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Everything posted by Tenyoh

  1. bciskepottery, thank you very much for the link. I was able to access it this time. Fred, it sounds like I just have to experiment. Thank you very much.
  2. As I try to mix my own washes. I found this old topic useful. What kind of flux do you recommend to mix with oxide, water, and ball clay? I usually fire my sculptural works to ∆06~04 and functional ware to ∆5. I'm hoping to use the washes for both purposes. Does frit-3134 stay matte at low temperature? The above website no longer exists. If you know any other sites that beginners could learn about oxide washes, I will appreciate it. I've been using Mayco rutile wash, which fires from ∆06 to ∆11. As my supplier does not carry it, I'm hoping to make my own. I'll appreciate your h
  3. Thank you for the response, Douglas. The firing range for raku clay I've been using for sculpting is cone 06 to 10. I see your reasoning why the slip did not join clay bodies well. I have a tiny bit of earthenware clay (cone 06-02) left. If I make slip with it and use it to join two raku clay parts, do you think they will adhere better? I stopped using the earthenware because it just did not feel right in my hand. I join pieces at leather-hard or usually earlier stage, but it's good to know we can use sodium silicate as a temporary glue.
  4. Adhering with glue after firing seems an answer for this type of problem. Thanks, Chris.
  5. Thank you, Marcia and bciskepottery, for the info. I will experiment the recipes and post the results on this site.
  6. Thank you again, bciskepottery. I agree with you that barnard clay probably needs mid-fire temps to adhere well. May I ask you basic questions? Can the borax mentioned in your recipe be 20 Mule Team Borax, which is Sodium tetraborate? I suppose gerstley borate and frit 3134 are sold only in ceramic stores, right? If so, I have to order them online. I googled "manganese dust." It's not only hazardous to health, but also flammable. I will make sure to wear a mask and goggles when handling barnard clay.
  7. Thank you for responding to my question so quickly. My slip is straight barnard clay. I'm such a beginner I've never experimented with a flux. Could you please share a recipe with me? By adding a flux to the slip, does the finished appearance change? I could try applying the slip at the leather-hard stage for some simple figurines, but for complex ones, I would like to bisque-fire them first.
  8. I've tried clay slip, vinegar, slip with vinegar, and magic water to make an attachment to my sculpture. None of the bond seems strong enough to survive bouncing during the shipment. In the following examples, the lamb was attached with vinegar, and the mouse, with slip. Nevertheless, they fell off when I unpacked the sculptures at a show. Reinforcing the attachment with coil is often not feasible because of the nature of my work. Firing attachments separately and gluing them with Epoxy PC7 or PC11 the best solution for this type of problem? If possible, I would like to fire the attac
  9. When I unwrapped my figurines at my last show, tiny pieces of barnard slip came off. Bubble wraps and air pillows used for the packing must have rubbed it off during the transit. You may guess how disappointed I was. I need your help in order to prevent this from happening again. I experimented with barnard clay slip in the following 3 sculptures. After brushing the slip on the bisque-fired pieces, the African boy (on the left) was fired to cone 5, and the girl, to cone 04. The man under a toad was fired to cone 04 as well. In order to darken his skin tone, I finished it with layers of thi
  10. Thank you, hbirch. This is an interesting discovery.
  11. Brown clay with less iron oxide still caused scumming. Cellulose fiber that I use in my paper clay was not the issue. If the tap water is the cause, I will have to cry. Anyway, I thought I would give you an update.
  12. Yes, the kiln came with a metal stand. Glad to find out I will be fine without bricks. I will look into the tile board you mentioned. Thank you very much, Mark.
  13. Thank you, Mug and g-bus. I got the kiln today. It is sitting on my porch with a tarp around it. When my friend comes tomorrow, we are going to discuss options on how to protect it, including "temporary" walls, a plastic drum, etc. I have two more questions now. A potter friend suggested I put fire bricks under the kiln legs in order to protect the concrete. Is it necessary? He said since the kiln does not have an exhaust fan at the bottom, the underneath can get very hot. There is 18" clearance between the kiln and the porch walls (made of wood). Is it enough for safety?
  14. Thank you, Stephen and Bob. Bob, I have never thought rodents could be a problem for a kiln. That means even if I make a partial enclosure, I may have to cover the kiln with a box or something. Does rain or snow weaken fire bricks if it gets in a kiln?
  15. A partial enclosure seems a good idea. I was going to install old storm windows and an old hollow door in the porch, but I can eliminate the door. Thank you, Mark. I don't know anything about building codes. I wished the city worker I talked to could have explained to me better. I googled the definition of "partially enclosed" buildings. It was confusing to me, but as long as the opening is more than 10% of the porch wall, it seems fine.
  16. Thank you, Stephen. When I called the city office, the man who answered my call was adamant that I had to hire not a friend but a licensed contractor. I did look into an option of putting the kiln in a detached shed I have. As the ground between the house and the shed is covered in concrete, an electrician had to pull an overhead wire. As the shed has no electricity, I may need to pull more than 50-amp electricity to it, so that I can turn on a light there. (The kiln requires 50 amp.) The electrician I contacted is going to give me the estimate. Otherwise I'm thinking of setting the kiln i
  17. I am contemplating where to set an old electric kiln (Dawson Model LT-3K, exterior dimension 30"H x 25" W) that I'm going to get this Sunday. I initially planned to set it in my porch (the floor is concrete), enclosed the area, and pull a 240-volt electric wire there. However, l just learned that I would need a building permit to enclose a part of the porch. I would need to hire a licensed contractor to obtain the permit. I have already contacted a licensed electrician to do the wiring, but if possible, I do not want to hire a licensed contractor. What will be the best solution? I may have
  18. Isculpt, this site is OUR work of your knowledge. Yes, it is always good to learn from each other. Thank you.
  19. I read the entire answers before going to my first sculpture show. The information was very useful. Thank you very much. Most of the sculptures displayed at the show were bronze, but some artists were putting live flowers or candies in colorful wraps. They seemed to have brightened the otherwise dull atmosphere of the booth. On my business card holders, I put not only my business cards but also thank-you notes, photos, small greeting cards, and recipes. Thank-you notes are printed in different languages. I did the same on my message holders. In my spare time, I folded origami bags out of n
  20. Thank you, thank you, thank you, Jayne. I miss exchanging emails with you. I'm at the stage I want to experiment with clays and colors. How could they work together to bring out the magic and mystery of art?
  21. From the album: Preparation for Sculpture Show

