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tinbucket

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  1. I agree with you that making a mold and slip casting would give you the most desirable result. Any other method will fall short of slip casting when it comes to uniformity and thinness imho. One thing to consider is the heat that can build up in an enclosed light fixture. If you use an incandescent bulb and don't have any venting it will get hot. Also since the form will be round on all sides and translucent porcelain is usually somewhat pyroplastic, you might consider making a cradle of sorts to support the piece in the firing (similar to th way bone china is fired). Best of luck. I hope you post pictures of the process and results!
  2. If you notice both examples of running/bleeding you posted are blue, most likely a cobalt (carbonate or oxide) wash rather than an underglaze. If you are after blue, I would use a cobalt wash rather than underglaze. Unless it is very thinly applied, cobalt will have a tendency to run or bleed.
  3. Brent is a relatively small American company. Their customer service is easy to reach and very helpful, they might be able to advise you on the repair
  4. I have experience with it, mostly bodies I mixed myself. The higher you go, the lower the absorption, the more brittle the clay becomes, and the closer to over firing you get. Cone 1 or 2 should be ok for most bodies, the only reason I would advise against it is if you dislike the brownish color that can come from firing higher. It's worth a shot and you really won't know if you like it until you try it. Another option which you may be aware of is to apply terra sig to the exposed clay of your pot (usually just the foot ring or bottom). This will drastically reduce the absorption rate of the exposed clay and keep the rich orange color of the clay. My .02 - I think 04 is the ideal temp for terra cotta, a well formulated body will be plenty dense at that temperature and if absorption is really a concern using stoneware or porcelain may be a better option. I think terra cotta is perfectly suitable for functional wares as long as the user is aware of the possibility of chipping, etc.
  5. Another way to achieve the same thing as adding powdered clay (if you don't have any) is to evaporate some of the water from the deflocculated slip. A wide, low container will give more surface area to evaporate the water and achieve the desired consistency.
  6. I believe what you are seeing is the grog/sand in the clay. If you look in the lower left of the tile you can see bubbles where the glaze has dripped/pooled. Yes, I agree, thinner mixing and application is better.
  7. https://glazy.org/recipes/20547 Try this glaze. Derek Au has tested it on a brown stoneware and there is a picture in the link. He has tested many cone 6 clears and most of them cloud on a dark body. The determining factor from my point of view seems to be the boron level. This glaze has 2x the amount of boron necessary for cone 6, which will diminish the glaze's durability long term. If you want to see the other glazes he has posted click on his name, his tests are a great resource for us all.
  8. Derek Au and Jake Corboy have tested an extensive number of stains in glaze and clay. The base chemistry can affect the color of certain stains (glazes with magnesium can turn chrome/tin [maroon to pink] stains grey) but this should give you a general idea. Scroll to the bottom of the page to see the different stains. These are all cone 6 oxidation. https://glazy.org/recipes/34778 https://glazy.org/recipes/18705 https://glazy.org/recipes/30094 Jake Corboy's website https://www.jakecorboy.com/all-testing-info This is an excellent matte glaze and there are a number of different stains tested if you scroll to the pictures at the bottom. https://digitalfire.com/4sight/recipes/matte_glaze_base_for_cone_6_121.html
  9. I have also read that in Andrew Martin's book and I have had great experience using Grolleg in casting slip. Another thing to consider is that Grolleg has some potassium (flux) and EPK does not. EPK will require more added flux to reach the same level of vitrification for an equal amount of Grolleg. Not sure if I read this on digitalfire or Martin's book but this way to mix casting slip works well for me: mix your slip, let it sit overnight, measure specific gravity, add water to reach target specific gravity, then add deflocculant to adjust the fluidity of the slip.
  10. You might try contacting potter Samuel Johnson. He had one listed on instagram a while back. His instagram is @samueljohnsonpottery and his website is samuel-johnson.com. Another person to ask is Adam Field.
  11. How are you mixing your clay? Something that has not been mention is that commercial clays are typically pugged in a de-airing pugmill. This alone makes the plastic clay much more dense than if it was mixed to a plastic consistency from dry materials (Soldner mixer). Mixing clay in a slurry and drying out will produced a more thoroughly wetted and denser clay body but it is much more work. If you are mixing in a Soldner style mixer there will be a lot of tiny air pockets in your clay. I have not read this anywhere but I have noticed it from my own experience...maybe others can confirm or deny. Either way, a vacuum de-airing pugmill will produce the densest and most homogenous clay body.
  12. In the meantime, you can read these sources online which I have found to be very helpful. The first two links are articles written by Matt Katz and others. UMF may seem very difficult to understand at first but once you understand the general concepts it will be very helpful in your glaze formulation. I recommend looking at Glazy.org, especially the calculator function. Glazy is great because it tells you what oxides (silica, alumina, sodium, calcium, etc.) and how much of each is being contributed by the glaze materials. The calculator allows you to adjust material amounts and see how the chemistry changes in real time. It can all be very overwhelming but the more you read the more you will understand and have control over your glazes. https://www.ceramicmaterialsworkshop.com/reports--publications.html https://ceramicartsnetwork.org/wp-content/uploads/2008/10/TF_BoroninGlazes_0912.pdf http://help.glazy.org/concepts/analysis/#unity-molecular-formula-umf https://digitalfire.com/4sight/troubleshooting/index.html If you are more of a visual learner, it may be helpful to do a Currie grid test of a glaze you like. More information on that can be found below: https://wiki.glazy.org/t/currie-grids/183
  13. 2-3% lithium carbonate, pearl ash, soda ash, or borax can flux the glaze more (increase melting) and may improve the color response. If you don't seive the glaze after you add the material (just blend well) then you will be left with some crystals which will create some localized fluxing. I would not recommend any of this if you were making functional pots. I understand calculating percentage may be a little complicated since you are starting with a wet glaze. You can either add x dry to a cup of glaze, test, then adjust or calculate the amount of dry material in x amount of wet glaze by measuring the specific gravity. If you look at recipes for texture/sculpture/special effects glazes you will notice trends in the materials used and amounts. This will give you a starting point if you are looking for a particular effect.
  14. Can you give us some more information? Cone? Color? Recipe? Here are some ways to make a glaze matte: Increase alumina, decrease silica, add calcium, add magnesium
  15. @kathleencorcoran I have used Redart sig on bisque, then fired to cone 6 with no problems. This may be different with more refractory clays (ball clay/white sig). Sig is very opaque (I think because of the fine particle size) so you do not need a lot to cover the clay body. You can experiment with different thicknesses but I would try to use it the same way you would on greenware. Since you are pit firing the sig may adhere better to bone dry clay
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