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Everything posted by bciskepottery

  1. Here is a good start . . . https://www.amazon.com/Handbuilt-Pottery-Techniques-Revealed-Handbuilding/dp/1438001991Very good how-to book for hand-building. Covers the basics well, including coiling, pinch pots, slabs, tools, etc. And it has a number of projects with which to start. One of the first I bought for myself. Types of clay, etc. -- it depends: where you are located? Do you have a kiln or are you using a community kiln (and those places often have limits on types of clay and glazes), your experience level. Have you taken classes? Pottery and ceramics is not a very exact science o
  2. How are you measuring "force" -- by your own feelings while throwing or through some type of device that provides empirical data? In your comparisons, are all particle sizes constant with the only difference being the particle size of fireclay? And all other variables, e.g., wetness, are also constant? Just trying to limit the number of variables at play . . . Wondering, if I gave a student a bag of Standard 181/182 stoneware and told him/her it was a Standard porcelain, would they know the difference? (You could likely pick two clays from any manufacturer, not singling out Standard). We
  3. First posts must be approved by one of the forum moderators before they appear.
  4. You have found "a" technique, not "the" technique. There are many ways to achieve a distressed look -- and you do not necessarily have to take a wire brush to your clay or use some overseas formulated heavy grog clay. Yes, the clay body can help -- but you can also use clay slips (think layers not single applications; think thin slip and thick slip), different types of brushes for application -- stiff bristles vs soft bristles, long vs short nap, dry vs wet; dry-looking glazes, engobes, oxide and mason stain washes, tools (spackling knives and plaster tools for application, cleaning the blade
  5. http://www.woodfirenc.com/ If you like wood fire, you may want to check this out. Opportunities to both fire and meet.
  6. From Mitch Iburg's Etsy site . . . Thrown native California clay Wood Fired to 2150 degrees F. Cooled in a reduction atmosphere No applied glaze Made from an iron rich earthenware harvested near Comptche, CA and used without any additions. This clay is formed by erosion of sedimentary rocks belonging to California's Northern Coast Mountain Range - approximately 60-150 million years old. Screened only to remove large stones and organic matter. Small stones of shale, sandstone, and mudstone in the clay melt out during the firing, creating minor protrusions on the surface and retaining
  7. Paperclay is another option -- no more, no less. It depends on what you are making and your preferences. I've mostly seen it used in hand-built items and/or sculptural works; have not seen it used for functional wares -- but my experience with it is limited to firing other folks work at a community studio. Just another tool in the toolkit. At greenware stage, it can be quite fragile as most people use it to go for thin walls or make large slabs for brushwork, decals. After bisque, where the paper is burned out, you have . . . regular old bisque clay that is no different, from a compositio
  8. Electric fence with concertina wire across the top . . . and even that is not a guarantee with school kids.
  9. From Standard's web site: 112 BROWN CLAY - Cone 4-6 Plastic clay for wheel and modeling. The addition of granular manganese gives a speckled surface. The ideal temperature for developing best color tone is cone 5. Good results may be expected in reduction or oxidation firing. Suggested bisque temperature C/04. Shrinkage: 12% at C/4, 12.5% at C/6. Absorption: 4.5% at C/4, 2.5% at C/6. At cone 5 1/2, your absorption rate is probably in the 3% to 3 1/2% range. To vitrify, you would need to go above cone 6 (or do a hold at cone 6), according to their absorption information. Going that high
  10. http://www.bluebird-mfg.com/ If you have not yet done so, try the manufacturer.
  11. Does it matter? I thought you wanted to know how potters defined plasticity? It is what it is to each of us, mostly defined by some point of reference (using a clay body) in our potting experience. Hard to quantify or define what is so very subjective. (Back to the cave.)
