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Everything posted by Dani

  1. Just made a sculpture using coils. It is 17 inches high and 12+ inches wide. It is drying under a drying box made of cardboard covered with plastic. How long should it be left before it is completely dry? One old book suggested putting a dry sculpture in the kiln and heating at 100 degrees F. for 19 hours. Is that a good idea? How fast a rate should the sculpture be fired to maturity? It is a cone 6 sculpture clay with a good amount of grout.
  2. One of the old commercial glazes I inherited was called Speckled Bone. Maybe the only way to get a speckled glaze is to buy a commercial one?
  3. Looking for a white speckled glaze. What ingredient create the speckling?
  4. Does the surface of the shelves affect the flaking of kiln wash? The shelf where this keeps happening appears to be more smooth and vitrified than the other shelves where flaking does not happen.
  5. There is one shelf where the kiln wash flakes off every time it is newly applied. The other shelves, where the kiln wash is applied the same way, do not have this problem. Any suggestions?
  6. I just made up a half bucket of white slip using the cube in water method. Mixing it up with the paint mixer attachment on a drill was going to be messy. I got a clear plastic bag, put a hole in the bottom to pass the attachment through and drapped the bag over the bucket. After it was well mixed, I pressed the slip through my only sieve, a number 80, and that was a slow process. I filled 6 small jars with the slip: one white, three with various amounts of cobalt carbonate and two with two different amounts of copper carbonate. Tomorrow, I'll throw a cylinder and try these slips. Looking forward to seeing the results. I'm wondering if the process of making the slip might have been easier if I dried out the cubes of clay before adding them to water.
  7. To colour slips, I read that one should add 10 to 15% oxides/colorants to slips, presumably while the ingredients are dry. I am preparing white slip using ^6 white clay cubed and put into water, to apply to ^6 speckled tan clay. What measuring method should I use to add oxides/colorants? I have various stains and the following: red iron oxide, mangenese carbonate, copper carbonate, cobalt carbonate, nickel carbonate and chrome oxide . As I have added washes of these on top of my matt white and speckled bone glazes, it was obvious some were stronger in color than others. This plate was done in the early 80s when I was at college but I can't remember how we prepared the slip! All suggestions are welcome. Thanks
  8. Thanks Marcia. On Richard Gill's work, do you think he applied the underglazes to leatherhard clay and then fully fired it? Does that sound reasonable?
  9. How do I color clay the way Richard Gill colors his plaques? The attachment shows an example of his work. Is the color added on raw, bisque or fully fired clay? What to use - Underglazes commercially made or colorants mixed with a frit? I have 17 different colors of colorants I could use and will be experimenting using them.
  10. Coloring plaques like Richard Gill

  11. Cutting a kiln shelf

    1. Show previous comments  2 more
    2. JohnnyK


      If you don't have easy access to a tile saw, contact a local tile contractor/installer and ask them to cut it for you. A diamond dry-cut blade in a skillsaw will do the job too, but the blade can be pricey for a one shot project.

    3. Pres


      Tile zip saw blade should also work.

    4. glazenerd


      22.5 degree angles by the way.

  12. Have small quantities of chemicals I inherited and need glaze recipes for cone 6. These are the chemicals: red iron oxide, rutile frit, manganese carbonate, copper carbonate, cobalt carbonate, nickel carbonate, borax, feldspar custer, zinc oxide, bone ash, chrome oxide, albany slip and barnard blackbird slip. What main ingredients are missing to make glazes? Where can I find recipes to make best use of these chemicals?
  13. Thank you, Marcia. As I am new to this, please clarify "Red art" and "#3134". And in the second recipe are Alberta slip and Albany slips equivalent?
  14. I inherited a small amount of Albany slip and Barnard Blackbird slip in powder form - about 2 cups of each. I am working with stoneware and firing at cone 6 in an electric kiln. As I am new at this, are there easy recipes for these two slips anyone cares to share? These slips are best applied to wet, leatherhard or bisque ware?
  15. Visited Richard Gill's fall show in Burnstown, Ontario, yesterday. He does wonderful wall plaques of places he has visited. He now has wonderful plaques of musiciens. If you don't know his work, google him and you will get a wonderful surprise.

