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Chilly

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Posts posted by Chilly

  1. I don't throw.

    I stand for 99% of the time, moving around from this bench to that, finding a tool, stamping my feet to warm them in the winter.  Moving in or out of the shade in summer.  

    I sometimes sit when glazing, but not in my studio, only at the centre. 

    I did sit last summer, but only because I put a low table under a gazebo to create shade when it was really bright.

  2. To decide how many pieces a mould needs.......

    Look at an object, say an apple, orange or banana.

    The orange, if no dimple only needs 2 pieces.

    The apple, with a dimple both ends could look like it needs more pieces, but if you turn the apple sideways, and each half of the mould contains a dimple, then it too might only need 2 pieces.

    Same for the banana.

    A blackberry, bunch of grapes, or a pineapple - each need many pieces, as the undercuts will get stuck.

     

    I find this is the hardest part of mould-making.  I've heard that if you shine a torch on one side of an object, and look at the shadows cast on the other side that can tell you, but it doesn't work for me.

     

  3. Hi @JF_Potterit seems to be 15 hours since you posted your question, and no-one has answered.

    Most of the members here are studio or small scale production, or hobby potters.  

    I've done a tiny (very tiny) amount of slip-casting and mould-making.   And although I've read many books on the subject, I've not had the need to make masters, and know nothing about silicone.

     

    I'm sorry, but I suspect I'm not alone here, and that your question is way above most of our knowledge.

  4. I (generally) find that underglazes work better on unfired clay.

    The only way you will learn and understand is to make make lots, and treat them in different ways, and make copious notes.

    Then you will find a process or choice of processes that work for you.

     

    I would:

    underglaze

    fire to ^04

    glaze

    fire to ^6.

     

    Make sure you know the difference, the zero in ^04 is very important.

     

    Clay and glaze here (UK) is often sold with a wide firing range, which isn't always a good thing.  You need to find a clay and glaze that fit well together, and suit your making requirements.  You will only find that with testing.  Even if we both used the same clay and glaze, we will not necessarily get the same results, as each kiln can produce different results.

    Testing can feel daunting, when all you want to do is make finished pots.   It's a bit like learning to drive, you spend hours learning, but don't actually make any real journeys.   An oft quoted Q&A goes:  how long did it take you to make this mug?  25 years and 6 minutes.

    Enjoy the learning process.

  5. When I buy/make new glazes I always do some test tiles.  For layering, I make an L shape, so some is vertical and some horizontal

    I apply a stripe of each glaze in one direction, then apply a stripe of each (keeping the same sequence) in the opposite direction.  Do this on both vertical and  horizontal surfaces

    That gives a reference as to how nicely, or not, they play together.

    Remember every glaze will be different on your clay to mine, in your kiln to mine, and in the way we each apply the glazes.

    Have fun.  I often spend more time on test tiles, than on making real stuff.

  6. 9 hours ago, Hulk said:

    I'm pressing the "master" (bike sprocket, bike chain, other stuff in my studio/workshop) into a smoothed slab of clay, which is bisque fired - now it's a mold. Then,

    a) press some clay in this mold;

    @JJCthis is a great thing to do, just be warned that your final sprig will be smaller than the original, as the clay mould will shrink on drying and on firing.

  7. I only slab build:

     If new/previously recycled clay is cold (8 months a year)  I cut and drop on the concrete paving greenhouse floor to warm/wake it up.

    I do wedge recycled slurry as it comes off the plaster drying blocks.  But only just, and small amounts.

     

    I do make new students wedge clay, straight out of the bag/recycled.  It's good practice, as otherwise they are not aware of the feel of clay. 

  8. 21 hours ago, potterynewbie2021 said:

    Do I just apply it to the bisque tile and then glaze over the top of the design? Or glaze it and fire it first then paint on it, and then fire it again?

    Yes.  You need to test different methods, as they will give different results.

    1.  Apply, fire, apply glaze, fire.

    2.  Apply, apply glaze, fire.

    3.  Apply glaze, fire, apply cobalt, fire.

    4.  Apply glaze,  apply cobalt, fire.

     

     

  9. Wow @Pres, you posted this question 21 hours ago and no-one has yet replied......

    For me, the answer has to be "both".

    I like ^6, but my little kiln doesn't.  The one at the community centre likes ^6, but no-one else does, or needs ^6.  

    So, for some purposes, ^04 is fine, the glazes are more plentiful (UK), they come in every colour including special effects.  They suit the users at the community centre, and make my life as the advisor and firing tech much easier.

     

    But for mugs, outdoor pots, bonsai pots, casserole dishes, I still want ^6.  Or higher and wood fired.

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