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Everything posted by jolieo

  1. Hi , as stated. I am having trouble seeing the cones. I have both googled and searched on this forum, so I do have an idea of what to do, but I am still vey new to all this so please bare with me. I did a couple of bisque loads in my VERY tiny(.04ft) glass annealer. That kiln has one peep hole and a small hole in the top. I could see the cones in that kiln fine (?). I finally got the shelves for my big kiln, and I suspect that kiln has never been fired. So as per the literature, I slowly fired a bisque load to condition the elements. So I finally get up to high ( my kiln is a paragon w/o kiln sitter or digital, just low,med and high supposedly goes to cone 8) , finally put both peep hole plugs in and I leave it for forty minutes . Up until this point I can see the cone on the top shelf, the bottom one I can only position it so I see the base, so the bottom shelf will only be useful on opening the kiln. When I go to look after half an hour, I can't see the cone at all. Now I have never fired this kiln before, so I think OH SH##! It fired to glaze temp really fast cuz I closed it up! ( I thought the cone had completely melted!) so I was praying all night while it cooled, oh please don't let me find a melted heap , I just got these shelves. Well imagine my surprise when I open it and the cones are perfectly straight! So then I google etc. well my kiln is too small to put it 6-8" away . I won't blow into it, that sounds like a bad idea, plus not reliable. The laser sounds cool, but not everyone could see w the laser. So as far as I could tell, that leaves either putting a dark tile behind or the welder so mask. I don't have any money right this second , so I can't buy the good stuff . Is there a welder so mask that is cheap that would work? As for the tile, I would have to make it. It would need to be free standing , because I couldn't lean it on anything during glaze firing. So could make it a framed. Can I simply use black underglaze, will that contrast? I forgot : can I simply paint a underglaze line on the cones ? Would that be visible?I don't have the cash for the ingredients for the ink mentioned in another post ( I would have to mail order or travel an hour to purchase). And last but not least could I take a picture with my phone? Since I didn't know what was going on yesterday I couldn't try this, but I will next firing . Is there a trick to it.? It is going to be like this every step of the way , isn't it? I guess I wouldn't have it any other way 😎
  2. I am not sure but probably twofold , the particle size might not be fine enough to penetrate beyond the surface , and it might need more time to soak in. Maybe try mortar a pestle, and/or making a solution that won't dry fast eg gum Arabic or glycerin. Leave it on longer wetter and finer. India ink is very very fine , that's what gives it its opacity, plus it is in a lawyer ( or something similar) base, which binds to the porous surface
  3. Happy Birthday Evelyne! Not yet , but I sure hope so! It is what I would ask for...
  4. Hi I am a beginner too. I have been teaching myself the wheel for a year now. The wheel is difficult: I can get it to do somethings, but not necessarily what I was planning to do. Then there's clay : there are many different clays , they don't all do the same thing! When I got my wheel, it came w a bunch of the tools people have mentioned. I would watch videos, then try to use the tool the same way. Sometimes it would work, but not always! Some clay would be ok thin, some not. Some dried fast, some warped.etc. Buckets are a must! You need one for the piles of clay that didn't make it, then a wash up bucket which will also have reclaim in it as it settles, plus clean water for more clean up. Some clay is messier than others. Scraping tools to manipulate the clay surface, but also to scrap the bat surface or canvas surface. As for tools, since I am still discovering I reach for anything. My favorites might be useless to you depending on what we are trying to do, so investing in anything serious is not necessary until you figure out what will work for you. I believe that making the area I am working in comfortable is the better investment, again very personal and until I am in full swing , I don't really know.so everything is incremental, I am just waiting on the shelves , cones etc that will make my kiln functional. That took way over a year! When I first came on to this forum and made a wish list, it was huge. Thank god I couldn't see putting the money into it like that! The shelves etc cost $145.00 w shipping, I got just what I needed, nothing more. A year ago I had a list that included everything for glazes,all kinds of stains, all the fun tools. If I had bought that list, I would still be staring at the heap not knowing which way was up! Because like you I have a very limited space, I will have to learn to accommodate all the processes and where to put them. Clean up alone if badly planned can take awhile. So I very much agree w with Chris: play with clay, attempt everything, play w the wheel, and when discouraged ( it happens), play w clay. Get to the studio, see what your stuff looks bisqued, then fired. Have fun, enjoy! Play.
  5. Hi Ashley, your electric company might have an hourly break down of power usage. FPL does , probably because the want to control shut off of some appliances. It is in w my account info.
  6. Who checks everyone in or out? If there is a person on " duty" then there might be some issues, but it does ensure everything gets done. I have seen community spaces where everyone was required to fill slots watching the space. If no one is on duty, who is the person who checks to see everything is done? An part time care taker, someone working another place ? Things will be left undone and take longer to correct if no one is obviously in charge. Sign in/out sheets at each station in conjunction w a main sign in/out .also if things ever really got out of hand , photo proof( I it can be faked , but those people will always be those people). Most people will get into bad habits , not out of anything other than ignorance. People also get more defensive if intrenched in their ways, so better to catch them early. I like labels and training sessions , with everything well documented and within reach.
  7. It's only ocd if you do the compulsion for the compulsion's sake and not for the outcome . I have done sooo many color charts on watercolors and oils,pastels . Everything does not react the same even in those mediums, especially with each other. My biggest frustration was having the end result not match what I was going for and I Han no idea how to get there. Those charts at least gave me a jumping educated guess. Still love that photo.
