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Everything posted by preeta

  1. Nancy i agree. attend a few firings before you get a feel for what you want. everyone i've noticed does their firing differently. before going for a firing see if you can meet and talk to some of the people who have fired in the kiln. there is the book knowledge and then there is the actual experience. keep the book knowledge for yourself but go by any guidance (from solid sources) you get from the soda fires you will attend. forget how you want your wares to look. just do some testing intially. do some glazed, unglazed and slip look. i was all gungho in the beginning. until i actually took part in the firing i didnt understand it. i had lots of book knowledge.. just go and have fun. talk to the folks around you. actually sign up to help during the firing. you will learn so much from the people around you. look at their pots. trying nothing where they put things in the kiln (so help with loading) so you can understand what flames touching - got soda, too much soda, etc looks like. soda is my favourite firing. all my own favourite pots that i made came out of the soda kiln. bringle blue and yellow slips were my favourite with colour, flashing slips and honey lustre glaze (i think Pete Pinelle's recipe but not sure) . By the way the best way to approach this IMHO is to learn how to make work that will look the best in a soda fire. i've only done gas soda firing, not wood soda fire. ive dont wood salt and just wood firing and i make my wares different for both the fires. i put all my books away and stopped looking at others work and focused more on how other people's stuff came out of the kiln . you will be surprised how much work soda firings are and how HOT it can be esp. when you are not spraying in the cool of the night.
  2. Nah that should work. not after a week. a week is a long time. 150 to 190 degrees for maybe 6 to 8 hours. and then just be careful how you transport and pick up the ware. can easily create fine cracks at this time. though why convection oven. are you firing in a community kiln - or your own kiln? if your own kiln why not candle at 200 overnight and then start bisque. if community just find out if they candle overnight.
  3. extra water according to me creates more cracks esp. if both the items are really far apart with drying. there are some things that i learnt that saved me the surface cracks. - timing. i'd pull the handles, then trim my mugs, and then attach the handles. not more than 3 mugs at a time because i was using trimming to shape my mugs. - since i am heavy handed with water/slip i would put slip/water on one item - either the cup or handle not both. i'd score both. ~ for me the most important ~ turn the cups upside down, have all the handles facing in and cover and slow dry just for the night. give both the handles and cups a chance to reach similar wetness to bind well. however as i got better with understanding when to trim and how dry the handles should be i didnt need to dry if i was too impatient. however i do usually cover with plastic overnight. the way i attached handles and how i pulled handles when i was a beginner has changed considerably over time. one of the things that has improved is how much time i spend on the handle attachment. before i would spend a lot of time with a brush and tools. these days i press and two or three finger strokes on the top and same in the bottom and my handle attachments are done. i never use magic water. nor do i use slip. slip and score with water has worked really well for me. i do score really well (i lost my fear of scoring too deeply). my cups are treated quite roughly from toddlers and very helpful preschoolers. never had anything fall off.
  4. A couple of members here once fires. I think Oldlady is one of them. I tried the same G in our school test kiln. I was blown away by how different they turned out. I also noticed a difference in glaze outcome when test tiles were fired in test kiln vs regular kiln. I no longer use the test kiln for testing glazes.
  5. Oh what a shame! Are there any gas firers near you that you could share their kiln with? Gas 10 has so many beautiful glazes. Do you have a deadline?
  6. Wow Marcia. These are spectacular. So unusual. The blooms. Like flowers. If you fired them in your Raku kiln did you fire one sagar at a time? this is nothing like I’ve seen before. Seems like a contender for a CM cover.
  7. If you are a hobbyist potter why do you even need bats? For a rare thing here or there maybe. But generally one does not really need bats. I use bats for really large stuff , but never for little stuff. In fact I even learnt to not use a bat for plates.
  8. Well Cstovin, I’m sorry but the answer is not that simple. There isn’t one answer. The key is to try and then choose what works for you. All that you mention works. But you have to figure out what works for you. You can also use brush and underglaze. Or get type writer letters. Ive tried many different ways and find I like a variety depending on the message I’m writing. Ive even used just a ballpoint when the clay is the right consistency. Johnny wow that’s quite a tool. Reminds me of a fountain pen.
  9. Nancy how are the walls of your urns and mugs? Pretty even? If so then whatever centering you are doing is enough. Have you tried bowls yet? When the wheel was rotating did it not look centered but if you stopped the wheel your pot looked fine? Personally I feel centering is overrated. I sometimes feel throwing is nothing but a series of battles to keep the clay centered. The key is knowing what to do when you get uncentered or thick and thin. Thanks to the tricks I was taught by our local 84 year legend I am considered a magician at our local community college (where I do all my clay work) because my goners were brought back to life. Knowing the tricks has been far more helpful to me than centering. on instagram I was shocked to discover how many professional potters bowls were uncentered. The wobble made me cringe. Yet you wouldn’t know from the fired version. I follow many on Instagram whose work I like. Most of them have been so kind and generous to answer my questions. Some even changed their posting style. That was so helpful to me to understand for instance the difference in making for wood fire vs gas fire. I love traditional pots. But our local teachers have ‘been there done that’ so they’d rather teach me how to develop my eye than go over the process. The process answer I’ve found on Insta. I myself have had a long struggle with centering till I ignored it. It was not worth the worrying. It was making me anxious which made my body tense up which made me uncenter. What I did were series of shapes. From 1/2 pound to 12 pounds. Lots and lots of vases. That taught me more about how to control clay. I would say definitely seek any kind of educational opportunity you can find. Even if you just watch a series of demos with lectures from visiting artists. You will learn so much from observing and others questions. Have as many teachers you can. They all bring little tidbits that are soooo useful. the most wonderful thing about clay is it’s community nature. I also volunteer in class. Just helping beginners how to throw has made me better. I’ve learnt so much about glazing from looking at other student works.
