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Found 194 results

  1. Dear colleagues, I have to make a decision as I could have a Venco Super Twin in a few days here in my studio what would normally take months to be delivered and I have a big order of lots of plates to throw. In my research about pugmills I have come as far as that I think I have to decide between buying a Peter Pugger vpmss20 and a Venco Super Twin, both stainless steel and de-airing. I throw porcelain and run a studio production, means around 2 tons a year, getting more (sorry, I'm not a native speaker)... I'll need it in the first place for replacing the wedging of new porcelain clay as I find this extremely power- and timeconsuming for production. I let the wet material dry a little bit down to have a stiffer clay for throwing thin bigger pots. That means the clay has stiffer parts outside from the drying and softer ones inside even if I dry it slowly under a soft fabric to avoid too fast drying. I hope such a machine could mix and de-air it for having a homogen porcelain body ready for throwing. That's what I intend mainly. To reclaim crap is also an idea but not really important as I can sell trimming crap for a small money to someone who re-uses it for small sculptures. i know in stoneware de-aired clay is a gorgeous thing for throwing, but porcelain is different and it seems to absorb air whenever possible so the vacuum effect might be a problem? What I have heard about the Peter Puggers: Some potters have problems with porcelain coming out with no plasticity. Also heard a rumour that the pugging chamber of the PP is too short for good de-airing. The advantage of PP seems to be that the clay can be stiffened or dried down easily and that any stiffness doesn't seem to be a problem at all as the mill is very strong so it won't stop with stiffer clay. About the Venco: the twin spiral shall have a quite well mixing effect but the de-airing pump shall also not be so good. Another disadvantage of the Venco is that I heard it stands still if the clay is too stiff and you have to open it to pull the clay out before going on with softer clay. I'm afraid I will have spent so much money to have small air bubbles in my fired ware what must be quite horrifying and / or that I have a machine that stops when i put a bit stiffer clay for bigger pots into it. It would be SO GREAT if anyone working with porcelain with these machines could share his/her experiences... thanks so much, claude
  2. From the album: narrative work

    I'm not really a cat person, but I chose to work with the basic shape because cats are far less variable in form than dogs and are thus more universally recognized, if that makes any sense. These images are developed using cut-out resists, colored slips, and sgraffito on porcelain.
  3. From the album: Jim Keffer Pottery

    Porcelain Vase 10" Fired to cone 6 Oxidation with Black Opulence Coyote Blue and Saturation Metalic
  4. From the album: newer work

    This is a one-piece water pipe, thrown in sections and joined. The visual inspiration was a kind of melding of a number of ideas.
  5. From the album: newer work

    This is a one-piece water pipe in the form of an American Bison. The glaze is my standard white titania glaze.
  6. From the album: New work

    Porcelain, ^10 reduction. Sgraffito through black slip, then color added with underglaze painting.
  7. From the album: newer work

    This is an effigy pipe, in the form of a lizard with wheels and gears. The glaze is a silky white with a pooling of warmer colors along edges.
  8. From the album: newer work

    The glaze is a silky white over pale blue slip, which breaks through the glaze to give soft delicate shades. The exterior was sprayed lightly with a blue ash glaze, which has gone transparent over the base glaze and run down to the foot in places. The interior is speckled with a blue reminiscent of a robin's egg.
  9. rayaldridge

    Sake Set

    From the album: newer work

    This sake bottle and two cups are glazed with my silky white satin glaze, over a very pale blue and lavender slip, with faint pink veils of color. The warm coloration is more noticeable on the cups.
  10. I have been trying to find an answer to this online with no result. If I were to mix two kinds of premixed casting slip with different shrinkage rates, what would happen? Would the shrinkage average out or would a mushroom cloud obliterate my dad's kiln shed? We want to try mixing Laguna Oriental Pearl (shrinkage 14%) with Lagina White Stoneware (shrinkage 10%). I know that stoneware/porcelain blends exist as a clay form, but I'm not sure how it works with slip.
  11. From the album: newer work

