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Everything posted by bciskepottery

  1. 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. glazenerd
    2. Mark C.

      Mark C.

      Wet diamond saw work?

    3. bciskepottery


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

    4. Show next comments  6 more
  2. Gallup, New Mexico. Company went out of business in the 1980s.
  3. Hmmmm . . . kiln log said last firing was in September 2015. How time flies.

    1. bciskepottery


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

    2. Mark C.

      Mark C.

      Welcome to the fold

    3. 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.

    4. Show next comments  6 more
  4. Here is a link to Ferro Frits . . . which shows melting temperatures. Other than frits, you can also use Gerstley Borate (Gillespie Borate). Both will help the wash adhere to the clay and melt at low temperatures. http://www.ferro.com/NR/rdonlyres/AAC6D890-7E30-4E57-A61E-818DE097A898/0/potteryfrits2008.pdf
  5. Having trouble getting to sleep? Ordered a 1000 lbs of clay. Always an incentive to start making.

    1. 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


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

  6. Linda Arbuckle has a nice handout on earthenware, including plus/minus considerations. http://lindaarbuckle.com/handouts/clay-earthenware.pdf http://lindaarbuckle.com/
  7. If you could combine the best of L&L and Cone Art (now that Tucker's is back in the ownership seat), you'd have one awesome kiln.
  8. Like one of these? You may need a bit of room. And an extra pair of hands.
  9. When I bought my kiln, I went with L&L (EasyFire, 3.5" brick). Bought if from a dealer who also did installation (he gave me a price comparable to ordering on-line with no installation). I chose L&L as I had been firing those kilns at the studio I was teaching/taking lessons. I like the element tray feature as changing elements at the studio was much easier than in other kilns. I also looked at used kilns, Craigslist, etc. and saw that most of the kilns offered for resale were other brands (lots of Olympic, Skutt, some off brands) and very few L&Ls. That indicated to me strong
  10. 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.
  11. I use Forbes from Highwater Clays in NC. Have tried others, but this is the best I've found. http://highwaterclays.com/index.cfm?fuseaction=category.display&category_ID=129
  12. I use magic water to mix the slip I use for joining slabs. Best of both worlds -- slip from the clay body and magic water.
  13. http://www.marylandchina.com/china-painting-supplies.html These folks may have what you are looking for.
  14. To make it better, you might have to make it worse. The crack is very thin and you will likely have a hard time getting the mixture in it. Use a sharp tool (x-acto knife) to make a vee channel on both sides -- you might have to go almost half way through from each side, then put the mixture in. Not too big of a channel, but big enough to get the mixture completely in with no trapped air space. That will make sure it goes into the whole crack, not just the surface. Unless you get the full crack filled with mixture, it will crack during firing.
  15. Art on the Avenue in Del Ray, Alexandria, VA has been rescheduled for Sat. Oct 10 due to weather. See you then.

    1. GEP


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

    2. bciskepottery


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

  16. 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.
  17. 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.
  18. 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
  19. http://www.jonsinger...fluorphoto.html Jon has done a lot of work with rare elements. You might consider reaching out to him directly.
  20. I apply underglaze to both greenware and bisque. When putting on bisque, the key is to allow it time to dry before glazing. Two firings. I did the three-fire approach for one set of items -- very involved artwork done by my painting teacher on bisque that I was fearful of smudging. However, after one three-fire round, I became comfortable with just glazing over her work and doing only a second firing.
  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 bi
  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
  23. 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.
  24. 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
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