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Everything posted by bciskepottery

  1. 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.
  2. Maybe one of these will work . . . https://www.google.com/search?q=fingerprint+brushes+and+powders&tbm=isch&tbo=u&source=univ&sa=X&ved=0CCsQsARqFQoTCPLLmuaLz8cCFccXPgodEV0EWA&biw=1600&bih=698I've not tried them, but they might be worth a try. Apply dry black mason stain to the fingerprint dusting brush and then dust the feather area; may take some practice to get the application right and you could always use a paper or flexible plastic outline of the feather to prevent stain from getting on adjacent areas. I think apply to greenware would offer the best luck for su
  3. http://www.jonsinger...fluorphoto.html Jon has done a lot of work with rare elements. You might consider reaching out to him directly.
  4. 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 bi
  5. 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
  6. Very nice work. Looks like a white slip over dark body, with slip scrapped with various tools, then brushed with oxides (looks like rutile) and underglaze. You can use an xacto knife to make some cuts in the slip and even peel them back to give a birch bark appearance. Slips could be built up, several layers of a thin slip. All slip work and underglaze/oxides done at greenware stage. Appears to be gas fired, not electric. A good example (but handbuilt, not wheel thrown) is Eric Serritella http://ericserritella.com/eric/ . Another hands-on workshop I can highly recommend.
  7. A somewhat long missive. If you get the opportunity to take a workshop with Akira, I highly recommend it. His workshops are hands-on and he is very generous with his knowledge of technique and craftsmanship. First, here is Akira's slip recipe: Goldart, 6 lbs. (30%) Kaolin - EPK, 10 lbs. (50%) [Akira also uses Grolleg or Tile 6 for a whiter slip and Helmar for woodfired items] Custer Feldspar, 2 lbs. (10%) Silica, 2 lbs. (10%) His recipe makes a five-gallon bucket of slip; I usually half the quantity and make a smaller 2 1/2 gallon bucket. For the 2 1/2 gallon bucket, I add b
  8. I'll start a new thread on this as we are headed down a different direction than the cost of mugs. Will get the post up soon.
  9. Yep . . . hand-built from a slab. All of Akira's kohiki slip work is hand built from slabs. And I love my mug. Liner glaze is a shino, although sometimes he will use a persimmon/ohata red.
  10. I'll go straight to #2, practically 0% sales/dollars. I concede the mug market to other potters. I make vases, ikebana vessels and similar items that other potters tend to not make. A more limited audience, perhaps. But, I often hear comments from shoppers about the uniqueness of items and how different the selection is than other pottery booths. You either have to make a mug that is so different/better quality/better price than anyone one else (and that will differ from person to person) or make a product line that sets you apart.
  11. NC Clay Club blog site just posted a notice for sale of pottery studio equipment in the Hampton, VA area. Wheels, kilns, pug mill, tools, etc.

  12. Another aspect to pricing is venue . . . where you are selling and who is attending and buying. People shopping in a gallery are not put off by gallery prices; it is something they expect (along with gallery quality wares). People attending a street fair or community art and craft show are not looking to lay down $500 for a Judy Duff or John Baymore tea bowl -- nor would Judy and John bother to bring such wares to that type of event. I do events where there is no need to bother packing higher end/higher cost items as I will only bring them home at the end of the day; other events, I know I can
  13. http://ceramicartsdaily.org/ceramic-studio-equipment/ceramic-kilns/converting-an-electric-kiln-for-wood-and-gas-firing-part-1/
  14. http://codyopottery.blogspot.com/2009/10/electric-to-gas-conversion-birth-of-my.html
  15. I would likely go with adhering post firing; that way, if one layer does crack, you can choose to either use it or discard it. And, until you get the cracking figured out, I'd play it safe . . . especially since the layers are all flat. Stacking in the glaze firing will add weight and bulk to the items and that can affect cooling.
  16. It is not the kiln. These are stress fractures -- could be the result of uneven heating/cooling or the forms getting snagged on an uneven kiln shelf surface during expansion/contraction during firing. They can also result from construction of the ware. Getting them up off the kiln shelf -- using sand, grog, cookies, coils, slats, etc. -- is a good step. That will give the form a floating surface for the expansion/contraction that occurs during firing and more even cooling. Should this happen again, notice if the cracks are starting from the edge closest to the elements or to the center of
  17. Looks like the server migration gave the forum temporary amnesia for a 24 hour period, 6/30-7/1. The Administrators are aware. If you posted or added to your gallery, check to see if items are there; if not, you'll need to repost.

    1. High Bridge Pottery

      High Bridge Pottery

      I thought some of my posts has gone missing.

    2. Show next comments  3 more
  18. You also have multiple variables with the two test tiles . . . one fired in oxidation in electric kiln to cone 10; the other fired in heavy reduction in gas kiln with a hold. The oxidation tile was fired in a test kiln, so likely a fast rise to temperature and fast cool . . . unless you used a digital controller to follow a normal firing schedule.
  19. jojess, what is the size of your wall hangings? The cracking may be due to stress on the clay from the size of the hanging and the slab thickness -- 1 1/2 cm is about 1/2 inch. Try getting the hanging above the shelf -- using sand or any other options listed in this thread. That should allow the hanging to cool more evenly. With a large, thick slab flat on the kiln shelf, the heat from the kiln shelf is likely keeping the hanging from cooling evenly. When firing, you items both expand and shrink at various times of the heating cycle. So, any weak points are really stressed.
  20. Re: Warping (or slumping). What type of claybody are you using? Stoneware (smooth or groggy) or Porcelain? How thick is the piece? And, is your kiln shelf flat? If you took care in keeping the piece flat while forming, rolling, making and drying, you have minimized the likelihood of warping. Your big challenge is uneven heating/cooling. My guess is you are firing in an electric kiln with a 22 or 23 inch diameter -- the piece will take up a full shelf. Electric kilns heat from the perimeter (where the elements are) to the center. So, in a piece as big as yours, the piece will start hot from the
  21. Green for bisque; then re-use for glaze. I have cookies that have been fired to cone 10 and re-use them constantly, mostly at cone 6.
  22. You should be okay using sand during the glaze firing, too. Just make sure you leave some space between the sand and where your glaze starts. The vent should not be moving the sand around during the firing. Options to using sand include clay cookies allow the platter to sit above the kiln shelf, clay slats, or clay coils. But the key is to get the platter/flat item above the shelf so it cools evenly. The kiln shelf retains heat and cools more slowly as it is thicker than your pottery (except for sculpture). Allowing the item to cool above the shelf minimizes the chance for uneven cooling and c
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