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tinypieces

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  1. Like
    tinypieces reacted to Min in commercial glaze questions   
    @tinypieces, from the Duncan website info for the SN351 glaze they give 2 different instructions "Apply 2-3 smooth, even coats. Note the Clear Satin is only 2 coats."
    I'ld try the simplest test first to see if it's an application issue. Take 6 test tiles and brush on 2 coats of glaze on 2 of them, 3 coats on another 2 test tiles and 4 coats on the last 2 test tiles. Mark the test tiles on the bottom so you know which is which. (You can use a brown Dixon high heat china marker or a ceramic underglaze pencil or an iron oxide wash with a fine paintbrush to do this) When they are dry scratch through one of each of the tiles so you can see the dried glaze thickness (wear a mask) and fire the others. See if you get the clouding more so with the 3 or 4 coats of glaze than the tile with 2 coats. (leave lots of room at the bottom of the 4 coats test tile in case it runs) If you use underglazes on your pots then do the test tiles with those also.
    If the glazes brushability is okay but the glaze is super thick then it's fine to add some water. Keep good notes as you go along. Going forward use the unfired test tile as a reference to how thick the glaze should be.
     
  2. Like
    tinypieces got a reaction from Hulk in commercial glaze questions   
    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!
  3. Like
    tinypieces reacted to oldlady in Need Tips On Drying Racks & Procedures   
    ginny c.  how about trying something as an experiment.  you will only lose one piece if it doesn't work and i won't bother you again.  roll out a slab about 1/4 inch thick.   use a wallpaper smoother or a drywall tool to remove all the canvas marks and make the surface very smooth.  rub the slab hard with either of those tools holding the tool down as flat as you can, just don't catch your fingers in it.  ON BOTH SIDES!!  (compression)
     
     then put your doily down and roll it into the clay until the threads are sunk into the clay and the slab is level across the surface.  this is hard to explain in words.  if you were to now run the drywall tool across the slab while the doily is still on it you would not snag the threads because they are sunk into the clay. you would not scrape any clay you would just pass over it. use a needle to cut around the shape of the doily leaving what margin appeals to you. to prevent any cracks where the doily has an abrupt change of direction, press a finger or tool firmly into the edge of the clay forcing it to compress toward the center. ( this is the technical  part.)  _______ Do not miss post #35 below.
     
    with the doily still in the clay, place the slab INSIDE a bowl, dish, hole in plaster or wood or whatever will give it the final shape.  if you want ripples in the edges, simply  lift sections evenly and stuff paper towels or something like that under the lifted sections. treat the whole thing so you will be happy with the ripples once it dries. leave the edges alone until later. (the artistic part)
     
    using both hands, slowly pull the doily out of the clay and gently smooth the surface that remains.  you must take care not to leave sharp edges where the threads come upward out of the clay.  if you find any, just place a thin cotton fabric like a handkerchief over the surface and rub your thumb gently to flatten anything that sticks up.   ( if you don't, there will be cuts on your hand once you glaze it and run a finger across the surface.)
     
    here is the hard part. DO NOT COVER ANY PART OF IT WITH PLASTIC, CLOTH, WAX, OR ANYTHING.  just let it dry.  if you have rolled your slab evenly, it should dry without cracking.  once it dries, use a damp sponge to round over the edges top and bottom.  do not use too much water, especially where you compressed the edges toward the center.
     
    i can hear a lot of protests from people who make half inch slabs and think thinner is crazy, but it works.  yes, the thickness where the doily threads were is now less than a 1/4 inch.  as long as the doily is not made of rope it should be just fine. and i assume you know enough to line your mold with a resist. try it you might even like it.
  4. Like
    tinypieces reacted to oldlady in Need Tips On Drying Racks & Procedures   
    be sure to compress any areas that are where a V type cut are.  the bottom of the V is where cracks begin.  even if it is not a sharp V, the clay needs compression right there.  use something round and firmly drive it into the area where the V is the sharpest.  very hard to say in words.  
     
