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About John255

  • Rank
    Advanced Member
  • Birthday 08/15/1931

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  • Location
    Florida USA
  • Interests
    Anthropology, Photography, Playing Music, Computers

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  1. Chris, I wonder if a similar technique could have been used with glaze on bisque in the Calico Glazed Mystery I posted a few days back? Good that you kept a stock of clean bed sheets for new work, or for attending KKK meetings. John255
  2. What if the four glazes were poured, brushed, and commingled into abstract pattern on waxed paper and then the pot slowly rolled through? Would that not be quicker and easier to manage than using resist on vertical surfaces? I've not tried it, but only throwing the idea out to the group to kibitz. The photo gives a rough idea of how it could be done. John255
  3. Oh yes, Wayne Higby. I forgot about his work, with his wonderful landscapes. There is some resemblance: http://www.craftinamerica.org/artists_clay/story_258.php? The poured suggestions with brushed fill-in sounds about right, but there has to be a trick yet to be discovered. When holding the pice in hand Chris' suggestion of skill and lots of experience ring true. Thank you very much guys for the comments. John255
  4. Pugaboo, The suggestions on my thread are leaning hard on waxing over the poured glazes? I think you would get more ideas if you could share the imagery you have in your head for your piece with a drawing. Just lay the sketch down and shoot it with you digicam , or phone. Good luck. John255
  5. Pugaboo, You may be interested in seeing how this thread unfolds. http://ceramicartsdaily.org/community/topic/4549-the-calico-glazing-mystery/?do=findComment&comment=40626 John255
  6. Glad to have your opinion Mark. I think you are right in the piece being slab, and in the pouring. Hard to believe he could put that much time in them and come out. What may not come through too well in the photos is the glazes in Charles' pot are clearly not layered, as they are in your modern photo. John255
  7. Bob, That was quick! I like your idea of multiple firings. However, with the pot at $20 he probably got $10 , and time cost comes into the formula? John255
  8. In the late 70's I was out in Seattle and stumbled upon this lovely pot in a gallery. I was completely puzzeled by how the beautiful four glazes could have been applied in abstract pattern. There are no overlaps. I bought it for $20 and got the makers card that read "Charles Rothschild, Barlow Pottery, Sandy Oregon." I wrote Charles a letter saying how much I admired the pot and asked about the glazes and how they were applied. In a couple months I received a nice letter telling me about a take-off on Shaners Red, and the white being Rhodes basic #32 white, etc. all fired to cone 9 reduction, and not a word about how they were applied. I wrote again and never had a reply. About once a year since then I take the pot in hand and try to figure out. It's hard to believe each pour would be waxed to protect from next pour? The piece appears to be slab made which again would add to the time cost. It does appear to be single-fired because the lid cut divides the glaze pattern as shown in photo 1. Could this be an early laser cutting? Photo 7. also shows a perfect cut- back which points to being done after glazing at leather-hard. Anyway some of you old timers out there (not the Old Lady please!) may know the potter and/or the process, and would like to share your ideas. Hope you find the puzzle interesting. John255
  9. Nigich22, I can't see why the cutting board would not work if it's thick enough. I have one set of blocks 3/4" thick and another set slightly thinner than 1/2". I've used worn out acrylic cutting boards to make dies for extrusion, and they seem to work better than metal. Good luck with your project. John255
  10. John, Magnet info like this is very attractive. No matter which magnets you buy you'll be stuck with them. People who love magnets should stick together. John255
  11. I'm wondering how many people built a Mag-Trim and are too shy to post how it is working? Can potters be bashful about showing their work??? I use mine just about every day and it's holding up well. Regards, John255
  12. Clay Lover, You are getting some very good info here on iron. However, a line-blend will tell you how the iron in your bag is working with all the other variables in your operation. If you want to see some photos have a look at this thread. http://ceramicartsdaily.org/community/topic/4340-comparison-of-slow-fast-cooled-iron-reds/?do=findComment&comment=37830 I hope you get it all ironed out very soon. Regards, John255
  13. Miss Holly, As potters we swim in a sea of variables. The database numbers you are asking for probably don't exist because each glaze formula requires different amount of water. Most suppliers recommend for one pound of powered glaze use slightly less than one pound of water. Some say a specific gravity of 1.45~1.50. What is probably more effective for your clay and bisque is to calibrate yourself. Make up a batch using one of the above methods then dip a small bisqued cup in the glaze for a count of three then when the glaze looses its shine scratch it with a pin tool to see how thick the glaze is. If it is more than about 1/16" scrape the glaze off and add more water. If it is barely about 1/32" let the glaze batch settle overnight then siphon off some water from the glaze. If you do this several times you will know when you have the right mix just by looking at the way the glaze drips off the piece, or drips off your fingers. Most (not all) of my glazes need two~three drops to be right. Make adjustments to the above by looking at the fired pieces. And try to remember to make notes. Good luck. John255
  14. Min, The problem with a "splotch" is it can look much like a "blotch" at the right time of day, especially if you are not feeling well. You really need a photo get more accurate speculation about this defect. Good luck. John255
  15. Bob, Very fine post. Glad to have your data on thermocouples. I've been concerned about that, and don't trust them. I still watch for the beginning of the cone bend at 100/hr.F to start the soak while observing the tip just touching to start the first down ramp. Completely agree we should not rave about our ramps. Regards, John255
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