Jump to content

Search the Community

Showing results for tags 'Porcelain'.



More search options

  • Search By Tags

    Type tags separated by commas.
  • Search By Author

Content Type


Forums

  • Ceramic Arts Daily Forums
    • Forum FAQ & Terms of Use
    • Studio Operations and Making Work
    • Clay and Glaze Chemistry
    • Equipment Use and Repair
    • Business, Marketing, and Accounting
    • Educational Approaches and Resources
    • Aesthetic Approaches and Philosophy
    • Int'l Ceramic Artists Network (ICAN) Operations and Benefits
    • Ceramic Events of Interest
    • Community Marketplace – Buy/Sell/Trade/Free

Find results in...

Find results that contain...


Date Created

  • Start

    End


Last Updated

  • Start

    End


Filter by number of...

Joined

  • Start

    End


Group


AIM


MSN


Website URL


ICQ


Yahoo


Jabber


Skype


Location


Interests

Found 193 results

  1. Hello everyone, I find your site tremendously insightful and factual, and this is my first post here. I'm a fairly proficient handbuilder and sculptor but have never worked in porcelain. I need to know whether these lentil-shaped hollow beads will fall flat in the highfire glaze firing, with or without glaze. They are slightly larger than a quarter in diameter, and thickness varies from 11 to 13 mm. A classmate at community college handbuilding class gave me the porcelain clay because I just wanted to see whether I prefer it for my hollow beads. They all have holes, not showing in pic. My concern stems from the fact that I had read that walls can collapse, in porcelain, if not exceeding 30 degrees angle. I did do a LOT of searching and reading, but could not find an answer. Photo shows the bisqued hollow porcelain beads in the foreground, and in background are beads from my same molds, in my usual stoneware clay. I do have Kanthal wire which I usually use in my own, small, low-fire kiln but I'm sure the kiln tech at the college (with a vast volume of stoneware and porcelain pieces to fire) will not be game to be bothered with my little experiment so my intent is to just have her fire them on the shelf, unglazed, to maturity ... and then I will decorate them by other means, if I choose, after seeing the result (hoping to get some translucency?) So, in summing up ... do you think these little lentils will collapse and go flat when fired to the porcelain clay's maturity? I believe it is Cone 6. Thank you for any input!
  2. Hi guys , We are INSULATORS manufacturer HOLLOW INSULATORS have these problems of ID OVERFIRED problem rest of all material is OK If we talk abouts shed(which is thin portion of INSULATORS ) is OK stem is OK but in ID facing OVERFIRED problem Top portion of ID approx..300mm is OK Bottom portion of ID approx ..300mm is OK But middle portion of ID which is 500-600mm is OVERFIRED How can be short out this problem If we talk about other material like bushing is OK in same kiln Note:- HOLLOW ITEM FIRED IS BOTH HANG AND WITHOUT HANG BUT FACING PROBLEM CONSISTENT ... Please suggest new firing technics What are change required in kiln schedule or state of firing Regards VIKASH BHAGAT
  3. Hi all, Second time posting here and I’m hoping you can help! Hopefully this is the right place to be for a troubleshooting question like this. Im currently working from a recipe for Val Cushing’s Cone 6 Porcelain Slip. grolleg: 15% tile 6: 15% Epk: 3% om4: 10% flint: 25% neph sy: 30% gerstley borate: 2% —————————— Sodium silicate: .0028% calgon: .0005% When I mixed this before, as now, I subbed the deflocculants with Darvan. I mixed it successfully then, but I’m currently have difficulty. I know that darvan generally subs for sodium silicate at 2-1, so bearing that in mind, that’s where I started. I kept adding darvan in small 5g increments up to 100g in a 10000g recipe. That seems like far too much, but maybe I’m wrong? I feel like I’m on the other side of that deflocculation bell curve some how and missed my mark. Every time I come back to the studio the slip is gelled thick but never settled and never develops a skin. When I’ve added more darvan, the slip temporarily thins, but seems to rebound to being too thick the next day. Can the casting process indicate overdeflocculation? If so, in what ways? What should I be looking out for other than settling and a skin in my bucket? Can anyone offer any advice on this recipe or deflocculants? I’ve been doing some hard research and testing and can’t nail it down. My current gravity is measuring at 1.71, so I’m hesitant to add more water, since according to some other online sources I should be aiming between 1.7 and 1.8. I’m wondering if I should throw caution to the wind and say “this slip just needs more water than most”. Ive mixed this slip before with great success two years ago. I have no clue what I did right then. Dumb luck haha. Any suggestions or advice would be greatly appreciated. Thanks!
  4. Hi, I have problems trying to find the answers to this question. I want the "paint" I use to be something like China ink, but that it doesn't run and that fires well to cone 10 without loosing color. Thank you for your help!
