Hulk

Hi Fiona, Welcome to the Forum! For colours, there may be some choices that are less expensive? If making up your own slip from clays*, red, brown/buff and white are common colors. Underglazes provide a somewhat inexpensive way to get a lot of color; they don't go on the same way slips do, but they do have their uses... Stains may provide a way to add a few colors to your slip palette. The per pound prices I'm seeing are $12-18 (US dollars). At ceramic temperatures, metals persist and provide coloring. Blue/Cobalt is expensive (but it's come down a lot). Green/Copper is more reasonable. Maybe start with just a few colours? Paints typically have some titanium dioxide powder, which provide most of the paints' covering/hiding ability, and perhaps some metal oxide(s) for color. It's all the other stuff, a lot of which will burn away in the kiln, likely including some of the dies that provide color that I'd hesitate over. The resultant smoke and fumes from burning paints/inks are enough to advise against; how the materials influence the slips' behaviors could be of concern as well. *I blend bits of clay with water using a blender. It takes a while, but it works to get a smooth consistency. Then I run the slip through a sieve to remove sand/grog. I sometimes use red slip to decorate white and brown ware. I brush, dab, et cetera the slip on when the ware is still damp - right after trimming. The moisture softens the ware - timing and care can be important! After the ware dries some, carving is an option. Hope that helps!

Good question! Does the sitter include a countdown timer? If so, imo it's a good backup - in case I fell asleep or somewhat - the kiln would shut down when the time's up. I used to set it to about half hour longer than projected firing time, and then adjust from there. The button on mine, I could push it to the "on" position whether the drop weight was set or not (as long as the timer was set to greater than zero minutes). Are you able to set the on button? I'd do that if the cone/bar melted and the drop switch actuated when I wanted a little more heat, a drop and hold, and/or a controlled cool.

FreeVee via Amazon I'm not remembering if that's how we watched it...

Article from yesterday's NYTimes: Doyle Layne’s Dazzling ‘Weed Pots’ at Kordansky Gallery - The New York Times (nytimes.com) I'm curious why the Times hasn't enabled commenting on this article? There's an article in one of year afore last's Ceramic Monthly mags (JAN-21): Doyle Lane: Weed Pots (ceramicartsnetwork.org) The Times ran a different article a few years ago... Adding a New Name to the Canon in Clay: Doyle Lane - The New York Times (nytimes.com) This one has comments, which can be interesting...

Glaze calc software may be helpful*! There are Forum regulars using Insight, and also Hyperglaze. I'm using Hesselberth's GlazeMaster. Glazy's interface has some interesting features. Any road, in GlazeMaster I can tweak the ingredient percentages, then note the oxide percentages/ratios in Unity, Weight, and Mole, and compare against several "limit" sets. To start, I added twelve percent Petalite, then adjusted the other ingredients to get close to the original Unity amounts of the other oxides... Just .133 (Unity) of lithium cleared up my liner glaze crazing problem; to get that .133 takes 18.9% Petalite! I also reduced the Sodium and Potassium, upped Magnesium Oxide (talc), and added some Zircopax... My guess, it would be difficult to balance a glaze recipe that requires a much higher amount of lithium (over a percent, by weight), using Petalite as a source. Looks like I could bump the lithium up quite a bit in my liner glaze, as the current recipe has almost 25% Silica and 19% EPK, however, I don't need to. Any road II, Petalite works for me. At the time, the cost per unit Lithium was less than using Spodumene as a source, and I very much wanted to avoid any soapy bubbling problems. Also at the time, I'd read up on Lithium toxicity, solubility, et cetera. A very small amount of Lithium can make a big difference, my experience. *..of course, afore there were software options, glaze calc was done longhand; it's certainly doable! I gave it a try when trying to understand Unity, then, having been through a few calcs, was happy to then leave the maths details to the software.

Have you seen The Colour Room movie? "It is based on the life of 1920s/30s ceramic artist Clarice Cliff.." I enjoyed it, for a lot of reasons. The reviews I've looked at make some valid critical points, yes. I still like it.

Interesting, thanks for the detail. Check back, you may get more input!

Interesting questions! To try for +/- twenty thousandths (a fiftieth of an inch), perhaps taking off the last little bit after the final fire - for unglazed ware - would be an option? Then the additional shrinkage wouldn't be a factor. I'm curious what you're making. Where two (or more) parts have to fit together, one can get fairly close by measuring the pieces when they are in the same state, where it helps that the pieces are about the same thickness, have similar curves, were worked similarly, there's more than one each to pick from, and there's experience, specific trials, and notes to draw upon. Fitting together may be a simpler problem that meeting your dimension spec. As for thickness, too thick can happen quickly. Getting the ware to dry well - evenly - without cracking, distortion, and then firing so the thick bits are bisqued all the way through, again, without defect, may be challenging. I'd suggest adding only the amount necessary to allow for grinding to spec. Any road, given everything is repeatable, you might be able to get close.

