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oldlady

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Everything posted by oldlady

  1. oh, i did it again. thank you, hulk, for letting me know that i forgot to put cone 6 in the title of the Robin Teas recipe. i forget that people never read my avatar info. i have edited the original to add it and added the author's name in the second post. his excellent, simple recipes are listed on page 127. hulk, my problem is finding a SIMPLE way to take the photos off my camera's SDHC and putting them into the computer. the very nice man who volunteered to do so for me in florida spent 3 hours trying and wound up duplicating the photos inside my camera with nothing in the computer. when i got home, my friend denise helped me figure out how to write instructions so i can repeat the steps she gave me as we finally got them in. i have 4 pages of directions to do it next time. i need to take more pics and try again. i will look at "snipping tool". thanks.
  2. found it. test 340 was of a base recipe that is a good matte glaze i tested with a variety of mason stains. each color was good and the amount of colorant in the test for purple gave a really good color in flat matte. if you use it over texture, it will flatten out the surface if you use too much. good luck with your clay and this glaze. Wettlaufer 18 cone 6 matte from "Getting into Pots" 1976 by George and Nancy Wettlaufer soda feldspar 40 whiting 15 ball clay 20 silica (flint) 15 dolomite 10 total 100 add pansy purple 2
  3. i will look at my photos posted here. still cannot figure out how to use windows 10 to add photos. i have a piece in that glaze made by Robin that will show it. looking at it i realize it is not quite a flat matte but more satin. still beautiful and definitely purple, no t mauve. let me look at another recipe that i tried with a mason stain called Pansy Purple. it is a matte glaze that is flatter than the one from Robin. i have more than 500 glaze tests, may take awhile but i will get it to you.
  4. mango, now that you are on the right track, may i suggest something else? your necklace has a good line (design) from right to left and back again EXCEPT for the one piece that dangles to a point. that one should be in the center to balance the whole arrangement.
  5. shawnhar, did you do the colored ones in the lower photo? if so, how?
  6. Natalie, welcome to the forums. so sorry to hear about your losses in the storm. i have a recipe for a lovely matt purple that i think you will like. it may not be the one you had but it is really a good recipe. i use it on white clay, have not seen it on darker clay. ROBIN TEAS RELIABLE PURPLE cone 6 potash feldspar 37 gerstley borate 12 dolomite 6 talc 14 kaolin 5 silica 23 zinc oxide 3 total 100 add cobalt carb 2
  7. a question about the design. how wide is the final box? there is no handle and i suspect you plan to make these stacking boxes. there are no measurements showing so i hope you are considering the size of the hand that must span the entire top to lift the lid. the design shows a very short lip on the bottom. it will work better if tapered as Min suggests but i would make it just a little higher and provide a tiny bit of space between the pieces. otherwise, it will be hard to use every time the lid is lifted and returned.
  8. great to see you at the smithsonian show. love the crab and gingko platters. saw lots of other potters whose work was also wonderfully different from the ordinary. i could hardly believe some of the work. the man who used blowing trees as handles for lids on his work had a piece that had to be 3 feet tall and was a perfect slab pot with square corners. the young woman whose work was displayed on plain birch plywood over sawhorses certainly did not need a fancy booth display, the pots spoke for themselves. so much beauty wherever i turned. it was a treat to see all those fabulous things in one place.
  9. you can take your place among the great experimenters! will now expect to see great pots with wonderful glazes on a regular basis.
  10. great idea, chilly! and how do you keep the paint in such good shape on the radiator?
  11. i think that once i can make something in any size i want, i am satisfied that i have learned that skill and can go back to the normal size for me. yes, i can make a huge salad bowl for 20 people but would rather make 20 personal size salad bowls.
  12. neil, thanks for the critical part, the weight does not fall if the kiln is turned off by the timer. that is logical. panic makes logic disappear. kiln fired until 12:20 or so, now cooling. 10:15 pm, monday. everything looks fine, no problems at all, no idea what cone it reached but it does not really matter. thank you all again.