  5. Just to say .... bisque firing went well cups facing up and hardly any warpage Thankyou for imput Am now preparing for glaze firing .I will only glaze the insides of cups I would like to get the satin smooth effect by sanding ( extra work but makes a diff in the feel ) Do I sand before or after glaze firing ??? Much appreciated Nicky
  6. Hello, I’m new to ceramics and have been working with some mid-fire porcelain clay as well as white earthenware clay. I made several hundred small jewellery pieces from both clays and had them bisque fired at a local kiln service. Unfortunately they combined all my work together and now I don’t know which is porcelain and which is white earthenware, soI don’t know which clear glaze to use on which piece. Might anyone be able to give me some advice about what I could do? Are these pieces salvagable or bound for the bin?
  7. 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.)
  8. Hello, I am making some porcelain work for an exhibition and I am hoping to achieve a finish on the porcelain that slightly resembles the Japanese sand wall plaster technique: https://habitusoutlet.com/portfolio_item/wara-juraku-wall-finish/ I was wondering if anyone knew of any techniques of adding plaster/sand/grout to fired porcelain? Or if not if anyone knew of any glazing methods that could help me reach a similar effect. I would quite like the finish to be quite textured. Any help would be appreciated, Thanks
  9. Yoshi Fujii Seductive Elegance: Clay Carving Techniques This 2-day participation workshop will introduce students to surface embellishment through carving the leather-hard surface. Yoshi will demonstrate using the potter’s wheel to create functional objects (simple cup & bowl forms) to serve as a collection point for visual inspiration. Students will explore the elegant quality of porcelain and seductive beauty possible through hand-carved lines, patterns and motifs and slip trailing to create visual and physical depth for tactile communication. Previous clay experience is required, open to hand-builders or potters. Students may choose to bring leather-hard pots or tiles and design references, grog-free clay recommended. Course fee includes clay and bisque firing. WS03 – Saturday and Sunday 10:00am – 4:00pm, November 9 & 10 Fee: $200 member, $220 non-member Bio YOSHI FUJII is currently a visiting artist with Baltimore Clayworks and was the recipient of the 2008–09 Lormina Salter Fellowship. Yoshi received his B.F.A from University of Southern Mississippi in 2002 and his M.F.A. from Southern Illinois University Carbondale in 2008. His interest is in wheel-thrown porcelain utilitarian and sculptural work. Contact Matt Hyleck at matt.hyleck@baltimoreclayworks.org for more information. Baltimore Clayworks 5707 Smith Avenue Baltimore, MD 21209 www.baltimoreclayworks.org
  10. Hi all, I just joined your lovely community. And I was wondering if someone could advise me on making my first white slip. I've been trowing some stoneware pots and I would like to decorate the inside with white slip. I have a pack of 25kg of this deflocculated porcelain dust clay in my studio: http://www.vdiez.com/catalogo/porcelana-sa-2.html?lang=en and when I asked advice to salesman I was told I could just add water and apply it directly on the stoneware. Is this true? I know that porcelain has a different shrinking percentage that stoneware, therefore I'm a bit confused. Can anyone advise me with this? That would be amazing. Thank you
  11. 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.
  12. Hello All! I wonder if someone here has the knowledge to solve a very annoying problem I have been facing lately: I create Porcelain plates, about 9" in diameter. The wight of each plate after glaze firing is about 200 to 250 grams which makes them pretty thin. When bisque firing them, all is well - Always. When glaze firing them (1230 C) , many many of the plates are broken WHEN TOUCHED, that means that when I open the kiln, they all look fine but when I come to pick them up, they break up in my hands. Those that do make it in one piece, have a hollow sound when knocked and break soon after. A few facts to add to the mystery: 1. I do not use a slab roller. 2. Other plates that have a wavy edge style also made from the same Porcelain and with the same method do not break at all IN THE SAME FIRING, 3. Some plates do come out OK. 4. Am using an electric Kiln. 5. The plates are only glazed on their top side. 6. Some plates have a supporting ring element (made also from Porcelain) underneath their circumference to keep their shape (raised edges) and some don't. They all break. 7. The plates are bone dry when entering the glaze firing - the glaze is air dried for a few hours before I fire up the kiln. Any help on this issue will be greatly appreciated! Thank you, Diana.
  13. 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)
  14. 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.
  15. 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.
  16. Hi Everyone, I'm so inspired by the posts in this forum. I've never worked with ceramic, but have been considering it recently. I've found this picture below. I would like to make a similar item using a piece of crochet or a doily. I suppose I would need to work with high firing porcelain clay and need a high firing temperature furnace. I can't wait to experiment I have two questions - Is there a book or an online course that can teach me the basics for working with porcelain clay, materials tools and process? What temperature furnace I need to purchase?
