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Everything posted by Pugaboo

  1. JR - I am thinking 04 would be a little sturdier for them to handle, would absorb slightly less glaze, there is often a mixture of brown clay, white clay, thick pieces as well as thin in a bisque load. 04 seems a good compromise with all that going on. I am taking into account some of the issues I've been told they are having, pinholes, bisque parts breaking off easily when handled, heavy glaze applications causing running glaze when fired etc. I'm looking for a middle of the road solution for the art center. I personally fire my own bisque to 04 with a hold BUT I tumble stack my load and it's packed ala Mark C with not an inch to spare, stuff inside of stuff, etc. I use witness cones in my own studio to make sure I am getting the correct heatwork and know the slow bisque to cone 04 with a hold gets me a perfect bend. I also do A LOT of design work on my pieces and want all that set nice on the clay so I don't have smudging or glaze interaction issues when I glaze. My glazes are mixed to an SG that I know gets me the correct amount of glaze on the pieces as well. I KNOW my own kiln and glazes but the Art Center is a different animal and one I am trying to tame. T
  2. Ok hmmm since I'll be bisque firing student and amateur potter pieces mostly I would think a cone 04 would have its advantages. It would absorb less glaze, be a little more durable to handle, we also use Highwater Clays Speckled Brownstone as well a Little Loafers and occasionally Lizella, so the brown could use a higher fire and I know from my own experience LL has no issue with an 04 bisque, I'm not familiar with Lizella needs at all except firing one sculpture and it seemed very fragile even after bisque firing. I do know they have had issues with pinholes in the past so a higher bisque might help with that. This issue could of course be the glazes instead but I am working to remedy that as well by sieving and correcting the SG on the glazes. It's not a cone offset, I know this for a fact he didn't know anything about those since I asked him on the glaze kiln why he fired to cone 5 rather than 6 and he said because it fired too hot so I asked why not just do a cone offset on a cone 6 and he had no idea what I was talking about. He also never used witness cones to actually test and see exactly how hot or cold either kiln is firing. I plan to run some tests when I fire next so I know how hot they are really firing as well as if I have any hot or cold spots. I've also started using kiln logs for both kilns so I can track how they are firing and know when I have issues approaching. Attempting single firing with student work would be a disaster. Keeping them from slathering on their glazes is hard enough without adding that to the mix. Thank you for helping work this through in my head. I think I will go to a cone 04 bisque from now on. T
  3. The old pottery director bisque fired to cone 05 rather than 04... he never explained why. Is there a reason it would be done? I bisque fire my own work to cone 04 so am wondering if there is a benefit to one or the other. T
  4. Oops sorry Marcia I meant Chris! I start out using a clay mold that is just dried and then when I am completely happy I make multiple bisque molds so I can make a bunch at once. I often do the dry clay molds for special orders that way once done I can reclaim the clay. Marcia I like your way too I might have to give it a try for use during classes, might be less likely to get damaged. Lots of ways to make a plate and now that my wheel is ready to throw standing up I plan to try throwing some as well. T
  5. There are a few ways to create plates without the wheel that I use. 1) If you want a quick simple disposable form to create a plate use Chinet plates. I use this method for teaching classes and even novice Potters can make plates that don't warp. Basically roll out your clay, lay over Chinet plate, use pounce to shape to form, trim, drop on floor to settle the clay, if you want a decorative rim place another Chinet plate on top of this and gently press in around the rim to capture that line. You can also add your own texture like lace, leaves, etc. you can remove the top plate almost instantly or at least the next day. LEAVE on wareboard until firm leather hard then sandwich and flip, pull off Chinet plate from bottom of plate, use shredder to carefully clean up edges. I slide mine off the board and onto wire shelves to dry. I have very little to no warping. The secret is the compressing of the clay into the form and NEVER pick up the plate off the wareboard while working with it. Lifting by the rim will cause your plate to warp, so careful handling on boards is required until it is dry enough to do so safely. 2) Bisque molds. I started out like Marcia using dry clay molds and then when I was completely happy I used that to create 8 bisque molds by rolling out a slightly thicker slab and forming, then just bisque firing them. You can even design right in any textures you want. Once bisque fired I just use these as if they were plaster molds, I in fact think they dry the clay faster than plaster. I like them for my silk screened imagery since I can flip the damp image face down over the mold and it won't smudge the image. I add a simple foot ring using an extrusion. I have not had an issue with Plates warping using this method either. I am still tweaking this to make the whole process faster.p but I'd say I'm am 90% there. 3) use craft foam and push plates. This is a great method for unique shaped plates. I have sets in floral, ornate square, and scalloped shapes that can be used for plates. Basically cut a craft foam ring into the shape you want then roll out clay and cut it the size and shape as the interior edge of your craft foam ring. Dry this between drywall until leather hard, then add little knobs to hold and pull the press plate out when you use it. Bisque fire this press plate. To use lay your ring of craft foam on a cushion, then lay a slab of clay over it, position your press plate in the center of your clay disc that is laying on top of your craft foam circle. Press down into the clay with the push plate and you will get a nice plate with a rim. The cushion cradles the foam and clay and when you push down the craft foam causes the rim of the plate to curve up whistle the push plate presses the bottom flat. Carefully remove from cushion, leave craft foam on the bottom until leather hard and dry on wire racks. This is a little more freeform than the previous 2 methods so there will be some variations but I use this for my floral petal plates and it works really well. I hope one of these methods might help you get the plates you want. Terry
  6. Rae - there are 6 screens at this point. Plan to do a random 7th screen with "flying" additions. I want to add random things like a group of butterflies, dragonflies, or a bird to a random place on each piece. The background is actually a combination of 3 slips sponged on.
  7. Nerd - thank you again, answered more in the forum Rae - thank you Rae, it's actually quite light, the ceramic beads are really thin, thinner than a lot of the other beads and that was one of the challenges of doing this figuring out how thin I could go and get a hole through without cracking the little bead.
  8. From the album: Ceramic Jewelry

