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  1. I'm in need of stilts to suspend the interior of dome-shaped sculptures up to 4cm (so the rim/base doesn't touch the shelf surface). I've looked into heavy gauge nichrome wires, but I'm not sure if they'd be able to stand still during the high firing process, plus they are pretty difficult to cut. So I wonder if metal nails could be used as stilts. For example, the pointy part touches the sculptures, and the cap sticks into a flat body of clay, i.e., the base of the stilt. If so, what kind of nails can sustain in cone 10 firing? Thanks!
  2. I am wondering how to fire - in an electric kiln- burnished pots brushed with a porcelain/stoneware terra sigillata- or even just burnished! Is this possible? What temperature would you suggest to fire to? I’d like for them to be strong enough to be carried at markets and slightly shiny and smooth on the outside. Any knowledgeable advice and tips would be valued. Thank you V.
  3. Hi there. I recently glazed some items on white stoneware clay. The clay (White Stoneware PF560) was glazed fired after being bisqued at : room --> 600 degrees C at 100 deg/c per hour 600 -> 1230 at 150 deg/c per hour 20 min soak It came out really patchy and there are some air bubbles. If anyone could recommend good firing ramp for this glaze in degrees celcis with timing that would be great - thanks so much Terracolor orange Ember - https://www.scarva.com/en/gb/Terracolor-FS6031-Orange-Ember/m-1772.aspx was the glaze that didnt look very good! Clay was : https://www.bathpotters.co.uk/white-stoneware-pf560
  4. Can work with two different kinds of clays with different porosity together when marbling or doing other clay combinations? For example one terracotta which ends up very porous and one stoneware clay that vitrifies to be less porous? Or will it crack?
  5. Hi there. I have two types of clay and I was wondering what the best firing schedule is for them for bisque? I have an electric Nabetherm kiln and I am making bowls/mugs. I don't really understand cones and so if possible, please explain using degrees C! Grogged Buff EarthenWare clay - Firing Temp.1000-1280deg.C Stoneware Special Fleck Clay - 1120∞c - 1280∞c Thank you !
  6. Hello ! I received my new skutt KS 609 and test fired it successfully given that I have never worked with a kiln sitter. I will mainly be using it to make small stoneware and porcelain components for jewelry and wall hangings. My question is has anyone tried to fast fire cone 6 unglazed stoneware and porcelain to vitrification ? I only want to fast fire for small beads and components. Also, is it safe to stack cone 6 stoneware plates without warping (slow fired of course) I’m fairly new to mid fire clay bodies Thanks! Asmaa
  7. Hi ......I remember reading somewhere that one can use a clay body and then use “ porcelain slip “ over it . Is this feasible ? I use a stoneware that fires to bisque 980 and glaze goes to 1020 degs . I fire my Audrey Blackman porcelain to 950 bisque and glaze goes to 1240 degs . My question is could I use “ porcelain slip “ on my stoneware ? And is there something extra I should be adding too the porcelaine slip ? Thank you Nicky
  8. If someone could please help me by simplifying the differences for me between “ slip , engobes and underglazes “ I use both porcelain and stoneware . And fire in an electric kiln 1) Slip is used mixing same clay body with stain and water . And applied to leatherhard only . (what other are ingredients could be used in stains for different surface effects ?) 2) Engobes are used only on leatherhard (?) 3)Underglazes can be used both on leatherhard and bisque (?) . Thank you so much Nicky
  9. Hi, Hope this hasn't been asked anywhere else and I'm repeating a question but I've scoured the internet and can't find much of help... Even though I have studied ceramics at 2 levels, during neither course were we taught about firing schedules... Over the past few years I've been using and tweaking schedules given to me by an amateur potter friend but they aren't cutting it anymore. I've recently been approached by 2 shops/galleries who want to sell my work but glaze faults are making it difficult for me to be happy with results as I can't seem to avoid miniature pinholing and am wondering if the firing schedule is the problem. I have a nabertherm top loader, and the control panel allows 5 time segments. 1. Delay 2. Ramp One 3. Ramp Two 4. Soak 5. Cooling. Currently I fire 80oc an hour for 10 hours, 100oC for 2 hours (reaching 1000oC), 15minute soak, and finish for bisque. For glost I use 150oC an hour for 5 hours, 100oC an hour for 4.5 hours (reaching 1200oC), 15min soak, and off. From reading around online I now wonder if these schedules may be too fast? Or may it be something as simple as needing elements replaced? (Although an electrician has tested them and said they're in good working order). Any advice or suggested schedules would be greatly appreciated. Thank you. P.S. I have tried multiple clay bodies so don't believe that clay is an issue. I also use an extraction fan so I don't think it is a buildup of gases within the kiln chamber either. The glazes I use are commercial and mixed by the manufacturers instructions including sieving before use.
  10. Hi, I am extremely new to the ceramics community and I recently purchased an electric kiln. I have been making stoneware vases in the shape of bodies which in places are particularly thick (1.5 inches maybe at the base). I had left the greenware for about a week before attempting a bisque fire. I had previously fired bowls in this kiln (cone 05) and none had cracked or had any issues. Unfortunately when I came to open up my kiln filled with these vases many of them had either cracked in linear type chips or seemingly exploded completely (small shards shattered around). I have researched and apparently it can be an issue with moisture however they appeared to be bone dry from colour and tapping them. I was wondering if anyone had any knowledge they could share with me over whether the issue is more one of thickness, temperature or potentially moisture content? I was in love with these vases and spent hours working on them and would be devastated if there was not a way around me making more of them. (apologies if this is not the correct place to put on this website- I have never used it before!) Thank you in advance!
  11. Hi, I have a question about the compressive strength of porcelain vs stoneware, if both clays are modelled with the same thickness and are both cone 6 clays. Which one would be stronger or better to use for large (4-5ft) sculptures? Thanks, Callum
  12. Hi I want to attempt to make profile moulds for a jigger jolly as I'm a novice and don't have the skill to throw by hand. My question relates to the final thickness of stoneware? I'm trying to straddle the line between durability and aesthetics. Again I'm referring to final thickness recommendations out of the kiln. I will infer a 10 to 12% allowance for shrinkage. I figure this is one of those how longs a piece of string sort of questions, but I guess I could get a roundabout answer from consensus or the average. Thanks
  13. I purchased a beautiful mug just recently and I am trying to figure out the artists name but I am having trouble. It looks to be Hcbie Ltcbie Locbie Hobie .... I have done an image search and can't seem to find anything! https://imgur.com/5blvEpN https://imgur.com/NidHIOW
  14. From the album: July 2019

