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Found 232 results

  1. From the album: What I am up to

    A close up from above
  2. From the album: What I am up to

    Same stuff diferent view.
  3. From the album: What I am up to

    Side view of the mug and bowls after the glaze has been applied. Now just a little cone six firing away from the finished product.
  4. We just tried to fire a newly bought glaze that required 1160 degrees on stoneware that is labelled 1100 - 1280 degrees. The kiln was opened at around 250 which we have done many times in the past. However, this time we heard several pinging sounds from the largest stoneware piece, so we immediately closed it until it got under 200. Then we propped open the lid with a brick until it got down to 100. All the time we heard the pinging sounds. At around 70 we removed all pieces and they were fine, except the largest one that kept "pinging" away. So we wrapped it up in a large piece of cloth and kept it like that overnight. Today, almost 24 hours after it has gotten down to room temperature, it still "pings"! Some bone china pieces did spontaneously shatter with a glaze from the same manufacturer, but that happened within minutes of them becoming room temp. This large piece has lasted way longer now. On another forum someone said we should tap it and see if it rings out like a bell or if it only produces a dull noise, which means it's internally cracked, but it does ring out like a bell still. We've heard that the glaze apparently isn't compatible with the stoneware, but does anyone know what we can expect? Will it spontaneously shatter a week from now, a month, a year? EDIT: WRONG FORUM! My mistake. Can a moderator please move this to the "in the studio" forum? Thank you!
  5. In the late 70's I was out in Seattle and stumbled upon this lovely pot in a gallery. I was completely puzzeled by how the beautiful four glazes could have been applied in abstract pattern. There are no overlaps. I bought it for $20 and got the makers card that read "Charles Rothschild, Barlow Pottery, Sandy Oregon." I wrote Charles a letter saying how much I admired the pot and asked about the glazes and how they were applied. In a couple months I received a nice letter telling me about a take-off on Shaners Red, and the white being Rhodes basic #32 white, etc. all fired to cone 9 reduction, and not a word about how they were applied. I wrote again and never had a reply. About once a year since then I take the pot in hand and try to figure out. It's hard to believe each pour would be waxed to protect from next pour? The piece appears to be slab made which again would add to the time cost. It does appear to be single-fired because the lid cut divides the glaze pattern as shown in photo 1. Could this be an early laser cutting? Photo 7. also shows a perfect cut- back which points to being done after glazing at leather-hard. Anyway some of you old timers out there (not the Old Lady please!) may know the potter and/or the process, and would like to share your ideas. Hope you find the puzzle interesting. John255
  6. Hello! Has anyone tried adding Floetrol to their glaze to make it easier to apply? Did it work out for you? Is there any reason this obviously would cause problems? Thanks
  7. I just finished loading a glaze load in L&L. It came to mind that I have seen discussions of loading bisqueloads, some to the running over point, but not much on forcing as much as possible into a glaze load. Over the years, I have come to load my glaze kilns mostly with 1/2 shelves, but often leaving a 1/4 of the kiln occupied by a much larger piece(taller & wider) than the normal piece in the load. In order to do this, I stagger shelves, add shims of bisquefired clay under the stilt and keep on loading. How do you load a kiln of mixed pieces to make room for large pieces?
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