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Everything posted by preeta

  1. Same issue here. Don’t know what apt2 is. Let me confirm something. You fired with Duncan Courtyard but you didn’t like how it turned out. So now you want to add some envisions details to add some interest to the surface. Btw I’m not sure what you mean by rough. I wonder underfire because even tho the courtyards are matte they shouldn’t be rough. Matte by itself is not shiny. Now here’s the thing about envision. Or actually any glaze. When you see a one colour test tile you are looking at what the colour looks like on a claybody. It will not look the same over your glaze. Many factors affect the end result that you still may not like. A transparent or translucent envisions will not look like the test tile, but it may make your pot look great or even worse. Without testing - going in blindly you never know. We have a microwave in our class, so I boil some hot water and that heats up the cup well enough for glaze to stick A warm surface helps . That is with dipping glazes tho. For brushing I either warm in my oven at home to the lowest temperature or at school in the test tile kiln kiln which hold heat betterv However since you said you were a newbie... my advice is spend more time making pots. If your form looks good then focus on surface. From my newbie days I have some terrible form cups with beautiful surfaces. I can’t stand them. And no I am not an expert. I’ve just started and don’t have many years under my belt.
  2. Aaah pizzuti- you are learning to fire. You’ve come to the right place . Lots of helpful souls on this board. Do you candle? What temperature do you candle at before you start ramping up the kiln? how dry is your ware? btw my thoughts on pugging came about from trying to figure out cracks on the bottom of a big flat bowl I had taken every throwing precaution with.
  3. Pizzuti that Amaco stuff works. Provided you have thin cracks. Big cracks don’t work. I know someone who used it successfully in a wood kiln. But thin cracks. A thin crack grows into a bigger one from bisque to glaze fire. Worse still the cracks are so thin you only discover them after glaze fire. I am totally with Babs. Why so many cracks. That will be key.
  4. Wow this is such a fascinating read. I learnt so much. First I always look at traditional ware. Clay lived right next to the origins of glass but the people never put them together. Neither did any other culture in a big way to my knowledge. However, here in the US I have read the traditional potters in the Carolinas used glass to fix/fill in the cracks of their handles. I have no idea what glass they used and how it held up. But I admire their ingenuity to fix problems. Carrying on in the glass tradition Mark Hewitt uses glass (wood fire) so ^12+ as decoration on the outside on functional ware. Again I have no clue what glass he uses (away from the lips/rim) but he does use very tiny amounts. I don’t know his process. I feel there is so much, so many areas to experiment in ceramics that while I was interested in glass - after my research decided to stay away. Also the Persians used fritware. That was powdered glass mixed in with clay I believe. Don’t quite know the details. Or let’s put it this way, I no longer recall. Or maybe they used glass mixed with clay on the surface to mimic porcelain? If anything Nancy, if I had access to real coloured glass I’d make murals out of them. In fact I actually have made murals out of my broken pottery shards and some tiles I made and presented them to friends with yards. Small ones. 18x24. 24x 36. Unfortunately I used those coloured pebbles from Michaels and that’s how I realized what glass was. Home Depot was my friend.
  5. Sima you are from the land of Giants. Iran/Persia is huge for pottery historically. It is where blue and white pottery started. It was the most famous centre for lustreware (I don’t think gold so much tho - my knowledge is spotty). i understand that ‘pop’ ceramics has taken over (sad story of the crafts) but I would say look around. I cant imagine no lustreware pottery where lustreware began. Write to university ceramic professors. Always keep looking at pots around you - possibly in high end boutiques - and find out the source of the pots. You come from the land of glass, metals and clay where they have influenced each other and continues to do it. You should be able to find someone - some clue. What you see now is not traditional pottery. Forms maybe. Not really surface. They are made for tourists and are heavily influenced by Turkey next door. Lustreware IS ONE of the traditional styles of pottery I believe originating in Iran. Makes sense since it was used by glass first and it was big in Iran. Looking at Iranian glassware actually got me interested in lustreware. Sadly mostly through books and one museum. Personally I am not a big fan of gold. It’s wonderful to hide flaws. Too common. However I can see it’s place especially with filigree work. Good luck with your endeavours
  6. Researching vinegar I came across a clayart thread. Oh my!!! There was fire and smoke everywhere. But I did learn a lot from that thread! It reminds me how much ceramics cannot be an exact science and thus no one perfect answer.
