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cdudley

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About cdudley

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  1. Hi Friends! I'm so excited to share the results from my first round! I did a small test fire and was happy with the results so I went for it with these bigger ones. For scale, the table they are on is 4 ft wide and I haven't polished them yet. I did have one piece crack into three separate chunks but I figure 75% success rate is pretty good for a newb! I have 6 more to go. Two of these have teeny hairline cracks that I'm going to try and heal by covering the back with epoxy, as long as it doesn't crack any more, the piece can still hang on the wall and function as intended. I ended up just laying them flat on the bottom of the pit, no stacking. Thanks for everyones help. Now having experienced the process, I'm sure that bisque firing first was pretty much necessary.
  2. thanks everyone for your advice so far! I did some 'digging' (heh) in my community and found somewhere I can drop off for bisque firing! So that should improve my success rate a bit, but I'll still be working with porcelain . My plan is two thin layers of terra sigillata, bisque to cone 010, then pit firing with the colorants- oxides, metal wires, organic materials. So if I bisque I won't need to preheat, correct? I have some test tiles that are small versions of my larger pieces so I'll do a test fire, but as I said they are sort of like very shallow platters and I'm thinking about positioning in the pit; would be safest for them to lie flat but would it be better for the colorants and flashing for me to fashion some way to fire them vertically? Everything I've found online for pit firing is pots, so they easily sit upright, and I'm wondering if the work needs to be upright to accept colors, because of air flow or the way the combustibles will move or something like that. And any other advice for a first timer?
  3. ok, I think I'm getting it -- so do you think that the bisque fire is hotter/longer than the pit fire and that's why its necessary for the work to become ceramic?
  4. What if I fired the work wrapped in foil (in a pit, or primitive kiln, or large smoker bbq, TBD) to as close as I can estimate to cone 010, then let them cool, then fired them in the pit with the colorants?
  5. so do you think the colorants would burn off before the greenware clay body became porous enough to accept them?
  6. I'm not expecting them to get to vitrification, but don't people pit fire with high fire clay and get interesting results? I understand it wont be the most durable. However I will look into the primitive kilns, thank you.
  7. Unfortunately, no they have not.
  8. Hi clay friends I know it isn't advisable. But I have limited time and access, and a bunch of porcelain. I hand build with slabs to make hanging wall pieces, think large "platters" or concave mirror like shapes. I'm going to try a pit fire in my yard in the next two weeks (I have a show June 1 and haven't been able to fire due to COVID for over a month). I've read as much as I can find on the internet, and am still having trouble getting good advice on pit firing porcelain. I've got my hands on all the combustible colorants, terra sig, etc., but I'm most concerned about the pieces shattering. I've seen mention of pre-heating, but what does that entail? Does it defeat the purpose if the piece cools down between the preheat and the big fire (I will only be able to fit one or two in my grill for preheating at a time)? And should I try to keep the main fire low? Again I know its not the best situation but I think, especially in this time we are living in, its interesting to make due with what I have on hand and see what can come out of it. And I'm prepared for a lot of loss. Any advice would be helpful! Thank you.
  9. This is all so helpful and I'm so grateful for this forum and the FREE information you are sharing with the community. THANK YOU. After reading about how the key with crystalline is precision, I feel like I already know the answer to this. But before I decide I can't try it in my current situation: Is there any way to create a firing schedule that will grow crystals using a witness cones and a kiln sitter? That's all I'm working with at the moment.
  10. I've seen the glaser lusters, but I'm having a hard time telling from the pics what it really looks like... it doesn't appear like they are reflective... I am imagining something more like a glaze that it is thick, moves, and has potentially a more varied surface. I'm going to start trying some things soon and will update ya'll if I get anywhere.
  11. Liam, Bill , Min, and glazenerd Just catching up Thanks so much for all this great info! The work I'm making is sculptural so will not need to be food safe and I can fire at any cone up to 10. On second thought I'm not as concerned with the iridescent quality of Eosin, but moreso the reflective quality of the Palladium. But I think using a mother of pearl luster is a great solution for iridescence. For the mirror look, the closest I have found is this recipe on glazy. Please forgive if this is a stupid question but is there a way to "turn" this glaze a color... say, red? Maybe by removing the copper and adding cadmium stain? And/or is it crazy to start with the 5 ingredients Min listed, add some colorants and see what happens? Thanks again!
  12. Hi! I'm a long time lurker, first time poster and new to glaze making but I figure its time to dive in now that I can't find a commercial glaze to do exactly what I want. I've mixed slips before so am familiar-ish with the processes and am ready to experiment and learn. Does anyone know what chemicals cause the mirrored effect in Palladium? Are there any glaze books where I might find a recipe for it and then could possibly tweak to get the colors I want? Essentially I want a mirror like sheen, could just be high high gloss, but the look of the Amaco Palladium or elusive Eosin glazes would be lovely- and ideally in 6 colors- red, blue, yellow, black, gold and white. Thanks in advance.
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