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  1. 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 !
  2. 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
  3. 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
  4. 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
  5. 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 wo
  6. 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 r
  7. 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
  8. 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
  9. 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
  10. 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
  11. 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 a
  12. Hello, I became a member today, because I'm looking for some info. A couple days ago, I bought some second-hand plates under the brand "Faria & Bento". After a thorough search on Google, I just gathered the following info: The plates are handcrafted and made in a small historical village in Portugal. There are no contact info with the ceramics workshop, so I can't retrieve anything further regarding the plates. Also, the search results are pointing to auctions or eBay sellers. I would be grateful if anyone could give me more info on the brand, the historical background of it, eve
  13. 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.
  14. Hello all, Looking for firing schedules. I have a small manual electric kiln with a kiln sitter and wondering if anyone has a simple, clear firing schedule they follow and could share? I am a beginner trying to learn how to fire for Cone 04 Bisque and then another schedule for Cone 6 Glaze Fire. I am using buff stoneware. Any firing tips appreciated! Thanks so much, Natalie
  15. 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
  16. I have been experimenting with gold lustre over the past six months - simply applying it over a stoneware clear glaze. I accidentally applied it to an unglazed surface on one of my pieces but I really ended up enjoying the satin finish of the gold. I tried to replicate this finish but the gold flaked! I mean...I know all gold lustre instructions say to apply to a glazed body, but I figured it looked so good on my accident then perhaps I could replicate it, right? Wrong! I am looking for either a satin or matte clear glaze to apply onto a porcelain body so that the lustre can be have more
  17. From the album: Curves and Crisp Edges

    Slab construction, stoneware with terra sigilata
  18. From the album: Curves and Crisp Edges

    Hand built using Clayworks LGH Stoneware clay. Terra Sigillata finish

    © Linda Lees

  19. From the album: Curves and Crisp Edges

    Hand built using Clayworks LGH Stoneware clay. Terra Sigillata finish

    © Linda Lees

  20. 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

  21. 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.

  22. 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.

  23. From the album: Forum Discussion Images

    This is a close-up of the lid/stopper for the "House Wine" vessel. I like sneaking in some detail work on areas that don't show when the top is in place.

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

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