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  1. Hi guys. I`ve purchased some Underglaze powder pigments. In description is written that I can mix it with water to use like an underglaze. I mixed it with water (5g powder to 10ml water; 5g -15 ml; 5g - 20ml) and draw to bisque pots. After it dries, color is easily removable with friction. I mean, if i touch paint, it comes off. Then I mixed 5g powder to 5g clay and 20 ml water. Difference was clear. Color was well balanced and it was not easily removable. So basically, in first method, I`m mixing water and powder, in second method Slip and powder. I wonder, is any of this method w
  2. I have a 50lb bag of Laguna Glacier casting slip. I'm not interested in casting this porcelain (bought it for another experiment that I now abandoned). So I decided to try mixing it to use as engobe for the interior of pots made of dark clays. Mixed per instructions I found on the *Internet*: 50lb of dry mix per 3 Gal of water to get 5 Gal of slip, and add some Darvan to deflocculate. Since I'm only testing it for now, I mixed a smaller batch: 10lb to 2.27L and added 4 drops of Darvan. The slip I got is very thick, the consistency of pudding almost. Not sure what the reason is. Might be
  3. HELP ..... ... Trying to get back to ceramics .I’ve just finished mixing a small quantity batch of stains and underglazes with slip ( same clay bodies nothing else ) I’ve used 60 % slip to the ratio of about 10% stain to both stain and underglazes But have found that the underglaze slips are much thinner than the stain slips .Consistencies are different .Most stains seems to be thicker than underglazes Aside from black and purple which are def thinner . How to rectify ......???? Do I add more slip or stain to thicken ??? Or is it more complicated than I imagine . ? Bare in mind I am not
  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 all, Currently I work with mid-fire slip and glaze my work 'traditionally' to achieve quite muted, natural tones. I'm thinking about making some wares that I want to be BRIGHT and flat in colour - like popping, primary colours. I'm wondering what the best way to achieve this level of colour would be? In my experience using stains in glazes never seems to achieve the flatness I'm after. I would suspect a coloured slip might be the answer but again using stains only seems to result in pastels - what is the average ratio of stain to slip to achieve a full bodied
  6. Hello everyone, this is my first time on the forum, so glad I found you all. I wonder if anyone can help me with my slipcasting problem? I have made a narrow (4cm) and tall (26cm) cylinder mould and although the first cast came out satisfactory, the next three have came out the mould with the bases ‘sucked’ in/imploded. Could it be that the opening to the mould is too narrow to drain the slip? Or could my slip be too thick? When I cut into the cast it was still filled with slip about a quarter of the way up the form. If my slip is too thick, could I add a little water to thin it down?
  7. 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 ?
  8. Would someone care to explain why slip recipes always say to begin with bone dry clay? Is that somehow better (or the end result different) than using wet clay. Its as if the instructions for boiling water said "First take some ice cubes ....."
  9. Dear all This is my first post here, having been a lurking reader for a while. I would like to suspend some coarse particulates in a porcelain slip. I am intrigued by the coarse feldspar inclusions in some Japanese wood fired pottery. I have tried adding coarse inclusions in a porcelain body, which fired well but the large chunks got in the way of my preferred style of handbuilding and surforming the surface. I now want to try to add these particulates in a porcelain slip that I can apply to my pots by dipping. Does anyone have any tricks on how to suspend larger particu
  10. Hi clay folks! I'm a technician at my local studio and we want to switch to a new colored slip pallette for some of our lessons. We currently work with a 3-5% mason stain addition. I want to make a navy blue, forest green, dark red, and mustard yellow. If you've made these colors, which mason stains (#s) work well, and what percentages do you use them at to get a vibrant color? I'll totally play with line blends too, just thought I'd check if anyone has a good starting point! Lindsey
  11. 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
  12. I’ve been experimenting with making low-fire red clay plant pots, using a white slip and carvings for decoration. I’ve left them unglazed because I’d like them to breathe. However, I’ve found that the white slip discolors within a week or so of watering (it gets greenish brownish). I tried a commercial white underglaze instead, and it seems to have the same issue. Any thoughts on ways to get around this, other than staying away from the slips altogether?
  13. I just mixed a bunch of colored slips for the studio using trimmings from Laguna #65. I left the studio for 2 weeks and I come back and all the slips I mixed have turned black and smell something fierce. How can I fix or prevent this for next time cause I definitely just burned $20 of mason stain. Would a vinegar ratio have killed bacteria growth? Should I not have used trimmings and just mixed a clay base?
  14. I just finished my senior year of high school, and I had done a lot of experimenting with slip casting at home (we didnt have the resources/time to do it at school). I kept my used slip in a few empty plastic coffee containers, and my fresh stuff in a large square plastic container. I hadnt been able to use my slip for about a month, but when i went to check on it there’s green stuff floating all around in it, which I think is mold. It’s a stoneware clay, and I kept my container out side, with a bag covering it, because I dont think the lid has an air tight seal on it. What should I do w
  15. I'm working on a trompe l'oeil porcelain wedding cake. The clay is Laguna cone 10 and has their added plasticizer. Porcelain doesn't behave like sugar and shortening, of course, and sometimes crumbles when I try to extrude elements. Can I add some sugar based material like corn syrup or regular sugar or maybe something like gelatin or agar agar to make the clay stick together better? The additive or any mold that grows on it will burn out, but could it cause problems with drying or pitted surfaces? I don't plan to reclaim any scraps. Cynthia
  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. I have concluded my studies on stoneware and porcelain: time to move on to a new topic. I have been reading some background studies done in the 40s, thru 70,s. on slip chemistry. I am interested in hearing experiences, thoughts, opinions, links to articles, abstracts, etc. This is an open topic, so as long as your post has the word "clay" in it: ramble on. Finite details welcomed. I have been reading studies from W.G. Lawrence and A.F. Norton; both Alfred PhD's on this topic. While viscosity was covered, there was much more emphasis placed on the water film, PH levels, temperature,
  18. Hello all! My partner and I want to slip cast cups, I have a bit of an idea when it comes to ceramics (thanks mum) but have some questions :) We have found a clay that already has a speckle in it - can we use it to make slip for casting? If the clay cannot be made into slip - is there something we could add to plain slip to make a speckled look (that's food safe)? Can we add pigment to clay/slip that already has a speckle? Would this interfere with the chemistry? I know the other option is to use glaze to achieve a speckled look but we would prefer that it came from
  19. From the album: Fun Fun Fun

