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  1. I have been making pots and using a lot of bisque stamps to decorate them after they have stiffened up a little. Now I wanted to combine for example a bowl with bisque stamp designs near the rim of the bowl where I have also created a double split rim. The problem I am running into is cracking with the split rims. This is occurring after I place the stamp decorations near the rim, which has already been split. Any suggestions on how I can get the rims not to crack? I am thinking maybe if I place the stamp designs further down from the rim, but some have been a half inch or so from the rim and still crack. I would like some close to the rim and have seen examples of Gary Jackson's stamped and split rims so it is possible. Suggestions appreciated.
  2. I also watch a lot of Hsinchuen Lin's videos on YouTube.
  3. Dick White- thank you very much. I actually did go to the Digitalfire website before posting here and didn't see that particular frit so that's why I posted here. However, I am not vary familiar with that website and am not sure where to go to on there or how to do substitutions for glazes.... is there a page on that website that explains step by step how to do this?
  4. I have a cone 10 reduction glaze recipe called June Perry's #1591 Color A... Recipe is as follows: Ferro Frit 3271- 13g (they stated you can use other frits like 3191, 3278) Kingman Feldspar- 44g Whiting- 14g Monarch Kaoilin- 3 Silica- 26 Add: Copper Carb.- .50-1% Tin Oxide- 1% I was wondering if there was something else I could substitute for Ferro Frit 3271 (I also don't have the other frits they said you could use 3191, 3278) and if there was in what amount? I'm just assuming if you are substituting one thing for another the gram amount will also change. Any help would be appreciated.
  5. In a studio where I take classes, some of the potters have been putting low fire slip on high fire clay and firing it in the cone 10 reduction kiln. Is it possible you can do this? I guess I just assumed you couldn't because one is low fire and the other is not. Wouldn't there be a problem with the fit of this?
  6. Oh, and also I was wondering how many coats of the underglaze did you apply on top of the glaze?
  7. Chilly- thanks for this post. I was the one asking about this awhile back. I was also told that to make the underglaze stick better to the glaze if painting it on top of it, mix a little bit of the glaze you are using with the underglaze. Is this correct?
  8. High Bridge- it is curling up around the edges of the pot before it has been fired in the cone 10 reduction kiln. I'm thinking it will possibly fall off or maybe not stick to the pot when fire; or maybe it will melt onto the pot w/the glaze.... I don't know.
  9. Peter- you mentioned doing naked raku and regular raku on the same pot. I like this idea, but what temp are you firing these pieces then? B/c were I take the classes they are firing the naked raku at 1500 and the raku pieces at 1800. How would this work?
  10. Peter, thanks for answering my questions Cool tidbit about doing naked raku and regular raku together! Marcia, thanks for answering me as well. You've always been helpful.
  11. I painted an underglaze design on top of a glaze and it doesn't really seem to want to stay on the pot. The edges on part of the design are starting to curl away from the surface of the pot. Typically I know underglazes are meant to be painted on in the greenware or bisque state, but where I take classes they have been painting underglaze on top of there glazes in cone 10 reduction. I was wondering if there was something I could do to make it work? Do you think the underglaze will stay on the pot even though it looks like it might be curling away from the pot a little? Thanks.
  12. Peter, 1) This was a 2 part slip. It was put on fairly thick. However,, a few pieces did peel off so perhaps that could be it. 2) On this pot (the red t-sig) it is interesting what you suggested because I did put red t-sig on the body of the pot but left a small top portion w/out t-sig and it did accept the smoke so the rim of the pot is black, but on the body of the pot where it was t-sig the smoke completely came off.
  13. Or did you mean what temp was the naked raku firing? B/c we fired that to 1500 degrees
  14. Marcia.... for the first pot to question one which was terra sig'd white I bisque the pot to 09 like you suggested for the second pot to question two it was bisque to 04 (the red terra sig'd one) b/c it was done b/4 I knew it was better to fire the terra sig'd pieces to a lower temp
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