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  1. Like
    preeta reacted to Chris Campbell in Using Slip Soaked Yarn   
    Can you post some images of the look you are aiming for?
    I have done this process with yarn, string and lace with porcelain and regular clay. The results are fragile by nature since you are burning away the interior support system and leaving a hollow tube.
    One way it is more successful is if you soak the string or yarn in slip then lay it on the surface of a pot as decoration. Multiple layers of slip sometimes result in a loss of definition ... you lose the pattern you wanted to see under the smooth surface of slip.
  2. Like
    preeta got a reaction from D.M.Ernst in Speckled Glazes   
    dani what cone are you looking for? ^6 or higher? or lower?
    in my limited experience i have not really seen many speckled white ^6 glazes. i havent seen them in the studio, neither at ceramic shows. 
    ^10 i have come across quite a range of them. in all sorts of white. cool whites. warm whites. not just at studios but also people selling gas fired ware.
    i agree with Neil. I really enjoy playing with speckled clay and then using slip and transparent glaze; and also two coats of white glaze. 
  3. Like
    preeta reacted to Marcia Selsor in Shinos   
    I'll need to be on the heavy side for clays. Also thinking of using burnt umber wash as a source for iron. I have some barnard here also. So far, in what I have read in the Golden Shino 53 page article pdf.
    Wirt experiments splitting the clays and the feldspars and adding a dash of soda ash sound intriguing. because this is for ^12 and a wood firing, using a more matt with higher clay content version of the base seems necessary. I also have Crocus martis and 3 types of red iron, some black iron, some Apache clay remains from terra sig. Can't experiment too wildly because it isn't my kiln. Must proceed carefully.Very excited. Good Spring project.On top of preparing for a show and demo in Nye when a friend' s seasonal gallery opens. I am in heaven being here. And I have a clay supplier in town. Have visited 3 times so far. Mixed clay on a nice day wheeling my Soldner mixer into the sunshine. Warming up again this week.
    My little chem lab:


  4. Like
    preeta reacted to neilestrick in Speckled Glazes   
    You could try a granular manganese or iron, but they may bleed out and/or discolor the white. It would be easier to use a speckled clay body with any white glaze.
  5. Like
    preeta reacted to GEP in Need A White Matte Commercial Glaze Suggestion.   
    I think I've seen a video of you doing this wax/inlay technique on instagram. Refresh my memory, did you sponge off the excess white slip while it was still pretty wet? If so, that means your white slip has much more drying/shrinking to do than the dark pot. This would explain why it dries with pinholes. Most inlay demos that I've see involve scraping away the excess white slip when both clays are leatherhard, and have the same amount of shrinkage ahead of them. Also, scraping will compress both clays, while sponging will loosen up the slip even more.
    Another suggestion would be to use a smaller tool and carve your designs with thinner lines. Less volume of white slip means the mismatch of shrinkage won't matter as much.
  6. Like
    preeta reacted to Min in Need A White Matte Commercial Glaze Suggestion.   
    This goes from low fire to cone 10, the original recipe has bentonite in it, I replaced that with macaloid (and rebalanced). Works on greenware and bisque and is very white. Haven't tried doing what you are with wiping it down but I have used it on bisque with no problems on both red and white clay. If you want it even whiter you can add some zircopax to it but it's very white as is.
    fish sauce slip (altered) 
     Minspar 200              27.50
     Grolleg Kaolin           40.80
     Pyrophyllite               8.30
     Silica                        17.00
     macaloid                   6.30
    fish sauce slip original 
     Minspar 200              23.50
     Grolleg Kaolin           43.60
     Pyrophyllite                 7.80
     Bentonite                    9.50
     Silica                         15.60
    edit: if you want to try this without going out and buying all the ingredients I can mail you a bit of the dry mix. pm me your address if you would like to.
  7. Like
    preeta reacted to Marcia Selsor in Silica Dust Exposure   
    Clean studio practices is the best way to avoid silica dust. Sweep wearing a mask and do that at the end of the workday. then leave. Dust particles can remain airborne for 3 hours. Good idea not to stir up dust and hang around.
  8. Like
    preeta reacted to oldlady in Plates - Slump & Hump   
    oh, yappy, you are bordering on a HUGE difference of opinions.  fortunately, this group of potters and pottery lovers is diverse enough to absorb the shock.  
    there  are places i cannot go anymore.  the attitude of the owners is that everything is beautiful.  well, yes, that is true.  BUT when someone wants to learn a skill, it should be treated as a journey from no skill to something approaching much better.  not just "well, you can always use it to hold nuts".
