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Joseph Fireborn

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Everything posted by Joseph Fireborn

  1. I just do this. Go to sink in house. Get piping hot water. Fill up bucket. Throw pots. When bucket of water gets cold. I toss it outside. Go to get piping hot bucket of hot water in the kitchen. Usually a few hours of warm water. I feel that getting up and tossing it outside and walking around is good for my back anyway. I don't think I would ever use a thing with my hands in it. Sure warm up the water then take it out, but leaving it in there with your hands. No thanks.
  2. Is this safe to use with your hands in the water? I feel like it might be a danger?
  3. Looks pretty darn good for 180 days in. What weight of clay ball are you starting with and what is the final size of the wet mug from that clay ball. That will tell us a lot about the pot as well. Pictures can be hard to see the thickness and height of a mug. When I first started I felt like 1# of clay was not enough for a good mug. Now I feel like 1# of clay makes a gigantic mug.
  4. I have never made these, but I would assume it has to do with the clay not having enough grog in it to support the gap. I would get a sculptural clay that has more rigidity. Something with a lot of fine grog in it maybe? I was testing out some ideas and I found that when I wedged sand and grog into my clay it was a lot more rigid in the firing.
  5. Going to run some line blends today. I want to matte down my standard white glaze slightly. I want it to be more of a sheen satin and not a solid glossy glaze. Taking a much needed day break from my studies.

    1. dhPotter


      Think about using this glaze to do your line blend - https://digitalfire.com/4sight/recipes/cone_6_dolomite_matte_base_glaze_121.html

      I used this and a clear in a line blend to get an excellent satin white liner glaze. Came out to use 40% clear and 60% dolomite matte. Had 3 good candidates to choose from. I was looking for a white liner that was not to shiny but not scratchy. 

    2. Joseph Fireborn

      Joseph Fireborn

      Cool. I will try if what I did doesn't work. Yarr! 

