preeta reacted to neilestrick in Removing Unwanted Wax Resist
I have tried a half dozen different methods of removing wax, and the only one that I have ever been satisfied with is burning it off in the kiln. Every other method has left a noticeable spot. Wax will start burning off at around 500F degrees, but I would go up to 800F or more to be sure.
preeta reacted to Min in Defloculated slip
Epsom salts work as a flocculant so what’s happening is it’s making the slip look thicker but it’s not changing the ratio of solids to water in the slip. To make a thickened slip for trailing or raised slip decoration you need a slip that is low in water content so it doesn't crack or flatten out while drying.
Darvan is a deflocculant, as is sodium silicate (which is usually used in combination with soda ash). Adding a deflocculant will make the slip “thinner” and more watery looking so you then can add dry claybody to thicken it up.
Add some Darvan to the slip so you can increase the clay content in the slip without increasing the water content. You just need a tiny bit of Darvan, depending on the amount of slip you have, for a cup of slip a few drops up to 1/4 teaspoon of Darvan should be enough. Give the slip a stir after adding the Darvan and the slip will go "thin" and watery looking. Now add as much powdered dry claybody as you need to get it to the thickness you want.
Darvan causes the clay particles to repel each other so even though you haven’t added any more water the slip will be “thinner”. With epsom salts the opposite happens, the clay particles are attracted to each other therefore the slip will thicken. You can use sodium silicate plus soda ash in place of Darvan. (same principle for using a flocculant or deflocculant in glazes)
preeta got a reaction from Rae Reich in painting with color - stain or pigment
oooh so now i have questions. (sorry but i dont understand exactly what wares you are talking about? gradations of colour? kinda the feather pot bill posted above?) Because i am really interested in gradations of colour. 1 colour. how do you get that? do you further thin the glaze stain mixture to get different shades?
Right now I am playing with Oxides. i make a base 50% oxide and 50% GB base. then i thin that base out like chinese ink painting so i can get gradations of colour. i wonder if i could do the same with Mason stains .
Basically Mason stains are a mix of various oxides right? because pigment basically is some sort of oxide (i mean some sort of precious stone chemical form). if they are from clay they burn out. but if they are rock based pigment or created in a lab, then they usually can withstand high temperature.
I am going to try your way as i have a few stains available to me at school. because i am so confused. why is mixing the stain with glaze so big. is it easier to move with glaze? ive used the 50% mix to paint on bisque and then covered in clear. on vertical faces the design does run a bit. (an effect i discovered by accident some people love). other than that i have faced no issues. ( i have had issues with black underglaze with too much clear which lead to leaking of blue).
Old lady i had to take a materials class to understand medium.
preeta reacted to neilestrick in Cracks in greenware
If the crack goes from the edge of the rim inward toward the middle, you need to compress the lip better after you stretch it out, or it's also possible that it's cracking during trimming, from pressure on a rim that's not totally even and flat. If that's the case, trim it on a clay ring that supports it more toward the center of the platter rather than the lip.
preeta reacted to Babs in Liquid latex resist
I have found if wash foam prior to starting in detergent laden water...sometimes I squirt dishwadhing ,thick stuff , liquid straight onto foam or brush..work in then squeeze out excess.
load with latex, do the jobs required then wash immediately afterwards in soapy water and dry.
I do the same with liquid wax
preeta reacted to Mark C. in Help Needed with Glaze Recipe - MarieP
Yes I can share that with you-I'm on a break from production trhis week so it will be am little while-I'm in the beging stages of my last remodel -our bedroom-last room in house that needs some love.I'll check thry my glaze book soon for you-
Any way -i'm still a full time potter and I never want to forget about it-its only been a 45 year career so I have time to reinvent myself and practice Yoga full time someday(kidding about that)
gerstly borate is still around -I bought a ton when it was rummored it was going away-Laguna still has some -If they rum out I can send you some-I gave two 50# bags away last week.I'm swimming in it. I only use it in a few glazes as its really for melting at lower temps. I never switched to oxidation atmospheres as I like the unknown nature of different results.Never went to cone 6-gave up raku ,pit firinmg ,dung firing and pinch pots and wet the other way as a porcelain potter making a line of work that folks use everyday for live. Its been a good road to follow with no regrets-The only one is maybe if I could live until 100 I could really figure ceramics out a little better.
preeta got a reaction from JohnnyK in Gratitude and thanks
Nancy I can so relate to you. I wrote a similar post a couple of years ago because I learnt so much from here despite being in a community college ceramics class.
