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tinypieces

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  1. Like
    tinypieces reacted to Marcia Selsor in Dilemma-Cone 6 Or Cone 06?   
    Higher firings do cause more wear and tear on kilns but that is the price of doing business. The question should be more of what do you want to do.
    Lisa Naples, for example, makes beautiful functional earthenware fires to ^2 or 02, I don't remember. She just said she fired her earthenware to vitrification so it is hard and durable. She learned that from a ceramic engineer who took her class.. I met Lisa at the show after NCECA. She really does lovely work. I would say that most earthenware fired to ^06 is not vitrified , will collect moisture, will be punky, and may have steam escape if used in a microwave which might explode. Majolica fired onto earthenware is usually bisqued to ^04 as you are doing, or higher ^02 sometimes. It is also glazed all over stilts in firing to avoid moisture absorption which can cause the glaze to flake off. That is why you often find the three marks from stilts on the bottom of majolica. So you really need to decide what you want to do. But some of your reasoning seems a little misinformed.
    Check out Lisa's work. She is an inspiration for earthernware.
  2. Like
    tinypieces reacted to Marcia Selsor in Dilemma-Cone 6 Or Cone 06?   
    Vitrification happens when the clay vitirfies which can happen at ^02 if the clay fluxes enough. I did not say clay has to fire as high as ^6. I said just the opposite. Lisa naples fires her earthenware to vitrification..and I don't remember if she said ^02 or ^2 but it certainly isn't ^6 to vitrify earthenware.
  3. Like
    tinypieces reacted to neilestrick in Going from Eartheware to Stoneware - need tips   
    If you're going to be using Velvets at cone 6, I would stick with Amaco's clear, as the Velvets sometimes have color issues at cone 6 and that's less likely to happen with their glaze.
  4. Like
    tinypieces reacted to Callie Beller Diesel in Going from Eartheware to Stoneware - need tips   
    I always thought porcelain got an exaggerated reputation for being a problem child. I think wether you’re using stoneware or porcelain, you still have to learn to listen to your material.
  5. Like
    tinypieces reacted to Stephen in Going from Eartheware to Stoneware - need tips   
    well I'm told porcelain is harder to throw than stoneware but I learned on porcelain so I have no point of reference. It's a different look but I think most feel porcelain will likely deliver more vibrant colors. Maybe get a box of each (work hard at keeping it and scrapes separated) and do some experimenting and see which you seem to like working with the best.
  6. Like
    tinypieces reacted to irenepots in Going from Eartheware to Stoneware - need tips   
    I think this is the website oldlady mentioned     https://cone6pots.ning.com/        I'm going to check it out too, thanks for the tip.
  7. Like
    tinypieces reacted to Magnolia Mud Research in Sgraffito and safety question   
    four comments on keeping in progress items moist:
    1.  I wrap my leather hard work with several layers of 'cling' type plastic wrap (aka Saran wrap); the plastic is pressed tight against the clay to prevent uneven dry spots. I then loosely  wrap  the item with the same plastic I cover stuff for overnight storage. I once kept a large 12in tall leather hard vase for a summer and two semesters before finishing the sgraffito work - the vase was a little bit drier, but was still leather hard.  
    2.  I made hand impressions in soft porcelain slabs from Nashville back to Texas with each slab wrapped tightly in Saran wrap placed in side a zip-lock plastic bag that had been sprayed with water in the plastic bag.  They were kept from June to November in a closed Zip-loc plastic box.  They slabs were still flexible enough to shape into cups. 
    3.  I often store wet ware in a tight fitting plastic box which has a small cup of water also in the box, or with the ware sitting on a brick or shard to keep off the bottom.  They will stay wet for weeks if the water doesn't evaporate from the cup.  One bowl was stored in a bucket for over a year at the wet stage. 
    The approach in comments 1 & 2 is to minimize the amount of air between the ware and the plastic to an minimum; the air breathes as the temperature rises and falls from the initial wrapping; when the breath press is outward, the air cares out some moisture away from the ware.  The compressing the wrap against clay surface minimizes the volume changes with temperature changes.  The second outer wrap also lowers the drying by providing additional barriers that the moisture must pass before being lost to the ambient environment. 
    The approach in comment 3 is similar but as the container breathes the water in the air is replaced from the source of liquid water in the open cup/bottle. As long as there is liquid water in the open cup/bottle, the moisture in the air is in equilibrium with the water and with the ware.  
    4. Consider under-the-bed clear plastic storage containers for storing plates in progress.  
    LT
  8. Like
    tinypieces reacted to Stephen in Sgraffito and safety question   
    I can't imagine sitting around for hours on end wearing a respirator. I wear one for glaze mixing and that's annoying enough. 
  9. Like
    tinypieces reacted to liambesaw in Sgraffito and safety question   
    I put home depot plaster in the big black Costco bins, works great.
  10. Like
    tinypieces reacted to Denice in Sgraffito and safety question   
    I bought a container that holds rolls of Christmas wrapping paper on closeout,  it would easily hold two platters.   There are some buckets that you can buy that are for summer activities  that would hold one platter and easy to move around.   You may not be able to find them until summer gets a little closer.    Denice
  11. Like
    tinypieces reacted to Min in Sgraffito and safety question   
    @tinypieces, video below showing how to's and why's of a damp box. (includes how to mix up the plaster)
    Wow, and here I thought my wax was expensive!  If misting works over underglaze then wonderful, my underglazes (mostly Spectrum) have enough binder in them that misting doesn't soak into the clay very well though.
     
