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Everything posted by NancyAmores

  1. Kentucky Mudworks Brown Bear is available in a 25# sample bag. I love this clay, along with all of their clays it's just really well made. Easy to form, low absorbency, most glazes look great, particularly whites and other light colors. Edit to add Laguna's WC-391/B3 is another alternative, you may be able to find a nearby supplier to save on shipping costs. It has more manganese (4% I believe) and so is slightly darker than the BB. It's also a nice clay, but be sure to have a good vent setup, my self-rigged updraft fan wasn't sufficient so I had to stop using it after 2 time because of the strong smell. Beautiful clay, though.
  2. Hope it's ok to revive this thread for a similar problem...my oil furnace spewed soot all over my kiln lid, controller, shelves, and posts. I vacuumed most up but there are some serious smears. Will petroleum based soot burn out the same as the wood soot? One site I've been to said that the acids in this type of soot will eat through different materials if not cleaned properly. Been afraid to fire the past week, any help appreciated--
  3. I use a stainless steam table pan to sinter metal clay, at 1720F the pan spalls and leaves a mess to vacuum up each time. Once I ordered 12 ga 'kanthal' on Amazon from China, it looked funny but I used it anyways. The rods spalled and the beads were magnetic :0
  4. Rings are the one type of jewelry I don't make with clay, for reasons mentioned already: sizing, breakage, risk of injury to the wearer. I've made hollow-extruded 'rings' that were actually pendants, the larger ones had weak spots at the joints and would sometimes come apart into two pieces during the glaze firing cooldown. Glaze was only applied to the outer portions, the inside was unglazed, they were fired hanging on a normal 10 gauge bead bar. They broke less often when the entire piece was glazed. I added small holes through each side and would hang them on a wire (16-18 gauge kanthal) suspended on shelf posts during the firing. If I were to make rings, I would make a cabochon that could have a bezel set around it and then the metal ring part soldered to the back of the bezel. I don't quite have the metalsmith skills to pull that off yet, but the results are beautiful and safe for the wearer. Metal clay might be another alternative for rings, you'd need a torch for silver, copper and bronze are fired in the kiln. I haven't seen anyone combine metal clay and porcelain pieces, likely b/c it's easier to set a piece in a bezel.
  5. Always an audible 'ah, so nice' from my room when I come across a pic of your work, Neil. That mug is to die for.
  6. Oxblood 928 is a low fire glaze, so be sure not to fire any glazes meant for low fire (the whole Low Stone Series) to cone 6 or you'll have a mess of melted glaze. I liked the Amaco Artist's Choice glazes for low fire, they break nicely on red clay and are advertised as giving a 'reduction look'. Amaco Opalescents over underglaze is also very pretty, the raised texture stays the color of the underglaze, like a stained body or wash would do.
  7. I use 14 gauge kanthal wire pushed into some firebrick, the tubes are unglazed inside. I put tape over the holes before dipping, then remove tape and touch up the holes with a brush. They aren't super long, maybe 2". The wires sometimes have to be bent to keep the ends from touching the brick.
  8. Her site has no proof of a patent number, just a line that says 'patented'. I did a patent search...nothing except one from 1986 not related to her. Her name isn't even on the site. I'm going to continue my research into this, because I think it's very wrong to go after artists who want to share their process. Sickening, really. I smell BS, and bullying tactics that seemed to have worked, for now at least. When she can give me proof, I'll consider her 'cease and desist' legitimate. If her patent is pending, she doesn't have a leg to stand on. Edit: the decals from bel decal were for model airplanes and such, they too never mentioned that they should be 'fired on', but they worked. The decals I linked to are the exact same kind, no fixative needed. I'm gonna spend the $11 to find out, because I'll be darned if I'm paying four times as much for someone's money grab.
  9. I hope her patent is denied, she obviously had nothing to do with the development of the technique. Glad I bought lots of sheets from bel decal, I'll be teaching everyone I meet how to do it, just because. edit: found some laser decal paper on amazon, after looking at Linda Arbuckle's page on the process I'm thinking they might work, no coating required.
  10. Thanks to a post here by Pres a couple of years ago I started dipping in commercial glazes and it worked great, with a few adjustments the glazes look better than when brushed. If you're using Coyote, Laguna, Georgies, they'll dry really quick like a dipping glaze would, they don't seem to have a lot of gum added. Amaco, Mayco, Duncan take longer to dry but work. With those ones I'll let the drips roll off and just as the top starts to dry turn it over and let the glaze head towards the top again. Mostly just need some water added until it flows nicely over the piece and into texture. I've been trying Darvan 7 in the last couple of batches after seeing John Britt's vid on flocc and deflocc, but after reading a post on the forums last week about it may have to re-think that decision and just stick to water. You might want to test dip a few small pieces before the larger ones to see how the glaze flows. Like a regular dipping glaze you'll have to dip the inside/outside separately or the piece gets waterlogged. I sometimes have to heat the pieces a bit, and keep the glaze at room temp or once again, they'll take forever to dry.
