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About moh

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  1. I'm working on a mug project that requires gradient style glazing. So opted for spray glazing but it turns out spraying a beautiful handle is pretty difficult! Would love any tips if you've figured out similar application method.
  2. I will leave my solution to this issue lest there be another potter out there pulling hairs. The biggest thing about gold luster is that it needs a lot of oxygen. That means propping the lid up good half way until 500 F is reached (you can close it completely at that point) In addition, all peeps should be taken out the entirety of the firing. These two details were what fixed the issue. Happy potting!
  3. @liambesaw It looks that way. I'll spray a few more layers and see if the thickness helps me. Thanks everyone for the 2 cents!
  4. This is a spray glazed mug with multiple layers for the gradient. This is my 4th iteration and this pitting started occurring, which I'm not sure why. Any ideas? The mug is thrown from a red clay body. This project requires bright glaze colors equivalent to when glazed over porcelain, so I've sprayed on white stoneware casting slip with a spray gun (2 coats, as thin as the sprayer needs it to be to spray). It fires white wherever it's been sprayed, but now have this strange localized pitting after glazing. The blue you see in the pitted area is the color of the first glaze layer. The previous iterations showed no such defects. One thing changed in this version is that the slip has been sprayed on instead of dipped into. Is the thinness of the slip coverage the culprit here? Anyone with experience of slip over red clay? Fired to ^5 electric, 15 min hold, medium speed
  5. Thanks everyone, and I've found the problem and solution! When I glaze smaller pieces I've usually done a single dip to cover both inside and out. This worked when my pots were thicker. But I've since thinned my walls, and the issue was being caused by too much water and too thin a wall for the water from the glaze to go. What I do now is -- glaze the interior, let it sit for a few minutes and then dip the outside separately. Haven't had a problem since changing to this method. I usually work in batches so the timing works out well.
  6. I've been facing this strange behavior of this particular clear glaze. It's not every firing, but some. And even in the same kiln firing, this doesn't happen in some and pretty badly in other pieces. Any ideas? Left is the strange one, right is ideal. No wax, no lotion, no dirty that's been sitting on it (pieces are all wiped clean before glazing).
  7. It's ok Ann! Thank you for the input.
  8. Hello! I'm looking to create a a DIY jolly/jigger setup that will see heavy use. I do not want to spend thousands on existing systems. Read some books on slipcasting and other high output production methods but I wasn't able to find exactly what I was looking for for j/j, I'd love advice on the following from folks who know the ins and outs!: 1. What book(s) would you recommend on learning how to create molds and the inner template for the j/j system? I bought the Donald Frith book at the recommendation in another post but I did not find anything on j/j. 2. I've read some not so good things about the Axner arm. Have you successfully made the arm from home depot/scrap yard at a budget? Would love guidance on this. 3. How thick should the walls and bottom of the mold be? Thank you!
  9. I've been curious about creating dinnerwares specifically for chefs/restaurants. Does anyone make a living in that niche? I'm specifically interested in: - What are some considerations that may not be immediately obvious and was a learning experience for you - How many different shapes do you carry? - 70%? 80% of retail? Thank you
  10. Anyone have a reliable shadow blue glaze recipe for cone 6? Seems to be much more popular as cone 10.. Thank you!
  11. @hitchmss - If you press your tiles, why does it even need to be compressed in numerous directions before the pressing? I'd assume when the clay is out of the bag you can just wire it and press? Thanks again everyone for the tips. Can't tell ya how it's good to hear there're solutions to the issues I've been having.
  12. Thanks everyone for the tips. What I've been doing -- if the tiles were to be 0.42" (3/8" once fired), start at 1.25" and work my way down in quarter increments, turning 90 degrees to ultimately end up at the 3/8". It's been hit and miss. Now that you mention the cordierite´╗┐ kiln shelves, I think it may be the issue with my kiln shelves. I'll start debugging there... Those advancers don't come cheap (!!) Note about glazes - my tiles are not glazed. I just sand the hell out of each one (bought a sandblaster for the purpose). @hitchmss -- did you build your own press? @min - I use grollegg porcelain, something that was recommended to me as a tile clay
  13. Hi all, I recently did couple of large trade shows and the overwhelming number of feedback received was about making my work into large tiles. 12", 18" squares. My work includes no undercuts, but very fine inlays that need mishima-ed. I purchased a electric slab roller for the purpose but am getting feedback that it makes the particles align in weird ways and I haven't been able to get it completely flat (tried the drywall sandwiching, no overhandling) With that said, I'm thinking to go the route of slipcasting to fill in the gap between where I'm now and where I will be when a RAM becomes financially viable. Any cons and pros about slipcasting tiles would be appreciated.
  14. I have 2 electric kilns just over 10 cubic ft each. They run all the time, I'm a full time potter.
  15. I'd try this: Roll out thick first with a rolling pin. It'll probably be uneven. Then Use dowels as leveling guides on both ends and use a very thick dowel (they have those 2" ones) as a rolling pin alternative. I've used this method and works well for me personally
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