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bciskepottery

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Everything posted by bciskepottery

  1. From the album: Woodfire, November 2014

    © Bruce Ciske, 2014

  2. The approach you take will depend on where you fire the tiles. I am assuming you do not have a kiln and will need to find a pottery studio that will fire the tiles for you. If that is the case, you will be tied to their firing schedules/temperatures unless your wife produces a whole kiln full of tiles to be fired at one time. Most studios bisque fire (the first firing to make the clay somewhat hard and ready for glazing) at about 1888F or cone 05 (some go higher to cone 04) and glaze fire to about 2232F or cone 6. If you are using tiles purchased from a clay supplier, they come bisque fire
  3. This is a commercial glaze called a shino; meaning, it is a glaze that is manipulated and intended to look like a shino after it is fired. I doubt the glaze is actually formulated like a shino glaze one would mix themselves from raw materials.
  4. So Clear, ^6 oxidation (glossy) Ferro Frit 3124, 32.2% Minspar 200 Feldspar (sub for NC-4), 25.8% Silica, 19.4% Whiting, 12.9% EPK, 9.6% Total, 99.9% I use this over Amaco Velvet underglazes with no problems/issues.
  5. Not special . . . it appears Nytal was a consistent source for years and potters like consistency in the source of their materials, especially for glazes that define your look or product line. There is variation in raw materials; switching to a new mine for that material opens the door for changes in the product that are often not mentioned in the chemical analysis -- and your glaze just doesn't look the same. Sort of like wood ash; we all know wood ash is wood ash, unless it oak ash, pine ash, apple ash, walnut ash, etc.
  6. I use Forbes wax; dries very quickly and applies smoothly. I order mine from Highwater Clays as the local supply stores around here do not carry that brand.
  7. I use Forbes wax; only place I found to order it from is from Highwater Clay. Smooth and fast drying . . . really fast. Have not had any clumping.
  8. The difficulty is 4 oz of dried underglaze will barely cover the blades in a blender, much less get agitated once you turn it on. Perhaps water and a mini wisk, or water and then running it through a sieve. Maybe add some glycerine to keep it from drying out once it is reconstituted. And, putting some saran wrap over the jar top, then screwing on the lid will make the seal more air tight.
  9. From Vince Pitelka: http://iweb.tntech.edu/wpitelka/syllabi-handouts/handouts/mason%20base.htm My recipes for the Bringle slips also use a spar, clay, and silica plus oxides. My notes show Lana Wilson suggests using 100 grams of dry clay body plus mason stain.
  10. Why porcelain? After reading, at John B's suggestion in another thread, "The Arcanum" by Janet Gleeson, I'd offer the fascination began because porcelain was a secret held in China and not available to the West. Porcelain was limited to those who could afford its steep prices until the West figured out how to make its own porcelain clay bodies. Many folks stopping at my booth ask if the white items are made from porcelain, to which I explain, no, I use a white stoneware. But no one stops and asks if I'm using a white stoneware. So there seems to be a perception among the public that porcelain
  11. Regardless of the clay body -- earthenware, stoneware, or porcelain -- you need to fire it to vitrification to reduce the absorption of water. You'll need to go higher than 03 for earthenware as the clay remains too porous and very absorbent at that temperature. You will also want to keep the gargoyle from being directly on the ground/step/whatever so that water doesn't pool around the base and get absorbed. A location where there is overhead protection would be ideal for protecting against breakage. I'd think a clay with multi-sized clay particles would work best for outdoor work -- so if
  12. My guess is the milk would burn out during firing, so I think you'd apply it post firing -- similar to what's shown in the Tibetan video. Sounds interesting, often described in on-line articles as water repellant.
  13. Back a bit, we had this thread w/videos. The Tibetan potters sealed their low-fire wares with a mixture of barley powder and yogurt whey. http://community.ceramicartsdaily.org/topic/5683-great-video-on-african-forming-and-firing-wow/?hl=%2Bafrican+%2Bpotter&do=findComment&comment=53400 Wonder if the Ukrainians are using raw, unpasteurized milk? And, would chocolate milk give you a tenmoko?
  14. this might be of help http://www.potters.org/subject85947.htm
  15. http://concessionsinks.com/purchase-kit-wide-basin-electric.html
  16. Many folks working at earthenware temperatures will bisque one cone higher than their glaze temperature. The higher bisque removes more impurities. With a lower glaze, you get less chance of off-gassing from the claybody that can't escape the glaze cover. Maybe try bisque at 05 and glaze at 06.
  17. Yes, you can apply to either greenware or bisque. Mix your cobalt with both a frit and water. Try the cobalt and frit in equal amounts, then add water to find the consistency and color you want. You may need to do some test tiles to find the right combination. You can also add some gum Arabic or CMC or glycerine or similar additive to make the mixture more brushable. The frit will help the cobalt adhere better. I prefer to put oxides and underglazes on greenware and then bisque; that way, if I need to touch up a color, I can do so before glazing. Others prefer to apply to bisque ware. Do y
  18. You need the controller temperature to be above freezing . . . so the electronics (thermocouples, relays, etc) work properly. Once kiln gets going, the controller box will stay warm. Your controller is a computer; it doesn't work well in extremes. So, it might be good to have a heater on at the controller level for a pre-firing warm up and then during the initial firing schedule. Similar to folks using a fan to keep the controller from overheating during summer and hot days.
  19. Regarding flaring, compare the position of your arm inside the pot to Neil's arm position. Your's is slanted; his is more vertical.
  20. "Walk up to a group of people and listen to them discussing wind shear, hydraulics, pneumatics ect. very few speak the language of art." I'm willing to say it's poetry to them . . . the art of making planes. Maybe not "art" in the context of our community, but among their tribe, art.
  21. Suggest a variation of the old Boy Scout/Girl Scout "three pot" approach to cleaning dishes (pottery tools, pans). Set up 2 Five gallon buckets, first one is for initial clean . . . where you get all the gunk and clay washed off; second one is for rinsing after the initial wash. Let the first bucket sit overnight to let clay settle and then siphon out water down sink and put clay remnants in a bucket for dumping outside or recycling (or slip for decoration, joining). Second bucket is moved to first bucket to conserve water. I don't have running water in my studio; two bucket approach is my
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