  10. Shawnhar you work at a community studio and use their community glazes right? I would imagine someone is keeping an eye on the glazes. Are others having crawling issues too? Either way you can’t change the glaze by adding water. i would say the issue is you. Not being mean. I can relate to you. I was in your shoes at my JC. I was throwing thinner than the proff wanted me too. That has its downside. That means I had to figure out my rules. You can’t glaze in one day. If I used same glaze inside and out I’d dip once and then return the next day to do a real quick dip. I discovered the pot the next day would take in the next coat real easy. Say I did 3 glazes. One insider two coats. Two outside. I’d do the inside first. Next day do the outside. I’d do one coat. Wait. Till the glaze dried. Then second dip. I am a slow person. My glazing is slow. So I have to try other methods. 1. I no longer wipe with a wet sponge. I actually dip real quick in water. Wait 15 mins and then glaze. I do this to avoid crawling because I am slow. Wetting the pot meant it can’t be a sponge. Can’t hold too much glaze.et 2. Even if the proff says count to two alligator I count to one coz I know I am slow. I have some real cool crawled pots. They became planters or office supply holders. If I really wanted to use the crawled pot for food I’d usually refire after using a coat of clear. Glazing is still the hardest for me. Whenever I change studios I struggle the first few months. At my previous school we had a spray gun. I did well with that. I find it easier to spray than dip. But the same rules apply. Also another important issue. I planned out what glazes id use. So I wasn’t sitting and thinking. Then getting tired and glazing willy nilly. I already think of the glaze as I throw the pot. Oh one more thing I had forgotten. Throwing skills matter. Even walls matter. Uneven walls lead to crawling. Also in the beginning since my glazes were thick, I’d put on a mask and when the glazes were dry I’d take a little harder brush and brush over the glaze to take the extra glaze off.
  11. That is a personal choice. There are potters esp those who alter their mugs like leaving throwing lines inside (if not outside too for design) to show the cup was thrown on a wheel. But no there is no rule the inside should be smooth like a bowl. In fact potter like Adam Field stamps the inside of his porcelain mugs on the floor I prefer the bottom of my cup be smooth because I like my stirring spoon to be smooth. I have a long pointed steel rib that I have used to smooth the inside. I’ve also just used a sponge to get the extra slip inside the walls of the mug. Ive used a throwing stick just to try out and I noticed it does not leave marks. However I prefer the marks - if they are the right ones. Also when I throw tall things I throw in sections so I clean as I go. I don’t work from bottom to the very top. Once I finish the bottom inside wall I don’t revisit again.
  12. I have not found anything that will match the brilliance of gold lustre. Ive tried nail polish, acrylic and gold spray paint. Does not match the fullness and brilliance of gold lustre. They do well on their own but not next to gold lustre
  13. Congratulations Johnny. I’ll be looking forward to seeing your name on the screen and squeal I know him. Pyrometers depends on the type of Raku you do. For glaze fire just used visual cues. But for mica Raku and horsehair needed pyrometers. With mica the temperature was important and length of time of reduction otherwise the mica would lose or change its colour. It’s make up grade fine mica. Dave Hodapp a retired chemistry school teacher does a lot of mica Raku https://goo.gl/images/jh3q36 https://goo.gl/images/oxo2Du
  14. Rex I was once playing with a cracked surface. So I know even thin layer of slip will crack (if not fall off) on bone dry clay. Depending on the formulation as earlier pointed out engobe might not crack on bone dry. I have not tried engobe so I am not sure about it. Also check your underglazes. Will they allow on leather hard? I like most of my work done in the leatherhard stage. As bisque I like the option of another layer, some touch up. But my dark colours I prefer greenware so they don’t bleed into the clear or white (black can show blue) I’m excited for you. I love experimenting and getting to know my materials.
  15. I would make it out of one thrown piece. A bottomless big ring on a plastic bat. Then I’d turn it into an oval. I would then alter with the ribs on the side like the way bill van guilder alters his bowls. Let it be to stiffen a bit or until clay not tacky. Then I would push out the pillowy sections. I might even throw the cylinder to the sides to stretch a bit. The bottom is like Martha Grover. She has a few v. Helpful videos on YouTube. When you stretch you get the wavy form or you cut. And then attach the bottom. The decoration looks like slip trailing to me. Ooh Min I’m just seeing your reply. Yup on the rim. She is pushing down. Gabby if you are not good at throwing yet, don’t make a bottomless pot. They are really hard to do. Keep a bottom but make it very thin.