  9. Like
    preeta reacted to Joseph Fireborn in Plates - Slump & Hump   
    I will report back here on how the bat process goes, along with the plates when I finish them then. 
  10. Like
    preeta reacted to Pres in Finally Did It, Small But Done   
    I agree with Neil, but at the same time, the type of experimenting that you did here probably taught you a few things about manipulating the clay. At the same time, if you had wanted a bottom for the center dish that was higher than the outer dish, you have one approach. The other as Neil had said could be done by choking in the central form for a single piece thrown chalice approach.
  11. Like
    preeta got a reaction from Sheryl Leigh in Why Didn't Someone Tell Me About Paperclay!?!   
    a plug for our local paperclay artist who does NOT work exclusively in paper. but uses the qualities of paper clay to its fullest. 
  12. Like
    preeta reacted to High Bridge Pottery in A Couple Of Odd Things That Occured In My Bisque Firing   
    Why is the rim shiny?
  13. Like
    preeta got a reaction from Roberta12 in Spraying Greenware With Water To Rehydrate, Then Applying Slip?   
    i always apply slip to greenware after trimming. 
    i have extensively played with slip. and how to wet a pot. in fact i must say proudly i have learnt quite a bit about wetting a pot.
    if your pots are pretty dry leatherhard - misting really doesnt do anything. it just gets teh surface wet. as neil pointed out you dont need to do that. 
    however i love slip on bone dry pots. the slip cracks. i apply thick slip so the cracks stick. i manhandle my pot by spraying inside and outside if i see the slip peeling off.
    if my pot has become too dry i wrap a wet towel around the pot and then in 10/15 mins its wet enough to apply slip and have a smooth layer. this is 'dangerous' and if you dont know what you are doing you could lose a pot. but i have lost a few pots to now know how to wet them. i broke all the rules i was asked to follow. 
    however these are not the answers. i would make small pots and test, test, test. you'll learn sooooo much from that. i have had many failed pots. but when i get a winner its a wow winner. however i consider all my failed pots my true winners because they taught me a lot. i find i remember answers better through my mistakes than i do when someone just tells me. 
    if you look on youtube and want to marble slip on your pot, i have discovered i really need to do that right after throwing. otherwise the pot gets too dry for the slip to flow easily.
  14. Like
    preeta reacted to Chilly in Glazing   
    +1 to everything above, especially the bits about test tiles not being like real pots.
    Test pots, tiny mugs, bud vases need to be the next step after test tiles.  Or make test tiles that have both horizontal and vertical surfaces, and texture.  But hey, why not make something useful, in case you get a stunner.
  15. Like
    preeta reacted to Min in S-Crack   
    Dick White: "As for the slabs sliced off a new cube of clay, that is because the clay blocks were produced by a monster pugmill with a square outlet. The screw auger pushes the clay out the square outlet in a fat square lug, and then the machine chops it off into neat tidy cubes (or rectangular blocks depending on the brand) and into the bag. However, the auger is creating a spiral pressure ring inside the clay as it comes out. You probably won't notice it when you cut off a chunk for your work, and the wedging process will alleviate it anyway. But if you just slice off a side, those compression rings will do crazy things as the clay dries and fires. If you want to see this more clearly, let a new bag of clay sit outside for the winter through a few freeze-thaw cycles, and then bring it inside to warm up. Slice off some slabs the same is you did before, and watch the slabs come apart like onion rings. The freeze-thaws moved the water content according to the compression rings."
    I've had exactly that onion ring layering happen to about 20 boxes of clay, really does delaminate into slabs doesn't it?
    When I got my pugger I cut off a dozen or so 1/2" - 2" slices straight from the pugger and just laid them out to dry to see how many got S cracks.  I think it was about 1/4 of them did. Maybe some studio size puggers don't have a problem with unwedged or coned clay being thrown straight from the pugger with the pug soup can style on end but doesn't work for me. (Bailey de-airing) Commercial pugged and boxed clay definitely does the same thing but just on a larger scaled size and on a different plane, depending on how pugs are cut.
    I think the pics in this article illustrate beautifully  what you are talking about in your fourth paragraph.
  16. Like
    preeta got a reaction from Chris Campbell in A Variety Of Ways To Throw Colored Clay   
    aaah chris the traditional chinese inlay technique is looking wonderful in your hands. i love the intentionality of it. i remember i was blown away by a chinese vase form where the inlaid pot had tree rings. 
    you inspire me again to try another technique. the thick black slip is a brilliant idea. 
    thank you joseph for doing the digging around so we could all see the article and learn how. 
