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Everything posted by preeta

  1. Well. If one talks of functional ware... in a way yes... like paint ... depending on how old. Lead barium lithium
  2. No I wouldn’t chuck things. I would use it to learn. Pottery can be fired multiple times. Some sculptors depend on the feature. I could do the flinck with finger test to see if you hear thud (throw) or ping (glaze). However I don’t know what happens to repeated bisque. I’d love to know how your glaze fire worked. I would not trust your test tiles though. If your pots look like they are not taking glaze warm them in your oven or kiln at lowest temp and then glaze.
  3. Ooh doc. But it’s a great opportunity to try out different things. Been there done that. Hope no blowups! Guess what though. You just have to set your bisqueware outside to thoroughly heat up instead of using the oven or kiln before glazing. Yeah! We are going above a 100 today too. 105 exactly. Planning some cooking experiments using iron skillet and copper bottom pans.
  4. Oooh brilliant thinking LT. now I am going to try me some in a months time. Doc did you really mean you bisquesd to ^6 or was that a typo? i thought you made a mistake of ^6 bisque and were trying to fix it.
  5. Aah doc! Raised lines! Nope not with underglaze that I know of. I use Velvet U. Texturally they do stand out a bit on fired glaze but not too much The only way I get raised lines is by using porcelain slip on wet clay. No help to you unfortunately. Definitely LTs calcined clay should work. That’s the difference in schools slog for greenware and bisqueware. I would imagine testing is necessary. Do you have time for that?
  6. Succinct! Perfect. What makes the brittleness? Bloating? Glass... or all of the above? Yes or no succinct would be fine too. I’ll check out your article and reread your thread again. I’ve faced issues last fall since I read your thread.
  7. I don’t get it. I’ve read a lot online and digital fire but I still don’t get it! i understand the chemistry but how does it weaken? By bloating? Cracks? Crumbly breakup like Frank Matranga’s pot in the other thread? Black glass? in what way does black coring affect your pot. How is it bad? I like using red clay. And other clays rich in iron. In gas reduction ^6 ive broken pots to see but I don’t understand what to look at? Even the pictures on digital fire didn’t help. If I am to believe their illustration if the inside of the red turns black then it’s black coring. Is
  8. Does it have to be slip? Are you willing to try underglaze? it works both on ^6 raw glaze or fired glaze. On fired glaze underglaze does leave a slightly rough texture. Esp since you had a ^6 bisque.
  9. Cindy why do you want to know? Do you want to make to make pottery Franks style? Or as a collector you’d like to know. Thank you for asking this question. If you indeed are talking about Frank Matranga he’s a fascinating artist to learn about as well as a ceramic muralist. I was researching to get an idea (Southern California L A harbour Junior College 1961 for 20 years) and cant figure out if he bought clay or harvested clay. 1960s. A GI Bill potter who lived in Japan in the 70s. What would he do? Don’t know when bags of clay became a regular thing. What was happening wi
  10. Curious - why corn syrup? For its honey like texture or it’s chemical content? What does it do in spooze?Help with brushing on? wouldnt honey work too or thick sugar syrup. For that matter any thick syrup? Like middle eastern syrups to make cold drinks (I can see fruit based strips causing bacteria or mold - this smell) or the Torani flavoured syrup s we add in our coffee. I understand the cost factor!!! But in a bind I’d rather use some of my honey than run to the grocery store. Just wondering.
  11. Nancy here is a Tara Wilson video. It does not show exactly what you want but gives you an idea. I can’t remember if she shows the feet on part 1 or 2 . Maybe 2 I think. I love altering. I get mostly ideas from demos on YouTube. My favourite artists to watch are Martha Grover, Tara wilson and the Moravian pottery demo. There are a couple more but I can’t remember their names. I don’t exactly copy them but get ideas. why do you want to make a 4 footed cup? Instead of a tripod? fyi: I love this shape of Tara Wilson’s flask. I made variations of it in many sizes and
  12. I understand! I have two passions in life. Pottery and cooking. Because I don’t follow rules but create problems and try to solve them. The moment I know for certain I lose interest. In a way every pot/item I make is an experiment. Things don’t happen easily to me. I struggle but stay tenacious and then boom, like turning on a switch it all makes sense. Mind you tho’ my brain takes its sweet time to make the connection! i really appreciate all the discussions and digressions here because I learn so much!