  7. WOW!!! this thread has so many fascinating facts and stories. yeah!!! Babs thanks so much for your guidance. just the thing i needed. Thankfully Ceramic Science for the Potter is now available for around $70 instead of $300. And i should go back to my copy of leach and remind myself to look in there too. Thanks for the link. i've read it but never thought about applying it to my situation. Tom I am still reading. With many open tabs to find definitions or descriptions. you are so funny. thank for pointing to the exact place. sadly while i was reading i totally forgot about my question and got involved in trying to understand inspite of knowing General Chemistry. Yappy 'helping' = learning since they dont teach much in a junior college (that's what's a 4 year school is for - which is why they no longer teach a class on the chemistry of Ceramics. they used to teach a materials class in chemistry.). But if a student is interested they go all the way. I have already been offered the position of assistant here after the present assistant moves on. All because I asked questions. You certainly proved nothing really is for free. Pres that's what i always do with my clay too. Recycle right away and age for a week or two or longer before i use it. though i've never thought of wedging and then aging. oh yes Babs i really do that. foot wedge on the floor and even throw bags of clay to soften as well as use the floor to stretch my slabs (i will admit the secret Voulkous in me comes down when students watch me with bated breadth - but nothing compared to my profs 30 inch pots that he smashes at the end of demos). no plastic bags?!!!! really? And now corn starch and vinegar. how fascinating.!!! but why does vinegar work? Floculant that attracts particles?
  8. Remember graphs? Maths? The x and y axis? How a point has both x and y coordinates even if they are 0. Same principle. A point in the air above you wheel has height and width.
  9. As a student I get two responses from my teachers and fellow students. Either strong dislike very openly or really like. Because I need to know the why - the science, the fundamentals. So I ask “too many questions”. So your explanations matter to me as It gives me a starting point to experiment. I live to experiment! In life I need to understand the fundamentals - which got me into a lot of trouble esp. in my teens because I questioned everyone and everything. i really want to understand the process of pugging not just how to pug well. So this thread is really helpful... Mea that’s why initially I am a measurer too - to understand. Mea aaaaaargh. Water. Soooooo frustrating for me.... sooo frustrating. I have visited many campuses and clay studios here in Sacto and no one - NONE - of the places practise your studios method of collecting water and reusing it. That is what I’d like to see, to me that makes perfect sense... but unfortunately this idea of Uber cleanliness persists. Even during the drought when the teachers tried to restrict the amount of water used. i have more questions but I gotta go now and will be back later.
  10. I have no idea about worth... but I recollect a few stories that have remained with me always... professional potters talking about how getting a free wheel from their high school art teacher really changed their lives. Even old kilns. I’ve heard many stories of generosity esp. from high school art teachers that have hugely impacted lives - not just of students but adults too. Not sure if you want to do that or will be allowed to do that...
  11. Wait what?! Lost?! What do you mean?
  12. so mea, you slake first? you get all your clay bone dry and then add water to it? and take the slaked clay and put it on the plaster? Tom 1. Leftovers of ^10 commercial clay. mainly one clay body (low iron content) but there is a bunch of other clays - black, brown, white, porcelain, with grog, without grog. Yup just as Mark said. 2. The first month and last month - the type of clay in the recycle bucket mostly recycled clay from recycled clay blend. about a month into classes the good stuff starts landing into the recycle bucket. 5 months of classes. here's the thing about wheel throwers. the philosophy of the studio is reuse the ball of clay as many times as you can. you wont see kids sitting with 10 balls of clay. you will see them sitting with 3 balls of clay, then rewedge the clay and throw again and again and again till they have used it all up in one sitting (this is not a wheel throwing focused curriculum. there are no wheel throwing classes. its just kids who want to throw on the wheel out of personal interest who do. all 10 wheels are used at every class apart from the first month of class. ) i have thrown with some of the clay balls the kids thrown. hardly any fine clay left. tear my hands - rough surface while throwing and trimming. so much grog. but they use the same clay for handbuilding and wheel throwing. But Mea here is the key. they mix the bone dry clay in the wet and pug. let it sit for a day or two and then pug again. then they wedge. i have helped with the wedging and usually the clay is very wet. just at the edge of being too wet. its wedged a lot to take the moisture out. so would it be a question of wetness?
