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Found 14 results

  1. Hi there! So I've shipped lots of mugs and smaller items so far, and hand-delivered dinnerware sets, but I've never shipped a dinnerware set. Need some help figuring out what pieces and how many of them will fit in what size box, and the best way to ship it (within USA). I have 6 11in dinnerware plates, 6 7in salad plates, and 6 30oz (2 pint) beer steins. It's kind of a funny mix of pieces to be mailing, so I need to figure out if flat rate USPS boxes are best or a different kind of Priority Mail box. What do you think? Suggestions for how to pack these items and what sizes of boxes to use? Thanks in advance!
  2. Good morning everyone. Thank you for allowing me to announce the online workshops available at http://teachinart.com/index.html again. I would like to draw your attention to the class of Marcia Selsor particularly. Unless you are going to attend her workshop later this year in Italy at La Meridiana, this is your opportunity to learn from this highly recommended artist. During this online workshop, she show and tell in detail how she prepare , raku, obvara and two kinds of saggar fired pottery pieces for alternative firing, all conducted in a small raku kiln. Marcia designed and built this little mobile raku kiln specifically for this online workshop and she discuss the making process in detail. Other detailed discussions is about the chemicals she used to obtain results. This is a class that will give anyone that would like to start working with alternative firing a very good kick start, more so because she is available to answer questions right throughout the 6 weeks that the class is online. Other classes currently open are porcelain dinnerware workshops by Antoinette Badenhorst and a beginners pinching teapot class by Antoinette. Connie Christensen will be featured with her workshop in April. Other instructors on the list for 2017 is Nan Rothwell, Paul Lewing, Marie Gibbons and a follow up shino workshop by Connie Christensen. If you are interested in more details, you are welcome to contact Koos@TeachinArt.com As always: we are calling for instructors. Thanks.
  3. Registration for the next series of online classes are open. You can view the contents here: http://teachinart.com/index.html Questions are welcome. Remember this is a school for artists from artists. Thanks. Antoinette.
  4. From the album: Pottery 2016

    That glaze in the sun .... *sigh of happiness* White stoneware, thrown on the pottery wheel, carved in a design of eucalyptus leaves in the wind. Glazed in Mayco's Stoned Denim at ^6 in an electric kiln.

    © Giselle No. 5 Ceramics 2016, all rights reserved

  5. From the album: Pottery 2016

    © Giselle No. 5 Ceramics 2016, all rights reserved

  6. From the album: Pottery 2016

    White stoneware, thrown on the pottery wheel, carved in a design of eucalyptus leaves in the wind. Glazed in Mayco's Stoned Denim at ^6 in an electric kiln.

    © Giselle No. 5 Ceramics 2016, all rights reserved

  7. Does anyone have success firing a cone 6 oxidation glaze to matte smooth surface without cutlery marks? It seems practically impossible. I know it can't be, but I haven't had any success. I have came very close. I have some white mattes that barely scratch and instantly wipe away with your fingers, but still this isn't something I want to be selling. My most successful version of matte has been a combination of a matte glaze with a satin version thinly sprayed over the top of the matte surface, this turns the matte into a slightly more satin glaze which instantly stops the marking, but it isn't the surface I would prefer. I really want to have a beautiful white or black matte glaze that I can use for my personal dinnerware that I am going to be making soon. I have old expensive commercial ware that was given to me when I got married and it marks even! I am guessing that my best results are going to be settling for the satin combination and incorporating it into my design instead of just using it to rid myself of cutlery marks. Anyone?
  8. Registration for the following two E-courses presented by Antoinette Badenhorst are open Hand Building Porcelain Dinnerware Understanding Porcelain. Both classes start on July 8th. Our classes are designed that each student can work on his/her own time at their own pace over a period of 10 weeks. The first 6 weeks is equal to a 1 week hands-on workshop. Each week during this time is divided in reviews, videos and questions and answers ( equal to 1 day during a workshop). All this happens during the first 4 days of the week, for 6 weeks. You need about an hour every day for review and then work in your own studio or clay institution as long as you have time to work at your own pace. After that period the classes (videos) stay open so that students can review the content and catch up if they fell behind. We also have a private Facebook group that acts as a place where the students can ( but is not forced) to mingle, visit (and show the work in progress) around the work and ask questions or make comments. The classes are detailed and each student have a front row seat ( see the YouTube example videos of me teaching) Details here: http://www.porcelainbyantoinette.com/
  9. GiselleNo5

    MG 2701

    From the album: Slip Cast Dinner and Bakeware

    A mismatched place setting in white stoneware. Slip cast in a vintage mold and decorated with slip detail. Fired to ^6.