  13. elise, it sounds as though you could benefit from a good standard book on making pottery. one that is old but has good information was used as a textbook is written by a man whose name was John Kenny. thought i had one on my shelf here but do not. do not think that it is useless because of its age and lack of color photos, there is solid information and a glossary of terms used every day by potters. there are others but he wrote simply and understandably. the original book was dated 1949 but there are a number of later updated editions. your local library has books on pottery under dewey decimal 732.
  14. well, at least she has good taste in pottery! (it may be the only thing she has good in her!) did you report this to the craft show manager so she cannot get away with it again? of course not, you are a kind and polite person who does not want to cause any trouble. but, if you do nothing, she thinks it is OK and will continue. it must have taken great restraint on your part not to kick her and scream out her crime. that is the mark of a decent human being when faced with such a betrayal of trust. for someone on an arts council she must do something public to show she has learned a lesson. you cannot let it stand. how can you publicize this to prevent it happening again? there are rules in every craft show i have attended that prevent people from selling work that is not their own. i have never seen anything this brazen, usually it is just something make from a mold like thousands of others.
  15. tried it. button will not stay in unless the timer is set. that seems to mean that it went off on the timer. i guess i have to wait until late tomorrow to open it and see the minibar in the sitter. in any case, have to pack up to drive north on tuesday. maybe they reached 06. i set limit of 7 hours from now. big storm coming in about 9 so the studio needs to be closed up. education the hard way, thanks, guys for the info. hulk, there is a big note written on the wiring box where the kiln is. wrote it years ago and it says "check timer!" maybe i will from now on.
  16. so, with no idea of what the temp is now, i can just push the button in after setting some time on the timer? and set the top knob to high along with the other two that are set on high already.
  17. for the first time, i fired faster than normal. for the umpteenth time i forgot about the (4 letter word) timer. this time i ran out of the house when i remembered that i had not looked at the timer at all and i did not want to have to refire this bisque load. the kiln was off. the timer said zero, the button was out on the sitter. the top knob was still on med. i was using a timer inside to turn the 3 buttons up at 50 minute intervals and i was about to go out to turn up the top to high. the firing started at 8:10 this morning and i ran out at 3:15. it was a light load since i plan to leave tuesday. question. if a timer shuts off the kiln, does the bar come down, the weight let go and the button pop out? i have no experience with a timer shutting down the kiln so i have no idea what actually happens to turn off the power. with such a light load, could it have reached 04 in that length of time? and without the top knob going to high? no, no witness cones. i now know why some titles scream HELP!!
  18. janine, just be careful of things that look too good to be true. we had a discussion recently about the really poorly made kilns and wheels from china for relative pennies. junk. rubbish, trash, whatever word suits. taking advantage of beginners without any knowledge at all.
  19. chilly, could you PM me, please?
  20. AMAZING! congratulations on doing what could have been impossible. you did it beautifully. could you please define the word "scales" as you use it? if it means the mix of colors, that is usually called marble and the process marbling. scales usually mean overlapping small pieces like the scales on a fish.
  21. what about firing in a saggar lined with combustibles?
  22. in what part of the world do you live? i have been looking at kilns recently on ebay and found that the situation has not changed much. someone has died and the heirs have no idea what they have so they look for a new one of whatever they think they have. here, it is almost normal for them to think the name of the kiln is "sitter" and the model number is LK3 or whatever. then they look at prices of new kilns and decide that half of that is what is normal to charge. so there are absolutely beaten up kilns and some that look as though they have never been fired at the same price. both are unreasonable. if you can educate yourself on each type of kiln available for your work and can wait until something shows up that is close to it, you can get a bargain. if shipping and the electrics were not so prohibitive, i would tell you about one available here in florida that looks brand new, though it was manufactured years ago and has been in storage since.
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