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  1. Hi ! I'd make a little box to keep his/her milk teeth once they fall out. My mother did this for us, her three kids. My son loves to look at it and think "wow, Mom was once so small that she had those tiny teeth !" and he doesn't feel so scared of losing his own milk teeth himself. I hope you don't think it's too creepy I don't know what the custom is, in the US, with regards to milk/baby teeth. Cheers !
  2. Hi ! My first post on this forum was to ask for some advice (suitability of paper-clay porcelain as a basis for engobe). I'm not based in the US and I'll freely admit that I enjoy CAD posts and forums much more than those of similar websites/forums in my own country, which I find to be close-minded, self-righteous, judgemental and discouraging. This is also the reason why I'm always extremely reluctant to post any picture of unfinished work, or mistake : I don't want to get flogged, and be made to believe I'm not good enough to even ask a question. Despite the language barrier (and sometimes the cultural one), I asked for help on this forum because I feared asking for it on the forums in my own country ! So kudos to you, CAD community ! This said, three months elapsed between the moment I asked for advice on this forum, decided to give the paper-clay-based engobe a go, and the moment I opened the kiln and could see the post-glazing results for myself (I don't fire very often). I edited my original post to report on the results, but I remember thinking at the time that probably no one would see it, not even the people who took the time to offer their input. This is because there's no possibility (as far as I can see) to tag "question answered" or "case closed", or to have it "pop up" again, for people to notice (bar quoting somebody's answer, and have them noticed per email). Am I missing something ? is there a tool I'm not aware of ? Also, I've noticed that I fall easily "down the rabbit hole" when I start browsing the CAD website and forums. Before I even notice, two hours have come and gone, my brain is bubbling, and I'm losing focus How do you, regular contributors, manage to bring so much input AND keep the studio going ? Cheers Emma
  3. THIS ! Thank you ! how come I haven't thought about it sooner ?
  4. I think it'll take me some time to let it go. My former boss has had a very strong influence on how I do things. In large parts because I very much respect her, but also because she was very good at 'drilling' habits into me, with a bit of 'just do it, don't question me' attitude I find it hard to step away from what she taught me. But I hope I'll find a way to do it, and find my own way, with satisfactory results, eventually
  5. Hi ! I live in continental weather (read : very cold in winter, very hot in summer) but I've steeled myself not to heat up my studio. My primary concern is to keep the costs down. But I also don't like my porcelain, slip, green ware, etc. to be exposed to changes of temperature. I don't fire very often (maybe 6 biscuit firings per year, and 12 glaze firings) but even so, everything sensitive is kept well away from the kiln room, to minimize any risk of brusque temperature changes. This said, I have to precise that my studio is only 60m², half-buried 1.50m deep, and well insulated. Even when it's -10°c outside, it's still 12°c indoors (last week). In the hottest days of summer (sometimes up to 40°c) it's rarely above 25°c. The studio is efficiently ventilated (my father very kindly installed a neat system with is pretty much on automatic with regards to both temperature and humidity levels), and the kiln room has its own ventilation. At the moment, I drink lots of hot tea, and wear an "ultra-light down" vest. I also regularly top up my throwing water with hot water. Plunging my hands in cold water or slip is the worst !
