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Showing results for tags 'Clay'.
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I've been doing clay for a while now, so not a total noob, but have had my biggest disaster in clay to date. I have to admit I have not done a ton of hand building in the last few years, but have done enough to know the basics. I was hand-building some larger pieces. Scored and slip attachments to sides. (The same way I have scored for ten years without having issues.) I dried them very slowly under plastic, as I live in northern Arizona and things dry way too fast here. They were built with Laguna's Rod's Bod. I built each piece one at a time, during the day, so the slabs would be close to the same moisture. I throw out my slabs for each piece all at one time, by hand, and finish by rolling them between dow rods to get thickness relatively close. I kept extra slabs covered while working on the main piece. The only thing I can think that may have had an effect was that I let these dry in my garage. (We just moved into this house, so I consider this a variable I haven't dealt with before. In my last house, I dried my hand built items inside the house, and had no issues.) My garage is not heated, but attached to the house, so it never got below 45 degrees F. But the temperature ranged from probably 70 F in the day to 45 F at night. It never fell below freezing, though. Everything looked fine, but when they were bisque fired, most of the attachments fell off. (see photos) Could the range of drying temperature have cause my problem? I am racking my brain trying to figure this out. Please help...
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I have an old Venco de-airing pugmill, with an aluminum barrel. I'm starting fresh once again with an empty, cleaned out barrel. My intention is to pug my huge pile of porcelain reclaim clay all at once (over a few days, perhaps). Then I should just clean it out, because when leaving clay in it, I've repeatedly failed to get back to it in time. I use ^6 porcelain PSH 910. Over many years I have never yielded reclaim clay that was a pleasure to use. I've always restricted it's use to a few items where the imperfections aren't as big an issue. But I feel like I should be able to do better, deairing pugmill and all. Some of the challenges: -When throwing, materials settle in the throwing water and form a hard lump in the bottom. (Primarily talc?) I've tried both adding this to the reclaim bucket (get dried gobs of material- but I could possibly deal with this more effectively in the future) and leaving it out has been my latest strategy. -As seems to be more common knowledge now, the aluminum barrel and porcelain clay react over time and form clumps of salts (?) that make hard horrible bits in your clay. A large part of my reason to try doing a big batch at once then clean it out. -Getting the PSI high enough to de-air the porcelain is difficult -The clay comes out short. The bags of clay have been sitting around for a long time. Any additives that I try now to improve the plasticity would be added as I pug. Ideas I'm considering: -Adding some vinegar, because it would swing the alkalinity to slightly acidic, which would draw the particles closer together and possibly improve the plasticity. -I could mix some bentonite and water, and roll the clay in a bit of that "snot" before pugging? -Epsom salts in the clay (straight from PSH) have not had good results for me. -A potter I worked for years ago used to mix her boxed clay 1:1 with the reclaim. But I'm nervous that the result would lower the quality of the boxed clay, more than improve the reclaim? Any brilliant thoughts and suggestions are appreciated. -
I have an old Venco de-airing pugmill, with an aluminum barrel. I'm starting fresh once again with an empty, cleaned out barrel. My intention is to pug my huge pile of porcelain reclaim clay all at once (over a few days, perhaps). Then I should just clean it out, because when leaving clay in it, I've repeatedly failed to get back to it in time. I use ^6 porcelain PSH 910. Over many years I have never yielded reclaim clay that was a pleasure to use. I've always restricted it's use to a few items where the imperfections aren't as big an issue. But I feel like I should be able to do better, deairing pugmill and all. Some of the challenges: -When throwing, materials settle in the throwing water and form a hard lump in the bottom. (Primarily talc?) I've tried both adding this to the reclaim bucket (get dried gobs of material- but I could possibly deal with this more effectively in the future) and leaving it out has been my latest strategy. -As seems to be more common knowledge now, the aluminum barrel and porcelain clay react over time and form clumps of salts (?) that make hard horrible bits in your clay. A large part of my reason to try doing a big batch at once then clean it out. -Getting the PSI high enough to de-air the porcelain is difficult -The clay comes out short. The bags of clay have been sitting around for a long time. Any additives that I try now to improve the plasticity would be added as I pug. Ideas I'm considering: -Adding some vinegar, because it would swing the alkalinity to slightly acidic, which would draw the particles closer together and possibly improve the plasticity. -I could mix some bentonite and water, and roll the clay in a bit of that "snot" before pugging? -Epsom salts in the clay (straight from PSH) have not had good results for me. -A potter I worked for years ago used to mix her boxed clay 1:1 with the reclaim. But I'm nervous that the result would lower the quality of the boxed clay, more than improve the reclaim? Any brilliant thoughts and suggestions are appreciated. Cross-posting
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Hi everyone, I am new to pottery and I'm just about to buy some glazes. I am wondering - can you use low fire glazes with mid-range clay? What type glazes should you use with mid-range clay? Thank you! -
Hello, im new to the ceramics community and was wondering if there’s any way to make glaze into a solid-ish form? I do not want to harden it, I’m looking for a clay/foamy like consistency. Thank you!