  17. The 2nd FRANZ Rising Star Project call for entry is open! The FRANZ Rising Star Project was launched in 2018 hoping to alleviate students’ financial burdens caused by prototype expenses etc. FRANZ expects the new generation to fully develop their creativity and become rising stars in design that shine in the future. Come join us and show your talent! Application Window: May 1st to August 2nd 12:00 noon (GMT+8) Scholarship Announcement: September 30th What are the qualifications? (1) The applicant must be a current student studying (No limitation to any department and academic grade) or a 2018 / 2019 graduate. (2) Original artworks of actual ceramic proofing must be completed, simulations and drafts are not accepted. (3) The entry itself must be more than 50% porcelain. (4) Artworks that had won scholarships in 2018 may not apply again. *For each applicant, the number of applications is not limited, but only 3 entries at most to be awarded. The Prizes: 1. USD$ 1,000 per scholarship, 100 scholarship in total 2. The Top 10 may have a chance to exhibit to exhibit in Porzellanikon Selb, MIC International Museum of Ceramic in Faenza, 2021 British Ceramics Biennial and Beijing Today Art Museum. Moreover, they can sell their artworks in Beijing Today Art Museum and the Artling! Check out our website for more: https://bit.ly/2WX01ua Or contact us via info@franzproject.com
  18. Hello. I have a hige problem with bubbles in my work. It is slipcasted porcelain in a closed mould. Does anyone know what the problem could be? The air shouldn't be trapped as there are enough holes in the highest places. The bubbles are inside and on top and bottom of the casting. I would really,really appreciate any help!! Anna
  19. I have made my own black stains with the same bodies of porcelain I’m using ( Audrey Blackman & Parien )They fire up to 1240 degs ( one fire ) My problem is the stained surface ALL have blisters Any suggestions on how I can resolve this issue ? Is there mayb something else I should be adding aside from porcelain body stain and water ( which I then pass through a mesh sieve) Commercial stains seem fine Would appreciate input Kind regards Nicky
  20. I took ceramic classes in college and loved it. I quickly became good on the wheel and that is my primary focus, however I also sculpt. I had the pleasure of working with multiple different clays. I primarily used stoneware and porcelain but occasionally earthenware as well. The stoneware I fired at cone 10 and 6 and porcelain at cone 10. I would consider myself a beginner as far as mixing the clays because I never had to do it and all the clay was made for us. I would like to mix my own clay bodies at home because I assume it’s cheaper than buying pre-made clay and I also will have more control with my preferences. I really liked stoneware and porcelain and wondered if anyone had any good recipes to share and advice to get me started. Like I said I mostly do wheel throwing (mugs, plates, bowls, teapots, etc.) I have the capabilities to fire up to cone 10. Thanks to everyone in advance!!
  21. Hello, I am trying to build ceramic baskets using extremely fine coils of porcelain, and wanted to try making porcelain paper clay so that I can work as fine as I would like to. I am wondering where I can find the best recipe to make it, and what paper pulp I should use. Would it also be beneficial for me to add porcelain grog/molochite to the mix? Many thanks!
  22. Hi, I have a lot of difficulty with wedging in large amounts of clay. I want to mix stains into 5 lb. increments of porcelain. Any suggestions on type of machine. Would A dough mixer or pug mill work. I’m not looking to spend a lot. It’s just for my home studio. Thanks, Liz
  23. As found groove crack after firing , Attachment :-Top view of Groove with crack in shell Item
  24. Hi, I’m new to the world of clay so forgive me if this sounds like a silly question. I have a pot I’d like to refire (it’s gone through a cone 10 firing ) it did not have glaze, just a white clay only slip and a bit of oxides. I want to add more slip and oxides and refire but would it be okay to apply a clear glaze on top of an unfired slip?
  25. Hello! I was hoping to have a discussion with anyone who may be more educated/experienced on the topic of porcelain warpage. Primarily what I am wondering is - is it possible to make porcelain wares without any warpage at all through glaze fire? I have tried a number of different drying and firing techniques but it seems impossible to achieve a perfect net form. I am slip casting, so my wares have very consistent wall widths. I have read time and time again that the design of the object dictates warpage (along with drying/firing techniques), but I can't really think of a design that doesn't have at least some varying wall thicknesses as a result, other than a perfectly spherical bowl or something. For my purposes, I will need to have at least some variation in thickness, and I hope to learn of a way to consistently achieve near net form through glaze fire. It would be great to hear from you all on the subject. Thanks for reading Cole
×
×
  • Create New...

Important Information

By using this site, you agree to our Terms of Use.