  13. Right on! Way to go! Bwahaha! Now you have to pull 75 handles (evil laughter)!!! Or were you going to extrude them? did you wedge too? That is tough on my body and bending over for long periods of time without a break. Stopped and ate lunch?
  14. Unfortunately we don’t have space for preparing clay the proper way. Not for the matter the man power. But Tyler the wet clay is a mix of clumps and slip in the buckets they sit in. We have vertical space, not horizontal. Mark I keep saying one should put the bottom of the water bucket and the splash pan in the recycle bucket to replace what is lost. Instead I just see it trapped in the clay trap which we run from since it smells so when the trap is emptied. Mark the school bought the non vacuum pugger which was available when they bought it 16 or 17 years ago. I think the biggest vacuum puffer is smaller than the deaired one and therefore the school insisted on the deaired one. Just like they insisted on a downdraft gas kiln Because of fuel efficiency issue. Some years ago they also changed from ^10 to ^6. I guess we should pug/mix more often and then let it age. Usually the clay sits waiting for pugging mostly due to manpower issue. Since lubrication is key then too much pugging should not matter. At least it is mixing well. You have given me ideas I need to test to see if they work. The aim is lubricate. And collect the splash pan residue.
  15. We have a non vaccum Peter Pugger at School. i've just become involved with pugging clay. But first pugging is another word for mixing clay right? So even though this is a Peter Pugger all it really does is mix the clay right? so really this is just a mixer without wedging? To recycle we put in wet clay and pieces of dry clay. and then turn the machine on. the longer you pug the fluffier the clay gets. then the clay is put in bags and aged - at least a month. so here are my questions. first just to experiment i took some of the freshly pugged clay and threw a tall vase and a platter. As i shaping the moon jar shape, cracks developed and the jar collapsed. the platter did fine till it came out of the bisque kiln with big right across crack that went right through. mind you i had compressed and wedged the clay well. the pugged clay was so full of air that you had to. i wedged well on the table as well as the wheel and also compressed the bottom well too. i also made mugs with the same freshly pugged clay and really compressed both walls and bottom. no problem. so my questions are: why is the clay so short? about 60% of recycled clay is from handbuilding so straight from the bag (mostly and some recycled clay) and 40% wheel. should we be putting some additives in the pug mill to make up the small particles lost at the wheel? should we keep the clay overnight in the pugmill and again mix it in the next few days if not the very next day? is there something called too much pugging (without a vaccum de-airer) why do we age clay? what happens with aging. is it just about mixing so that there are no drier/harder clumps? to even out the wetness of the clay?
