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tinypieces

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About tinypieces

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  • Birthday 04/22/1952

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  • Location
    Chicago
  • Interests
    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 good things about PC-7 or PC-11... any opinion? More questions.... Is leather hard too late to make an effective hanger or something to 'attach' to the back or am I just asking for trouble? What kind of wood backing would you suggest? A piece of plywood running just shy of the width of the piece?
  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. There certainly are aspects of the clay that take some getting used to... like anything new...but it's not impossible or terribly problematic. I will, in the end, want to work with a cone 6 porcelain (likely Standard 365 which I can get locally) and suspect it will behave similarly, right? Regarding glaze... I've been using Amaco Velvet underglaze (black) on all of my earthenware and will continue to use it on whatever cone 6 porcelain I end up with. My biggest concern is a clear glaze. I am not in a position to make my own glazes and will be relying on what is available commercially. I've done some research. There are several makers (The Ceramic Shop, Spectrum, Coyote) and wonder if the experts here have any advice about cone 6 clear commercial glazes. I realize, from an earlier post, that this may not be the best forum to find and get that kind of advice but I really like this forum and wonder if there is some experience here. Thanks in advance!
  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 produce the reliable and consistent results I'm looking for. Thanks again
  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 damp wiping the surfaces and floor. But I was beginning to freak out a little because of a persistent cough I've had for a while now. I know it's not my lungs (they're clear) but I just have this crazy post nasal drip and wonder if it's aggravated by the dust from the sgraffito. And a big thank you to everyone else who chimed in. I did buy myself two new respirators (just in case) and spare filters. Plus, a HEPA air purifier for my studio. It may be overkill but I'd rather be safe than sorry! Besides, I don't want what I love doing to kill me at this point in my life! lol.
  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, I do have a bottle of Forbes wax but I'm not really sure I understand how to do that. Would I apply it to the entire piece front and back? I assume it burns off in the bisque fire, right? I like the damp cloth idea. I will give it a try. I'm still worried/concerned about the bits that don't necessarily 'fall' off the piece when I turn it upside down.... there are always little bits that get stuck and require a brush to clean them off. I guess this is where the good mask comes in handy! Thanks again, Andryea
  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 at all? I'm not even sure how I would do that effectively! How do you deal with the scraps? I have been using a brush and a trash can which I'm sure isn't a very good idea. I've read in this forum that some people use a 'drop cloth' of various kinds and to go outside to shake it out, which is a great idea but I live in the Midwest and right now it's pretty darn cold to do that. I do have a HEPA vacuum. Would that be a solution? Also, in terms of a respirator. I pulled out my old one (P100) only to discover it doesn't fit that well anymore. So, as a small woman I would appreciate your guidance, advice and/or recommendations as I look to replace it. Thanks!
  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? Could I be applying too much pressure when brushing it on? Do I brush it too much (meaning going over it too much)? Then, I suppose something could be happening in the kiln too! Any thoughts or advice to minimize and avoid this from happening would be appreciated because whenever I use that glaze now I feel like it's a crap shoot and I don't like those odds. My second question is about the consistency of a glaze when I open the jar. Sometimes the glazes are watery and very easy to brush on. Other times the glazes are super thick and rather dry making them next to impossible to use. I wonder what can I do to make a glaze more brush-able without compromising the glaze chemistry? Maybe it's been sitting in a warehouse for a long time? Anyway, I've reconstituted underglazes by adding water without any problems but I wonder if that's such a good idea with a metallic glaze such as Duncan's Antique Pewter (SY1024). Thanks in advance for all your wisdom! Andryea
  15. Where do you get the speedball from?
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