  13. Oh P you ARE lucky because you are really learning how to fire the kiln. I wish I was in your shoes to really understand the philosophy of firing a kiln. I feel I am spoon fed here so have to create my own challenges. I didn’t read your reply to Rae so did not read about your squirrel cage fan stuff! Wow!
  14. P I am learning about gas firing at a community college. I am lucky. I have a teacher who has done a lot of different firings. So I use all my senses while figuring out reduction firing. Not just sight. But taste , smell and sound too. I use my senses to guess and then check the cones and electronic equipment to see if I am right. So if you can’t see the sound of the flames and bbq burning smell and taste tell me the kiln in reduction . Do you have air going into your kiln? An air line that you can control? How do you set your kiln into reduction? Do you have flues to close? Do y
  15. Tww why are you asking this question? do you plan to become a professional potter? Or a hobbyist making for friends and family? why 04? Because you want to lower your electric/gas bill? Or you only have access to a low fire kiln? Most studios normally do a cone 6 electric firing. Without you answering these questions I don’t know how to answer your question. There is a lot of great answers here. For fellow potters. Which can get overwhelming for those starting out. All I can say is perhaps the future is earthen ware. A lot of schools and potters are resea
  16. Some things to try. Instead of Oxide use dark glaze and wipe off. Will leave recesses shiny. You wont need wax resist. It would be redundant if you planned to do it the way you said. Try a translucent glaze on your logo and see how that looks. From your questions Tori I would say watch some videos on glazing on YouTube or check out a few books. All the questions you are asking we learnt in our first semester in ceramics class in junior college.
  17. Do you have to use glaze over the logo? Esp if you are glazing the rest a different colour. I’d try out a few test ones and see how they do. Try different oxides too. Personally I love copper unglazed. Lol same conversation at same time.
  18. P I researched your clay online last evening and I noticed it always talks about oxidation. While nowhere does it say “not for reduction” I find it’s lack of interesting. What is interesting is it doesn’t say anything either about reduction with speckled brownstone either. On the west coast we are spoiled by our claymakers. Most of the big common ones show both oxidation and reduction test tiles or have an advisory against reduction. Here a similar speckled clay body specifically says not to be reduction fired. I still tried it to see what happened and yes shouldn’t be reduced.
  19. I don’t have any answers - curious to read what others say - but I have more questions. Are you assuming the hot spots near the flue gets hotter by one cone? Next time I would put cones in the hot spot to see what the temperature difference already is. One cone difference I would imagine would not create the kind of vitrification you are describing even though it is on the inside of wares. is your glaze firing in oxidation? What is the state of the bricks inside? Or liner? propane or natural gas? Newbie to firing myself. Learning how to identify flame and pyrometer
  20. I’ve made tiles for a ceramic mural as well as used store bought already glaze fired bathroom tiles with underglaze on them.
  21. Darn Pizzuti you missed your calling. An archeologist or museum restorer (sound boring but I’d give anything to hold the really old pieces) or a famous kintsugi restorer in Japan.
  22. Stephen coming from a sculpture class background we were told piece have to be completely dry to stick things together. I’ve helped fellow students. Very hard to be exact However... ... from my limited pottery experience I would say your Molds are a gonner. Better to start from scratch. Could you shave/scrape the plaster down? ... writes the person who is doing a special summer project at school tomorrow- mold making project just because of the nicks and scratches. Though I would love to hear if any folks have better idea. A reason why I have seen local
  23. Can I use slabmat to cover a work table? would it withstand a junior college beating? I am trying to replace our canvas with a ‘non dust grabber’ material. I had to go look up slabmat as I had no idea what it was. Not sure if I want to hijack this thread, but do you think it might work? Or is it too fragile to handle rough use from students esp since this is more of a hand building focused school.
  24. Whew! Good!! its this we’ll see that keeps me going in ceramics. I secretly think my favourite thing about ceramics is all the myriad of problems I have to solve! And the even more fun part is actually predicting the problem and waiting to see it happens because then it proved your point.
  25. Nooooooooooooo! Don’t accept cracks as the norm. Unless you are going for cracks! do something to prevent cracks - change claybody, how you make wares, Firing cycle - something so that cracks is a thing of the past. In our school we candle at 200 for 48 hours to avoid blowups and cracks. Thick pieces could be .5 to 1 inch thick. I have been known to cook functional ware at the lowest setting in my home oven and had 6 pieces come out bone dry in 8 hours. Hand built. Winter. No rain. At a different school where kiln space was limited and the proff would only fire bone dry.
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