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Hello! I am new to raku and making a homemade raku kiln out of a metal trashcan. I'm just a little confused on bisque firing. I'm thinking I'll bisque fire to come 04 but I'm just not sure how slow I need to increase the temperature. Is it also possible to maybe split up the bisque firing into 2 different firings. Since I have a homemade kiln and it will be outside I don't feel comfortable to leave it alone for like 7 hours and I have to monitor the temp anyways. I'll be using a torch attached to a propane tank and I'm also wondering if I can get a bisuqe and glaze fire out of 1 tank? Thank you!
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Christmas is coming, and clay/glaze shortages are aplenty... I've run out of all my normal clay, and all that remains is an unmarked, untouched, twisty-tied bag of clay that I have NO RECOLLECTION of purchasing. I don't have time to test run it in a high/mid fire kiln load, and I have a few more pieces that need to be made. Is there any way I can figure out what cone it is without firing it? I've narrowed it down to either being Laguna's cone 5 half and half (but there's usually a sticker label), or an Aardvark low fire throwing clay. It's a light beige-y grey, and very smooth. Any suggestions? I'd REALLY rather not melt a bunch of nice dishes all over the bottom of the kiln shelf
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Hello, so I came across this really cool table. The artist says its made from clay and it inspired me to make my own sculptural table!(image linked below) ... I was wondering if someone with more experience than me can recommend what I use/ how to build the form? I've only used foam and magic clay over but I'm guessing this won't be sturdy enough? I'm also thinking air dry clay as I won't be able to find a kiln big enough! Also does anyone know how I can add a glass table top securely onto my sculpture! https://www.instagram.com/p/CKxdlTjnBBg/?utm_medium=copy_link -
4 BUNNIES 5 DAYS OLD,EYES STILL CLOSED
BARAKE SCULPTOR posted a gallery image in Browse Member Galleries
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4 BUNNIES 5 DAYS OLD,EYES STILL CLOSED
BARAKE SCULPTOR posted a gallery image in Browse Member Galleries
From the album: SCULPTOR
AN UNFIRED SCULPTURE FOR A RESIN AND BRONZE CAST. A BURST OF LIFE,BUNNIES GROW FAST,BUT ARE SO DEPENDALBE ON EACH OTHER FOR WARMTH AND PROTECTION.THEY OPEN THEIR EYES AROUND 10 DAYS ! H 12CM X L 20CM X W 14CM.© Barake Sculptor
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I am an experienced potter trying to find the right porcelain for my work. As of late I have been using cone 6 Laguna 15 because it is super white and super vitreous. Both of these things are important to me because I leave much of the exterior of my pots unglazed, so the porcelain needs to look very white and not stain from absorption over time. However this clay cracks like crazy!!! About 50% of the mugs I make have cracks around the handles. Also, lots of cracks along the bottoms. I have tried everything I can think of to prevent cracking- compressing like CRAZY, adding more clay to attachments, different glaze/clay combos, slower firings with holds... at this point I’m wondering if it’s me or if it’s just the clay. Has anyone else had this problem with Laguna 15? Has anyone found alternative super white, vitreous clays that don’t have cracking problems? This clay is so beautiful I wish I could figure this problem out, but a 50% loss rate is too high!
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From the album: SCULPTOR
CATS ARE ALWAYS TAKING NAPS,SOME EVEN WITH THEIR EYES OPEN, JUST IN CASE THEY HAVE TO RUN !! THIS CLAY SCULPTURE FOR A FUTURE BRONZE CAST. H 14CM X L 20CM© Barake Sculptor
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Sorta beginner potter here! I recently came across some glaze I really wanted to try out! On the pint it says “apply to cone 04 bisque” but it fires to ^6...wouldn’t that melt my pottery into a puddle if my 04 earthenware clay was fired to ^6? Or is it referring to stoneware? What type of clay is best for ^6? Thanks in advance!