    © Pottery by Penny

  20. Mudmann65

    Teapot

    From the album: Some work

    Slab built teapot with slip, "Otto's black slip". Green ware.
  21. From the album: Late 2015

    This is my best mug to date. The back has carvings, but it was impossible to photograph...well, for ME it was, haha! It probably holds 20oz, so it's a good size. I wanted to make a new mythology about how flowers grow... Terracotta with white slip and greenware-applied underglaze, fired to ^03.

    © Cavy Fire Studios

  22. From the album: narrative work

    I'm not really a cat person, but I chose to work with the basic shape because cats are far less variable in form than dogs and are thus more universally recognized, if that makes any sense. These images are developed using cut-out resists, colored slips, and sgraffito on porcelain.
  23. From the album: Work in Progress

    Three wheel thrown pieces made with Speckled Buff clay. The interiors are then painted with white stoneware slip and the outside is carved with grass and flowers.

    © Copyright Giselle Massey 2015

  24. From the album: Wheel Thrown Work, 2015

    © Copyright Giselle Massey 2015

  25. From the album: Work in Progress

    Three wheel thrown pieces made with Speckled Buff clay. The interiors are then painted with white stoneware slip and the outside is carved with grass and flowers. Then underglaze is applied to the grass and white engobe to the flowers so the colors will show true.

    © Copyright Giselle Massey 2015

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