Hi Max, Welcome to the Forum! Had the same question, a few years ago; my recollection is the pottery plaster is stronger, less prone to chipping/breakdown, and absorbs water better. I went with pottery plaster. Perhaps you can find a supplier (no doubt there are many in the Chicago area), then pick up a bag - save on shipping! There's some discussion in existing threads*: Reclaim Tray / Pottery Plaster or Plaster of Paris? - Studio Operations and Making Work - Ceramic Arts Daily Community Can Dead Plaster Be Revived? (Call The Paramedics!) - Studio Operations and Making Work - Ceramic Arts Daily Community when will it dry off plaster bat? - Studio Operations and Making Work - Ceramic Arts Daily Community *There's more. Note, the integrated search only returns open threads. Threads are auto-closed when over two years have passed without edit/addition. To cast a wider net, use an external search engine (e.g. Google) and include community.ceramicartsdaily in your search string...

GovDeals.com has a Brent B listed (Dayton, Ohio); same lister has a small slab roller as well. If nothing else, GovDeals.com is something to check out periodically; the listings come and go. See also local Craigslist, FB Marketplace, any potters' supply places nearby...

Depending on how one's wax resist behaves, try brushing on wax resist after the stenciled material has dried some, afore pulling the tape, voilà! ...in the case one doesn't want the next layer to cover the pattern.

Brushed underglaze and brushed glaze using tape mask Transparent red glaze under transparent blue glaze, left. Royal Blue Speedball under transparent red glaze, right. Pulling the tape where the tape's edge makes a clean cut, as Bill mentioned, helps, also, peeling the tape when the brushed material still has some moisture in it (little bit!) can help, in case the build up is prone to cracking at all. Also much less dust when there's still some moisture in there... Here, the tape and brushed underglaze was done after bisque fire. It helps to have a clean surface - no dust - and smooth is better; burnished clay can make for a clean line. Put the tape down and press the edge firmly - lock it down with your fingernail*. This was cut strips of plain masking tape (decent tape, not bargain material - 3M masking tape). Waiting for the stenciled brushed on part to fully dry before glazing makes for a fuller coating. The liner glaze was poured in, poured out. The outside glazes were dipped. I get very little "bleeding" under the tape's edge. If any, I re-cut the edge with a razor knife and then scrape away the bled under part. I'm getting a smooth all melted together finish with this type of taped off and brushed decoration. Where spraying is nice - the material hardly ever (ever!) runs under the tape. Also, it can be easy to get a nice smooth even coat. "Can be" as there's technique involved... Some underglazes will move/drift/blur with some glazes - test! The liner glaze transition was done by Tony Hansen's method (how to liner glaze a mug). Note the red edge is fuzzier than the blue. It does that. *If you've fingernail to spare, else the smooth rounded part of a loop tool, edge of a rib, edge of a confectioner's spatula...

Hi Pres, To hit this Forum at the top of the return, "anding" the address seems to do it, e.g. community.ceramicartsdaily and "red clay" where I'm limiting for only everything with the exact words "red clay" on the site, well that's what I believe happens, lots of hits! Note that some browsers support the word and, some require the & symbol. ...there were other returns, but the Forum's was first.

Found threads here about Wheels, was shopping at the time. I still appreciate the welcome detailed and helpful info. From there, started following new content, and also got hits on external and internal ceramic/pottery searches. Helps to know that the internal search feature excludes threads that have been idle for two or more years. If I want a full search, I'll use an external search engine.

Although I've an unopened fifty pound GB sack, am looking forward to adapting to Gillespie Borate and/or frits. The choice may become simple, as I expect that Gillespie Borate price will (continue to) bloat; it's $90 for a fifty lb sack a'ready*! ...still a bit cheaper than frits, but not by much. *at a "nearby" supplier that I like

Laguna and Aardvark (and several other) ceramic supply businesses are in the Los Angeles area. Looks like they both carry a range of product.

Looks like small raised bumps/blips/blisters, also small open holes? My guess would be overfired* and naught to do with the transfers, as there appears to be same faults throughout. What cone was the ware fired to? Valentine indicates firing range 1080ºC – 1160ºC, hence, about Cone 04 to Cone 1 Had you fired this clay before, with different results? Were the faults about the same throughout the kiln? Were there less faults on cooler levels (if any, typically the bottom shelf)? Any special procedure for this/these firing(s)? Valentine indicates that's a new clay. I'm not finding any critical reviews ...you might reach out to Valentine? It appears they are responsive to inquiry. If you do, please post an update? *and/or rapidly cooled after reaching peak temperature.

