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About porcelainbyAntoinette

  • Rank
    Advanced Member
  • Birthday 12/29/1956

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  • Location
    Saltillo Mississippi
  • Interests
    Porcelain, ceramics, throwing, etc

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  1. Paul Lewing one day demonstration in the studio of Antoinette Badenhorst, Saltillo Mississippi. Paul Lewing, author of “China Paint & Overglaze”, will demonstrate and discuss china painting (insert when and where). China painting is a 1000-year-old technique, which was incredibly popular 100 years ago, and is undergoing a revival today. Clay artists love its painterly quality, from the boldest colors to the subtlest shadings. Painters in oil, watercolor or acrylic looking for a more permanent medium welcome the fact that colors do not change in firing. Any effect or technique in any form of paint or ink is possible with china paint, and clay artists will be astounded at the materials and processes possible. Paul is one of the few links between the potters’ community and the world of traditional china painting, and a leader in the synthesis of the two. He has been working with clay and glazes for over 50 years and has painted well over 1000 tile commission using china paint. Details and registration available here: http://teachinart.com/index.html
  2. Hi Guys, I am not sure if this is the right place to post this, but I would like to share this interview with you. I will be teaching porcelain in Europe again in 2018. This video is a glimpse of the fantastic opportunity I had in the summer of 2016. I taught in 6 different countries. This video was made in Slovenia
  3. Sorry that I came across this only now. Will take me a day to read through it, but I am very curious to see what you finally came up with. PorcelainbyAntoinette TeachinArt
  4. bciskepottery, you nailed something that I thought of after I posted here. My clay changed from a grolleg based one to Southern Ice, which means I do not know which feldspar is in the clay! Thank you guys, I think this glaze may have to go back to basics from what I saw you say here. Dick I actually do have a batch of the old G 200. I use it very sparingly, but it is worth a test series, because I am working on a glaze workshop for my students. I've got info from other sources too that the Custer is probably the culprit; the last place where I would have looked. Since I do want to make the glaze somewhat harder, it may be worth it to add more Custer, but I think it will need a total re calculation. According to Ron Roy, all Custer as far back as 15 years ago, lacks about 3 % potash. I've also received information that the bone ash may be hygroscopic, changing the volume needed - Mississippi is extremely humid.... The suggestion was that I add more bone ash in increments to see if it may fix it. Thanks for the link Fred. I will check it. I wish I had my Matrix software program under my belt by now, but I am still learning to use it, because that may help me understand the glaze better........which is what I am really after... Okay, I will work on it and let you know if I hit something worthy.
  5. The next series of online classes are posted on TeachinArt Instructors to look for is Marcia Selsor that is pushing forward with discovery in Alternative Firing. David Voorhees is giving tips about successful throwing of porcelain. Connie Christensen makes a tea set; tray and all and later this year we will add her shino expertise to this school. Nan Rothwell is the latest addition and we are very excited to add her stoneware throwing class. Antoinette Badenhorst added 4 classes in porcelain from Understanding porcelain to making projects in hand building to wheel throwing. Her pinching teapots for the complete beginner is very popular and the pinching porcelain teapots will be available late fall to early winter. An introduction to understanding glazes will also follow later this year. Instructors to look forward to is Paul Lewing, Curtis Benzle and Marie Gibbons. Each one bringing their specialty to TeachinArt.