  6. Hi ! For super-thin porcelain, you could maybe use Keraflex porcelain sheets (http://www.kerafol.com/en/porzellanfolie/keraflex.html) and a water etching technique (wax, water, sponge). Let me know if you try this out. I'd love to see a picture. Good luck Emma
  7. Hi ! I have three questions. 1) I don't like wedging at all, but I do it because I must. To motivate myself, I mentally picture some awful results I've had in the past, when I thought I'd skip wedging because it was "just for small bowls or cups". Therefore my first question: What do you call wheel-wedging ? how do you do it exactly ? it is as good as spiral wedging ? up to which weight do you do it ? (note : while centering, I usually barely need to cone) 2) I have a list of throwing dimensions for each type of pot I make, as well as the weight of clay needed to do so. My former boss taught me to wedge the day before a throwing day, and store my balls in different plastic bags according to their weight, ready for use on the next day. I do as I've been taught, but while doing so, I somehow always face the same dilemma and problems : - Do I pre-weight quantities of porcelain (directly from the bag), form lumps, and THEN wedge each lump into ready-for-use balls of clay ? >> It is uncomfortable to wedge small quantities of clay, dozens of times over, and I find it very time-consuming, but I'm sure each ball is correctly wedged and has the desired weight. - Or do I wedge a bigger quantity and THEN divide it into sections that I'll round up to form balls ? >> I find it quicker and less painful for my body, but I'm constantly having to adjust while dividing the big wedged lump: I somehow rarely manage to cut away exactly 250g or 400g, or 1000g, and when I have to add clay to reach the desired amount, I always have to wedge again ! My former boss does it this way, with good results, but she doesn't care to weight clay as carefully as I do (she uses stoneware, and I use expensive porcelain). Are there tips to accurately cut a lump of clay to a desired weight ? 3) I've been taught to place a board below the plastic bag into which I store my balls ready for the next day, so that it acts like a tray and each ball is ready to be thrown in the same direction it has been wedged. I've also been taught that it's best to wait overnight between wedging and throwing. When I shared all this with other potters, they've laughed and said I'm making life too difficult for myself. I'd be happy to have other potters on this forum chime in. I'm all for doing things properly, but I also want to rationalise time and effort. Also, none of these potters throw porcelain. I've had my own studio for less than a year, and I'm always happy to hear tips and words of wisdom. Thanks ! Emma PS: I don't own a pugg-mill.
  8. EdptrKrmk


    This is just wonderful.
  9. @Diesel Clay I hear you. Thanks for your input. The porousness is one of my concerns - I make dishes. Emma
  10. @High Bridge Pottery @oldlady Thank you for the good news. Maybe I'm over-thinking it. I'll try and confidently take the plunge then ... ! Emma
  11. EDIT 2 : January 2016 - I've tested the porcelain-paper-clay-based engobes, and I haven't noticed any difference. Even with regards to sgraffito, there's no difference that I can see. Thank you all for your input EDIT 1 : November 2015 - The answer seems to be "yes, of course it's possible". I'll update the message again once I've tried it for myself. posted November 2015 Hi ! *Background information :* I use an expensive porcelain, and generally go to great lengths to reclaim every scraps. I throw my pots on the wheel, and decorate my pots with home-made engobes that I formulate on the basis of a slip made from the same porcelain body, to which I add various pigments/stains/oxides etc. I usually use a commercial glaze, glossy transparent, and electric-fire between 1280°c and 1320°c (which converts to cone 9-10 ?). Last year, for the first time, I prepared a batch of paper-clay using the same porcelain body I usually use. After playing with it, I was left with a pile of bone-dry paper-clay. I crushed it, added water to slip consistency, sieved it through 80 mesh, and stored it in a bucket for 18 months. I'm now left with 30 liters (8 gallons ?) of porcelain-paper-clay slip that I'd like to use in some way. Hopefully as basis for engobe, because I need big quantities of it, and always find myself running short. But I'm concerned about the presence of paper fibers in the mix. Could it significantly affect the bonding between the slip and the pots during the drying process ? during the 1st firing ? Could it affect the texture of the surface of the pots ? Could it affect the color ? Could it cause significant issues with regards to the glazing ? *Question :* Can I use this porcelain-paper-clay slip without further a-do as a basis for engobe, as I usually do with "normal" porcelain slip ? If yes, great ! If no, what do you advise ? Is there something I could do to make this slip usable as a basis for engobe ? I'd be very thankful for your advice, if you had experience with this. Emma Disclaimer 1 : I've been working with clay for only 5 years, with my own studio for 6 months. I try to experiment as much as possible, but now that I have my own studio, I often feel too caught in the production process (to be able to live and pay rent !) to go as thoroughly and systematically as I'd like in the trial-and-error approach. Disclaimer 2 : English isn't my 1st language. I hope I managed to explain my process/problem clearly enough !
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