Denice wrote "dagger" earlier in the post. Pinstriping brush styles include "sword" and dagger*. There are natural hairs and synthetic fibers, many handle variations, profiles, length... Watching those who can really handle the stripe brush is an education! fwiw, I use plain masking tape, which makes for a clean/sharp line. Locking the edge down is key - where there's no dust or residue underneath, and the edge is firmly adhered to the substrate. The .7" wide is easy to handle and allows for a wide (sloppy) brush. For curves, I use a better quality/brand masking tape - which cuts cleaner, bends better, and sticks well - and cut strips to the widths I want. The bargain stuff doesn't perform as well, doesn't cut nicely and doesn't bend/curve as well. It's a preference, and I'll admit it's not just that I've used masking tape for many years in the paint trade, no, I'm also cheap! That said, I might try the special auto tape one o' these days! I did some taping for a friend's friend who was into auto body - we used 3M half inch tape for all but the curviest parts. *for example, see https://letterheadsignsupply.com/ - there are links for brushes on the main page.

Hi Brandon, Welcome to the Forum! IMCO Clay in Sacramento is fairly close. I have tried several of their clays* and bought materials from them as well. My understanding is they mine local deposits. I've found them to be very helpful and friendly. They have a line of potters' supply/material/tools, however, they also do custom milling and blending, and supply bulk industrial clays and crushed rock. There are some regular contributors who may respond to your queries soon; check back! *I use their Red Velvet Classic and DC 3-5

Hi Tami Ann, Welcome to the Forum! That's a good question. ...I've just done some reading on returns from "registered trademark use in keywords" search; the consensus is to avoid use of trademarked material in one's website. From there, consult with a trademark lawyer.

Staying home as well, having just wound up prepping our last home for sale, the sale, winnowing the stuff, packing, moving, shopping for a new (to us) home, moving in, unpacking - we're now at home again! Our son's home is now just ten miles away, much more convenient for ongoing renovations. That will be a big part of non-ceramic plans this Summer. We just finished "pest work" around and below the chimney - there had been leaking and resultant rot. Now we have a better idea how chimneys should be flashed, also how to shingle, how to install roofing felt... :| Next is re-siding the area below, then some framing, drywall and painting to wind up last year's bathrooms remodel, then on to the great room and kitchen remodel... There are a few projects at our new (to us) home that can't wait very long: refinishing the front door, installing water treatment/filtration, and re-sorting the irrigation system. Also ongoing, rehabilitation of an injury, and recovery from last week's bout with the dreaded Covid. Excepting some recent sessions at the wheel, I haven't been in the Studio "doing" ceramics since October last. I want to have an inventory of green ware ready when the new kiln arrives! Wiring for the new kiln, adding a circuit for the Studio space (heat pump), sorting the space, installing a wall, door, lighting, shelving ...is all on the docket as well.

Good question! Some of the dust burn off may leave substantial ...dust? My suggestion would be to dunk the wares in clean water, scrub off with a large sponge and/or, perhaps a brush, then rinse. From there, it shouldn't take particularly long for the wares to dry out, then glaze and fire per your usual process. You might hold off on the whole load, however - perhaps pick a few to glaze fire - just to check how your glazes and the "older" wares behave together, afore committing the entire load. I wash and rinse off my bisque as a matter of course. Almost all my ware features some chattering. When the glaze doesn't "wet" all the way to the bottom of the chatter mark, the glaze will pull back, leaving a holiday, hence, I rinse, with attention to the chatter marking...

If the wheel head is not running out (vertical)*, I'm seeing two problems: a) there's even odds on being off when removing, then remounting the batt with an in-progress piece on the batt; b) that the edge of the batt runs out in the horizontal, which can be distracting, very distracting; if you're using the edge of the batt to index off of in any way, that option is out. I've been using square batts for several years; the whirling corners don't bother me now - I'm used to them. Hence, when using plaster batts on a clay pad, I'm not as finicky about getting the batt exactly centered, for I don't watch the oscillating edge, nor do I index off the batt's edge. Does that make sense? Another way of looking at it - can you draw a circle on the batt, whilst it is spinning, where the circle is round and the ends come together perfectly? (Use a small brush, loaded with water, or a pencil, or ? - bring it in contact with the bat in one spot, let the spin do the work) From there, draw over the same circle, again, still same? *As long as the top of the wheel head doesn't move up and down whilst spinning (and the center of the wheel head is rock steady), then throwing should not be impeded. Given, wheel head edge (and/or batt) movement in the horizontal can be very distracting, however, if you're not using that edge - just don't look at it! Movement in the vertical can be a challenge, imo, another topic.

@VForce Stumbled on this product whilst looking for something else: Art Clay World USA, Inc. Select "What is Art Clay link" to read about the material.

Clay City Pottery in Clay City, Indiana claims to be "...processing the local clay..." on their website. Perhaps try asking some of the bigger pottery supply stores about clays mined and processed in state?