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Rae Reich

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About Rae Reich

  • Birthday 06/20/1947

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  • Location
    Orange, CA
  • Interests
    Eclectic

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  1. You might consider using other glazes besides clear that act/appear differently over the two different clays. I made some pieces of porcelain and dark red stoneware that I glazed with a rutile ‘pink’ (applied thinly because it gets runny) that went dark blue on the stoneware and rosy on the porcelain. Celadons will give you contrasts, too. Experiment! Test!
  2. I think you should fire them separately and attach as you described. That will ensure the curve stays as you arranged. Put it on a waster slab with some silica sand beneath it so it can slide a bit while shrinking in the firing. It IS a cute monkey! Good luck!
  3. Could it be that the artist was referring to separate firings for underglaze and glaze?
  4. I agree that stacks of test tiles can get fiddly and overwhelming but tests are so useful! I’ve made simple reference pots for my stain tests using bisque, straight-sided mugs, cups or bowls of the preferred clay, one for each base glaze, and as many small deli cups as you have stains to test. Dip the pot almost halfway into the glaze and let dry. Mix 1/8 tsp of stain into 1T of base glaze in each carefully marked deli cup and stir up, add a little water to make it brushable, if needed. Paint 1/2” wide vertical stripes of each color from top to bottom, over the dipped glaze and over the bare clay. Dip the bare end of the pot almost halfway into the base glaze, covering the stripes, and let dry. There will be a space between dips to show you what the stain in a bit of base looks like on bare clay - handy for white clays. After the firing, use a sharpie to label the stain stripes with the stain numbers. Make notes if you want to try different proportions in a future test. I use these little deli cups to decorate from, mixing more as needed (stains are expensive!) and letting them dry up between uses, adding water by drops to rehydrate. NOTE: be sure you make note on the pot of which end is Glaze Over and which is Glaze Under. It won’t always be obvious
  5. Think about mounting the motor outside of the booth to avoid these issues.
  6. Oil might help your foot pedal and governor to work smoothly, but not advisable to have it on surfaces that come into contact with your clay. #0000 Steel wool should smooth out the wheelhead surface. Lubricate with a little water while rubbing out irregularities, rinse well.
  7. @Hulkhas a good solution for your situation. He uses blue tape, used for masking woodwork when painting, to tape off where he wants the glaze to end and peels it off while the glaze is still slightly damp. You could do that, brush your glaze on the lower portion, remove the tape and proceed glazing the rest of the pot. @Babs carpet covered bat works well, too, allowing you to slop on glaze at will while the pot sits on the dampened carpet, then turning the dry pot slowly by hand on the carpet to rub off accumulated glaze at the base. I would moisten and trim off any chunks of glaze with a fettling knife or trimming tool before turning on the carpet. Waxing the bottom before glazing could help to keep any glaze from seeping under the base and sticking.
  8. In addition, rims are usually compacted more in throwing.
  9. I have had some success with mixing a little of my clear base glaze into the underglaze colors. Also, I’m not sure why one would bisque to a higher temperature when that makes the ware less porous and absorptive Wouldn’t that tend to make the underglazes bond less well to the clay?
  10. A second person to hold or wipe might help, if possible.
  11. Iron and manganese don’t sound like sparkles. Could they be referring to pyrites? I wedged vermiculite into my cone pad clay for quicker drying and less shrinkage. The sparkly surfaces of the pyrites survived low firings.
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