    This set was made using Little Loafer clay, white glaze and laser transfers I printed myself. It's a more simple design than the others but have found it to be very popular. "Place 2nd in Yearly Art Center Competition"

    © Terry Buffington

  9. Pugaboo

    Ceramic Jewelry

    Jewelry pieces created using ceramic elements as well as wire and beads.
  10. From the album: Ceramic Jewelry

    The larger focal beads I made and fired. This set is a combination of ceramic, semi precious stones, crystals and glass beads strung on silver plated wires. "Placed 3rd in Yearly Art Center Competition"

    © Terry Buffington

  11. From the album: Ceramic Jewelry

    My Falling Brightly jewelry set was inspired by the colors of fall. I made all of the leaf shaped focal beads and fired them in what is becoming my signature glaze.

    © Terry Buffington

  12. From the album: Ceramic Jewelry

    This is my newest style of jewelry pieces. I usually do very simple pieces but decided it was time to up my game.

    © Terry Buffington

  13. From the album: Silkscreen and Stencils

    I continued the design work onto the bottoms to give them a sense of completeness.

    © Terry Buffington

  14. Pugaboo

    Silkscreen and Stencils

    A gallery of pieces created using silkscreens and paper stencils.
  15. From the album: Silkscreen and Stencils

    Here you can see how each dish is different but compliment each other since the same colors were used for each but in different ways.

    © Terry Buffington

  16. From the album: Silkscreen and Stencils

    I like the way they stack together mimicking the organic petals of real flowers.

    © Terry Buffington

  17. From the album: Silkscreen and Stencils

    I used craft foam to create the simple floral shaped dishes and added 3 dimensional butterflies and small flowers to each dish. The design is created using silkscreens, stencils and slip trailing.
  18. From the album: Silkscreen and Stencils

    Here you can get a better size of the mug with it in my hand. It's a big mug but feels very comfortable in my hand.

    © Terry Buffington

  19. From the album: Silkscreen and Stencils

    I tried varying the design to give it interest. If you follow the white slips trailed dots the actually follow the path of the flying butterflies.

    © Terry Buffington

  20. From the album: Silkscreen and Stencils

    The design is a full wrap, meaning it goes all the way around the mug including the handle.

    © Terry Buffington

  21. From the album: Silkscreen and Stencils

    This is a combination of silkscreening, stenciling and slip trailing. This is my large size mug that holds up to 20 ounces.

    © Terry Buffington

  22. From the album: Silkscreen and Stencils

    Here you can see the backside is glazed in a bright red to compliment the red hearts.

    © Terry Buffington

  23. From the album: Silkscreen and Stencils

    A test plate using my Black Luv Pugs design. Still needs some work but it's getting there.

    © Terry Buffington

  24. From the album: Silkscreen and Stencils

    The brightly glazed exterior of the bowl along with the leaf texturing and my logo silkscreen

    © Terry Buffington

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