It's not just technical knowledge but I learnt so much about being an artist. And a machine who loves repetition.
Welcome to the wonderful tribe here.
preeta got a reaction from Callie Beller Diesel in wedging
Kristina this is the kind of question that will get you many answers, none of which is wrong.
Are you a baker? Bake a lot?
Wedging is not just about hands on clay mixing. its also about height of wedging area, your own body stance, AND unlearning other methods of kneading.
I would try without wedging and see how you do. I’ve tried to not wedge, but when i touch the clay i feel its wrong not to wedge. It’s a head thing that i cant get out of. I think its because i really love the process of touching clay and deal with the rest to finish the product so I take every opportunity to touch clay.
Plus i’ve been brought up by old school potters who talk so much about wedging ‘waking’ up the clay. Their words live within me that i cant shake of.
preeta got a reaction from Babs in writing a glaze book
Woah! That's a big can of worms.
Here's my advice.
1. Check out some glaze books printed in the last 10 years. To see all the different thoughts that went into it.
2. Find a potter near you. Someone who has wood-fired, gas fired and electric fired and more. Someone who is still selling wares or teaching.
Have this conversation with them.
I am not familiar with LB. I really appreciate your generosity. I really do. There are lots of ingredients that have been taken out of glazes in the last 20 or so years. The future generation might even consider what we use a danger.
You need a partner. Without being in the ceramic world you need some help. Or at least a consultation.
preeta got a reaction from Babs in Wheel trimming a Pinch Pot
Curious why you would like to trim a pinch pot on the wheel?
To make if look wheel thrown?
My pinch pots are lumpy. I would never trim them on a wheel. How would I treat each lumpy area.
For me I'd rather make a slab bowl on a mold. No trimming.
I love pinch pot bowls. I love the gnarly feel on them (Tho I must admit I love gnarly. In fact I miss my old self. The beginning student bowls and cylinders. They had a natural movement that I have to now fake, but alas it's never like my beginning student work) I must also admit I love traditional pottery more than modern. I love buying other potters clean lines, but myself making its boring.
I have actually wheel thrown a basic bowl to help with time and then trimmed it by pinching.
preeta reacted to Rae Reich in Best ceramic apron/smock?
Obviously, that wheel will have to be reinvented for each of our individual needs. Maybe check out the catalogs of uniform supply companies to see what's available and appealing. I throw pretty dry, so my legs don't need protection, but I still wear my decommissioned lightweight work jackets we wore at the Pottery Shack - 3/4 sleeves, crotch length, button front, two pockets, loose fit. More pockets usually means hunting more places. Although I don't usually wear polyester, these jackets wash beautifully and wear like iron. Mine were used when I got them in 1979! I also wear them for outdoor work like gardening and painting. As soon as I put one on, I feel ready to work.
preeta reacted to jrgpots in Engobe And Glaze
I really like the look you have achieved. I have never been a fan of solid white backgrounds. Your background reminds me on a skiff of snow. A thicker application would fully opacify the background. What you have now is more interesting in my opinion.
preeta reacted to Joseph Fireborn in are there any green food safe glazes
What do you mean you have no idea where to start?
1. Decide what cone you're firing.
2. Find a base glaze recipe that takes colorants and stains well at that cone.
3. Test this base on your clay body for durability and satisfaction.
4. Start doing color blends with various colorants and stains for the color you need.
5. Scale up the test results to the pots you are wanting to use those glazes on.
6. Fire multiple tests and increase batch glaze size along with the test sizes.
7. Glaze all your pots in the final version of the glaze that you decided on and tested thoroughly.
preeta reacted to GEP in are there any green food safe glazes
Please provide your firing temperature, and also whether you are firing oxidation or reduction. There are plenty of food safe green glazes.
There’s another aspect of learning here, which is to never take commercial orders for pots you don’t know how to make yet. It might take a while before you work out all the technical details, and the final product might not be what the customer had in mind. There are too many variables in ceramics to agree on details that were only discussed verbally, without an actual sample in hand. The word “green” alone can mean so many things!