    1. Dani


      Ummm. I oversused the word " wonderful" but i like his work so much we have a 2'x1' plaque he made. We also had him made a smaller one from a photo of a lane in Ledbury, England. When my husband looks at it, he is reminded of the feel of the place.

  16. How do I mix small quantities of glaze? Everywhere I look the speak of 5 gallon buckets! To test the dozen glazes I have, I would like to make small batches of about 250 ml each. What ratio of water to dry glaze do I use?
  17. For small quantities of glazes, what ratio of water to dry glaze do I use?

    1. Show previous comments  2 more
    2. Biglou13


      Every glaze is different Iusually test In 2000 gm dry wright batches. I'll add that to 1500 gms /ml of water.. Stir may need to add more to get well mixed. I then slake over night or longer and more water if necessary, strain then check again. Key here is to slowly work up up to consistency.

    3. High Bridge Pottery

      High Bridge Pottery

      I go 50/50 to start with too. 100g of water for 100g dry glaze.

    4. dhPotter


      In Mastering Cone 6 Glazes Ron Roy suggests to use 3 ounces of water to every 100 Gram of dry weight. I have found this to be a very good starting point.

  18. How to mix small amounts of powered glazes

  19. Thanks everyone. We will try extending the duct up above the foundation in the garage and through to the outside.
  20. Setting up an Evenheat programmable 25x23" electric kiln in a basement room that is 15x20'. Questions: 1. Is it safe to vent to the garage, avoiding drilling through the foundation, and propping open a door to the outside? 2. Are fire retardant boards on the walls in the corner good enough or do we have to put plasterboard on the reat of the walls? 3. Will a fire alarm go off is we fire to Cone 6 and, if so, how far from the kiln should it go? Thanks
  21. TJR - I live west of Ottawa and go to Capital Pottery Supplies downtown. They have a wide range of clays, from Tucker's, I think. And firing up to Cone 4-6 is as high as I want to go. PeterH - your idea of overlapping glazes on a large test tile, I like. I will do individual test tiles with texture at the same time on "standing" tiles to see how the glazes run. Just so everyone understands where I am coming from. I am a retired art teacher who took a year of Ceramics Tech at college, 25 years ago. This allowed me to teach a high school course on clay for a few years but we used only earthenware. This is a hobby for me but i would love to produce decent pieces. I am fond of working on the wheel and sculpting. I appreciate everyone's advice.
  22. Thank you for your advice. All these ideas are great. In terms of dangerous chemicals, the 19 stains from Tucker's Pottery Supply House should be no problem, nor the 11 leadless glazes (most of these are small quantities - ~ 3 pounds, except for a 14 lb one). The other stuff is the following: albany, barnard, borax, red iron, copper carbonate, feldspar custer, bone ash, rutile frit grade, nickel carbonate, magnese carbonate, cobalt carbonate -all 500 gr. to a lb. - plus a lb. of dark blue (unidentified) and 5 kg of zinc oxide. Is there anything there I should be overly concerned about? What good use can I make of all that zinc oxide? I am going to buy clay soon. Any suggestions? I am thinking of a medium tan speckled stoneware for throwing. Would a light color be best to experiment with?
  23. Just starting to do pottery at home. Have inherited many bags (40+) of cone 4-6 glazes, stains and oxides and I am overwhelmed by all of it. I have done some pottery before but in a school where all the material was premixed. I know how to mix powdered glaze with water, no problem, but don't know how to mix the stains and oxides. Plus, I don't know where to start. Do I start trying out just one glaze or do I prepare small batches and do a series of test tiles?
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