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I'm having a hard time finding a speckled clay without manganese. Anyone have any suggestions? I've searched the SDS sheets of Standard Ceramic, Laguna, Minnesota clay co and Amaco. The best I can tell is that Amaco may not use it in their 480M and 48M with grog but their SDS sheets don't seem to list all the ingredients so I'm skeptical. I can't tell from this list (below) what would be causing the blooming speckles? It also seems like they are only listing the top 5 ingredients by weight. Hydrated Aluminium Silicate 10-30% HYDROUS ALUMINIUM SILICATE 10-30% Fireclay 10-30% Hydrous Aluminium Silicate 10-30% silica 5-10% Anyone have any recommendations for a safer speckled clay? Or does that not exist? AMACO 480M STONEWARE W-O GROG - SDS4882.pdf -
Hello, I am currently in the very early stages of organizing a ceramics conference that will be taking place sometime in the future most likely after a vaccine for COVID is developed. I am looking for any information, suggestions, or tips anyone can provide when it comes to preparing, organizing, implementing, attending, etc... a ceramics conference. All information is helpful. Looking forward to the help! Cheers,
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Please help me. I can’t figure out what stoneware clay my kiln could handle. I recently purchased the Jen Ken AF3C 11/9 Ceramic Kiln. It’s Max temp (as stated) is 2100* or about cone 3. The problem is I need a functional ceramic that’s not too porous so avoiding earthenware. Does anyone know what type of clay I can fire at the temp? Or am I coming at this problem the wrong way? Thank you so much for your help! -
Hello! I am fairly new to throwing and have just bought my own wheel, a Rhode HMT 500. First few weeks of throwing everything was greet, but now whenever I throw directly on the wheel head I am getting this black substance that feels gritty. It’s actually really abrasive and hurts my hands after a while. I thought it may be residue from some more heavily grogged clay I was throwing, but I have cleaned and cleaned the wheel head. On a totally clean wheel, if I wet my finger and let it run over the wheel head I can see and feel this black gritty substance build up. Does anyone know what it might be or how I can get rid of it?
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From the album: SCULPTOR
A SMALL STUDY FOR A BIGGER CLAY PIECE,THEN A MOULD FOR A BRONZE AND RESIN SCULPTURE!© Barake Sculptor
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From the album: SCULPTOR
A CLAY STUDY FOR A RESIN SERIES OR BRONZE, ABOUT LIFE SIZE SCULPTURE.THE ORIGINAL CLAY WILL THEN BE FIRED.© Barake Sculptor
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Im new to ceramics so sorry if I seem ignorant. If I were to make a solid sculpture, 2-6 inches thick, would I be able to get away without firing it? (I don’t have a kiln in my area) My idea is that I’d let it dry and then just paint it as it is. But would it be too fragile? Are there any adhesives or sprays I could use on it to keep it from breaking and make it stronger? It wouldn’t be moved around much. I'm using earthenware btw.
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Hi guys! I 've been learning to make ceramic plates for a while now, and I am looking for ways to keep track of my work and progress in a quantitive way. Have any of you done something like this? Which apps/softwares would you recommend to keep track of learnings and insights? Let me know. Thanks.
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Hi, I'm trying to get the elusive oxidation copper red with localized reduction glaze to work. Everywhere I look it suggests 600 mesh silicon carbide is necessary to get the localized reduction. The silicon carbide I have is 400 mesh. How can I increase the mesh of my silicon carbide?
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From the album: SCULPTOR
A SMALL CLAY, 16CM H. USING WHAT´S AROUND,GETTING SOMETHING DONE. WE ALL THOUGHT THIS NIGHTMARE WOULD END MUCH SOONER.HOPE EVERYONE IS SAFE AND WELL.© Barake Sculptor
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From the album: SCULPTOR
DURING THIS LOCKDOWN QUARENTINE, USING MATERIALS I HAVE AROUND TO WORK WITH, KEEPING UP THE GOOD SPIRITS AND POSITIVE THINKING. I KNOW WHEN MON PETIT CHAT WAKES UP,ALL THIS BAD DREAM WILL BE PAST GONE. H 5cm x L 11cm x W 10cm© BARAKE SCULPTOR