  16. That’s what you do in a semester? wow!!! I was barely making cereal bowls and 6 oz cups.
  17. Yikes! I’ve been cone 6ing (gas) some of my wood salt and gas soda pots just to test. I was lucky nothing stuck.
  18. Oh yes of course. Thanks for the heads up. Yeah I’d glaze the rim.
  19. Lin no wadding needed in gas kiln unless its a gas soda or gas salt kiln. did the celadon turn out ok? was it underfired? was it a cone 10+ firing? or you didnt like the colour? if it wasnt glossy or satiny you better put a glaze over it because i dont expect it to change. even if the glazing came out right (but not nice colour) not sure how just a cobalt wash would look at ^6 gas. the glaze would not melt. but would it get soft enough to take in the cobalt wash? i have no idea. woodfired pot - not sure what your definition of crust is. is it all over the pot or just a 'button' of crud in one area? when i think of crust - i think firebox, i think unmelted ash and therefore quite a lot of crud. i personally like that for my vases and sculptural pieces. not my cups (depending on how well i know the wood kiln and loaders - i go tall and narrow instead of flat and wide). in other words i make different wares for woodfire where crud does not matter or i try to live with it in the design. so for some woodfires i dont make bowls and instead make covered jars. that amount of crud i dont know how much would be changed by clear/translucent glaze. i refired as an experiment and did not like how much of the wood salt dramatic affect i lost. next time id rather have used the rough bowl as a key bowl rather than refire it and lose the look that i lost. well next time now that i know the kiln a little will be putting in a liner glaze inside. if u expect the crust to melt in ^6 - not gonna happen. not hot enough. with a lot of crud i dont know what you would do. clear or glaze will not take care of it. if it is a button of crud just try to knock it down and then sand it and then glaze and refire.
  20. oh thanks Roberta. I'll contact Adrienne on IG. I have a base white ts but i dont have mason stain recipes. ooh i am so excited. i just IGed another potter who has tried both, and he said he uses TS so he does not glaze the outside of his mugs. he lightly burnishes. i am going to try that myself. in a couple of weeks i am going to make some RedArt TS. and see if it turns shiny. or what happens. i saw another artist who uses pastel colours stretch her underglazes with TS. hmmm!!!
  21. how are you refiring them? Electric or soda again? if electric you wont need wadding anymore. reglaze? reglaze on bare clay that the salt/soda did not hit? then its not a problem. but if your ^10 glaze underfired then i am not sure how ^6 would react on them. the rough issues (if you didnt glaze your pot) are the places that didnt get salt or soda. i usually clear glaze them and put them in ^6 gas with no wadding. i lose some but they still come out pretty. i do not know the salt and soda kilns well enough to know where the salt and soda reaches. instead i've learnt to just glaze the inside of bowls. usually clear or a transparent glaze since i use slip and leave some bare clay.
  22. LT i've been meaning to play with RedArt to see if it turns into glaze since its a lowfire clay. ive played a little with oxide terra sigs when i didnt have much of an understanding of it at my previous school. but now i cant wait to get back to test. but i do remember how buttery it was compared to the rougher slip. thank you for bringing up the red terra sig. i hadnt thought about red terra sig. i do want to try the ancient greek method of how they reduced and then oxidized to keep the different colours of clay as decoration. i really like the idea of having it in certain parts of the pot to change the colour of the glaze somewhat. try it and see is my life's philosophy. and robin hopper was the guy who opened my eyes to the many options available. owe much gratitude to him. callie i have researched Greg Payce before (not for his surfaces but for his forms). that must have been interesting being around him. BTW i emailed all tlhe potters who used Terra Sig instead of slip and heard back from all of them. their answer? that's what they had around so they played with terra sig. some of them are now trying out slip and engobes. how simple is that. i had better access to slip than terra sig and therefore i used slip.
  23. i was surprised by how much people like handmade pots. pots that are still safe to eat, i put them in a box and set them outside my friends house in different parts of the city and they are gone overnight. i am in community college and i make a lot of pots. i see them as an experiment. i bring home some to use and try them out. then i give most of them away to fellow students (like Denice different tastes so intrigue me) and sell some at the student fare. the really bad ones i turn into planters, and some i do actually take a hammer to.
  24. Lately when I have been looking at pots online, i notice a lot of people using terra sig. instead of slip. not the traditional use of terra sig., but using it like a slip. they are mixing mason stains and getting bright colours with terra sig, not for clay inlay. i have to wait for school to start in two months time before i can test the difference. wondering if any of you have experimented with terra sig to cover a darker clay body or even just to add colour. i am curious why someone would choose terra sig. since its so much work to make. as compared to slip.
  25. gosh i wouldnt succeed if i didnt use the needle tool while trimming. i just use a little slip to fill in the hole. and while burning with a rib it closes the hole. i am ever grateful to the needle tool. it really helped me understand how thick my sides were. it taught my fingers to feel. i dont use it so much now. i used johnny's method to figure out the bottom.
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