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Rae Reich

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Everything posted by Rae Reich

  1. Sorry, should have said my hypothetical bottles were for food oil. Your ideas are intriguing. Agree that that process would not be recommended for lamp oil.
  2. So you think if I heated my hypothetical oil bottles filled with oil to whatever temperature cast iron skillets are seasoned, let them cool slowly, and drained them (recycle the oil), they might be seasoned?
  3. @Min Agreed that is a good reason to test with water, too. Not sure I'd want to boil lamp oil, but that should work for food oils. Maybe the volatiles in lamp oil make it more prone to seepage. What do you use for a liner glaze? Cone 10?
  4. Or cast both ends closed by having your pour hole on the bottom where it can be sealed later when you cut off the ends. You'll probably need some kind of flat area at the bottom, no?
  5. If the bottle is used to contain oil, I don't think a refire with glaze would work, the glaze can't penetrate the clay enough to be a good coating. What's the point of testing for absorption with water when you intend to use oil? I learned from my mentor that oil lamps, even when glazed with a reliable liner glaze inside, will seep oil through the unglazed base. We brushed two coats of slightly thinned white glue on the bottoms and that sealed against the oil seepage. It dries waterproof, if it isn't soaked in water for extended periods. However, we can assume that the lamp oil still penetrated the liner glaze and remained harmlessly in the body of the piece. For food grade oil, I would not store it, even in any fully glazed ceramic piece, because of the likelihood of oils remaining in the body of the piece and becoming rancid. Possibly for short-term usage, like serving. . Put a flower in that bottle, it's a vase!
  6. I bought a porcelain mug with a lovely frosty blue glaze and an exposed 1 1/2" bottom area. First use with Lemon Zinger tea revealed a hairline crack going up the exposed area. I suspect that the thickness of the wall as well as the tension between glazed and unglazed both contributed to the fail, but also the relative density of porcelain Exposed porcelain will never really look pristine again after it leaves the kiln. Granite stoneware still looks fine after 20+ years. Most red stone wares also still look good with no staining.
  7. You can't put it in your Green Waste barrel, but you might be able to put in in the Trash barrel (as long as it doesn't make the barrel too heavy). Call your waste collection company and see.
  8. This is what the Art A Fair in Laguna did with everyone the year I was there. You told them how many you needed at which prices, then they printed them for you. With a large number of participants, this would assure consistency of printing.
  9. Ceramic pencils are made of glaze and are meant to be used directly on bisque with a transparent clear or colored glaze over the drawing. They can be fired at low and high temperatures. For "drawing" on unfired glaze, there are "scratch-through" techniques and drawing with a brush using oxides or colorants. The interesting thing about drawing on pots is learning to draw on a surface that is curved, sometimes in complex ways.
  10. Do you know what kind of (species) wood was burned to make the ash? Where was it grown? Local soils might affect chemistry. Sounds like an interesting experiment for fabric/yarn dyes, too.
  11. You might have some brown staining coming through the white. Be sure of an adequate coating. Maybe test some other whites for decorating too, like engobes, slips and glazes.
  12. Thicker walls and rims (sturdy rather than delicate) will help, as long as there's been no distortion before drying.
  13. If your throwing style involves creating large amounts of slip, you can add that back into clay that is a bit dry or if re-wedging wetter scrap you can add a handful of ball clay. The object is to put back into the clay all the fine particles you removed in throwing. You'll know it needs fines when it seems excessively groggy.
  14. You might be wedging air into your clay. Try throwing directly from the pug mill, without wedging. Just pat clay into a ball or cone.
  15. Old credit cards! Excellent scrapers inside glaze buckets, I also use for screening. Cut to any shape for custom jigs, shapers and trimmers. Clean off wheel head and clay tables without scratching.
  16. I think you'll need to do tests on your mug shapes, rather than tiles, because your cracks run horizontally on those thrown shapes. Flat tiles won't behave the same way under stress. Guessing you don't want to modify your exterior glaze technique, so I'd recommend that you throw the forms a little thicker, to stand up to the stress put on them from unequal glaze thickness between inside and out.
  17. Maybe "cheddar hard"? Velveeta slice hard?
  18. Not many people work with leather anymore., but how else to describe that state?
  19. If your porcelain has dried a little unevenly, the difference in 'drag' on your tool can get a 'wave' started that is hard to repair. Stop the wheel immediately and determine where your high/low spot is. You may be able to correct the area by hand scraping before (carefully) completing your wheel trimming. Re-moisten the rest of the untrimmed bases that remain on your board, cover lightly with plastic until moisture is distributed evenly.
  20. I kinda like the casual quality of your uneven cutting. The side of a needle tool rubbed around the holes after they dry should dislodge any little shards.
  21. From what I can recall, in glazes, EPK, China Clay and kaolin are fairly synonymous. Grolleg is (or was) used mostly for purity of whiteness in porcelain clay bodies.
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