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Joseph Fireborn

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Everything posted by Joseph Fireborn

  1. I thought about all of you fine people today so I figured I would come say hello and that I love you all!

    1. Show previous comments  2 more
    2. oldlady

      oldlady

      me, three!   hope all the folks around you are well and that you are happy.

    3. LeeU

      LeeU

      four and surely there are more :wub:

    4. Marcia Selsor

      Marcia Selsor

      Hi Joseph! Greetings from Montana. Hope all is well. We have a lot of smoke blowing in from CA, Idaho and Oregon. Very dry here.

       

  2. Al, In the post where you have tiles, it looks like the 38 tile is slightly darker than the previous ones. Maybe just keep increasing the stain %. I didn't realize you only went to .7%. That might not be enough, go all the way from 0% to like 5% doing like .5% at a time or something. Then FOR EXAMPLE once you get say transparency at 2.5% and nontransparency at 3.5% go back and fire tiles with 2.1, 2.2, 2.3, ..., 3.5% for example. This should give you the exact range you want for your transparency. I think you just didn't use enough stain.
  3. I am not disagreeing with you at all. I am sure plenty of people here have made a transparent grey glaze. You can search glazy for transparent grey glazes and find one pretty quick probably. The reason I was saying to test is because everyone's kiln fires slightly different, clay is different, glaze ingredients are different, and many more things which make it nearly impossible to just say okay here is a transparent grey glaze and it work perfectly. The quickest way to find a glaze that works for you is to just do the dirty work and test with a bunch of tiles super quick. You could do a line blend or a dry addition method to quickly find where your transparency lies and then fine tune it to your acceptance level with only a few firings. The first thing I would do is find 5-10 transparent glazes on glazy or out of a book and fire them the way they come, do multiple dips, etc etc. Figure out which one does the best on your clay and your schedule. Then purchase a few different grey stains that you think you might like. Look for ones without opacifiers, such as tin oxide as everyone has said here already. Now that you have your base transparent glazes that fit your body well and you are happy with the surface and durability run some simple line blends. https://wiki.glazy.org/t/volumetric-blend-testing/109 After you run your line blend for the glazes and have fired them you will have 30-40 tiles to look at and examine their transparency. Pick the ones you like the best and then you can finalize your range really quick to find the perfect transparency. In total this took probably 3 maybe 4 firings to dial it in, but you will know exactly what you want and have a range of transparency. EDIT: I did a search and found this wonderful article that might help a good bit: https://wiki.glazy.org/t/grey-mid-fire-glazes/260
  4. What you want to find is a satin/glossy on edge of the transition liner, not a matte black liner. It is close enough and it will match if you put a matte black on the outside and durable enough to not cutlery mark. Customers won't be disappointed because the inside of a satin/glossy bowl/cup/plate will be better to use than a matte one anyways. Finding a matte black liner glaze that stands up to cutlery, staining, and leaching is going to be pretty difficult if not nigh impossible. You will need a perfect glaze combination on the exact edges of satin/matte and then you will need a firing that doesn't slow cool to much and also doesn't cool to fast. It won't be worth the effort if you want to sell pieces that are reliable and long lasting.
  5. It is quiet silly! But I like the last name. It's a long story, I posted somewhere here before.
  6. Honestly the only way to get this right is to just test it. There isn't really a way to skip that hard work between.
  7. Most kiln loads are a disappointment to what I have built in my head. I am working on it though. I have narrowed my work down to 1 clay, 1 slip, and 1 glaze. So it is improving. I just recently settled on a kiln schedule again after losing the one I was using for over 2 years. So I am 75% of the way there. I am on isolation right now so I am planning on working these next 10 days! Hopefully I won't experience this phenomenon again!
  8. Start with 0% and increase by .5-1% all the way until it isn't transparent anymore.
  9. Firing some test tiles to get kiln back in action. Somewhere along the last 2 years I lost my schedule so I am trying to figure it out all over again! 

    1. Min

      Min

      Have to admit I've made that mistake more than once. 

    2. oldlady

      oldlady

      oh, don't worry, joseph, your notes will turn up about 10 minutes after you unload the kiln.

    3. Joseph Fireborn

      Joseph Fireborn

      So I got very lucky and this firing was pretty much perfect. 

  10. I remade a glaze that is pretty different from the original glaze when I first started making glazes, it is the glaze that I use on all my work. It pretty much is completely different in chemicals, however I still credit the original creator by leaving some parts of the name in the glaze. The original glaze was called Folk Art White. I call my version Folk Fireborn White. I feel like there is nothing wrong with giving credit where credit is due, and it isn't like we are selling glaze anyways so its nice to remember the people who gave us a place to start.
  11. Kids are so busy. I was spoiled with my 9 year old who just turned 10. Now this 1.5 year old is just rampaging everything again. I forgot what that was like. Hahaha.
  12. I will be sure to send you some pictures. ! It has been so long since I threw anything today I forgot how I made my work. Like I could throw stuff just fine, but it didn't feel like mine. Going to take a while until I get back into the soulfulness of my work.
  13. I am investing in time, I get up for work at 3:30AM on a few days of the week, and instead of sleeping in on my days off I am going to just get up on those days too and work in the studio before the kids get up. I have all the equipment I need, I just need more time. Some ideas for my work popped into my head and I would like to explore them!
  14. Tossed out hundreds and hundreds of glaze test. Not worth keeping around. I usually dry out the glaze by taking off the lid and then I will wash out all the test containers if I want to keep them.
  15. Hey LeeU, I always stop by and read forums every few weeks. My life has just been a whirlwind in the last year or so. New kid, new job, covid, and a bunch of other nonsense. I still make pots here and there, but as always everytime I try to get started to go into production mode something else comes up! I am currently working on some new glazes and changing aesthetic from my white glaze black slip work that I have been doing to something similar but different. This thread was good because it reminded me I want to side fire these pots!
  16. Yes basically it depends on what part of the pot you use and how much it comes in contact with the shell, the pot is curved and the shell is curved, so the surface to shell contact isn't great unless the shell is massive. If you want bigger marks maybe break the shell so its more flat. I wasn't after huge marks just some interesting surface additions.
  17. @EliseR Hello. I am just replying here so that it keeps the content public. The results went well. I bought two large boxes of shells that are flat from a dealer that someone messaged me about on Instagram a year or so ago. The shells are nice and stinky from the ocean. The marks turn out very nice, however, the flashing depends on the glaze you use and it's sensitivity to additional flux. Here are some pictures of the marks :
  18. I just open the garage door and listen to the birds lately. I watch my dog lay in the driveway getting too hot, then coming in the garage to cool down, then moving back to the driveway and repeating this all day.
  19. Buzzzzzz buzzzz every week here. Being bald has some benefits I guess.
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