    if you want a big, round bowl, go buy one at your local thrift store and use the interior of it.  WD-40, cooking spray or cloth make a good separator so you can get your clay out once it dries enough to handle. 
  5. Like
    tinypieces reacted to oldlady in Need Tips On Drying Racks & Procedures   
    thank you chilly, i forgot that i do that too.  and once the circle is cut with a copper tube,  i press the tube firmly into the curve.  you said what i wanted to but could not.  thanks again!
     
    copper plumbing parts are really cheap and various sizes are available for less than a dollar each.  look for slip couplings to use as cutters. 
  6. Like
    tinypieces reacted to Barb Z in Need Tips On Drying Racks & Procedures   
    I have two drying procedures, one for thrown pieces, and one for slab-formed.
     
    The thrown pieces go onto a ware board (plywood), sit until I can turn them over, sit again until they are trimable, and once trimmed, they go on wall shelves to dry. If I want them to dry slowly, they go in a damp-cupboard between throwing and trimming. Otherwise they sit out in the studio. If I attach a handle, the piece gets bagged (with twist-tie) for 8 hours, then put out to dry.
     
    Slab work is much different, and much more vulnerable to drafts. I make plates and trays over a hump-mold, and put them and the mold in the damp-cupboard until they are stiff enough to hold their shape if turned upright. I then turn them upright on pieces of wallboard, and set them on rolling wire racks such as you have in the pictures. I wrap the 4 sides of the rack with a plastic drop-cloth, held on with sections of split pipe insulation. The top and the bottom are open, so there is circulation from my heated floor, but no drafts from one side. They dry in 3 to 4 days, depending on temperature and humidity.
     
    I like 1/2" wallboard because it is not so heavy in the bigger pieces. I tape all the edges, because any crumbs of gypsum floating around the studio will invariably show up as pop-outs. After I have used a board, I stand it on edge to dry.
     
    I have given up on using newspaper with slabs. It expands and wrinkles when wet, or tears. I have been using cloth to keep my slabs from sticking to things, and to absorb moisture evenly from the bottom of the piece. Old canvas or twill or denim shirts are great, cut up into the sizes you need. Even chamois-cloth. So I roll a slab, cover one side with cloth, put a piece of wallboard on top, and flip it onto the wallboard. Then I cover the other side with cloth and another wallboard, and wait for it to set up to the right consistency for working. I put smaller pieces of cloth between the slab and my mold, and, the next day, another smaller piece between the piece and the wallboard when it gets turned upright. If you dry them by hanging them up, rather than in the dryer, they don't appreciably expand when they get damp.
     
    As for bottoms of plates that hump, I learned a great tip in a workshop by William Carty. As clay dries and is fired, it shrinks to a fixed density. When you compress clay, you increase its density, so it shrinks less in drying and firing. So, if you rib one side of a slab when you put it into a press-mold, but not the other side, the top will be compressed more than the underside. The underside will shrink more than the ribbed side, and the bottom of the plate will hump. You think you can prevent the humping by weighting the slab as it dries, but the uneven compression will show up in the firing.
  7. Like
    tinypieces reacted to Sunny in Need Tips On Drying Racks & Procedures   
    I always fondle my pieces too. Starting the day after I make something .... can't keep my hands off. Something about the feel of clay drying.  I think I need help ..
  8. Like
    tinypieces reacted to oldlady in Need Tips On Drying Racks & Procedures   
    DORIS, you must have seen my sign! on a display shelf there is a little notice  "PLEASE PICK UP THE POTS, THEY LOVE TO BE FONDLED"
  9. Like
    tinypieces reacted to flowerdry in Need Tips On Drying Racks & Procedures   
    Yes, it's true.  We hobbits do tend to move our pieces around.  We're probably fondling them lovingly.
  10. Like
    tinypieces reacted to neilestrick in Underglazes   
    I buy them from Clay-King.com. If you sign up for their email newsletter, once or twice a year they have a sale where you can get pints as low as $6-7. Plus they're generally too thick in the bottle so you can water them down at least 25%. That's really cheap compared to Amaco Velvets. Their color palette is not as extensive, but you can do some mixing to get more colors.
  11. Like
    tinypieces reacted to Bill Kielb in Underglazes   
    We use them all but Amaco is popular locally. I definitely would encourage trying the matte over, you may really like the effect


