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About Mossyrock

  • Rank
    Advanced Member
  • Birthday October 30

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  • Location
    High Point, NC
  • Interests
    bass fishing, reading, travel, photography, classic movies, gardening

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  1. Humm, I tried it from this link and got the same message.
  2. Wow, beautiful pictures! I think that's a workshop I would have enjoyed and learned a lot. I use velvet underglazes and I use S&C, but I never thought of mixing the two together. Did she then put a clear glaze over everything?
  3. I think the thing I was missing was wetting the paper to make the ink transfer. I'll give it a try with water and, as Chris suggested, with rubbing alcohol. I'm looking for carving guidelines so it's fine if it burns out in the firing. Thank you.
  4. I will give that a try Chris. Thanks. I want the image to fire out....I just need it there to give me some carving guidelines. Did you use just regular bond paper?
  5. LOL, my client is me so I'm pretty safe there. I just don't want to end up with huge grout lines. I will do a shrinkage test though just to be on the safe side. The 9% came from the manufacturer.
  6. Math makes my head hurt! My surround is 55 inches across the top and 35 inches tall. Each side is 9 inches wide. On one side I plan to carve a heron standing on a piece of driftwood and a few reeds. The other side will be carved cattails and reeds with a dragonfly. In the center of the top will be two intertwined heron feathers. The background is a very light sort of paragon repeat pattern. I thought I could measure out the entire piece, enlarged according to shrinkage rate, lay out the slabs and carve away, then cut the individual pieces so the grout lines would sort of be hidden within the design. Can I use your calculation method for the overall size then do the carving and cutting for grout lines as planned?
  7. Thank you Marcia! The first link gives me an error message. I'll check out the litho crayon on Amazon and the CAD video on litho process.
  8. I am creating a scenic tile surround for my fireplace. The clay has a shrinkage rate of 9%. Do I take the measurements of the fireplace and add 9% then build the surround on that scale? What about space for the grout lines? The tiles won't be square....they'll be cut to work with the design of the scene (hopefully). This is the first time I've taken on a project this large and involved. I want to make sure my measurements are correct so it all fits properly. Thanks for any help and advice.
  9. I would like to transfer a drawing onto a moist clay slab. I have tried copying it on my printer then putting the print-side down & ribbing the back, but it doesn't transfer. Is there a certain type pen or marker I could use to trace the drawing onto paper (what kind?) that would then transfer to the slab? I've tried several types that I have around the house, but nothing works. I thought a dry erase marker on wax paper might work but it didn't. Thanks for any ideas. The transfer is for guidelines for carving so it's OK if they fire out.
  10. Thank you Marcia. I will read definitely read and thank you for taking the time to post them.
  11. Yes, that's what I'm saying. Certainly, it does so over red clay body when fired to cone 03, and I can see no reason that it wouldn't do the same over a coloured slip. Well worth some experimentation, I would suggest. I always apply the sig to a bone dry body. The ball clay I use is something called Hyplas 71, but then I'm in Europe. That may or may not be available on your side of the pond. Essentially, it's a low-iron, white firing, high plasticity ball clay. I doubt if the exact make/type matters much, to be honest. I've always followed the Vince Pitelka method for making sig, but again, I doubt if that makes any difference to the end result. My only concern might be that cone 05 could be a little low to lose the milkiness of the sig - only one way to find out! --->> It's just occurred to me to suggest that your friend decants a small amount of sig into a cup before trying this, in case the brush takes up some of the (dry) stained slip, and transfers it back to the sig - you don't want to ruin a batch of sig with stained slip dust!! (Does that make sense? I think so...) Thank you! It's definitely worth a try. I'll see if I can find a similar ball clay and run a few experiments.
  12. Are you saying that after the glaze firing, the white sig you're using takes on whatever color it is applied over? Say if it was applied over a green underglaze, the sig would be green after it was glaze-fired? If that is the case, would you mind sharing which ball clay you use or do you think any would work? She glaze fires to 05.
  13. Thanks for the help everyone. After reading the comments, I believe it is probably the addition of the stain that has made the sig "unbuffable". If that's the case, how can she get a black sig? I know I've seen it used on other potter's pieces. She bisques to Cone 04 and glazes to Cone 05. The reason she started applying white slip to the Stans Red clay was to save on the base glaze. She only had to apply one coat (brushed on) of the base white glaze if the slip was on the piece. Otherwise she had to wait until the glaze dried then brush on another coat. She uses Stroke & Coat as her decorating glazes. Need to do a little experimenting......try the black sig on a test piece...... slip applied only to part of it and apply the sig across both areas. See what happens.
  14. I'm asking this for a friend who is not on the computer. She makes her own terra sig out of Red Art and her pottery is made using Highwater Clay's Stans Red clay. The sig buffs up beautifully if applied straight to the Stans Red on bone dry pieces. She recently started covering her leather hard pieces with a white slip (pieces are majolica decorated), then, after bisquing, glazes with her regular base glaze before applying the majolica colors. In her last session of making pieces, she wanted the bases of her mugs and vases to have a black terra sig instead of the red sig so she added black stain to it. It was applied on the bottoms of bone dry pieces that also had had slip applied. The color came out a beautiful black, but no matter how many layers, or how hard or long it was buffed, it would not form a sheen. On the final fired pieces the black terra sig is a very matt black. Is this because it is being applied over slip? Aside from adding the black stain, the addition of the slip is the only difference.
  15. I have the Northstar Big Blue extruder and, frankly, don't use it too often. Just haven't taken the time to mess with it. But, I needed a smaller hand-held extruder and made the one shown on the Ceramics Arts Daily website. It works well for my needs. I occasionally teach hand building classes and showed this extruder to the students…..several made their own and are happy with it. http://ceramicartsda...-clay-extruder/
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