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Kakes

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  1. Would you mind going into some detail? And have you found that any of the additions affected the glazes?
  2. Hi Min, when you refer to sand, is that silica? Or any type of sand?
  3. That's a great idea to experiment with different stages of greenware. I'm curious - what additives do you add to your clay powder?
  4. Is it ok to apply a clay slip over another clay body that have different shrinkage rates? For example, I'd like to apply Standard 710 with a shrinkage rate of 11.5%, over a sculpture made of Standard 420 with a shrinkage rate of 10%. Are the shrinkage rates close enough that I won't have cracking or other issues? It would be a thin coat, just enough to change the color. At what point will the differences in shrinkage rates cause problems? I'm assuming the greater the difference, the more likely it would be to have problem. Should I add anything to the slip to improve brushability? (That wouldn't affect the glazes.) I'm doing this because I love how glazes look on 710 but 420 is better for building. I fire to cone 5.5 in oxidation if that makes any difference. thank you!
  5. This is something I find really frustrating about ceramics. I come from a background in painting, so it's been a major shift in working methods and especially my attitude towards these technical demands. It's overwhelming at times. I realize there's no shortcut. Sorry, just venting. I do appreciate the technical expertise offered here and have learned some very important tips that have made a huge difference!
  6. Very good points. I'm probably not a 'typical' ceramic artist in that my goals run counter to what most people want (some of the time), especially in terms of glaze. But I'm attracted to low fire clay because of less warping and distorting of forms. And the practical advantages of less wear and tear on my kiln. However, my patience for endless experimenting is limited, so I'll have to take that into account too!
  7. Thank you, everyone, for your helpful replies. I think i'll experiment with earthenware and see how that goes.
  8. Thank you - very helpful! I'd like to experiment with earthenware clay fired to 04. It feels a bit daunting because I'll need to find a different set of glazes.
  9. That's exactly my situation - I make thin walled slab built pieces with a lot of unprotected edges. Thanks for this info - i need to investigate the type of glazes I like to see if they fit.
  10. Thank you for this link - fascinating! I'm surprised that grog weakens clay and that red earthenware fired to 04 is the strongest. Do you think MOR would also indicate chipping resistance?
  11. Hi everyone, I posted this question in Clay and glaze chemistry and got no replies so I'm trying here. I hope that's ok. Is there a difference in fragility and durability between vitrified low fired stoneware (04) and vitrified cone 6 stoneware? I make non-functional sculptures so I'm primarily concerned with handling and shipping. What would be the advantages or disadvantages of using either clay for sculpture? thank you!
  12. Hello, I was given some low fire (cone 04) Laguna stoneware. I normally use cone 6 stoneware (Standard) and all my work is nonfunctional. My question is what is the difference in fragility and durability of the fired clay between the two types once they are vitrified? My sculpture involves slab building and sometimes has thin edges. My main concern would be shipping the work. thank you!
  13. I've experienced raised bumps like you describe from what I assume is a clay/glaze mismatch. I use Standard 710 with Mayco alabster glaze (I think - will need to check on this when i'm at the studio. i'll check and will also take a photo) This doesn't happen if I use Standard 420 which is a very groggy sculpture clay. Go figure. I don't have anything helpful to add. Since i don't make functional ware, i've just decided to use it for the bumps.
  14. Hi everyone, I just fired my kiln (skutt 1222) & after unloading it, realized I forgot to fire a piece. Duh. So now, I have to fire it by itself. It’s a sculpture about 10” x 6”. Should I adjust my firing schedule in some way since the kiln will be practically empty? I normally fire to cone 5 with a 20 minute hold. Also this is a refire where I’ve added another layer of underglaze (fires to cone 5-10) so I only need the underglaze to “cure”, or whatever the right word is. Thanks for any advice!
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