  12. Like
    tinypieces reacted to neilestrick in Underglazes   
    I use Speedball. It's really cheap compared to Amaco and Coyote, and the colors hold up well at cone 6 for the most part. The red and royal blue have some issues with bubbling at cone 6, but I'm working on fixing that.
  13. Like
    tinypieces reacted to Pres in Why make functional ware?   
    I have just completed a few mugs for an order, and not  a single one is like the other when you consider form, surface, handle position, and glazed effect. Each is a labor of love that requires the potter to make judgments every step of the way, each leading to a different form and a different fit to the hand, and hopefully a different owner. Love the work.
     
    best,
    Pres
  14. Like
    tinypieces reacted to CactusPots in Transporting your work to an art fair   
    If you like recycled materials, check this out.  When I can recover my packing I use foam that I have been saving for 25+ years.  Back in the day, phone systems (PBX) used cards for different functions.  Sometimes 50 or more on a new install.  The cards where a full 16"x16".  Each card was packed separately with 2 of these sheets.  I have a half dozen boxes full. Some of them are on their last legs now, but I haven't thrown any out yet.  The carpet padding is only for when I drop off full boxes at my wholesale account.  Which I hope will be more often.  They reuse the packing, so they're happy to pay for it.
    I have a roll of unprinted newsprint.  I got it from Smart and Final some time ago.
  15. Like
    tinypieces reacted to CactusPots in Transporting your work to an art fair   
    Thanks for the link.  I'm getting some really great info on this forum.  
    I'm questioning whether the 1/16 would work for me.  Some of my pots are good size, say 15lbs of clay and often odd shapes.  Even with the carpet pad, I often double up or roll the pad to fill a space.  Stil, l the heaviest they offer is 1/4" that comes out to .22 per square foot.  Seems reasonable if shipping doesn't cost a lot.  Pretty bulky stuff to ship.  I'll check it out next time I'm packing.
  16. Like
    tinypieces reacted to GEP in Transporting your work to an art fair   
    I use foam sheets to separate my pots. It provides great cushioning without being bulky. I buy the 1/16 inch thick foam, 12” wide, with perforations every 12 inches. (thank you for asking this question ... you reminded me that I need to buy more foam)
    https://www.uline.com/BL_857/Uline-UPSable-Foam-Rolls
    I think the only thing you did wrong was let your “helpers” pack your pots :-)
    And “packing tight” is the right way to approach it. Pots that can”t move are safe. And it’s space efficient. 
  17. Like
    tinypieces reacted to CactusPots in Transporting your work to an art fair   
    My stuff is about right for Home' Depot's medium heavy boxes.  Your mileage may vary.  I use about 2 full rolls of carpet padding (also Home Dopeo. ( not a misspelling).  Per kiln load.    As long as their are no "clinks" when moving boxes, there will be no problems.  Large pots first, no empty spaces.
  18. Like
    tinypieces reacted to Pres in Transporting your work to an art fair   
    andryea,
    I use a lot of wine, whiskey type boxes from local store. . . here in PA, the State store. You may also get them from your grocery store etc. The partitions in these, allow you to stack with cardboard between layers, so in a 6 partition box you could get 18 mugs. This type of packing is really effortless, and will allow you to keep cost down. I do put bubble wrap cut in 1/4 sheets for lidded jars the size of mugs. 
    I have also seen folks create wheeled on one end boxes that are partitioned and then stand for display. Lots of things to think about with booth design and prep for a show. You may find more strands for this if you do a search on the main page so that you will search all categories.
     