  6. What do you mean you have no idea where to start? 1. Decide what cone you're firing. 2. Find a base glaze recipe that takes colorants and stains well at that cone. 3. Test this base on your clay body for durability and satisfaction. 4. Start doing color blends with various colorants and stains for the color you need. 5. Scale up the test results to the pots you are wanting to use those glazes on. 6. Fire multiple tests and increase batch glaze size along with the test sizes. 7. Glaze all your pots in the final version of the glaze that you decided on and tested thoroughly. 8. Profit.
  7. I wouldn't think there is any difference in a handle being extruded or pulled. The difference in strength would be due to the design of the handle. Extruded handles are usually the same size throughout so I would assume that would make it stronger than a pulled handle which usually gets thinner at some point. However, the real question you should be asking if you're concerned about the strength of a handle is the attachments. I don't think a handle is going to all of the sudden break in the middle unless it's dropped, and then, either way, it isn't going to matter much. On the other topic of pulled vs extruded. I have done both, extruded handles and pulled them off the cup after attaching. I have also just pulled the handles from a lump of clay. I don't think any method is superior it just depends on the amount of production you want to do and the design of the handles you want to make. If I was making tons of mugs every day, then I would definitely extrude them and probably pull the handle off the cup after I attached the extruded handle, it is probably the fastest way to make a handle that tapers in design.
  8. It's hard, isn't it? I wish you luck figuring it all out. I will say if your financially set and you don't want to sell more than you need to sell, then don't sell. Life is short and full of questions and turmoil. If everything is saying no, and you can say no, then say no. If it turns out to be wrong and you later regret it, add it to the pile of regrets and forget about it.
  9. Is this because they are bad or because you're attached? I don't know a lot about this, but I will tell you something that I heard from a really good potter who also gets thousands for his bigger works and chawans. Someone in the class asked him if he keeps any of his best work for himself, and he said, "No. In this business, if someone wants to buy your most expensive stuff, you sell it. It is the nature of the job." I was also at another gallery and the pieces were thousands of dollars and there was this one amazing chunky vase that was fired multiple times in the fire box and somehow survived. It was one of the best pieces I had ever seen. It said, "not for sale" on the tag. It was one of the only pieces in the gallery with this tag. I was admiring it and this lady beside me was admiring it too. The potter came in who made the piece and he walked over to us to tell us about it. I could tell the lady wanted to talk to him so I walked away to look at nearby pieces. I heard the lady ask him, if he would sell the piece, and he said, "yes." Just some thoughts from the pnut gallery.
  10. Curt, tile 23 there is remarkable. I would love to see that on a bottle or something. I wonder if the same coloration would happen though. Also tile 13 is really nice.
  11. They are stunning. I don't know much about your market, but it's beautiful. I haven't seen that type of thing anywhere in stores, that is why I assumed the high price. Usually, things you can't find deem higher prices. Thanks for the process shots. very nice.
  12. I built my own. I just ordered the metal box that goes under the kiln from L&L. The rest of it I just pieced together. I think I paid 100$ for the initial setup. You can find used inline fans really cheap if you just look around for them. People upgrade and just don't even want the old ones, and you don't need a fancy one, just any regular inline fan will work, but you probably need an adjuster for the power so that you don't have way too much draft. As far as how long it last, I have been using mine for over 350 glaze firings and it is still running, and I have done nothing to it besides turning it on and off. I did replace my foil piping with the stuff Neil posted a while back. That stuff is amazing. I forget what it was called, but its a rubber/plastic ducting? It works really well and hasn't worn out at all. I was constantly taping my foil/metal ducting with tape to fix holes.
  13. Min I am curious how much you sell those for? That sounds like a ton of labor. It is absolutely beautiful though. I imagine 100+?
  14. Go with stain. I have made many greys looking for the perfect color(which I never was satisfied with), but what Min said is the truth(as always), the best results were from stains.
  15. There is a difference between food safe and durable. What you describe can be both, if the glaze contains high amounts of potentially "bad" ingredients and the surface is damaged by some oil for an hour then yes, it might be unsafe, but in general that more describes something that is non-durable. If the glaze is non-durable it doesn't instantly make it not safe, depends on whats in the glaze. However, you should still refrain from using this glaze on pots that will have food in general because it will resemble bad quality work.
  16. Just pulled this out of the kiln. One of my better pots with this decoration style. Figured I would share in the joy of posting stuff on workbench! Waiting on the rest of the load to cool so I can see all the rest of it. Hopefully more as good as this one. It is nice to get a little reward before I take a long pottery break yet again to study. Hopefully I will have time to get back out in the garage and get some more work made!
  17. Just use a mason stain for the green color, problem solved. There have been tons of discussions about stains here in the past. It is pretty much decided that the way they are made keeps all the "bad" from getting out, as long as your glaze base is stable in the first place. http://www.masoncolor.com/stains Just take your clear and start experimenting with some green stain amounts and it will give you a starting point. I don't see the issue with copper personally, but I don't want to derail the thread into a safety of copper discussion.
  18. I will just say be prepared for a lot of work and testing. When I was doing currie grids of local reduction using silicon carbide, I noticed that small % changes in silica and fluxes made drastic differences in the amount of reduction you get, so there is a lot more to it than just adding some silicon carbide and calling it a day. This means that some glazes might have 0 reductions visible but if you added or subtracted small amounts of flux or silica it might instantly start reducing. I had some tiles on my grid be completely red while the tile above/below it had no evidence of reduction happening. Then on top of that, you always have this issue of thinking about pinholes and bubbling. Not to say it isn't possible to get perfect results, I am sure it could be done, anything is possible, it just depends on how much effort you want to put into it. Another thing I noticed is how thick the glaze is, the thicker amounts of glaze I had more reduction than when the glaze was thin. I don't know all the science behind what goes into it all because after testing for about 10 or so firings I was completely baffled. I don't want to be negative, just giving you some realistic ideas to explore. Get a fine mesh silicon carbide, much less bubbling than the lower meshes I tried 600 and it was just disaster lava glaze compared to 1200. Take really good notes and last of all! Share what happens! Not enough people come back here and share how their testing goes!
  19. Ear. The only way I like my handles. Although I want to try the kind where its an ear with a finger pulled up at the top. Like this, by Ayumi Horie:
  20. I like this color a lot. Very well done.
  21. --- Don't be afraid to test new schedules, just don't do it at the same time your testing new glazes, otherwise your not getting the complete picture. Always fire a new glaze in your main reliable schedule first! A bit of advice for testing new schedules if you want to eventually try it. When you are making test tiles make a bunch and when you glaze tiles, glaze 3-4 of the same tile in the same glaze the same way. Then when you get ready to test a new schedule you will have glazed unfired tiles ready, after words you can put those tiles beside the other tile from your main firing and see how they vary. Doing this will save you a lot of hassle as you will always have the tiles ready from your main glazes when you come to test new firing schedules. When I was doing a lot of schedule testing I would make 300-400 tiles at a time, and then when I would mix a new batch of test glazes. I would dip the same glaze 5 tiles and line them up on my shelve beside the original tile that I fired in my current main schedule at that time. After I would test a new schedule I would label the tile, whatever it was + the schedule number, which I kept track of in Insight-live. After I had fired enough tiles and glazes I could look down a row of glazes that were all in that same schedule and figure out which schedule I liked best for the glazes I wanted to work with. This helped a lot to determine if a schedule was really worth using as you can see what goes bad and what goes good. The funniest part is I currently use one glaze now.
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