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Everything posted by docweathers

  1. I am familiar with sodium salt as part of salt firing. What else can you do with it
  2. 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.
  3. 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.
  4. 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.
  5. 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.
  6. 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
  7. So far no problem mixing and I have just begun to fiddle with the majorica chemistry Signed .
  8. 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.
  9. 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.
  10. 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.
  11. 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?
  12. 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.
  13. 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?
  14. 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
  15. Has anyone experimented with slightly different chrome to tin ratios? What happens?
  16. I gobbed it on thick on 5 chrome tin recipes and they all cam out nice reds... Thanks
  17. 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
  18. I gobbed it on thick on 5 chrome tin recipes and they all cam out nice reds... Thanks
  19. Thanks for the recipe. I'll give it a shot in my next glaze firing,
  20. Those are great ideas. I'm going to try them starting tomorrow. Thanks for your guidance
  21. I have a pretty good sense for shape and form but my sense for color is pitiful. I read all the stuff on color wheels complementary supplementary etc. etc., I get the logic in the diagrams but I don't really have any gut sense of what looks good and what doesn't. It's all just pure geometry to me Typically I conjure up a few ideas then ask my great photographer wife for an artistic consult, which she does very easily. How do you develop a gut sense for color?
  22. I have a number of chrome tin reds. Sometimes they work really nice and sometimes they come out a yuck gray. As far as I can tell , I'm doing everything exactly the same with the same raw materials with the same formulas, same firing schedule etc. but something is obviously different for the different outcomes. I am firing ^6 oxidation. Any suggestions would be greatly appreciated.
  23. Here's some more research demonstrating that this is a general phenomenon, not restricted to the arts. I brought this whole topic up to suggest that artists could improve their income not by just improving their product by providing a more self laudatory presentation. That might be using the artsibabble language that you find art critics using. Also providing a classier display and other marketing framework. Learn to look proud of your work. Here is a link to an article in the Atlantic that says:Chief executives with bigger signatures make more money ... but only for themselves. Chief executives with bigger signatures make more money ... but only for themselves. The use of signature size as a general indicator of narcissism is widely used and well established by high quality research in psychological research. I really think that the fine refinements in the quality of work between a middle grade and a very experienced expert potter are only meaningful to other partners and not to many buyers. So spend some time learning how to sell your stuff gently and not sound like a braggart.
  24. I think it's interesting that there was very limited response to the core message of the research articles. The essential message was that how the artist himself presents his art affects the value of the art. (First article) However, this can be overdone in the artist presentation and it turns into bragging. (Second article).
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