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About tinypieces

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  • Birthday 04/22/1952

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    Mosaic, being outdoors fishing, hiking, canoeing, good food

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  1. Thanks @Bill Kielb... it's still leather hard and I've kept it covered in plastic spritzing it every now and then anticipating the attachment of some type of hanging device. Thanks @neilestrick... I'm sort of surprised to hear you suggest using construction adhesive Neil. I say that because prior to posting my questions I searched this site and came across a similar discussion (2/13) in which you commented. In it you said that you would not trust adhesives because they will fail at some point. And that mechanical methods are a better solution. Have you changed your mind? I've heard goo
  2. I'm curious @Bill Kielb why you said it's too late to embed a nichrome wire loop/s to hang from. When would you attach them and how would you embed them?
  3. I'm just about finished carving a piece that I will want to hang when it's done. Assuming I still like it then! It measures 11"x11" and is 1" thick at the most. Anyway, while I've been busy carving away I've been thinking about what I should make on the back to hang it from before I let it dry and bisque fire it. Well... it's come to that point being still leather hard. I prefer not making any holes through it (front to back) which I'd insert wire to hang the piece Instead I wonder what I could attach to the back that would do the trick. I would love to hear your suggestions. Thanks.
  4. Hi Dottie, Thanks for starting this thread. I, too, want to make the transition from white earthenware (cone 06) to a mid-range (cone 6) white clay body so I don't have much advice but appreciate reading the advice and guidance you are getting. I hope you don't mind if I tag along. While I have a home studio and kiln of my own, I decided to take a hand building class at my local art center (Lill St) in order to experiment with porcelain (Standard 257 - cone 10) just to get a feel for it and some guidance. So far, amazingly, I've not found the porcelain too difficult to work with. The
  5. Thanks @Magnolia Mud Research for all that fantastic information and easy solutions. I love learning how air breaths along with our pots! I'm excited to begin implementing these techniques. Andryea
  6. I couldn't agree with you more and I don't even mix glazes! Honestly, just cleaning my (in my spare bedroom, home studio) is enough. For this I'd wear it. Plus I just bought myself a HEPA air filteration unit for the room.
  7. Thank you Neil! I appreciate your well thought out article. It's full of basic, practical and useful information. While everybody has their own way of packing, setting up and displaying their 'stuff' your years of experience are invaluable to us all. I love it when you share your knowledge. Thanks again.
  8. Thanks for posting the video Min and your encouragement/support Chilly. I'm a visual learner and it answered a lot of questions and cleared the confusion up. My only concerns now are that the size of some of my pieces get to be 12" in diameter which would require a fairly large box and a place to store it. I wonder, too, can I use any kind of plaster? He didn't say anything about that. Other than that I may give it a try. It really appears to be an extremely effective solution which I don't get with all the other methods (misting, wrapping it in plastic etc). I sounds like that method will p
  9. Thanks Min for the reference to the damp box. While I like that idea I'm not so keen on dealing with the plaster part and I'm not really sure I understand how the plaster will stay damp once it cures. What am I missing? I wonder... are there any other ways to create a damp box? Thanks old lady, I wasn't sure what to do with the clay that had under glaze on it which is why I've been tossing it but now that you suggested making slip out of it, I'm gonna give that a go. I also appreciate your level headed-ness about the severity of the problem. I'm pretty good about keeping the dust down by
  10. Hi Pres, PSC and Min Thanks for the good suggestions. I like the idea of dampening via misting but am concerned about the effect that would have on the under glaze. Will it get splotchy or spotty? Would I mist on the surface being sgraffito-ed or the back side? What is enough/too much? I wonder if I could create enough humidity to dampen the clay by simply placing a wet sponge of cup of water along with the piece, wrap it well in plastic and give it some time? Would that have any effect? I'm intrigued by the suggestions to slow the drying process down. Believe it or not
  11. Hello, I do a whole lot of sgraffito work (black underglaze on white clay) and am growing more and more concerned about the dust it generates as I work. I aim for 'cheese hard' as the perfect time to sgraffito which is great to start but there are times when it takes me over an hour to complete a piece and by that point the piece is much drier which means more dust! So I have a couple questions here... Is there a way to keep the part of the piece (bowl, platter etc) that I'm not working on from drying out while it waits for me? Would keeping it wrapped with plastic be any help a
  12. I made a bunch of napkin rings (low fire cone 06 clay) that I'm now wondering, how the heck, after they're glazed all around, do I situate them IN the kiln for the glaze fire. Would you put them on stilts? Hang them? (If so, how?) They don't really have a bottom.
  13. Thanks Tony aka Hulk for taking the time to reply. To answer your question, yes, the glazes I'm using are low fire cone 06. I appreciate your feedback, the suggestions and the links to all the technical information. It's a little more than my newbie brain can handle but I'm glad to have it for the future reference because... after all... who knows when and where I'll be venturing next! Thanks again!
  14. I set up my home studio about a year ago using only commercial glazes. I have a couple of questions regarding them that hopefully you can help with. My first question is... I love the look of a satin glaze and have used Duncan SN351 for a while with inconsistent results. I wonder what I am doing wrong. While it's not every time or eve on every piece in a firing but some pieces comes out looking cloudy or milky :-( Can it be the way I apply the glaze ie, brushing it on too thick or not thick enough? (I usually apply 2-3 coats) Do I not allow the glaze to dry completely between coats? Cou
  15. Where do you get the speedball from?
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