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  1. 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!
  2. Hi! I'm totally inexperienced in this new world of clay and I have questions. I am planning on making tiny porcelain ceramics for jewelry. I have acquired a brand new kiln, some samples of colored porcelain, and a 25lb block of Suzuki white porcelain. I'm reading that I can fire the Suzuki porcelain to cone 6, which is good because the glazes I'm looking at can also fire up to cone 6. Has anyone done test pieces with this clay? My items will be very small as I plan on adding them to other pieces and adding other things to them after firing, if that makes sense. I have no idea what I'm doing. I need guidance so I don't ruin things when they arrive. How do I care for my kiln? Will kiln paper work? Kiln wash? Can I dip pieces and just lay them on a shelf that's been kiln washed or will it stick? How long and how hot for bisque, and for the next firing? These are going to be smaller than what most people do for test pieces I'd imagine. Does anyone know what happens if you put a piece of copper in a divot of clay and then fire? Would I risk a piece exploding or ruining my kiln if I tried to add any metals on top of recesses on the surface of my pieces? I'd be grateful for any advice you could give. I have lots of creative ideas and ambition but don't want to ruin my new expensive toys as a result of experiments. Blessings, Azloen
  3. 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
  4. Weekend - August 6-8, 2021 Fabulous Surfaces on Porcelain Jewelry: Color, Texture, Pattern Colleen Williams Embrace colored porcelain by working small in this class where ceramics and jewelry meet. Explore handbuilding methods and surface techniques for ceramics of any scale. Use layered slips, resists, stamping, sgraffito and more to decorate jewelry "canvases." Learn basic jewelry skills to assemble several pieces to wear home. Beginner; Materials fee, payable to instructor, $20 for 5, 4-6 ounce balls of colored porcelain, 1 lb. of white porcelain, small plaster forming molds, paint pot strip with underglazes, 24 ga. nichrome wire, 18" sterling silver wire, leather cording. The instructor will also bring Items that each participant will have access to including assorted sterling silver and niobium jewelry findings, assorted glass beads, assorted colored porcelain slips and assorted resists and texture tools $360 Registration and Information
  5. Attempting to glaze very thin slip cast cups. The casting slip is a commercially mixed ^6 porcelain bisqued to ^05. I’m using a commercial transparent dip glaze recommended by the supplier. When dipped, the glaze remains completely wet on the cup and then sags and cracks off completely as it slowly dries. I know I’m in the dark without further information about the make up of either the slip or the glaze and that the real solution will be mixing my own glaze but I just wanted to make sure that I’m not getting something wrong in the mechanics of firing and application. My first thought is that the very thin porcelain over fired in the bisque firing and is therefore not porous enough to take the glaze however it does absorb water when soaked. Would I be better off using a spray application as a starting point? I am a newbie and very much finding my way here. Thanks
  6. From the album: July 2019

    Thrown porcelain bottles (sometimes off the hump) - 3-4” tall. Underglaze transfer decoration applied to leather hard clay. Bisqued to 1000oC. Poured and dipped in transparent glaze. Fired to cone 6/7 (1200oC)
  7. 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
  8. From the album: July 2019

    Thrown porcelain. Wax resist all over, carved when leather hard. Black underglaze inlay painted over and wiped back. Bisqued to 1000oC. Orange underglaze highlights added. Transparent glaze poured and dipped then fired to cone 6/7.
  9. Hi ...... Have some porcelaine cups that have reached the bone dry stage .Am wondering if I can still use engobes or slip on them before bisque firing ? Also can engobes or slip be used on bisque ware ? and then does one glaze as usual ? Thankyou Nicky
  10. Hi ....... Fired two batches of porcelain ware .The one was “ onefire “ And the other “bisque» My problem is they got mixed together. Now I cannot tell the difference as I want to glaze the bisque ware .Is there a way of testing the difference Thank you Nicky
  11. Hi there! I was wondering if anyone knows what the composition of Audrey Blackman porcelain is? I've searched high and low and the only info I got was that it contains quartz. I sell ceramics on a very small scale and someone is enquiring if my work vegan and I have no idea!!
  12. I am new to ceramics and can't seem to find any info on creating a strong white slip for decoration, not casting.Porcelain clay , I guess would be the optimum. If so how please? Powder ?...dried clay rewetted? Plus any additions? How would this work as far as compatability goes with stoneware clays? Also I would like to make an engobe white to use on bisque...any ideas please ?
  13. Hi I am using Audrey Blackman porcelain and am interested in using stains into the clay. Can anyone suggest which stains are good to use and can I just wedge it in? Many thanks. Debs
  14. 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
  15. Hello everyone! Another question from me: is it possible to cast a flat plate (without a foot) with a one-piece plaster mold? I am usually throwing a prototype with a simple white clay on a wheel, then wait until its dry enough and cast a mold, but when i tried making a plaster mold for a flat plate, plaster seemed to heavy for the clay to hold, clay got softer and caved in. As the result: the mold is with a little knob in the middle. Any advices? Thank you! Nata
  16. It's a simple question from a relatively inexperienced potter who has only thrown stoneware and earthenware... don't want to stir up a "which is better" debate or anything like that. Why porcelain? In general, and then specifically, why do some functional potters who cover all but the foot in semi-opaque glaze choose porcelain, considering that it's expensive and finicky (from all I hear). When I go to art fairs, none of the functional potters work in porcelain (I ask about clay and glazes, of course). But online and in the magazines, I see functional potters who work primarily in porcelain, when they could work in a white stoneware and only other potters or "serious" customers would notice (because of how they finish their pieces). I don't understand this choice. (Maybe because I've never tried working with porcelain.)
  17. From the album: July 2019

    Thrown porcelain vase, cut vertically from rim. Textured slab attached with slip. Copper & cobalt oxide wash applied to bone dry greenware. Bisqued to 1000oC. Transparent glaze poured inside and brushed on textured addition. Fired to 1200oC (cone 6/7). Gold lustre highlights added then fired to 780oC.
  18. From the album: July 2019

    Thrown porcelain. Wax resist all over, carved when leather hard. Black underglaze inlay painted over and wiped back. Bisqued to 1000oC. Transparent glaze poured and dipped then fired to cone 6/7. Gold lustre applied before third firing to 780oC.
  19. From the album: LeeU Hidden Mask Series

    This piece was fired in the anagama kiln at the Sharon Art Center in NH.
  20. From the album: LeeU Hidden Mask Series

    This piece was fired in the anagama kiln at the Sharon Art Center in NH. It is porcelain with a celedon glaze on the facial planes and a temmoku on the stamped area. The orange on the right side is on unglazed clay and is an attribute of the firing.
  21. From the album: WIPs

    More WIP. Some molds I made along with some random objects used for impressions, including a cameo of Dante. -The cup in the upper left is not my work btw.
  22. From the album: WIPs

    Just excited because of the pinch pot mug body I managed to make without too much trouble. Archiving some prototypes in progress.
  23. From the album: Crystalline Glaze / Tile

    New cone 11 porcelain body, with crystalline glaze. Only given 30 minute soak time.

    © TJA 2017

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