Jump to content


  • Content Count

  • Joined

  • Last visited

Everything posted by docweathers

  1. I will try some super slip. It sounds like it could have a lot of uses.
  2. Bill I use my roller tools to push the clay out to in and out to in a bit before I move to get a final shape. If what I'm doing doesn't fit your definition of compression then we need to find some other terms such as mixing or destroying particle memory. Both of which I think I'm doing a pretty good job with my roller tools. Min I think I've got my cracks patched so it would be very hard to get a decent picture of them. Breaking my platters and half would be a heartbreak not just the platter break. They are just generally straight very fine hairline cracks that jiggle back and forth just a little bit across about the center third. of the platter.
  3. Since I throw completely dry with some roller tools that I built, I can put a huge amount of pressure on the clay to compress it. If it's not compressed after what I do in it is not going to be compressed with anything. What is this super slip you mentioned?
  4. I got the dry slowly thing from Tony Hansen. The plastic bags were an attempt to slow the drying is much as possible. The dry upside down thing came from a South Korean MFA who does a lot of videos on YouTube, but I don't remember his Korean name. I vented the bags at least once a week or more often to make sure there is no condensation building up inside them. The bottoms are highly compressed over and over and about quarter inch thick and quite even. None of the crack seem to have anything to do with any decorative features. The platters do not have feet or a foot... They were for wall hangings. The cracks were relatively straight crossing the center with no spiral or S crack pattern. They were thrown on Masonite bats and removed as soon as they were stiff enough to handle. They were made from new G-mix 6 w/ grog with some wedging
  5. Recently I got into making large (20 inch) platters for wall hangings. To dry them I put them upside down in large plastic bags and let them set for a couple months. I took some out today and several have cracks about 1/3 of the way across the center. These are not S cracks but relatively straight cracks slicing the platter in half. They do not follow any design feature. I'm using , G-mix 6 with grog. They are just beginning to turn white. The humidity is low and the average room temperature is about 45°F. From my thinking, what I'm doing should work but obviously I'm missing something..
  6. I am familiar with sodium salt as part of salt firing. What else can you do with it
  7. I use John Britts silicon carbide copper red all the time. I've never had a problem with pitting etc. This could beca se I use slow heating and cooling a standard practice, a somewhat modified Stephen Hill firing schedule. I have experimented with adding more silicon carbide It really doesn't make any difference in color or anything else.
  8. Marsha seltzor just posted a bunch of very cool pot and a test tile. I contacted her to find out how that was done but she's currently so overloaded with snow blowing and writing an article and getting ready for a show that she doesn't have time to explain it to me. Which I fully understand. Does anyone else know anything about using potassium salts on glazes like the picture of her test tile attached.
  9. Yes, that works fine when I'm using one of my stiffer glazes. It's my understanding that at adding a little EPK to running glazes tends to stiffen them up. I may try that.
  10. I've been doing glaze trailing on vertical surfaces with no problem, until it's fired and the underlying glaze is runny. Then the majolica travels with the underlying glaze. I think my next strategy is going to scrape a thin band of the underlying glaze off where I'm going to apply the majolica. Hopefully, it will get enough contact with the bisque to anchor it. One thing I love about ceramics is that there's an endless number of things to experiment with. I'm more interested in finding new ways of doing things than actually producing pretty pots.
  11. Yes that is accurate. I have been putting the majolica over other glaze and this has worked out fairly well except on vertical surfaces. With a runny glaze the majolica takes a trip south. One way I thought of dealing with this was to put the majolica directly on the bisque and then put the general glaze around it. It seems too much work to either use latex or wax resist to coat the majolica before putting on the general glaze. I was hoping someone had found a clever way to make this an easier process
  12. So far no problem mixing and I have just begun to fiddle with the majorica chemistry Signed .
  13. I'm calling it majolica because that is the kind of glaze formula I'm using. It certainly not what one normally means by majolica in terms of artform.
  14. What I want to do is have a colored base and then pipe and intricate colored glaze on top of that rather than what I think is more common of extruding a majolica pattern on greenware firing it. Then adding the overall glaze around the majolica... I think?? I'm a backwoods potter with no training other than CAD.
  15. I don't think I understand what you're suggesting. It sounds like you're saying put the majolica on the pot. Then spray it all with starch or hairspray. Then put the rest of the glaze on. However, I don't understand how that would work if that is your meaning.
  16. I'm just beginning to work with colored majolica on bisque and greenware.. What is the best way to mask this off so that subsequent glazes don't get on?
  17. I was ordering from US pigment. They have a couple different kinds. I think I'll try my local supplier since it cost more to ship the stuff than the purchase price.
  18. There are a number of types of Pyrophyllite. What kind should I use in this fish sauce slip? what kind should I use in this fish sauce slip?
  19. I'm trying to push the boundaries of typical majolica by using cake icing piping tools. It all works pretty well except on larger decorations the cake icing is inclined to crack as it dries. At one level I have solved this by putting in a little cellulose like you do with paper clay. This works pretty well except for one hangup. The bits of cellulose tend to clump together and make it hard to extrude the majolica. I've tried putting the raw cellulose in a food blender and running it for quite a while to get it chopped very finely. This helps but there's still a problem with the clumping. Any suggestions would be appreciated
  20. Has anyone experimented with slightly different chrome to tin ratios? What happens?
  21. I gobbed it on thick on 5 chrome tin recipes and they all cam out nice reds... Thanks
  22. This one quoted above by Marcia works very well. It will hold a very sharp edged piped shape at: ^6 oxidation. I made one modification I substituted FF 3134 1 to 1 for the gerstley borate. I also found that if you want even stiffer adding up to 20% alumina hydrate will make it very stiff when it is mat finish at that point
  • Create New...

Important Information

By using this site, you agree to our Terms of Use.