and sealing the surface before the gas bubbles from the clay body are released. Most common remedy is to hold top temperature during bisque to allow more of the Sulphur and other impurities to burn out. Also, stack the 266 loose in the bisque to maximize surface area to promote burnout of impurities. Not an uncommon problem with 266 and similar clay bodies.
  4. http://www.potters.org/subject15435.htm http://www.biokeram.com/Application-areas/Refractory/Additive-A Seems to be used more often in brick production and extruded work . . . likely commercial extrusions of tiles, pipes, etc.
  5. I've used the Mayco SW002 clear satin matte with good results on exteriors of ikebana vases. It was applied over black underglaze and oxide stains used to highlight texture. Clearness will depend on application and thickness -- whether satin, matte, or glossy. https://maycocolors.com/index.php/mayco/all-products/color-products/color-logos/stoneware-glaze-products/stoneware/stoneware-clear-chips/sw-002-matte-clear.html
  6. http://community.ceramicartsdaily.org/topic/15022-community-challenge-7/?hl=%2Bcommunity+%2Bchallenge
  7. Off to salt kiln rebuild.

    1. Show previous comments  3 more
    2. ChenowethArts

      ChenowethArts

      Any chance we can see progress pictures along the way?

    3. bciskepottery

      bciskepottery

      Pictures are being taken; too tired at night to upload. Kiln hard bricks literally weigh a ton. Did a lot of dry fitting with arch yesterday, warm up for the real event. Challenge on this one was building kiln to fit existing chimney -- although we increase flue size to match burners. Love hydraulic jacks. On to day 3.

    4. Joseph Fireborn

      Joseph Fireborn

      I can't wait to see pictures. I also assume we get to see pictures of the first unload of actual pots?

  8. DSW -- when are you adding your art work? At leatherhard, after bisque? And, how are you supporting the plates while doing your art work? Is is possible that you could be stressing a thin plate/edge while adding your drawings and brushwork?
  9. Not little balls of "clay"; little balls of a mixture of 50% alumina hydrate and 50% EPK. For a platter, five -- one in each corner and one in the middle. Roll the wad and attach to the bottom of the pot with a bit of Elmer's glue. When attaching them, avoid touching other areas of the pot with the hands/fingers used to make/attach the wad as any transfer of the alumina could result in a white spot where you touched. I usually keep a damp hand-towel nearby and wipe my hands between placing the wads on the pot and then putting the pot on a kiln shelf. Left over wadding can be kept in an airtight zip-lock bag; some keep theirs in the refrigerator/freezer if the wadding includes organic materials (in salt kilns, some add sawdust, flour, and other organics to burnout of the wadding and make it easier to release from the pot; I generally use the 50/50 mix and have not had problems with sticking).
  10. Helping a fellow potter (in return for free firing) -- kiln floor and bag wall, cut posts from brick, hung new lights. Salt fire next weekend.

    1. Show previous comments  1 more
    2. glazenerd
    3. Mark C.

      Mark C.

      Wet diamond saw work?

    4. bciskepottery

      bciskepottery

      Mark -- wet diamond saw, yeah. Big bricks into little bricks.

  11. Gallup, New Mexico. Company went out of business in the 1980s.
  12. Hmmmm . . . kiln log said last firing was in September 2015. How time flies.

    1. Show previous comments  1 more
    2. bciskepottery

      bciskepottery

      More like clay inaction. Have a major salt firing in April (1/3 of kiln); making wares like bat out of hell.

    3. Mark C.

      Mark C.

      Welcome to the fold

    4. Joseph Fireborn

      Joseph Fireborn

      One day I want to make some pots for a wood or salt firing. I really need to connect with other potter's in GA. I would love to have some wood fired pots in my house.

  13. Having trouble getting to sleep? Ordered a 1000 lbs of clay. Always an incentive to start making.

    1. glazenerd

      glazenerd

      Let's clarify- that would be 16,000 ounces. Now you are really tired.

    2. Amy Eberhardt

      Amy Eberhardt

      Or, that's about 32,000 spoon rests, or 1,000 mugs, with handles....are you tired yet?!?!

    3. bciskepottery

      bciskepottery

      First spring show is in April . . . plenty of time; no need to rush.

  14. Like one of these? You may need a bit of room. And an extra pair of hands.
  15. Consult with the place you buy your clay from, or the manufacturer's web site . . . they often have samples of clay bodies fired in both reduction and oxidation. The look in reduction will be determined by the composition of your clay body and how the materials change as they go through that oxygen-starved firing segment called reduction.
  16. They may be off-color because the kiln did not reach temperature and the glazes fully melted. Refire as is.
  17. Art on the Avenue in Del Ray, Alexandria, VA has been rescheduled for Sat. Oct 10 due to weather. See you then.

    1. GEP

      GEP

      I bought some extra tarps and was ready to go, but I'm sure glad they decided to postpone it.

    2. bciskepottery

      bciskepottery

      I was packing extra tarps too. But will be glad to miss being out in the weather, whatever we end up with.

  18. The mindset in the U.S. is that if it contains any trace of lead, customers will walk away from the item. And, one of their first questions will be, Is the glaze lead-free. Even though there are permissible levels of lead allowed, even though you might only put it on non-functional wares or non-food surfaces, even if the lead is encapsulated or fritted -- if it has lead in it, customers will walk away. It is that simple. They know to ask about lead, maybe not to ask about barium, manganese, and a few others.
  19. Not as long as we continue to see the proliferation of commercially prepared glazes that imitate the look of shinos, celadons, etc. without the work of this type of learning/experimentation.
  20. http://www.jonsinger...fluorphoto.html Jon has done a lot of work with rare elements. You might consider reaching out to him directly.
  21. Doing these types of surface treatments has really taught me patience. You really do end up working at the clay's pace/readiness, not yours. And, for Akira's kohiki slabs, I've mostly given up thinking ahead of time what the slab will be made into as the stretching process reshapes the slab; sometimes you get these really rolling edges that beg to be the lip of a vase, while other times the edges are just plain and boring to look at -- those become boxes. In our workshop, Eric Serritella said he looked at birch bark but did not use birch bark as a model -- rather, he made his view of birch bark. The trick is in the details -- using a wire brush to make small marks similar to insect borings in the bark, using a knife to peel back some bark. I used leather strips for my basket handles; he makes his leather strips from clay -- he carries a couple of rings of clay blends he's made from blending two different clay bodies to come up with different "wood" colors. And, he will spend 4+ months working on a single teapot or vessel. That is patience to the nth degree.
  22. I'm sure it can be substituted, but needs to be a stoneware clay. Goldart has a high sulfur content. http://digitalfire.com/4sight/material/goldart_198.html
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