  12. Given the rate of temperature rise, you may not have hit cone 10 -- maybe more like 6 plus, if my calculations are not in error: (221F)12am warm kiln with door open, close door at 12:45am (414F)1:05 seal door damper on 2/3 and gas is at 1/8 open (615F)3:05 Turn gas up to 3/8 (1440F)6:15 Turn up 5/8 -- 825F rise in about 3 hours, or 275F per hour (1884F)8:15 Turn up 6/8 -- 444F rise in about 2 hours, or 222F per hour (2155F)11:30 Turn up 7/8 -- 271F rise in about 3 hours, or 90F per hour (2222F or near)12:30 -- 67F rise in one hour Heat work is most important the last 180 degrees
  13. Blue is applied by brush as a cobalt stain (with some frit so it adheres during bisque), then a clear glaze over. The blue is not a glaze by itself. For white, use porcelain or a porcelain slip over stoneware. Stonewares tend toward ivory, not white.
  14. https://www.lowes.com/pd/Hitachi-4-1-2-in-7-4-Amp-Paddle-Switch-Corded-Angle-Grinder/50406474?cm_mmc=SCE_PLA-_-ToolsAndHardware-_-HandheldCuttingAndGrinding-_-50406474:Hitachi&CAWELAID=&kpid=50406474&CAGPSPN=pla&store_code=1602&k_clickID=23cd5b71-da0a-4fa1-bf78-b6f41a77e1ba https://www.lowes.com/pd/DEWALT-Diamond-Grit-4-in-Grinding-Wheel/50191371?cm_mmc=SCE_PLA-_-ToolsAndHardware-_-PowerToolAccessories-_-50191371:DEWALT&CAWELAID=&kpid=50191371&CAGPSPN=pla&store_code=1602&k_clickID=23cd5b71-da0a-4fa1-bf78-b6f41a77e1ba Use these on my electric ki
  15. From an instructional standpoint -- both youtube and workshop -- Bill Van Gilder. He can teach. And he makes great functional ware. Robin Hopper is another teaching potter or potter teacher -- not much youtube but good DVDs.
  16. "Just wanted to share my experience with Cassius Basaltic. Most glazes end up with pin holing, bloating, or just ugly on the surface on anything Cassius I do. " Try firing Cassius to cone 5, not cone 6. Also, avoid stacking during bisque so all of the surface areas have room to outgas. You can also reduce Cassius to a slip, then apply it to white or other clays. You get the black to work glazes with, but not the clay body issues.
  17. Unfortunately, no independent reviews out there that I've ever found. When I was looking to buy, I went with my experience firing kilns at the community studio and looking at classified ads for folks selling kilns. Our community studio used mostly L&Ls, with a couple Skutts; I preferred firing the L&Ls. Looking at what folks were selling in the classifieds, I found lots of Skutt and Olympia kilns, but rarely an L&L or Cone Art. That told me L&L and Cone Art were either very reliable, well made, and kept by owners or they were mostly used by serious potters who believed a f
  18. Lid closed when firing. I have vent that moves air, so no need to keep open or cracked open.
  19. The clay was over-fired. Pugging it had nothing to do with the result. Your shelves might be salvaged . . . depends on how deep the clay melted into the shelf. Wearing appropriate safety gear, remove the items and grind down the shelf -- use an angle grinder if the clay did not melt into the shelf. If nothing else, remove/grind away all the melted clay and kiln wash to get the shelf completely clean, then flip it over an use the other side instead. But you won't know until the charred remains are removed. Is it possible you programmed the kiln to cone 6 instead of 06? Did the ki
  20. Sure its possible . . . it just will not vitrify at lower cones, etc. It's not what they are saying, it's what they are not saying. I've fired Standard's red earthenware to cone 6 -- just to see. And the test tile came out fine.
  21. Unfortunately, the emperors (e.g., clay manufacturers) likely know this and continue to do so regardless for whatever reasons, including the one we continue to buy what they produce. If they see a benefit to standards, they would have done so years ago.
  22. Have you considered black underglaze in the impressed letters?
  23. 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.
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