Rae Reich
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Posts posted by Rae Reich
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6 hours ago, MKG001 said:
Does the unfired gold get messed up when you peel back the stencil? I have a picture in mind that the edges of the gold will come up.
Shouldn’t. Dried oil can still feel tacky, but doesn’t create a film like paint or become crumbly like dried glaze.
Test, test, test. -
My first rookie mistake in kiln loading! My plates were larger and drooped irreparably, some onto the rims of other peoples’ pots. The lab tech watched me do it and left me to learn the hard way.
I can laugh now
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Adhesive backed cricut sheets should work. Press edges down securely with a wooden tool. Don’t touch the surface with anything after cleaning with alcohol, especially fingers. Be patient and let it dry well between coats. Definitely do a test design or two before committing. That tiny bottle will go far, even with multiple coats.
- Bill Kielb and MKG001
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If you want a stencil for repeat production on the same forms, you might consider making a silicone ’mask’ form-fitted to the curves of the mugs. I wouldn’t have to be the full circumference, but the silicone makes it easy to place, remove and reuse. Also replicate. Many videos on YouTube on silicone mold making.
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It would have to be a liner glaze that is able to deal with the thermal shock of rapid temp changes - haven’t found one yet.
(I would use FlexSeal after firing)
Good luck! -
There are a few possibilities in James Chappell’ Clay and Glazes 1991. I have had success with his ^06 formulas, such as a wonderful eggshell matte for egg forms which plays well with Mason stains and oxides, but have not tried the ^018s.
EG-4 CLEAR SATIN MAT GLAZE ^018
alkaline, transparent, satin matPemco frit #25 48.6
Pemco frit #54 27.3
Lithium carbonate 9.9
Kaolin (any) 6.1
Silica 14.1
(Add: CMC 1tsp.)
EG-6 CLEAR SEMI-MAT GLAZE Cone 016
alkaline frit, transparent, semi-mat (avoid iron, tends to muddy)
Hommel frit #259. 54.4
Hommel frit #14. 38.8
Lithium carbonate. 8.0
Kaolin. 2.0
Add: Bentonite 2.0, CMC. 1tsp
EG-7 CLEAR SATIN MAT GLAZE Cone 016
Pemco frit #25. 42.6
Pemco frit #54. 27.3
Lithium carbonate. 9.8
Kaolin. 6.2
Silica. 14.1
Add: CMC 1tsp
There’s an alkaline frit, opaque, semi-gloss ^015 with chrome ox added for color you might test or modify
EG-13 SAGE GREEN GLAZE Cone 015
Hommel frit #14. 45.3
Hommel frit #259. 54.7
Add:
Bentonite. 2.0
Green chrome oxide. 3.0
Titanium oxide. 8.0
CMC 1tsp (this glaze fires to a sage green at cone 015, if overfired it turns metallic)
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Cone 018?
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Know which way the wind blows!
I like a spacious area with flat surfaces to stage pots for loading and for making glazing decisions. Your patio looks perfect - absent gusty , rainy winds.
I’ve always used boards to carry pots from making to drying to loading to glazing to loading to display/packing. What does your dream cart look like and do? -
Ceramic pavers of that dimension will be hard to produce without some experimentation problems and not very sturdy, even here where we live, unless they are 2-3” thick.
I would pour concrete pavers and imbed ceramic tiles into them. Or maybe make hollow (5 sided) forms of a heavily grogged clay to reinforce inside, after firing, by packing lightweight (mixed with gypsum, etc) concrete into the back. -
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My Dad, and a lot of WWII GIs, made rings from coins by tapping evenly around the rim with a spoon while holding and rotating from the center. The one made by Dad for his bride was so evenly tapped that you could still read the compressed wording inside. I think it was a quarter. The center was drilled out to size. He saved a failure that had gone wonky and was undrilled.
I always imagined a whole bunch of guys all tapping, tapping, tapping while being transported across the Pacific … -
Resin, Femo or Egyptian paste, in my opinion would be more ‘wearable’ materials for a finger because they do not fracture as sharply when broken or chipped. It’s a romantic idea but makes me cringe thinking how Porcelain shards are very sharp. (Maybe my hands get into more mischief than some other folks)
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That’s a nice, efficient list, @Pres! Probably close to the minimum for most of us. I wondered whether to count trips on the wareboard when the pot isn’t handled but is moved. Doing a lot of glaze detail can stretch out intermittently for days.
I really do enjoy handling my pieces and pots as I’m working with them. After all, we only have them for a short time
and there’s often something to learn.
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Hi, Donna,
Your project idea seems to put all the Research and Design expense and effort onto the craftsperson. Unless these will be able to command a high price with some guarantee of orders, I don’t imagine experienced potters would take you up on the offer.
If you need standardized sizes and styles that can be personalized, you are asking for some kind of small-batch manufacturing, which would require serious up-front money.
How serious are you?Rae
ps, are these funeral urns?
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On the creative side, I learned so much from most of my ‘mistakes’ that it’s hard to imagine not having made them.
The things I learned too late were on the business side: (1) how to be practical about the narrow profit margin at large ‘craft fairs’ as imports invaded them and (2) if I wasn’t going to regularly monitor consignment sales I’d better not do them at all. -
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Have you tried throwing while standing? Is the wheel on blocks for that reason?
My Brent is on a Brent stand because the standard height (or, lowness) is hard on my back. I don’t stand to throw, though. I have a bar stool that puts my butt at the right height and two crates for my feet and the pedal. I didn’t come to this arrangement right away - took some years of testing, using other wheels, watching other potters, and listening to my body
Good luck on your quest - maybe the studio would be willing to sell that old thing to you! Organize a pottery sale to fund them a new one?
- Pyewackette and neilestrick
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Thinly cast porcelain, from the shards, would have just skittered across that elbow-high pedestal. Nice of Koons to make small, affordable copies of his signature dog “for the peasants.” If you get one for yourself, be sure to use Museum Putty!
Can I get one that’s inflatable?
oops! “… a little kick in the pedestal “ brought it down.
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My Granny, (b.1888, d.1976) grew up in Utah and described to skeptical new potter me how the native potters there glazed their ware with milk! Sorry I doubted you, Granny!
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Are you hoping to have a liner glaze that is watertight ?
Generally, the stresses of the Raku process between an interior glaze and partially or unglazed exterior result in faults that impair the integrity of the pot. I would expect some crazing if the liner is applied thickly, depending on glaze fit at raku temperature.Test, test, test.
- High Bridge Pottery and Pres
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and there’s often something to learn. 
Drying+firing question - beginner in pottery....
in Studio Operations and Making Work
Posted
Jessica, when you have some work to dry thoroughly, all the above information will help, although I’d be reluctant to drill holes in something so small.
If you have an oven with a pilot light that stays warm inside, or an electric oven that can be set to a very low temperature, you can put the charming bird to “candle” there for overnight or longer (remember to remove it when you cook!). Do this in addition to candling the whole kiln thoroughly before firing.
Best wishes!