  11. I make small things like jewelry, tile, small handbuilt items so my Olympic 120v Doll Kiln is about the perfect size. It would take me a long time to fill a larger kiln and I might only see finished pieces a few times per year that way. I like to try new surface treatments a lot so I need feedback into whether it works or not more often than every 6 months. I've fired it 220 times over the past 5 years or so, bisque and Cone 5, everything still functions, elements look good but the thermocouple is getting a bit crispy. I don't see any reason to fire to Cone 10. I also fire metal clay, specifically copper and bronze which are fired in a steel vessel full of coconut fiber charcoal. I'm by no means 'easy' on this kiln. Using local power rates, I calculated that a Cone 5 firing costs about $1.50 for energy, and I add in another $1 per firing for kiln part replacement costs. I use the 'vary fire' method on the Bartlett controller so I can add in cooling segments as the kiln does crash quite rapidly (-600F in 30 minutes). I don't really see a huge difference with the cooling program though because I'm using commercial glazes. These glazes were designed to look good over a wide range of firing variables, kind of hard to mess up All in all I've been very happy with the small kiln, for the work that I make. I hope to go into tile production some day, at which point I'll buy a larger, gas-fired kiln.
  12. Is the effect you get similar to tube-lining (like Moorcraft style)? A recipe for the thick 'outlining' glaze, from a book of mine, haven't yet tried it-- 36 kaolin 36 quartz 16 ball clay 4 whiting 4 standard boron frit 4 high alkaline frit
  13. If you can afford a kiln, it would save you a lot of stress and headaches, worth it to have control over your own work. As mentioned above, used kilns on craigslist or others can be had you'll just have to check daily and grab one as soon as you see it. Expanding your search area may help to quicken 'the find'. If you don't have wiring for a larger kiln, maybe a 120v test kiln that you could use to at least make tile, jewelry, trinket boxes and other small handbuilt items, or tiny pottery which is so adorable it almost makes me want to learn to throw.
  14. Found some here, kind of pricey--especially wish the copper cost less-- but maybe less costly than making your own. Made of real precious metals so will look just as other lusters do.
  15. I had very little experience with any type of art until I was in my mid-40s. Having grown up in a house where Picasso was laughed at because 'any 5 year old can paint better', I stayed away from any expression through art because I was taught that it wasn't a valid profession, more of a luxury for the well-off. Being much older now having left those notions behind, I try and stay open about any work I see until I've learned all of the details in its creation or historical context. In the example you provided, Klein invented a resin medium that retained the shimmer of the ultramarine pigment, whereas linseed tended to turn it dull on canvas. Interesting enough in a historical context to entice collectors to invest in the work. At a recent trip to the RISD museum with my husband, he chuckled at a Rothko and it made me sad for him. It almost guts me to see art mocked, any art. Every piece was/is worthwhile to someone, even if it was only for the release of the energy that brought the work forward.
  16. When I used to bisque to 05, the porcelain was too porous, anything I dipped would get saturated and little air blowouts would happen all over the piece. Had to sand them down after glazing/before firing to smooth out the holes. Bisque firing to 04 took care of that, as well as some of the issues I was having with a red clay. Since I'm making mostly jewelry I dip the entire piece at once; there's heavy saturation, 06 sopped up too much glaze which caused the air blowouts.
  17. Are you using Amaco Velvets underglaze with their glazes? I've used both the HF-9 zinc free clear gloss and the HF-12 satin with the Velvets without any running, though the Satin did soften the colors and turned a bit cloudy because I applied too heavily.
  18. I think Chilly is referring to an acrylic block like this one . The letter stamps are made of silicone which sticks to the block. They have several fonts available on that site, 72pt. They can be used over and over again. I'd like to make a set of my own in bisque or metal clay but haven't had the time.
  19. I use a small copper wire to poke out most of the clump of dried glaze, then use a bead reamer like this one to clean out the rest. It only takes a minute or so per bead, shorter than waxing and then having to clean out the waxed hole anyways, the wax usually allows at least a little glaze in the hole, makes a mess of the reamer. A Dremel tool with a diamond tipped reamer works really quick, too. This tool is great for 3mm or slightly larger holes. I wax the really large holes or remove enough glaze with a damp cloth from a small area to allow it to be hung on a bead tree.
  20. Here's an article from CAD that has recipes that look a lot like the Coyote Shinos, haven't yet tried them but they look nice. Good luck, can't wait to see what glazes you try first!
  21. Looks like I'm going to have to finally break down and get the sub, been meaning to for a while anyways. Your work is amazing Chris, always inspiring.
  22. Tucker's has a Mid Red that's fairly smooth, Highwater has Earthen Red which is very smooth but is not very plastic, it is a very beautiful deep red color. Sheffield Pottery has 4D3B. There is fine grog in the 4D3B, but it's always felt very smooth to me, however I don't use a wheel. It fires to a reddish brown at 5, a deeper red at 6. Laguna has red stoneware bodies but I haven't been able to try them because they're Western clays, too expensive to ship out here.
  23. The third looks like like Potter's Choice by Amaco, likely combos of Indigo Float, Texture Turquoise, Seaweed, and Smokey Merlot. You'll find more info on commercial glazes on Amaco's Facebook page. Not sure about the first two, maybe oxide wash was applied first and a celadon type glaze over it?
  24. Liked and Subscribed! Will be following your results as I'm hoping to do something similar in a few years. Thanks for the uploads, they'll be very useful.
  25. My quick guess: leaf impressed into greenware, light green slip brushed lightly on unmasked areas at leatherhard, brown/red slip on sides and back, remove leaf or fire it in bisque, light copper wash at bisque on leaf/wiped back to only remain in veins, dipped in clear, glaze fired. Edit: looks like a buff clay, such as Standard 225
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