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colekeller

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About colekeller

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  • Birthday 01/30/1996

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    Seattle, WA
  1. Also I plan on using Mayco dry glazes, I'm not sure if that is of significance. I know that this is about the chemistry of the glazes and stains and realize that there may be specific colors that react with other colors, but I am wondering if there is generally an overarching issue with glaze/stained clay compatibility (if that makes any sense :D)
  2. Hello all! I am hoping someone can shed light on the subject of using commercial high fire glazes (^6) on porcelain bisque that has been pigmented with mason stains. Will there be compatibility issues? Basically my goal is to stain the clay body with complementary colors to the glazes that I intend to use. I can't stand the look of colorful glazes on white clay, and with the design of my objects it would be more blaring than just a ring on the bottom. I intend to run tests but the dry glazes are a decent investment so I wanted to run it by you folks before I bought a bunch of stains and glazes. Any help would be greatly appreciated! Cheers, Cole
  3. @Chilly the object will be hollow with one opening (at the top of attached photo). Thanks for commenting
  4. @JohnnyK hey Johnny sorry just saw your comment. The form will be a 3d printed item, and it must be 4 pieces due to undercuts in the object (the previously attached photo is a rudimentary cross cut of the more complicated object). But yes - I will ideally be casting many of these. Thanks for the comment
  5. Hey @liambesaw, that is a good point. My only concern with this idea would be if the sprue fully casts shut won't the slip still need to be replenished as it is absorbed? Or would that not be a problem? Thanks for the response! Cole
  6. I recently got a job to make an object that requires a 4-piece plaster mold. The design can be conceptualized as a extruded cylinder along a curved line that abruptly ends and is closed off at one end. The other end which will be open is where I will pour the slip. For some reason I cannot figure out how the air will be displaced as I fill the mold with slip, if you see my attached photo, is it possible to cast this object as it is designed? It's ridiculous that I'm having such a tough time figuring this out. I cannot use a sprue at the end simply because the object needs to be closed on that side. I am wondering if I would be able to cast it as designed and spin the mold around during casting to release the air from the end of the cylinder? I would love to hear how any of you would tackle this. The designed object is extremely simply yet I cannot figure a way to efficiently cast it as illustrated. Any help or direction would be greatly appreciated! Cheers, Cole
  7. Hey all, this may be a misguided question but any information would be greatly appreciated. Lately I have been looking into getting some of my designs made into cast iron. I am wondering if it would be possible to apply/spray ‘porcelain enamel’ to the exterior of these objects in the form of glazes and fire them as I would ceramic objects? The desired look would be like the Le Creuset dutch ovens. I’ve been trying to look into how this layer is applied and simply can’t find any applicable information. Any thoughts are welcome, thanks! Cole
  8. I was wondering if anyone could speak to using tumblers(either vibratory or rotary) on their porcelain objects to attempt to finish/smooth/polish them? I love the look of unglazed porcelain and therefor have been searching for a way to consistently and easily finish the surface for a smooth feel. I have tried sanding, and although extremely successful, it is much too labor intensive. Additionally, sanding doesn't allow for polishing hard-to-reach areas. Basically I am just curious if anyone has any experience using tumblers to finish porcelain or other fired clay bodies and what type of tumbling media they might use. Would porcelain be good media for polishing porcelain? Not sure if that would work. I am currently attempting tumbling porcelain with crushed walnut shells but to no avail. I think the media is too soft. Anyways, any thoughts would be greatly appreciated! Cole
  9. @glazenerd You were absolutely right about the temperature during casting. After reading what you posted I've been casting with a space heater keeping the room around 65F. I've had drastically less warping. Thanks a lot for mentioning those studies.
  10. @Russ That's an interesting method. I agree that it would definitely be worth it for bigger pieces. @glazenerd I pour in my basement, which is by far the coldest place in the house. I'm in Seattle and there isn't a heater in the basement, so I would say on average I'm pouring in 50° F ambient air with slip around that same temp. I'd never thought about the role that temperature plays, what are you thinking?
  11. Thanks all for the detailed responses! This information is extremely helpful. My apologies for not including some pertinent information in my original post. I am using purchased slip, formulated for ^6, from my local pottery store in Seattle. They've been around for a long time and are very consistent. I hardly have to deflocculate at all and that's only because most of what I cast is quite small. This porcelain slip is not intended to be translucent at all, and from what I've gathered it seems to be formulated to be the most forgiving porcelain slip that this store carries (if that makes any sense). They have another porcelain slip that is ^10 and semi-translucent, but as you all noted this would require much more precision. Translucency is not necessary for me at this point in time. The warping that I am experiencing becomes apparent during drying and seems to be slightly magnified in the glaze fire. I am using an electric kiln and the warping seems consistent no matter where the wares are located within the kiln, so I don't think hot spots are necessarily a huge problem. That being said, I have a tiny old Skutt kiln that I can't imagine is firing perfectly. I had never heard of Advancers, but that sounds promising. I'm planning on upgrading my kiln soon, and will definitely get those. Thanks again all for the info, it is greatly appreciated! Cole
  12. Hello! I was hoping to have a discussion with anyone who may be more educated/experienced on the topic of porcelain warpage. Primarily what I am wondering is - is it possible to make porcelain wares without any warpage at all through glaze fire? I have tried a number of different drying and firing techniques but it seems impossible to achieve a perfect net form. I am slip casting, so my wares have very consistent wall widths. I have read time and time again that the design of the object dictates warpage (along with drying/firing techniques), but I can't really think of a design that doesn't have at least some varying wall thicknesses as a result, other than a perfectly spherical bowl or something. For my purposes, I will need to have at least some variation in thickness, and I hope to learn of a way to consistently achieve near net form through glaze fire. It would be great to hear from you all on the subject. Thanks for reading Cole
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