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Everything posted by oldlady

  1. i refire more often than others might. if there are several pieces i use a cone lower firing and that usually works. read "usually" as not always. sometimes i think it is placement in the kiln. use cool spot if you have one.
  2. lee, one of the members made plant identifiers like yours. some of the best sellers were for cactus. the only word was OUCH!
  3. i mixed that batch in 2006. i never liked it, i understood it to be something that would always be covered with another glaze. in the bucket it feels like sand in water. the sides of the bucket showed where the glaze had been poured and the residue looked like chunks of sand or grog stuck in the dried surface. the top of the bucket had a dark brown stain about a 1/4 inch down from the rim. it wiped off easily. when i re-constituted it last night, it was still wet enough that i left a fingerprint in the half inch left in the bucket. it had appeared dry and i was surprised to find i could make an impression in it. mixing it with my drill and paint stirring stick made it react like a very smooth caramel candy, thick and creamy looking but it felt sandy. the pot was made by an australian who was trained by a classic japanese master. he made it while visiting for a few weeks in 2010. he looked at my glaze tests and rejected most of them choosing the surface texture to be alone on the pot. i was surprised to see the finished pot, it is also a little sandy looking but the surface is level and there is no sandy feel. very odd stuff. that pot is made from my white clay, little loafers, the 50 commemorative pots we are making will be done in standard clay's 112, cone 6 speckled clay. choices by a committee, 2 other glazes will be tested before a decision is reached.
  4. if there is only a slight amount of hot wax it can hardly burp up the side on a bowl. i only make slab work and empty bowls with feet so burping is not a problem for me. rolling that foot in the shallow wax makes a nice even line.
  5. thank you all. i do have part of a bucket of it that i made in december 2006. isn't 20 percent tin a lot? i do have a shoebox full of tin oxide but maybe the decoration is small and the amount i have will be enough. will find out on tuesday. that is today in 5 minutes.
  6. have always objected to the name, it does not seem logical. unfortunately, it could be just what is needed on some pots we sell to raise money for our guild. i think it will be used as a decoration on our usual old stoneware grey/green glaze. the problem is that my copy of the recipe is incomplete. i will list what i have and hope some of you may have recipes from the 1990s and earlier. it comes out like a barely there orange stain rather than a glaze. there is a very slight degree of gloss. this is what i have, no idea why it was not finished or whether anyone can help. i have also contacted the instructor at the junior college where the group met, no answer yet. if any of you have used a rutile wash, it is a very similar color without any shine at all. the glaze has a slight shine. SURFACE TEXTURE CONE 6 BALL CLAY 30 750 BORAX 50 1250 TIN OXIDE 500 that is all there is. anyone have a clue?
  7. my hot wax is in an 18 1/2x11 inch shallow sears electric grill. i use a thin coating and melt old candles, any kind except the ones with christmas "snow" effect. any color, that makes it easier to see on my white clay. i have found that i can put up to 3 of my smaller pots into the wax and remove them in the same order. that wax does not even look like a waxy surface but it works well and the smell is gone. bigger pieces have a thin layer of wax and i can adjust any of the odd shapes with a cheap chip brush that sits at the edge of the wax in the heat. my temp is at 325 degrees. yeah, i know you all think i am nuts but hot wax is so fast it is the only way for me to wax and glaze and load a 23x27 inch kiln in one day. and yes, the wax line is straight and even. the occasional failures, a few, sit and wait for a bisque firing in the test kiln. i am not suggesting that you try this because you may not be comfortable in your ability to work safely with that kind of heat. the pieces stay hot and the wax is dry before i get the piece placed on a metal rack after the excess is wiped back into the grill. a little like a ballet with every move choreographed for safety. fumes that might arise from the grill are blown away with a fan placed behind my elbow so i don't breathe it. sorry, i have not used alumina hydrate in 20 years and do not remember why i did. never touched Bmix, read too many instances where it does not satisfy the potter. just because you have never tried something does not mean it doesn't work. we all work differently.
  8. big sale this weekend. the entire guild did well, the cashiers were busy continually. i cleaned and re-priced everything i took and brought back very little. accounting will take a few days but i will do better than i expected since i took only a fraction of what i normally have at this sale. the location was miles from where it is usually held and we were at a fairgrounds under a huge carport with very little light . all that in a weekend that was forecast to be cold, rainy and very windy. they should have emphasized VERY WINDY. for the first time i had a wind casualty, one $9 (last year's price, now $12) blew off the 4 foot high top shelf and hit the concrete. the noise sounded as though the entire rack had come down. total silence until the pieces were picked up and i identified one broken, purple, rooster coaster. i visually learned the meaning of "smashed to smithereens". and again learned the value of being in a co-operative guild. as always, nobody left until everyone was finished packing up everything. and that accounting will be done by the math experts.
  9. seth cardew gave a workshop years ago. of course, he did the fabulous bird plate done by his father, michael. he used a simple wash of cobalt for the blue and red iron oxide for the brown. nothing but oxide and water, skill and experience. i have the plate he did in that workshop. if you have never seen one of them, you have missed out. they are in books and i am sure somewhere on the internet.