  17. Like
    preeta reacted to Magnolia Mud Research in Number Of Firings   
    I would aim to have the bisque and crater glaze fired at the same temperature, say bisque to cone 05.  Then you could fire the crater glazed items along with the bisque items. 
    I also would try firing the crater glaze on a test object to cone 6 and see what happens. 
  18. Like
    preeta reacted to Callie Beller Diesel in Number Of Firings   
    Another soloution would be to find a crater glaze that works at cone 6. Or switch to an earthenware that matures at cone 04, and find a clear that works at that temp, too. I find the binders in commercial underglazes resist glaze application unless fired to bisque temps first, and if it were me, I'd be reluctant to eliminate the bisque. And your pot will weep if it's only fired to bisque temperatures and it says it matures at cone 6.
  19. Like
    preeta reacted to bciskepottery in What Exactly Is Shino   
    Forget about Wikipedia . . . start here: https://euancraig.blogspot.com/2009/03/principles-of-shino.html
    There are the Japanese shinos . . . very traditional. And, there are American shinos . . . very different, google for Malcolm Davis to see his work on carbon-trapping shinos. You can spend a lifetime in pursuit of shino, google Hank Murrow. Same differences as Japanese raku and American raku.
    What is offered in stores in pre-mixed containers of all the rainbow's colors are not shinos. Same for their celadons. They are just nice (mostly) looking glazes that have the apparent look of the originals.
  20. Like
    preeta reacted to Magnolia Mud Research in Slip Inlay On Groggy Body   
    I suggest that you apply several thin layers of grog-free white clay body over the leather hard stoneware; and after the sheen is gone from the slip, compress the slip layers with a roller or soft rib.  This will provide a grog-free surface to carve on. The compressing step forces the slip to bind tightly to the stoneware and reduces the tendency to form surface cracks when drying, especially if you use a porcelain slip. 
    Think of the slip layer as a 'gesso' for a clay canvas.
    The technique works great for pet headstones with crisply carved decorations and lettering on a sturdy body. 
  21. Like
    preeta reacted to Callie Beller Diesel in Slip Inlay On Groggy Body   
    Many people are fist coating the piece with wax resist (while leather hard) and then carving into it. You then lay down the black slip or underglaze, and let it set up overnight before wiping it down with a sponge. If there's any haze after bisquing, it can be taken care of with some sandpaper (with proper respiratory protection worn, of course). It's called wax Mishima, and it gets you a nice, thin, crisp line.
    I've also seen the scraping on the technique Marcia describes done with one of those Do All trimming tools.
    Why are you trying to avoid the wax resist?
  22. Like
    preeta reacted to bciskepottery in Resist Over Glaze?   
    Only if you are into séances.
  23. Like
    preeta reacted to Marcia Selsor in Resist Over Glaze?   
    Ask Hamada. He did it for years.
    Also see Daphne Hatcher's work
  24. Like
    preeta reacted to Mark C. in Really Pushing It And Not Having Problems   
    You have to push to find the limits-once you realize what you can do with the particular clay body  you use and climate you live in and firing cycle you are doing you can find many of the preconceived ideas do not hold water anymore. I will add at some point you will find the wall and have to back down the speed-weather drying handling or firing or cooling .
    I think most in ceramics baby the work but they can afford to as its not a living. We you find the limits are not where you thought  and you will move into another level of production and realize what may be possible .This also applies to other processes as well.
    Just when you have it figured out is when the c ceramic gods step in and crush you with a ruined load or bad glaze or bad clay or 10,000 other issues that go sideways-it the nature of ceramics.
  25. Like
    preeta reacted to neilestrick in Really Pushing It And Not Having Problems   
    You can get away with a lot with small, thin pieces like mugs. Plates, platters, large bowls, lidded jars, etc, all absorb heat and cool down differently, so you may run into problems there. I usually open my kilns at 300F, often bisque fire on 'Fast Glaze' (4.5 hours), and put just pulled handles into the kiln for fast drying, and that's all with porcelain. The problem is not the speed at which things happen, it's the evenness at which things happen. I can't dry out just trimmed oil bottles in the kiln because they will S crack, because with closed forms the inside can't dry as quickly as the outside. I won't bisque fire a stack of plates on 'Fast Glaze' because some will crack since the middle of the stack won't heat as quickly as the edges. I won't fast glaze or fast cool a 15 pound lidded jar because it's thicker than a little mug and won't heat or cool as evenly. I'ts good to know that you can push some things when you need to, though.
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