  6. Hi Guys, I am looking for answers everywhere........Maybe I will find it here......... I have mixed up a iron red glaze that I did not mix for a while. I used ingredients that is 10 years old and older. The end result was a flat brown instead of the rich red brown that it was before. I repeated the recipe, thinking I made a mistake, ending up with the same results. Then I thought maybe I used the wrong recipe and compared it with similar recipes getting to the conclusion that I did not make a mistake. So someone said the problem is the iron that changed over time. This was the first time I heard that in all the 36+ years I am in clay. Is that true and if so, can I fix the iron, or do I trash it? I assume that if that is true, it has to do with the oxidation process. Then someone mentioned the bone ash - artificial versus real, which raised the question with me if the bone ash may "expire", since I used the real thing. As I said: I used the exact same materials that I used on porcelain before. All these (except the silica and maybe the Custer) came from batches that I had in my studio for the best part of 15-18 years. (yes I have some valuable materials.....) The recipe is no secret, it is similar to many others available online, but the reason I want to do it again is because over time some of the plates that I glazed with it, wore off, which told me that there is maybe not enough silica in this recipe. So I want to alter it some, but first need to make sure I have the color right. Ralph’s Terracotta. Custer F. 41 Talc 9 Bone ash 13 Lith Carb. 2 Kentucky Ball clay 13 Silica 13 Add: Iron ox 9 Ideas please........... PorcelainbyAntoinette TeachinArt
  7. Thanks guys. Just received a bag of each "current" custer and mahavir. Will start testing next week. I am interested in a very white translucent workable porcelain clay body, with as little bentones in it as possible. It seems like I ran into a gold pot of gurus! Will keep you posted.
  8. Hmm, worth looking into the Custer too. Some years back it was said that the g 200 was more pure. I just compared the two and it seems that the Custer is even less complicated. Someone said it changed,; I wonder if I still have the old one.........bought mine about 10+ years ago. Thanks Kaolinwasher.......I will check and definitely consider testing that in a recipe or 2
  9. Also hard to carve. As the solubles settle to gel, nothing works until the particles get heated again. When I was teaching in Europe in 2016, someone gave me a piece of Mont Blanc porcelain. I managed to throw a small piece, but when I tried to trim it, it broke the foot like hard toffee that dropped on the floor!
  10. Thanks. Just have to shake the gray matter in my brain around again. Just finished with a series of tests with the 200HP. It is frustrating when materials change so fast. I try to stay away from natrium based materials. Neph Sye is one of them. I prefer shorter clay over thixotropic clay. Will let you know if something comes of it. http://teachinart.com/index.html PorcelainbyAntoinette
  11. If anyone is still interested in signing up for the wheel thrown demonstration by Nan Rothwell this coming weekend in Tupelo Mississippi, you can do that here: http://teachinart.com/index.html Nan Is the next instructor that will come on board with TeachinArt this year. We will be video taping her workshop next week. Feel free to check our online workshops out. We are growing and will soon reach the 500 th class mark. We plan some interesting event. If you have ideas of how we can do that, feel free to share your idea with us. http://www.porcelainbyantoinette.com/index.html http://teachinart.com/e-courses-online-workshops.html
  12. Thank you Glazenerd. That was quick. I see the biggest differences is in the Calcium and the Magnesium. I wonder how much I should worry about that or if I must find something in addition to fill the deficiency up. Whiting maybe in small percentages, or dolomite that contain both calcium and magnesium. http://teachinart.com/index.html http://www.porcelainbyantoinette.com/index.html
  13. Hi Guys. What is the latest changes on G 200 and or the HP? I saw some Spanish Feldspar somewhere at $3 per lb, which is way over what I would like to spend. I know Custer and the soda spars that is available, but before I make the final changes to some porcelain clay recipes, I would like to look at all the possible options. Thanks for any information. Antoinette TeachinArt.com PorcelainbyAntoinette
  14. I am curious Joel Edmondson; You say you use vinegar in your glazes. I use vinegar in my clay water on the wheel. It grow bacteria there ,so I was wondering if it does the same in your glazes? Also it must loose its power over a period of time. How do you control that? I started to experiment with bentones in my clay bodies to improve plasticity. I have learned that Veegum T also acts as a flux, so I wonder what would happen in glazes if we would add small amounts in the glaze to aid the Thixotropic character. I am saying small amounts, because we also know that bentones slow the drying processes down.
  15. I agree there must be clay in the glaze; also to add body and "glue" to the glaze. But it needs to be understood, or else it can become a headache for some. Glazes with the right amount of clay in, helps to have a very user friendly glaze. It will also allow easy brush decoration.
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