  10. that is a pretty blue, Hulk, i wish it were the color i want. tried the pale blue resulted from 2% robins egg in the clear glaze Min gave me. also 2% vivid blue. both colors were sieved through a 150 mesh screen, thanks Neil, and yet the finished tests still show dark blue specks here and there. the color is very pale, almost like a white rather than blue. the thick test looked more like a snowstorm than a sky blue. so it is back to test, test, test and the new tests will be numbered 527 and up. nobody ever told me i would test so much. thanks, piedmont. mason 6374 is very like the robins egg 6376,
  11. my last few days should be a comedy movie. tomorrow is set-up for a 3 day show. i am not ready. have only known about it for 2 months or so. i will work the show on sunday so between set-up and sunday, i will NOT be available. there must be an empty hottub somewhere.
  12. violette, is the studio you find uncomfortable one where people keep their pieces wet for a long time? is the throwing water kept for days? are there barrels of water for reclaiming studio clay? is the humidity level high all the time? in your own studio you can be a rebel. work as dry as possible, keeping the place clean and dry. there is no reason a modern studio should resemble something from the middle ages. i remember walking into one in brooklyn. the floor was covered with 4 inches of clay dust. i left in a few minutes, sure i would have an asthma attack if i did not leave.
  13. roberta, so sorry to hear of your pain, i also suggest schedule 40 plumbing pipe. there should be a size just bigger than the outside dimension of your wheel legs. a half inch bolt through the plastic pipe should hold your wheel's weight with no problems. the only tool you will need for the job is a drill and a vise to hold the pipe steady while you drill those holes straight through. i would put the bolt in at least 8 inches down so it will be more stable. if the dimension of your wheel leg is very much smaller than the diameter of the new pipe, be sure to stuff the space with shims, wedges of wood for stability.
  14. if you can, get the answer from the US post office, the kind used in their priority mail envelopes is best for what i want, no fat fibers, no texture. the manufacturers name is all that appears on the envelope, maybe someone at DuPont can identify it. if it can handle the treatment given packages in the mail, it is a great product.
  15. not every electrician is familiar with installing kiln wiring. ask for references for kiln installations and call those references. besides getting a good or bad report, you can meet other potters in the area. make sure the electrician has installed a large kiln, not just a test kiln.
  16. yes, i advise you to think about the future of the planters. i have been planting so many things in the past month that i am dizzy, none of them have gone into ceramic pots, though. they are temporarily sitting on the deck until a neighbor with a bobcat has an hour or so to drill holes for roses and trees. in almost solid red clay soil. i ain't diggin' no holes, nohow. glaze is a finish that has proven itself over centuries. find a good one that satisfies your artistic intention and works with your clay. if you haven't got one yet, start testing. there are so many possibilities that you could go crazy just deciding which you like. good luck with your search. good night.
  17. hulk, the blue mugs are gorgeous. it is a really beautiful blue. i will use it some day as a bowl exterior. but, i think i will have to have my math expert neighbor figure out how to do a total of 100.
  18. wait a minute, little egg. why are you firing them to their final temperature without glaze? underglaze alone is not necessarily totally bad but do you have a real need to not glaze these things? how do you assume they will be cared for forever? they will never need cleaning, no greasy fingerprints will ever happen, nobody will think you just forgot to glaze them, etc. any photos?
  19. it is true that badly prepared items can blow up. i have had this happen once in the many years i have been single firing but i kind of suspected it was not ready for firing. just stupidity did it.
  20. sheffield has a lot of potters whose work is for sale in their showroom. well, before covid, who knows what is happening now. if you ask them if there is a potter working the same way you plan to, maybe you can find out easily. they may be able to make suggestions and even allow a sample of the ones you want to try. personally, and i think other potters here agree, i would never use a clay with such a wide range of supposed firing cones except at the highest one. i know you are only using it for slip to apply to the red but once it is in your studio, you cannot predict what will happen to it.
  21. just make sure the clay is totally dry before you put it into the kiln. fire it slowly to 1200 f as neil mentions on the way to cone 5. you do not say if this goes into your own kiln or not. might matter to the kiln owner so do not be surprised if you are refused a single firing.
  22. ok, i am going to use robin's egg blue because it DOES have zirconium (which appears to have some mysterious advantage in keeping the color more transparent than other ingredients). to have just a hint of color and as much clarity as possible, i will try 1 % and less. fortunately, a new neighbor is a math magician, taught it in many schools to students of all ages. thank you all for reminding me that there is always something new to learn about this wonderful artscience.
  23. thank you, that is what i want. i use that darker cobalt blue often but i am trying to find something more like sky blue. i will try the very tiny percentage you suggest. still would like a sky blue, though. i love the cerulean slip but the pieces i want to do in sky blue will have only glaze on them. min, is zirconium going to make the glaze transparent or are you saying those colors wont be because of the zirconium? so i am on the wrong track completely thinking opacifiers cause lack of transparency. it is melting that is important.
  24. browsing through the jan/feb 2011 issue of pottery making illustrated i found an article with info on using clay for outdoor use. did not read it but remember a fairly recent question about it. jessica knapp wrote it. find on page 6.
  25. looking for a mid-range blue for min's clear recipe that has a minimum of opacifier so it will be as clear as possible. i have cobalt carb and the following blue stains : mazerine, vivid, cerulean, robins egg, deep turquoise and zirconium vanadium blue. i also have deep orchid which has no purplish at all, comes out wishy washy blue in every test. i want to keep the glaze transparent so the feature noticed is the impressed plant material. my other glazes take away the crisp distinctions i want and flatten out the texture too much like covering with a blanket. pansy purple and the deep green are great but i want to branch out into colors. real gingko leaves come out so well that they could be made of human hair and each one is visible. i do not want to lose that effect. any ideas or is this a mason tech person question?
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