  16. Brian make some test pieces(it goes without saying eh?!). In my limited experience at our JC low fired tiles didn’t do very well (however we did not do China paint). The high fire did much better. Finish was better. We ended up using the low fire tiles in murals
  17. Doc do you want to get the marbling effect! Like Callie pointed out i watched the slip videos from Greek and some exUSSR countries. I think Robin Hopper shows a different one. I’ve only tried liquid on liquid with slip where I’ve gotten nice sharp lines. With clear glaze on top. At my previous JC I remember the prof. Constantly reminding us glazes don’t work the way acrylics do. You can’t mix white and red and get pink. I a.m. taking a guess that with the right consistency glaze trailing is possible. I use a hair dye bottle to trail with. I let the poring consistency air dry to slightly thicker. Wonder if you could also use sodium silicate or darvan to thicken glaze
  18. What are going to do with those painted and fired tiles? Countertop? Or a wall piece. Wonder if you can find out if they are high fire or low fire tiles. Ive used underglazes 04 glazes and even phototransfer with Oxide ink on them.
  19. Uhhhh Neil. I see your excitement so I assume you got your answer. but I don’t understand. Does this mean you are going to play with the COE till the extra thick 10% fits? In other words was Min’s COE of her bomb clear glaze set so that no matter how thick it always fits. Does her numbers help you figure out her COE. Learnt even more here.
  20. I make two rounds for test tiles for glaze I’m making from a recipe where I see just a test tile as reference. Round 1 - Typical thrown or slab built test tile (thanks to John Britt) quick check on expected characteristics. I keep using that design. Second round - Small bud vases and small bowls with different clay bodies. I keep these as my reference pieces esp for glazes where gravity plays a big part. They do occupy a lot of space but they give me so much more info. The best part, if I don’t want them and they are decent looking they make good gifts.
  21. So I just made a discovery! it doesn’t matter what the glaze is named as long as we have the right colours right?! here is a glaze recipe I just came across from a free CAD download. The glaze is eggshell pg 14 of https://ceramicartsnetwork.org/freebies/free-guides/33-tried-true-ceramic-glaze-recipes/ there is a picture but no explanation so I assume the pot only uses eggshell. I do see the RIO in there. i also love tea dust. Pg 12 there is a cone 10 tenmoku that works at cone 6 too. A Malmgren recipe of course. Which is hard to believe. Perhaps the surface in 6 won’t be that spectacular as a 10 surface!
  22. Ont where are from? East coast west coast or a non us country? Both sides have speckled claybody that you could use. At cone 6 I have not seen speckling caused by glaze, only from the claybody. Cone 10 I’ve seen a few glazes that gets its speckles from glaze additives. But that maybe due to my limited knowledge. Regarding mica (don’t know much about mica) but I do about ilmenite which gives the speckles in Speckled Buff Claybody from Laguna on the west coast. You need a certain grain size to be seen as speckles in the glaze. None of the stores where I live have coarse ilmenite. They have the fine powder. However I have used black sand (laying by a building site that they didn’t mind me having a couple of fistfuls) in my light clay body. Under a clear glaze I loved the peppered look. http://www.potters.org/subject12287.htm
  23. If you want WHITE then use porcelain casting slip that you can dip into right after trimming. Though if you really want WHITE Use a white underglaze. Nothing in my experience will get you white under clear like underglaze. You are not going to see too much difference with engobe. Under clear it does not retain that white. Neither does Dave’s or Tom’s porcelain under clear. But white underglaze under clear remains white. Why are you getting both? To experiment? So the slip/engobe will act as a canvas right? If you are using underglaze to draw and watercolour then the engobe/slip raw layer is fine. However if you use pencils I am not sure if you will like the quality of marks. I played with hard Oxide hard pastels in spring and I had to have a bisque surface underneath to get the kind of line quality I wanted. Otherwise the slip came off or wouldn’t record a line. I think of engobe sorta as a glaze. Use both on bisque and raw. But slip only on raw. If I use engobe on bisque I like to fire it to 04 before glazing as I have not liked the way raw engobe looks under glaze.
  24. Well you know there is a potter Sunshine Cobb who sand blasts her pieces to get the finish she likes. You are entering the world of multifires. As an experiment anything is possible. Most people just use another glaze on top. Just as long as you consider that your already glaze fired piece will never hold glaze the way a bisque piece would. Take pictures. make Notes. I am assuming you are talking about a pot and not an intricate sculpture. If you didn’t spend too much time doing intricate work, why not hold on to the piece and make another one. Then come back later and see how you feel. Do you still dislike it.
  25. Thanks guys. This is the easy part. I can do a globular moon jar shape. Its the oblong seed jar shape I need help with. Which part is pulled out first to avoid collapse. The bottom or top? i haven’t had time at the wheel to experiment myself.
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