  8. So I love it when a topic leads people to posting links. Usually the work is amazing and not something I would have anticipated. I learn so much and get inspired.I also feel like I learn a bit more about the people in this forum. So post your favorite artists or information sites here, I for one would love to see them!
  9. Around how many of each size , if I can get perhaps a graduation of 5? Plus pm me your address
  10. Boy what a pain adding photos! here is a leaf I found. this one is turning but most are green. Heavily veined, waxy and very sturdy.This one is small , maybe 5-6 inches across. I have since found a source that has maybe10 inches across.I don't really know how to impress them, did dust the slab w corn starch. and I don't know the name, so if anyone can enlighten that would be great. Tell me if you want some old lady, I would be more than happy to mail you some....
  11. Great topic Evelyne! Idk.... Perfection or beauty is in the eye etc. I take what I find beautiful, ideal, perfect and I attempt to capture the essence of what makes it so for me. I doubt I succeed w/o trying many ,many times, but in my efforts, if I keep my vision focused, and my mind clear, I might achieve what I believe is art. It is the interpretation of beauty , ideals, life, through another's eyes that adds interest, sparks a response in me. I do not believe we can get there w/o shooting the moon. Then after much practice muscle memory, brain muscle memory, and true understanding of what is trying to be said brings us to that zen place. The frustration, the failure is just the learning process.
  12. I want to visit! Can I use google earth to preview ? Simply amazing, how many test tiles around are there, or should I ask how many firings instead?
  13. Wow beautiful stuff! You guys are amazing. Thank you for all the info.it is food for thought . Although w all the rain we have been getting here, idk if I will ever be able to plan on doing something outside! I was really wondering about a much smaller scale, tiny really: what if I put a very small pot under a bowl in my kiln? Would I be able to do a tiny reduction? Or could I have it salt treated under the bowl and have it react? Would anything bad happen under my bowl? I am basically asking can I create micro environments within the kiln? Thank you I would like to do the real deal because it is amazing!
  14. Hi Suziewiyllie, welcome to the forum and pottery, Here is the kind of short answer: anything toxic is hard to prove it had been made food safe. So your cobalt needs to be sealed, and more than likely the clear glaze would probably make it food safe, but w/o testing , know one knows. So if one is a production potter wanting to use something iffy, maybe they would have the overgraze or colored glaze tested. But glazes are dependent on the environment of the kiln and the clay that they are on , so change anything and all bets are off. Also acids in food can weaken a glaze and make it suceptable to leaching. So the toxic stuff is put where it can't be leaching out into food, perhaps on the outside of the cup. But even then it can travel through the clay to the inside of the cup., so I am going to stay away from toxic on food wares . Perhaps one day I will be able to judge what is ok, but until then I will stick w non toxic. There is all kinds of info for safety data available online and on the websites of the stores that sell the raw ingredients and the premade stains and glazes. I didn't know what I was getting into, then I got a bit of an inkling coming to this forum( I am a beginner). I was quite intimidated for quite awhile because then is toxicity and then a lot of the raw materials are not toxic once made into clay pots that have been fired, are toxic if inhaled or ingested in their raw state. I am by no means an expert, but I am calming down because I read a lot here, and online, and I am getting a feel of how to handle all these chemicals. Definately better to err on the side of caution!
  15. Thanks old lady, I will call them, what a good idea!
  16. Around how long 5-6 hours? Cuz I will have to be right next to , can't leave
  17. Reviving this, so I want to bisque in this kilnIt is 11 inches across round by 4.5.inches high.It goes to 2000 degrees , has a built in pyrometer. How long will this take to get to 06, or bisque? I will not be able to pack it, unless I start making lots of tiny things ( I might). I didn't buy the shelves n stuff for my bigger kiln because the temperatures were in the high nineties, very humid, extremely rainy. I didn't want to commit to opening the shed doors to fire, only to be eaten by mosquitoes while being poached au jus! And of course now we are so slow in town that I am spending savings to get by( so good thing I didn't ). But I want to have my stuff bisqued at least, so I am going to use the glass kiln and slowly get everything bisqued. I need to schedule blocks of time to to do it, so how much time? Also the original question- I will be using fiber paper- this has no shelf ( yet), hopefully the fiber paper is fine. Thanks for advice. I will take educated guesses if no one knows
  18. Marcia knows ?l'll just wait here for her? I came across sagar , I didn't realize I could possibly put a pot in a pot. The possibilities are huge, right? Only thing is the elements and can it be a regular pot or does it have to be specially made .
  19. Do any of you do this? I am interested in what I could use for the Saggar itself. I might be interested in using it for a reduction atmosphere or testing salt , ash or Saggar firings itself in my tiny electric kiln. I suspect it might be very hard on the elements all the same. What I would really like it for , is to protect my kiln if I am trying something a little risky. So what kind of containment could I use? And how would I set up? Any details are helpful!Thanks Jolie
  20. So that's how they do it! I have only watched snippets, I work in a large restaurant, got drama every day. I like it when I learn something so those shows bore me. I would LOVE to see this on drama or not...
  21. Hi Alice : are you firing to cone 05 (1915 degrees f) or cone 5 (2185 degrees f)? Potters choice are cone 5/6 glazes...
  22. OMG I would love to see that show. I bet potters are not as goofy as the the other reality show contestants. Why do we have to wait.... Thank you for showing us
  23. Hi earth fan , could you elaborate a bit more? So I have a triangle... Thanks
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