    best,
    Pres
  19. Like
    tinypieces reacted to neilestrick in inventory #'s   
    Trying to keep track of an inventory number for every piece made may work for one-off, low volume pieces, but it would add way  too much time to production work, and wouldn't really contribute much to the process. When I make 2 dozen mugs, there's really no reason to number each one individually. They're all just mugs of various colors. If I was making pieces that took weeks to produce, then numbering each piece would make more sense.
  20. Like
    tinypieces reacted to Mark C. in Help with slab roller   
    I suggest using slab matts-they are smotth with no canvas marks-they do not hold much dust. You can buy them from slabmatt online.If you call thgem sometin=mes they have seconds you can buy in a larger size and cut them down to your size for cheaper as the flaws are on the edges.(https://slabmat.com)
    You could also use used printer matts that you get from a print shop like a newspaper place. Oldlady speaks highly of them here. I need toi try them myself-they do not hold dust she says.
    I use canvas on the bottom and slab Matt on top. The canvas will collect dust over time and needs to be shaken outside while wearing a mask now and then.
    Plastic is to slick for a neuralized roller to grab so give up on that idea
  21. Like
    tinypieces got a reaction from Rae Reich in Not sure why the glaze did what it did   
    Thank you all so much. I do not have any knowledge or experience with the chemistry of clay and glazes so I appreciate  what you're sharing!
    Benzine, I wonder what you mean by contaminated... the clay? the underglaze? the clear glaze?
    Bill Kielb,  I've taken a few more close ups. They may not be the same exact spots you indicated on your photo. I'm not sure you can see much more and I can't seem to get any closer.
    Neil, the edges of the bare spots are definitely not sharp, they are more rounded.
    liambsaw, youare speaking a foreign language! I sorry, I don't think I know what a stained slip is or an engobe and you completely lost me on the flocculated and Fishsauce slip,  haha.  Although I am really curious it being a lot cheaper than underglaze. Too, I prefer to incise the lines vs raised.

  22. Like
    tinypieces reacted to Pres in Looking for a template for round, wide mug   
    Hi Nancy, You may find some help here, if you start with a cone template and add a circle end to it. Look at the site, I can answer questions if you don't understand all of it.
    https://www.blocklayer.com/oval-templates.aspx
    best,
    Pres
  23. Like
    tinypieces reacted to neilestrick in Not sure why the glaze did what it did   
    Based on the close-up photo, those edges look pretty crisp to me. In crawling, the glaze pulls away from the clay and globs up around the edges, and I'm not seeing that. I usually equate shivering with the glaze coming off after the firing, but in this case it looks like it popped off earlier in the firing, because it appears to have melted into the glaze, which wouldn't happen if it was popping off after the glaze had hardened. As Bill said, it may be a moisture thing. How long do let the underglaze dry before applying the clear glaze? Do you let the pieces dry completely before putting them in the kiln for the glaze firing?
  24. Like
    tinypieces reacted to Bill Kielb in Not sure why the glaze did what it did   
    Since this is all speculation I would start ruling out things. My first would be thoroughly drying these with a really good preheat just below 200 degrees just to be sure that trapped moisture regardless of how minuscule did not cause this to burst early on leaving particles in the immediate area.  After the preheat,  I think I would stop the kiln and inspect. You could always throw these in an oven for an hour or two at about 175 degees. If you are brave there is the microwave which if cycled in small  steps would reveal the moisture as localized heating.
    My feeling is, this visual evidence is significant. In my lab I would put them in an evacuation chamber and pull the atmosphere down to 30 microns which would eliminate all possible moisture.  You are not gonna do that. My next thought is (already dry) I would put it in front of a fan, scan it with my infrared camera and see if there are obvious spots that have cooled. Very efffective way to detect moisture evaporating. Again, you are not likely gonna do that.
    my last thought would be to take a sample one and gently go around it with a torch to see if I could make a spot or two eject. As you can tell I am seeking the real answer. Most folks would likely do the long preheat and hope that it is indicative for future firings.
  25. Like
    tinypieces reacted to Min in Not sure why the glaze did what it did   
    I'ld go back to basics, try the underglaze alone, no glaze, and bisque fire it on.  Run 2 tests simultaneously, underglaze on green ware and on bisque. Bisque fire them both with no glaze and see if it stays attached to the clay. After bisquing try tapping the underglaze with a knife handle, see if any flakes off. Put the underglaze on with 3 thicknesses, 1 coat, 2 and 3. 
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