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Rae Reich

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Everything posted by Rae Reich

  1. @briano, a red clay earthenware flowerpot fired to maturity will always be significantly more porous than stoneware fired to maturity. Additionally, earthenware is, generally, more dense than grogged stoneware.
  2. Flowerpot didn't have a hole in it, did it? Perhaps now that the flowerpot has been fired to your desired temperature, it will be tempered to that in subsequent firings?
  3. You haven't described the difference in your results. What was different in the flowerpot firing?
  4. How did you manage? A thick cushion of foam to turn it onto?
  5. If it hasn't been emphasized in your clay education, one essential part of centering for throwing and trimming is to have your elbows firmly stabilized on your body while you approach and move the clay and your tools. As @Hulk mentioned, the clay will tend to try to draw your motions to it, so you need to be steady. If you are not braced well, the clay will be moving you!
  6. I've been told it isn't really snow until you have to shovel it
  7. When I make large shallow bowl shapes in a fiberglass bowl/mold, I crumple a sheet of newspaper thoroughly (down to a little ball several times) until it's soft and flexible and line the form with it. Yes, it leaves a slight random pattern, which I can deal with, and the piece dries very evenly. Invest in your local print media.
  8. In case you didn't know it, the cone numbers indicate increases in heat, but what takes some getting used to is that ^018 is the coolest. So numbers go from ^018 to ^01 getting hotter with each (counterinuitively) and then from ^1 to ^11 (intuitively) getting even hotter. My point is that a bisque at ^04 will be hotter than the glaze fire at ^06, but it won't be hot enough to mature the clay to non-porosity. @Mark C.'s advice to get the proper temp clay for the students will also leave you with the clay that will mature to planter tolerances when you can fire it to its own temp.
  9. If you want to dry out that old slip so that you can trash it, "glue" with a bit of slip a coffee filter over the hole in the bottom of a red clay unglazed planter and pour in your excess slip. It might take a while to dry in your climate, but it should firm up enough to discard as a solid. As your throwing skills improve, you will find that you can throw using less water (or, more slippy water) and have less to discard/recycle. You might find yourself using less water just by switching from porcelain to stoneware. Throwing with slip instead of water helps you to retain the fine particles
  10. I think most of the yellows can remain yellow at ^6, as @oldladyfires, but ^10 is much harder on them, at least in reduction.
  11. I agree with @GEPthat it looks like proximity to other pieces has caused uneven heat distribution, in the case of the bowl, seems like the proximity was to the shelf. As long as this batch is unglazed, I see no problem with re-firing them more slowly so they all heat evenly. Maybe pack the kiln less densely. Great work - love your drawings!
  12. I have some silicone molds that were produced to make ice sculptures. Couldn't use them for clay, but I did cast a nice plaster leaping trout!
  13. My worst booth neighbor was a guy who demonstrated his skill at carving/etching unglazed pots with a dental drill - all day and evening for 2 1/2 days!! Burning porcelain smells just like tooth drilling, too!
  14. I wonder if a drop of dish soap, used as an 'extender' would make high concentrations of stain 'wetter' without dilution? Has anyone tried something like that?
  15. Crawly tankard - Lawson Park https://www.lawsonpark.org/collection/crawly-tankard The tankard is an example of Leach’s most successful fusion between the English and Japanese folk traditions, a traditional English form married with a traditional Japanese glaze. There are other versions in the Collection from Winchcombe, Robert Welch, Holkham and Keith Murray, in fact most of A mug's history of design’s category makes reference to the English medieval tankard ." It sounds to me like Leach's form is traditional and the Japanese glazes were his innovation
  16. I wonder if the cups in the original post could have been glazed and fired with a ^10 glaze and then blown on with stains in the alcohol base (with maybe a little flux) and re-fired to ^06, which would set the stains. The pretty, vibrant reds, yellows and purples would then be possible.
  17. If you are rolling each pass in the same direction, and especially if you have only one roller pressing on the clay, you may be compressing one surface of the slab more than the other. The clay will remember this torque when softened by firing.
  18. They can teach you the basics, then you can decide how to begin production.
  19. Take your original plate to a paint-your-own pottery place and ask if they can help. They will have access to blanks and food-safe glazes and the considerable amount of equipment and resources you will need for a single plate, which will save you time and money.
  20. Campbell has applied his glazes so that they run plenty but stop just before the bottom. That is the tricky part. I have used a high-rutile glaze over an iron saturate just at the rim and had streaks running all the way down to the bottom - and sometimes lower, glazing the piece to the shelf. Your dream surface will take much trial and error experimentation. Start with a high-rutile glaze and test over various other glazes, maybe you'll come up with a signature effect of your own.
  21. I had a firing partner who made lots of big bowls and platters. As @GEP advocates, he embraced the overlap with two and sometimes three glazes that created additional colors/effects where they met and lapped. Quick and dirty, as we used to say, and pretty enough to sell every one. note: you want to try not to lap in the very center to avoid pile-up (and for aesthetics).
  22. Is that surface only on the outside? I would coat a leather-hard piece with a thick coat of slip, then place upside down in a tray and pour/press construction sand into the slip. Brush off excess sand when dry. I think mixing sand with glaze will make it too shiny.
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