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Diana Ferreira

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Everything posted by Diana Ferreira

  1. thanks everyone! I personally think Oldlady is a genius, and should be on this forum 24/7. Your advice is logical and brilliant. I cannot do real horsehair. Do not have the equipment, and is not prepared to fire lower than 1200C for hospitality ware. Well, back to the salt mines for me. got to make new masters for a customer and pack a 15 cf kiln. Glazed last night and early this morning. A happy and productive day to all! Diana
  2. Peter, that rings a bell in my head too! Slight problem is that my favourite clear glaze has such a wide range. I will test it at 1100C and see if I can make it crackle. (this glaze performs perfectly for me at 1160C and my one friend uses it at 1240C.
  3. Here is an image that I have found - NOT MY OWN WORK!!! This looks like a stain rubbed into a crackle glaze. This would also be an option to do. But obviously I cannot use a crackle glaze, as it is not foodsafe ...
  4. Diana Ferreira

    not my work!

    I am trying to upload an image to a thread ...
  5. From the album: not my work!

    I want to upload an image to a thread, and cannot find the place where one just upload an image from your computer. Apologies!
  6. ooh Wyndham, my unglazed exterior is like satin. (unlike my hands!) I really work my pieces before and after a bisque firing to get it smooth. What does the honey/molasses do? Do you apply it before or after the glaze? Normally I only work with a black clay body, but for this client I am using a stoneware white that I will stain to achieve different hues, and would like to use my standard commercial clear glaze that is foodsafe.
  7. I never glaze the outside of my work, Benzine. This will have to be done on the 'functional' inside of the work. I could tell the customer 'sorry, no can do' But I think it would look very good on the design. This is a restaurant order, and quite substantial amount of work, there is no way that I could hand paint fine lines, etc. And obviously the work need to be foodsafe. I am quite happy to fire something three times, if I could get the effect!
  8. hi guys, I need to mimic a horsehair raku look on functional ware (stoneware). I know I have read about someone somewhere that were doing it, and cannot find it anywhere! Is there anyone that can help me with a link, or advice? thanks! Diana
  9. I use 2 toilet rolls in a bucket of slip. Casted some really awesome and thin work with it. I was able to really break down the paper with my 'blender tool bit on the drill' and got a very smooth mix and a smooth slipcasted end-result.
  10. I am aware that particles of already set plaster will increase the setting time of plaster. For that reason it is important to clean your mixing bucket very well. I use a sieve when I cast to make a master. Lumps in the plaster will cause an uneven hardness in the setting plaster, and make it difficult to cut evenly. When making a mold (for casting clay) you also have to make sure that the plaster is evenly mixed, as lumpy areas might affect the absorption rate of the water from the clay. It can give uneven casting jobs. But I am sure that mixing in preset plaster can have applications in other things. I prefer to add luke warm water to my plaster.
  11. I have a little box (with air vents) and a fan heater that moves and blows warm air. It's got a thermostat, and will shut down if it gets too hot inside the box. Most molds (small and medium) dries overnight. Plaster molds that fits into a microwave could be dried out in that. Defrost or low setting, about 10 minutes at a go. (My ex, a professional modeller and moldmaker) taught me that trick.
  12. It is a good documentary, and worthy of the Oscar it won. But like Muddylane, we are all weirded out by the fact that he was totally unknown in the USA.
  13. interesting views, everyone! And thanks for the links. I am spending my first real day-off in months, so I am going to enjoy reading more about this.
  14. Thank you Chris. Working out the sizes, figuring the thickness of each piece, so that they all end up being the same height when stacked and cutting those lids were a real learning curve. While working with glass I had to learn how to take good pictures and edit them. These images were all submitted for a juried exhibition, and I needed to grab the attention of the selector. (I have been shortlisted, so one last hurdle to cross!)
  15. thank you for the link! I never name my stuff, and it is getting to the point where I have to! I have 3 different salad/pasta plates, and get confused, (also customers) with what they want, what I need to make, etc.
  16. we use Alumina on our kiln shelves. They are not removed between firings, and thus the shelves need to be stored horizontally. But, to prevent the alumina from sticking to the bottoms of the shelves, we made little 6 mm high disks out of clay. 3 on each shelve, and you can stack 20 - 30 shelves. I use those little discs for stability when I stack my bisque kiln, because I am always scared that my vases, etc will roll around. I can almost fill my 15 cubic with glazed work from my 4.5 cubic bisque kiln.
  17. I cut my own plaster masters on a wheel. Sometimes it could take days to complete a complex master, as it would sometimes involve making a first mold so that another (more perfect) master could be created. With this 3-D technology it would still be 'my' design, but made much quicker. This translates into money saved, etc. Regarding the face mug that was 3-D'ed. I could never understand the fascination of the USA potters with face mugs. Thanks to the article, I understand the historical interest/love for it. But it is still a weird thing for me :-)
  18. I have fired stuff casted on the same day. But I work thin, my clay allows it, etc. I am NOT a smarty pants. I try and figure things out, question, try again, sleep over questions, ask peers and try again. Just because a rule has been laid down, does not mean that it is carved in stone. Having the attitude that everything that is not according to the holy grail of ceramics will fail or is wrong; is like living in the dark ages, refusing to accept that life is easier with what we know now, vs candles and buckets of water and a pit toilet. But what I do do is to take care of my elements. I always close my bungs with a bisque kiln at 600C. And if the work is really wet, I will add an extra ramp to my firing schedule with the first one very slowly. I might even hold it at 90C for an hour ...
  19. same here - when I replaced my lost ID document a year ago, the scanner could not read my fingerprints. I felt like a criminal ;-)
  20. From the album: January 2013

    And, when you turn the lid around it becomes a plate ...

    © &copy

  21. Diana Ferreira

    January 2013

    These are all images of work submitted for a competition. Our brief was to create something with a Memphis/South African feel to it.
  22. From the album: January 2013

    Each bowl with it's lid on, stacked together.

    © &copy

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