Sunny reacted to Chilly in Underglazes Vs Glazes
Try putting two glazes side-by-side to produce detailed pictures then repeat with under-glazes. Fire both and see the difference. Under-glazes do not move or blend with each other. Most glazes (I know not all) will bleed into each other, or one will move over the other, or they will slide slightly down a vertical surface.
For me, under-glazes are for when you want more than one colour on a piece, glazes are for single-colour or "doesn't matter" if they run together.
Sunny reacted to PSC in Finding Your Own Style...easy To Say
Style does not mean making the same thing over and over. Think of fashion designers, each designer has a style yet every year new dresses are walked down the runway. That is when you know you have found a style when people still recognize your work as yours even tho the work varies from the work you did before.
Sunny reacted to Benzine in Kiln In The Garage?
I'm sorry to hear about the latest series of events. I hope for a reversal in your fortunes very soon.
In regards to the kiln. The only issue, I've heard, is that computer controlled kilns, don't like the cold. So people, who use them, have to heat the controller before it will operate. They usually just use a small space heater, until it warms up. Once the kiln gets going, the heat from the firing, keeps it warm enough.
For kiln sitters and such, the only limit to how cold it will operate, is all dependent on how much cold the operator can take.
Sunny reacted to rayaldridge in Finding Your Own Style...easy To Say
I don't think it really works that way. Style doesn't mean you have to do the same thing over and over. If you're tired of making it, that form is no longer really in your style, because having a style means you're making the things that you like best. And even the simplest of forms can be an expression of your personal style. Take the mug-- my favorite thing to make lots of. I've never gotten tired of making mugs, because each new series of mugs is an opportunity to further develop the form in the direction I want to go.
I've made a lot of mugs, but even the simplest mug contains multitudes of decisions. In general, I like a simple form that has sort of a high waist with a slightly out-turned rim above the waist. I like this for functional reasons-- it's harder to drop a mug that has a slight flare at the top-- but the form is very appealing to me as well, and as a functional potter, suitability for use is a large part of my "style." But consider all the other stylistic decisions to be made, the handle, the surface decoration, the type of glazes to use, the liner, the foot. That last is something I've changed a lot. Most of the mugs I've made were finished on the wheel, with an undercut to lift the piece visually. But I've also experimented with a faceted bottom edge, which I liked quite a lot. Lately I've been trimming a narrow footring on my mugs, which might not be as practical as the wide bottoms, but makes the piece more appealing to hold in two hands.
Okay, I'm babbling a little here, but my point is that style is not a limitation but a tool. If you get tired of making something, then that's probably a sign that it's time to upgrade your expectations of yourself.
Sunny reacted to Chris Campbell in Finding Your Own Style...easy To Say
That is another "it all depends ..... " question. Your style is not a prison cell.
Some people have a short attention span and keep skipping around. There is a buying audience for them ... The people who always ask "what's new?" the minute the see you.
Some people find forms they can never seem to get enough of ... They can spend years exploring a simple basic shape and get endless pleasure in the subtle changes only they might perceive.
Some people find a design idea that appeals and make multiple variations on the theme.
Some people find a shape they love then focus in on glaze or surface variations.
Some people find the genre that suits them ... be it raku, majolica, porcelain, sculpture ... And go from there.
Some hit the sweet spot after years of work ... They build an audience that wants what they love to make.
There is no one size fits all.
Sunny reacted to Jennifer Harnetty in Some Changes To The Forum
Wanted to let you know that you may soon notice a couple of changes to the forum. We have observed that a lot of postings on studio equipment were being made in the "In the Studio" forum and decided that, perhaps, we needed to make new forum category dedicated to those posts. So we are creating a new forum called Equipment Use and Repair, which will be moderated by Bruce Ciske. Thanks Bruce! We are also going to tweak the names of a couple of forums to make them more clear and intuitive.
The moderators will be helping to move posts to the appropriate forums in the coming weeks and we think these changes will help make the forum more useful for everyone!
Sunny reacted to PRankin in Can You Describe An Ah Ha Moment You Had?
I took a ceramics class in junior high school more than 50 years ago and then in the early 70's my wife and I attended evening adult education ceramics classes in a local high school. Two years ago I began ceramics classes at our local community college and my a-ha moment was after a few minutes of touching, feeling, squeezing clay I knew that I loved this. I have always loved this and why haven't I been doing this for the last 40 years?
- Paul R.
Sunny reacted to Joseph Fireborn in Black Raven
So I have been working on this black raven stuff for a while. I finally got some glazes to come out nice on the test tiles. I took these with my crappy camera phone so you can't see how glossy it really is, and the pictures are kinda blurry, but I am making progress on getting a nice glaze for the mugs I am looking to make with this clay body showing.
However I can't for the life of me get rid of the bloating. I have tried firing to cone 4 5 and 6 and I still get bloating. So at this point, I know it isn't over firing that is the problem. All of these firings have been verified with self supporting cones on 3 levels(bottom, middle, top) in my kiln.
I have been doing a slow bisque that takes around 14 hours. The pre-programmed one on my L&L.
However I am going to move into creating my own bisque schedule for this clay. I am thinking about something like holding the kiln at 1500 for a good 15 minutes, and adjusting my vent to take in more oxygen into the kiln during my bisque firings and lower it back down for glaze firings. This way when I burn out more carbons I will have more oxygen to keep it oxygen rich environment. I thought the slow bisque would be enough, but it isn't.
So that is my first update. I finally made a breakthrough in getting glazes to actually come out on the clay without a white slip over it. I am very happy about that.