    © Giselle Massey, Giselle No. 5 Handmade 2014

  10. GiselleNo5

    MG 2676

    From the album: Slip Cast Dinner and Bakeware

    A mismatched place setting in white stoneware. Slip cast in a vintage mold and decorated with slip detail. Fired to ^6.

    © Giselle Massey, Giselle No. 5 Handmade 2014

  11. firenflux

    wave plate

    From the album: My nautical stuff

    One of my earlier nautical designs. This one is from 2005 I think.
  12. Hi, Thank you for allowing me to join this forum. I have a background of fusing glass so, other than in school, I am pretty dumb when it comes to ceramics. I want to make a clock out of a Bopla plate. I know I could get stick on letters, (or some sort of permanent paint?) for the clock face. I think it would look much more professional if I could re-fire it with the clock face numbers. I have used fired on decals on fused glass before. Is it possible to re-fire commercial porcelain without any loss to the design. The decals I have fired onto glass fire at around 1000 degrees. I don't know temps for ceramic decals though. This is for a Christmas present. Thanks, Dave Kingman P.S. If this is possible, I would appreciate finding a source for ceramic decal numbers 1-12. The place I used before required an image file and was pretty expensive.
  13. Hi all, Standing in a thrift shop staring at a pile of white hotel/commercial tableware and thinking of Duchamp. Makers marks showed predominantly porcelain from England, Australia, Japan, German, India, some European, a squillion Chinese.....and some completely unbranded ones amoung the makes. Some 'new' bonechina (Chinese or Thai I would think) and a smattering of earthenware. Usually in industry bonechina is high bisque/ low glaze fired, porcelain high fired and earthenware low fired....but are they??? Bought 6 dinnerplates reglazed 2 in a commercial e/w glaze as the first test pieces, fired to ^03, opened the kiln this morning........and found they were truly ghastly!! Has anyone tried this 'ready mades' approach before and could give me their expert success tips before I deface the other 4 'victims'? ta, Irene
  14. Hello there, Im not a ceramicist (Im learning little bits here, doing workshops there...), Im an illustrative designer, but I would like to create decals of my designs and put them onto dinnerware. I was hoping someone out there could give me a bit of information....I have a few questions. First: I would like my designs to be transfered onto stoneware or porcelain. As far as I can tell there is no issue with that? My designs have very fine line detail, so I feel that an onglaze digital decal (as opposed to a tissue transfer, or screenprint) would probably ensure a sharp image. However, these decals can often look raised or "stuck on"...Im trying to avoid that. I have seen coloured digital decals that dont have that raised effect...so how is that achieved? Do they apply the digital decal on bisque....then fire, then clear glaze, then fire again? Or can you apply the decal, just wait for it to dry then glaze and fire? would that affect the vibrancy of the colours printed, as I understand with digital systems you can have the whole cmyk gamut? I understand there is an entire science behind the make up of clay, glazes and firing. If I wanted to apply a digital decal to bisqued stoneware for example, would it have to be a decal especially for stoneware? Additionally, I was interested to know how difficult/easy it may be applying a seamless design to the inside of a bowl or curved surface? I imagine that you would have to follow maybe a cone shaped template, so it can be applied? Second: Being dinnerware, I would like the decals to be food safe. Even if the decal manufacturer claims it is food safe, are there other factors that could cause problems? for example the type of kiln you use, or other things that may be in the kiln while your firing? Is it expensive to test? Lastly, and thank you so much for you time, As far as producing my dinnerware, I have found plenty of businesses that will custom make digital decals. but Im finding it difficult to find any that will make AND apply the decal to your piece...even though I know they are out there. Iam in Australia, which doesnt host such industry, but if anyone has any leads on any smaller run manufacturers or business (closer to me the better, naturally) That would be appreciated... maybe also because Im new at this, Im not quite sure how to search for this type of business, so any resources or "buzz words" that might help me would be great. Any info at all would be appreciated and helpful. Thanks a lot. J.
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