    Another piece with sprayed-on slip and satin white.
  12. Hi Everyone, I would like to inform you of future workshops that I will present . The workshop in Sunnyvale California is postponed until October. I will confirm the exact date later. The Arvada Ceramic Arts guild host a compact hand-son workshop on August 8-9 On Sunday night the Castle Clay group will host a slide presentation a slideshow presentation, describing my background, inspirations, motivations etc. including past and current work as well as a discussion of influences from my upbringing in South Africa. We will follow that up talking specifically about the business side of art; how to get into shows, exhibits and galleries; relationships with gallery owners, photography and presentation to get into the same, developing a body of work, marketing, etc. In September 2015 I will do another hands-on workshop at the John C Campbell Folk School. The next online workshops are available for registration again. This time we are opening "Wheel thrown Porcelain Dinnerware" and "Hand building Porcelain" Both classes will run from July 27 until September 3rd, with further viewing of material until October 2nd. In 2016 I will travel to Europe to present workshops there. Details TBA. Information about these workshops are available on www.porcelainbyAntoinette.com
  13. Is it possible that particularly virulent bacteria continued to respire in the drying slipware? if yes, would that show bubbles burst at the surface visible to me before firing, or not, I wonder? I made my own porcelain paper clay slip with porcelain powder, dispex, tissue and water. It's worked before but I left this one and it stank. following instructions from tutor I added a bit of bleach but the bleach didn't completely kill whatever it was, not totally. It was grey in colour. I poured vessels, they looked fine (but the smell and grey colour lingered until they were totally dry). Biscuit showed no signs of any problems. But stoneware temp and they've come out looking really vile, absolutely completely covered in small irregular bumps. I've broken them open and it's clear air pockets near to the surface predominantly. I can't see that this was clumped paper fibre as most of the gas holes are smooth in shape. It was a well mixed and as bubble-free as a liquid as I would usually have it. Therefore any burnt off paper could have escaped through usual channels. HOwever, if the paper gas could escape then why not this gas (if that's what it was)? Is this just a matter of something going too hot? many thanks.
  14. From the album: newer work

    The glaze is the standard silky white crystalline glaze I've been using a lot lately. The center of the bowl was sprayed with a pale green crystalline glaze to define the texture of the fluted pattern carved lightly into the porcelain. For unknown reasons, this sprayed on glaze fumed the white rim of the bowl to an almost fluorescent pink, and crystallized pink flowed down and collected in the center of the bowl
  15. Hi guys, I'm looking for anything that I can add to my porcelain slip (cone 10) that will result in a fine surface texture. This could be fairly uniform almost sandpaper-y, to just varied and rough. Like below: http://www.walkerceramics.com.au/images/Compressed%20images/BRT%201280%20R%20054.jpg http://claymotion.com.au/wp-content/uploads/2013/05/brtsample.jpg Not necessarily the colors I"m after, more just the texture, but open to any suggestions. Any thoughts would be great!
  16. From the album: newer work

    My second favorite piece from the last firing, This was sprayed with a green vitreous slip, and glazed with white satin matte, followed by a spray of blue ash glaze.
  17. I just returned from the North Carolina Potters Conference. Our presenters were three established potters from Japan ... just amazing to watch as they worked. There were many lessons learned but one excited all the throwers so I thought I would share. From Fuku Fukumoto ... Google her images and enjoy the Artwork. She centers and cones her porcelain, then cuts it off the wheel, turns it upside down and centers and cones again. (many thought this reversed the twist that the first centering and coning process put into the clay) She just said it further compacts the porcelain making it easier to throw. The other presenters agreed that they knew many porcelain throwers who did this but did not do it themselves. I am not a big time thrower so I do not have an opinion ... also, their porcelain is made from stone and is so grog free it is like butter ... 180 mesh as opposed to our 60 or so. NOTE : see my later post ... on realizing their clay was stone based, so this could be why it works for them. I have to admit if I was a thrower I would definitely try it just to see what happens, but it also could be a useless extra step for clay.
  18. From the album: narrative work

    Large mixing bowl with resisted slip and fluting
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