     
  12. Like
    tinypieces reacted to liambesaw in Sgraffito and safety question   
    You can put a damp sponge in a Rubbermaid and it's a makeshift damp box too
  13. Like
    tinypieces reacted to Min in Sgraffito and safety question   
    If you don't finish the piece in one session I would use a damp box. (it's just a plastic bin or tote with a tight fitting lid that you pour plaster into. Once the plaster has cured you place your piece(s) in the box and the damp plaster keeps the pot from drying out.) Don't use the plaster too wet or you can get water splitting of the pots. (been there done that)
    Re the Forbes wax, it's going to depend on how thick and how dry the pieces get while you are working on them. It's not going to hurt to do both inside and out with it, yes it will completely burn off during the bisque. It's expensive for me to order in Forbes, I don't know if it is for you too? You could use Forbes on the underglazed part and a less expensive wax on the non-underglazed part to save some money.
  14. Like
    tinypieces reacted to liambesaw in Sgraffito and safety question   
    Here in the US it's under 30 a gallon
  15. Like
    tinypieces reacted to Chilly in Sgraffito and safety question   
    I always need the smallest hat.   Also wear specs.   I bought one of these, size small 
     

    Fits well, and is comfortable.
     
  16. Like
    tinypieces reacted to neilestrick in Sgraffito and safety question   
    When buying a respirator, it's also a good idea to check how much replacement cartridges will cost. The price can vary greatly from brand to brand and model to model.
  17. Like
    tinypieces reacted to oldlady in Sgraffito and safety question   
    tiny,  are you using slip or underglaze as your color?  it sounds like underglaze.  the bits you cut off can be turned into slip for recycling instead of tossing it out.    
    if you work on a terrycloth towel, you can dampen it to keep the bits from shifting around when they land on it.  to keep your lap or work surface dry, put a dry cleaner plastic under the towel.   a small fan over your shoulder will direct the bits downward onto the towel.
    but, frankly, i think this is not a serious problem.  i cannot imagine a single person working in a studio making enough dust to become a danger.  wax sounds like a $1000 solution to a 50 cent problem.  wear a respirator and just mist a little if you really have to.  
  18. Like
    tinypieces got a reaction from Hulk in Sgraffito and safety question   
    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
     
     
  19. Like
    tinypieces reacted to Min in Sgraffito and safety question   
    Wax resist will slow down the drying. I like Forbes wax, the oil based ones I find don't dry as well and can be a bit gummy or sticky unless they are left to dry for a fair while which defeats the purpose. 
    I use a size small 3M respirator and find it fits me well.
  20. Like
    tinypieces reacted to PSC in Sgraffito and safety question   
    I live in humid florida and don't seem to have the problem of ware drying out in just a couple of hours of carving so maybe running a humidifier while carving might stop the drying out.
    i find carving over a shallow tray like a large cake pan catches all the crumbs from carving and can be disposed of later either in the slurry bucket or trash.
  21. Like
    tinypieces reacted to Pres in Sgraffito and safety question   
    There are some options when working with a long term sgraffito on pots. One would be to continue to dampen the pot with a mister bottle as often as needed. Another would be to use a sealant of some sort to hinder the drying process of the pot, a spray wax or enamel.  You may find that this opens up other possibilities as there are some colored waxes out there, Maybe you could use the colored wax in areas, and sgraffito through that. 
    As far as cleanup, you are correct to be concerned about silica dust, and again there are some possible solutions.  You could use a damp cloth on the work table under the piece to gather the bits of clay and dust, when done wrap the cloth up, and let sit until you can shape the dampened pieces into a lump and remove to throw out or re-wedge. Another possibility is a frame over a large bucket with water in the bottom for the clay to fall into. A mask is useful, but only if it fits and is comfortable to use while working.
    Hopefully, this little brain storm will help you to come up with your own solution.
     
    best,
    Pres
  22. Like
    tinypieces reacted to Chilly in Napkin rings   
    Or the inside or the outside.  They look good as they are.
  23. Like
    tinypieces reacted to liambesaw in Napkin rings   
    I'd leave the bottom and top edges unglazed.
  24. 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.
     
  25. 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!
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