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About Ozon

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  1. Thank you very much for your replies! I would want to mix around 10-20 kg porcelain each 1-2 weeks. Ten kg each in different colours. The reason I'm asking is that I do a lot of other hand work and it affects my wrists and back. I'm afraid if I keep doing all the wedging and mixing of colour by hand over time it will have a negative effect on my health. The other reason is that by hand it is really hard to keep the plasticity of the porcelain and also mix the colour and moist evenly in the clay. At the moment I'm drying out the clay into powdered form, mix the stains and re-wet everything and then bring it back into working consistency. It is very time consuming if I wish to create large batches and it starts to become stressful in finishing off other parts. Any suggestions would be really helpful. I have also looking into the dough mixer but it is more useful for small quantities or maybe not? Many thanks for your help!
  2. Hi, I have a question regarding mixing of large quantities of porcelain into colour. Like 10 kg of each colour. Would you recommend a pug mill for doing this job?
  3. Hi Neilestrick, Thank you very much for your reply. I have found some great post of yours on reduction firing, those will help. My kiln is now at 850 C getting ready to roccccck and roll
  4. Hi Tyler, Thank you for your reply. Yes, I do need to fire this porcelain in reduction otherwise I'm getting a yellow porcelain. For the work I'm doing I tried all the porcelains available in european market but only this porcelain acts the way I wish in the creation process, except when firing in oxidation it becomes yellow. Therefore I do it in reduction to get a more blueish tone. It might be a subtle difference but I feel subtlety is important to certain type of works. Especially when it is exhibited with other works of porcelain who are more of a white tone, the yellow becomes more obvious. I learned to fire gas reduction in Japan but it seems to be bit different handling my kiln here.
  5. Thank you very much for your advice. That would be great but unfortunately there is no one near who I could share with, thats why I'm asking on the forum if someone could recommend me some good resources. I have fired multiple times in a gas kiln, but lately that was automatic reduction so I lost a bit the feel.
  6. Hi, After my graduation I bought a new gas kiln, Rohde TG80 top loading gas kiln downdraft. I have done one test firing but got a bit insecure so I wish to double check. My kiln is fired with Propane. My firing schedule was 200 C/h till 900, then went into reduction till around 1212 C/h after which I failed to keep it in reduction because i started to play to much. Top temperature wa around 1280C. Everything I fire is porcelain unglazed. The top part of the kiln seems ok reduced (not as strong as I wished), but the bottom part not and also lower in temperature. I have read quite some online information and also fired different gas kilns manually before, but not the same as this one. I read different stories about the flames from a reduction firing. Some say orange licking flame is great. But I learned before that a blueish rocket like flame with a bit of orange from the peephole was good as well. I'm a bit confused now. I would like to ask if anyone would like to share some tips and tricks? It would be very helpful. Thank you very much
  7. Thank you for the reaction, but it won't be visible on the pictures. As it shows white, but ones you looked close with a loop you can see it only. I'm thinking it might be a chemical reaction but not sur
  8. Hi, I would like to ask a question regarding reduction firing of porcelain. After (some of) my firings there seems to be a thin layer on top of my porcelain objects, which is not very white, more slightly yellowish grey. It very subtle though. But I realised when I sand it for a while it goes off, though this is quite labour intense work. I would like to understand better why this happens. Does someone know if it would be possible to avoid this? I have heard earlier that some ingredients also fired in the kiln might affect the porcelain colour. My reduction firing, was reduction from 950 to 1200 and fired till 1250. In about and around 15 hours. Any tips or information would be very welcome. As I would love to understand the reduction firing process better. Thank you so much!
  9. Thank you so much for all the helpful information!
  10. Hi, I would like to ask tips and tricks on finding in Japan a ready made, very plasticity porcelain body which is translucent and white white. I have searched several pottery website and finding Arita porcelain clay body and Kutani. I have no idea which one. Since I'm new here, I thought other people with more experience might have some tips for me. Also if you have any tips on what I should not miss in Japan, it is more then welcome. Thank you so much!
  11. Hello all, Am disappointed because i just opened the kiln and all my red stain work has become brown. I don't understand how this could be possible. I'm using the same clay, same temperature, same kiln, same stain. The only thing which came to my mind is that on the clay package was written that it was an improved recipe of the clay body. Could this be the cause for my red stain to turn brown, or could there be a different reason? Am very curious to your thoughts, thank you so much and happy new year!
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