Pottery is not for the weak, if you want to make great things you really have to put in the time to test test test and test, and then test some more. Literally I am at the point in pottery where I do more testing and hammering than keeping pots. The most odd part about it, is I find so much joy in my tests. Like I opened the kiln and I see color and I am like WOOOOO. I jump around my garage dancing. My wife looks at me like I am crazy. She is starting to understand that I want to become a master! not just simply a potter.
Meanwhile here are some mugs that will be getting the hammer because they are going to bloat after I fire them!
Either way getting in the practice.
When I figure out my bisque schedule that I dont get bloating I will post it for others who want to try this clay.
Sunny reacted to WildCelticRose in Firing Disaster? Fired For 20 Hours - 9 Hour Soak?
It was the cone 5 program, with a 5 minute hold (the hold time I prefer over 9.5 hours)
I did have a shelf fall and crack a brick during loading so it's possible that messed up an element.
When I finally get some sleep and am no longer a danger to myself and others, I'm going to check the wiring to the relays and the elements.
If nothing looks fried/broken/weird, I'll do a fast test fire, pop the lid and see if all of the elements are the same color red then go from there.
Sunny got a reaction from Rebekah Krieger in What's The Most Risque Out There Thing You've Done In Clay.....
Nah, I kinda call that beautiful art. Great work.
Sunny reacted to Cavy Fire Studios in Art Crit Zingers
Pbfth, wee on that! â™¥ Dark colors are beautiful. I usually work with dark colors that have lots of baroque lighting. The only thing I use bright colors for are touches of highlights. My favorite color is alizarin crimson!
Though, bright colors can add to the creepy factor, too. Here's a poster-sized piece I made ofvthis super talented drummer I know who sadly is in the grip of a bad meth addiction. I like to guinea-fy people sometimes, and his story kinda spoke to me. Tells of past, present, and future, and I used colors to aid the narrative. 99% of the people who first see this in person say, "Holy ess-aitch-eye-tee." That pleases me.
Sunny reacted to Chris Campbell in What's The Most Risque Out There Thing You've Done In Clay.....
The most fun I have had with a risky project ...
I was so tired of worrying about cracks and defects in my porcelain work that I decided to cure myself by pushing the clay to its limits and letting whatever happen without any interference from me..
I did a series I called "Nautilus Imperfect".
The Nautilus shell is one of nature's most perfect shapes totally illustrating the "Golden Mean" or "Pi" ... so I made a large cane of one out of colored clay.
Then I smashed old work that had 'imperfections', rolled the shards in a rock tumbler to smooth the pieces, then wedged these chunks into my porcelain. I then made pieces combining the Natutilus slices with the chunky clay and just let them sit out to dry. I watched as the stress cracks appeared ... normally a crazy making time for me ... but just let it be.
The resulting work did not sell well as almost nobody wanted cracked work, but some of the pieces remain my favorites to this day.
AND as a bonus, it worked. (Well, mostly ) I am somewhat looser now and more apt to allow the clay to lead the way
Sunny reacted to jolieo in What's The Most Risque Out There Thing You've Done In Clay.....
Got your attention , right?
Sunny reacted to jrgpots in Icing For Ceramic Gingerbread
I've been out for quite some time. But, I wanted to post where my gingerbread church stands. It is drying slowly. I need to pipe the ridges and corners. In the next two weeks, I will finish the piping and corners. I need to make paper slip with magic water to repair the cracks before firing. Once Fired, I will add shingles.
Sunny reacted to David Woodin in Pitting
L&L in there control manual doesn't recommend a hold time unless you are monitoring your kiln with cones. This means their controller is continually adjusting to give you the proper heat work as the elements age and your kiln loads change and the firing time changes. To be sure you are getting cone 5 buy some cone 5 self supporting cones and place in the kiln. As far as the bisque goes if you add a hold you are changing how much the clay body will absorb water and this could be a problem. The slow and fast bisque is designed to burn out the impurities in the clay which happens around 1000 to 1200 deg F. I am sure the kiln is fine. But if the glaze needs more heat work add some hold time but be carefull about this as over 10 minutes can rapidly start the next cone to bend. Also you mentioned using Laguna and Amaco glazes I am not sure how they react if one is placed over another.
One final thing, if your glaze needs a slower rise for the last ramp you will have to make a vary program and find out how a slower rise will then affect the top temperature needed to get the same heat work. go to www.ortonceramic.com and look at cone resourses.
There is a disk available, you probably will have to ask them for it.
Sunny reacted to Chilly in Pitting
You could try re-firing it/them in with a bisque or ^06 glaze firing. I just got a mug out of the kiln today that was pitted after a ^6 firing, and it has smoothed off amazingly in a lower firing. The colours have also changed slightly, but that's a risk you take. Re-firing could improve a bad piece or worsen an indifferent piece.
Sunny reacted to bciskepottery in Pitting
Refiring to fix glaze defects (like pitting) is generally a crapshoot. It may work, it may not . . . I've seen it go both ways (though more often in the not category). Just approach it as a test . . . if it works, then it is a good test, if it does not, it is still a good test because you learned how your glazes will look refired.
You may need to go hotter (longer soak at cone 5, maybe go to cone 6), not cooler (cone lower) to even out the glaze. Firing lower, the glaze may not melt enough to become viscous enough to heal over the pitting. Plus, you don't want to risk the rest of the kiln with underfired work at a lower cone and your glazes will not look the same at that temperature.