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Everything posted by bciskepottery

  1. Any sanding should be done outside and away from where the silica dust could be inhaled by anyone else in the studio or tracked back into the studio. And, if you sand, be sure to where an appropriate breathing respirator (P-100 rated) to protect your lungs from silica dust. Smoothing your surfaces while leather hard with a soft rib is preferable since it does not raise silica dust. Or, use a wet sanding approach that minimizes (but does not completely eliminate) silica dust becoming air borne. Smooth is nice; healthy lungs and being able to breath is nicer. http://www.3m.com/product/inform
  2. I recall reading somewhere that Bailey electric kilns are made by Tucker Cone Art kilns. Could be wrong, but they sure look similar.
  3. 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.
  4. 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
  5. 50/50 is really too much bleach; go with a capful or so. Earlier comment edited.
  6. A better way of rehydrating your clay is to keep it in its plastic bag and add 1 to 1 1/2 cups water (maybe a capful of bleach in the water in this case 50/50 water and bleach in this case), and reseal the bag with a twist tie. Then put the bag of clay in a 5 gallon bucket and fill the bucket with water until it just reaches the top of the clay block. The water pressure from the bucket will force the water/bleach into the dry clay and rehydrate it. Let it sit in the bucket for a couple of days, or until it is soft and pliable. By not poking holes and filling with water, you eliminate the poten
  7. Regarding flaring, compare the position of your arm inside the pot to Neil's arm position. Your's is slanted; his is more vertical.
  8. "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.
  9. 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
  10. http://www.potters.org/subject29505.htm/ this talks about using bats with no bat pins.
  11. A test fire, with kiln washed shelves, seems like a good idea. Include any available extra posts so you have some density in the kiln. I believe it takes three firings for a kiln wash application to cure, so your test, plus a bisque, and then glaze will do that task. If you don't have the manual, you can get them online at the Paragon website; follow the recommendation for a first firing in a new kiln. Be there at the start and for the finish of the firing.
  12. Single fire is an option . . . but you will need to glaze fire slowly. Firing twice seems twice as risky.
  13. Page 6. http://ceramicartsdaily.org/wp-content/uploads/2009/10/cadbg10.pdf
  14. In the event you are working with crystalline glazes, here is a link to an article that shows how Bill Schran uses drip plates and pedestals. http://www.creativecreekartisans.com/Cone6Crystals.pdf Even if you are not using crystalline glazes, the idea of a pedestal might make sense as it appears easier to cleanly break a pedestal off the bottom than it would be if the glaze ran onto a plate that has less working room between the plate surface and pot bottom.
  15. Does your yarn bowl design include a cut in the rim to allow threading the yarn? If so, that might be contributing to the rim distortion . . . as the clay expands and shrinks during glaze firing, the cut in the rim may be allowing it to distort. Because your bisque temperature is lower, it does not occur at that firing, only when you hit the higher temperatures of a glaze fire. You might think about altering your design, perhaps foregoing the cut in the rim for just a hole in the side that allows the yarn to come through. Or, you could switch to glazing at low fire temperatures. As f
  16. Here are the references usually cited by John Baymore relative to studio safety: "Artist Beware" by Dr. Michael McCann, "Keeping Claywork Safe and Legal" by Monona Rossol, and "Artists Health and Safety Guide" by Mononna Rossol. As potters, we are probably more tuned into the risks associated with our profession or hobby. For good reason, every studio I've been in has prohibited food preparation and consumption . . . unless in a designated area or separate room. So, a studio that share common space with a kitchen/eating room just does not pass the common sense test. Same for sleeping i
  17. You might also be looking a contamination from the studio entering your kitchen/food area (clay dust and worse settling on food items sitting on counter, etc). And, even with the vent, you may not want to be eating in the common great room while firing, as well as sleeping. Kilns will vent carbon monoxide at some point -- although the vent (if going outside) helps. I'd be somewhat concerned that everything is in one open area.
  18. I've applied underglaze at the leather hard, greenware/bone dry, and bisque stages. I prefer applying before bisque; that allows me to do any touch ups before glazing.
  19. The temperature read from the thermocouplar is heat in the atmosphere of the kiln; the actual wares and kiln shelves may be of a higher temperature as they will cool slower than the air inside the kiln. Just something to keep in mind, not wagging fingers. You seem to have a clay with good thermo-characteristics; on the other hand, I lost most of my work in a salt firing when the wares were removed too soon (the others in the group wanted to open early; I was the lone vote for the next day), with dunting starting as soon as the wares hit the cooler outside air. Obviously, not a good clay bod
  20. Thanks. Sometimes the comments and commentors are just get too serious; a little levity is needed.

  21. You might want to reach out to Jon Singer -- he's done research into using phosphorous, etc. in glazes.
  22. What's a printers' mat?? Thanks! Ginny C. Printer's litho mat or blanket . . . http://handbuildingtools.com/super-surface-clay-mat/ Used in the old days when typesetters manually inked.
  23. "I need both a wedging surface and a work surface. I also switch back and forth from red clay to white clay so I need something "washable"" I have separate pieces of 24"x24" plywood (one for white clays, one for red/browns) that I put on top of my wedging table to prevent cross contamination. I also have separate slab mats for white and red/brown -- again, to prevent cross contamination. Washing will remove surface clay . . . but some stain from colorants in the clay inevitably remain.
  24. I use folding tables (4 foot and 6 foot) for handbuilding, and work on either sheets of newsprint or pieces of drywall or plywood (different sizes for different projects). I roll slabs on slab mats, not canvass . . . to reduce dust. My wedging table has a plywood top that I wash after using to remove clay and reduce dust. No finish, just raw plywood. Basically, canvass has been banned from my home studio.
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