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Posts posted by Biglou13

  1. B mix clay, with about 10 % grog,  mix of large med fine.  

    it will be heated in oven to 500F.  Bread dough placed in, covered  so bread will steam.  then baked at lower temp..  then after time cover removed to finish baking. 

    thinking  that at bisque temp vs  unglazed cone 6  will have better thermal shock properties? What say ye.  

  2. 2 hours ago, Rae Reich said:

    @Hands On, if you’re going to fire a solid cube that size mixed with other inorganics without demonstrating its explosive propensities, I’d suggest cutting it apart to hollow out and reassembling it, or coring it in several/many places from the bottom. If you want to make a Process Piece to demonstrate firing effects on a solid with inclusions, you really must be certain that it is dry, dry, dry! And possibly isolated from other pieces.

    Is there something I don’t understand about your intention?

    My interpretation of original post is that  “one firing” means one opportunity to woodfire once.  ……. There is a lot in OP that raise a flag for me., since we don’t have enough info to better assist. Guessing at clay body,  wood fire kiln owner allowing untested clay on shelves in kiln, ….   What kind of kiln?   Solidish pieces? Organic vs inorganic?    I understand there is first time for everyone.   I would suggest to  Hands On to give us more info.   Use clay suggested by kiln owner.  Also experimenting with form bisqued.  Clarify if it is going to be once fired wood fired. Or are you pre bisquimg.   What kind of kiln? What are expected final cone/temperature……   More info please

  3. 20 minutes ago, C.Banks said:

    I'd be tempted to sub out some/all of the epk for Helmar.

    Once fiing a foot thick cubes sounds adventurous. I'm a bit nervous at the best of times so for sure I'd be concerned about the time it takes water to escape.

    again, I'm sometimes overly cautious so, for me, the additions of  organic/inorganic grog helps to move water along more than anything else. I would not want to be responsible for 'surprises'  below 100c.


    I’ve used helmer as a flashing slip. I’m sure it would work.  This body is pretty flashy already.  I should try  maybe get super flashy! 

  4. Chicken grit is usually inorganic,    I use grit as inclusion additions to my clay.  I would sinter the grit prior to  adding to clay.  It’s longer conversation but it’s  known concept, my attempt to emulate Shigaraki clay.  This addition will not lighten the clay body for that I suggest adding sawdust to clay..  be carefull not to use oyster shell grit!!!!      

    if you search back I have posted a recipe based on dick Lehman 12d clay, which is a take on a jack Troy recipe.   I have fired this clay from underfired to 13 ish.   If you can’t find it I’ll re post recipes here  tomorrow.  This a well tested proven recipie.   The addition of fire clay makes it even more hardy but changes characteristics.

    are you saying this once fire  or will you bisquing yor work.   Be careful with any solid ish large pieces. That they absolutely dry before firing!

    edit   can’t find  my old post here .

    i slightly modified recipe in pictures below  i changed plasticizer and lizella instead of red art 

    Modified 12 D (original)

    EPK                                 36.8

    Nephaline Syenite  24.5

    OM4 Ball Clay          14.3

    Silica                               19.1

    Bentonite                       5.1

    Redart                              2.5


    variation add 36  ap green fire clay   brown  and will stand up to higher temp (ap green is no longer available) im told other fireclays will work




  5. I’m at a community studio. They are having issues firing a smallish car kiln. Kiln is indoors .   I’m unsure how kiln is vented / how exhaust is routed.  They are saying they are having issues with hvac system causing  back pressure on kiln causing flame to come out .  firing    Is going on a month late.  My guess is  that something along exhaust is partially blocked. It is winter here and it is frequently windy outside. What could be causing this back pressure?  

    I have good amount of experience with. Cone 6, wood fired kilns. they are quite secretive about firing I wish they would let us observe, would be great learning experience. 

  6. 12 hours ago, Callie Beller Diesel said:

    I agree with everyone above: most low volume creators shouldn’t have major dust risks, but working as dust free as possible is just good practice.

    If the piece is still green, an old trick is to wet down any canvas surface you work on, and work the pieces in a figure 8 over it to get rid of any wobbles in the base. If you don’t work on a canvas surface (there’s better things imo), something like a smooth cement surface will work. And be easier to clean. 

    This!   I noticed many people at the new studio I am at, many are sanding pieces with expensive diamond pads as a matter of routine.  i was taught to fix roughness early on,     sanding  finished pieces is a last effort 

  7. On 11/3/2023 at 9:11 PM, Callie Beller Diesel said:

    Hey Lou! Good to see you again!

    Not sure how traditional it is from a chemistry standpoint, but this glaze does tick a number of boxes around how Oribe’s are supposed to behave. It IS fluid, and tends to go metallic if on the interior of a bowl. Wouldn’t suggest it for food surfaces, but is a lovely accent bit. The bone ash does gel the glaze somewhat, so that will affect its application. I haven’t ever tried it in an acid bath after the firing, as I’ve seen some Japanese artists do since.

    Due to the age of this recipe, you may have to do some calculations to allow for material analysis shift, especially if you are buying talc new for this. Custer was also a different animal than it is now.

    Carolina Oribe (ACAD shop, circa 1998 or so)

    29 Custer Feldspar 

    24 Silica

    21 Whiting

    12 EPK

    7.5 Talc

    1 Bone Ash

    5.2 Copper Carb

    Good to be back thanks.  I have stash of some old school talc.  

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