    I printed texts that explain my sculptures and placed them next to the corresponding work. I am introvert. By the second day of the show I was utterly exhausted from talking to people, and let the texts do my job. I was amazed that a number of passersby did take time to read them. An old lady even photographed a text. I printed "thank you" in different languages and placed the cards in my business card holders. Jewish sisters loved to see Hebrew words among them. In the photo you see handmade necklaces, bracelets, and rings on my jewelry holders. The Jewelries were just for display, bu
  22. Here is how I prepared for my first sculpture show with generous help from isculpt. Hope some of the information in this album will be helpful to you, especially if you're a ceramic sculptor and preparing for a show for the first time.
  23. From the album: Preparation for Sculpture Show

    The closed tent may sweet at night. In order to protect the sculptures from the condensation staining the surface, we covered each sculpture with a sheet of thin plastic. I brought a box of painter's plastic drape. It was very useful. I stored the boxes under the tables and shelf. Next day, the boxes and shredded paper were slightly damp because of the moisture on the ground. I spread the plastic drape on the ground and placed the boxes on top of it.
  24. From the album: Preparation for Sculpture Show

    The ground was more or less level, but ziplock bags filled partially with sand were useful. We used them to level the shelf and also as weights to secure it. We forgot to bring small pieces of wood of different thickness. They can also be placed under the table and shelf legs. Out of 13 sculptures I packed, only one had a minor crack. I was glad about that.
  25. Tenyoh

    13. Driving

    From the album: Preparation for Sculpture Show

    According to the Google map, we were supposed to reach the show ground in 5 1/2 hours. We gave us an extra half an hour, but we arrived the location an hour late. Next time, I would leave the day before. I'm getting too old to squeeze too many things into one day. The photo is how my shelf looked at the show. It might be difficult to see, but business card holders are with cards; incense holders, with incenses; message holders, with a photo or a thank-you note; etc.
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