    Copper & cobalt oxide glazes applied to bisque fired (950oC) pieces. Fired in a dustbin raku kiln at recent kiln building workshop. (1000oC) then plunged into sawdust to reduce.
  15. From the album: Curves and Crisp Edges

    Slab construction, stoneware with terra sigilata
  16. I have been having a strange issue with my Cone 6 Black Stoneware Clay from Standard (266). It gets these big cracking bubbles upon glaze firing. I bought this clay to marble with Porcelain (Standard 365) because it had a similar shrink rate. The marbled pieces came out SUPER bubbly, really horrible. I thought it was just poor clay preparation on my part because of the mixing of the two. However it has been happening with pots I make solely out of the Black Stoneware. I prepare this clay the same way I do all my other clay bodies and never really have this issue otherwise. Has anyone else had this problem with this clay? Any advice?
  17. From the album: Curves and Crisp Edges

    Hand built using Clayworks LGH Stoneware clay. Terra Sigillata finish

    © Linda Lees

  18. From the album: Curves and Crisp Edges

    Hand built using Clayworks LGH Stoneware clay. Terra Sigillata finish

    © Linda Lees

  19. From the album: WIPs

    At least it turned out nearly flawless. Large 12" across, planter from a gritty brown stoneware with off-white slip painting under clear glaze. Formed inside an automotive oil pan with coils.

    © Ann Nielsen

  20. From the album: Custom Mugs and Commission Concepts

    I have my share of commercially produced stamps (particularly logos and finely detailed items), but I still enjoy sitting in an easy chair with my feet-up and carving clay stamps to be used on various projects. It is an exercise of patience for me and a learning experience to be aware of when the clay tells me that its OK to carve/cut/trim. I've wondered before if an exhibit of clay artist's bisque stamps might be a fun thing to organize.

    © Copyright 2016 - Paul M. Chenoweth - Nashville, Tennessee USA - All rights reserved.

  21. From the album: Forum Discussion Images

    This is the second "House Wine" vessel that I made. This time, underglaze transfers were added in an effort to build more depth to the surface. These are fun to make but seem to require a good bit of time on the workbench. This one is headed for a November show.

    © Copyright 2016 - Paul M. Chenoweth - Nashville, TN USA. All right reserved.

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