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Found 13 results

  1. I applied iron oxide at leather (very) hard stage, as I have not had good luck applying it on bisqueware under glazes. The iron oxide was sponged off (kitchen-type) so as to work with the pieces as little as possible, because the detailed coils were rather dry and prone to split. The bowls feel chalky, grittier than I like. Using a scotch-brite scrubby works a little, but I suspect there is a better way. Should I wait until the pieces are bone dry? I'd sure appreciate suggestions on smoothing the flat parts of the bowls, and the detailed parts too, although I'm concerned about touchi
  2. I just bought a collection of ceramic pieces, green ware, bisque, partly painted or choked, from a former ceramic painting teacher. Most of the pieces are from the late 80's to early 2000's. I'm trying to find out how to fix some of these pieces, such as broken antlers or wings, legs or feet or arms or hands. Some of these pieces have been started painting or choked, some are green and some have been fired ready for painting or choking. How do I fix these pieces if I'm going to glaze them then fire them again? How do I fix the green ware so I can fire it? What is the best way to fix the p
  3. Hello! I’ve heard that you can fire greenware with glaze up to cone 6 in one go- ive never done it myself though. Is this something that actually safe for the pottery? Do I need to do it in a specific way? Fire in a specific way? Any input would be much appreciated!
  4. Hi, For a bit of context I make pottery that I apply layers of slip to create a raised bumpy surface. When my work is in greenware stage the dots are easily knocked off, and although I can load my work with out knocking any off in my current studio situation Im not the one loading the kilns and I've been constantly getting pieces that have multiple dots missing. I was wondering if anyone knew of something that will help to keep attached pieces or slip trailing from being knocked off by people during loading. I was thinking maybe an organic hairspray or to coat the piece in wax
  5. Will post pictures as soon as I get home, but I read somewhere that one does not really have to fire greenware before glazing. I understand there is a risk, and I am increasingly frustrated with the quality of the pieces coming out of my kiln. Kiln fires to Cone 6, I bisque to Cone 06. I bought a 25lb mix of the Amaco Ironstone and have been super disappointed. Switched to clear glaze (amaco mixing clear) because I started doing work with mason stains and marbeling clay bodies together, wedging nicely, and then throwing the pieces. They turned out great, but I started experimenting with di
  6. Dear everyone, I am quite new to a slip casting technique. Have made several plaster molds for casting porcelain. And had some success, but recently I have noticed that some of the greenware gets tiny pinholes and then, (because some cups doesnt have it) there are SOMETIMES also pinholes on the glaze. If i got it right, those tiny pinholes are the result of air bubbles or pieces of dust in the casting slip, right? But i wonder, do those pinholes influence the glaze? I am a bit confused, because some of the porcelain cups are not having those pinholes on the glaze and some do have. The thi
  7. I would like to make mid-fire stoneware and was wondering if the Laguna WC-436 B-mix with grog would be a good clay to use. Also what cone size should I use for firing greenware and glaze firing?
  8. So, I got tired of hearing from a certain group of people I know in real life about how silly I am to think that a bubble left inside of clay won't explode during firing. Literally eye-rolling when I tried to tell them YOU GUYS said on my ceramic arts daily forums that that is a myth. I tried to explain this is trapped moisture and not trapped air. I took a further risk as both they, and I, have taken the inevitable college pottery classes where about 10% of the work blows up, and the teacher blames it on the students not having learned how to wedge properly, when really, -I'm guessing anywa
  9. From the album: WIPs

    Greenware on the left, Bisque fired on the right

    © Ann Nielsen

  10. From the album: Monoprinting with plaster

    Tile I made using a plaster slab, underglazes and porcelain casting slip, learned technique in Andrew Wandless' book 'Image Transfer on Clay' and also Joanne Veevers on CAD. This is still in greenware stage, not entirely sure how all of those colors will look as bisque and then glazed
  11. From the album: Tornado Pot Sketches and Progress Images

    It looks like it is back to square one on this project. Attachments to this piece created some sizable air pockets that I did not pierce with a needle to allow air to escape...so, it didn't, and this is the result. It is quite a mess. Thankfully, it is not a mistake that I make often.

    © Copyright 2015, Paul M. Chenoweth, Nashville, TN USA. All rights reserved.

  12. From the album: Tornado Pot Sketches and Progress Images

    It is drying time for the greenware. Last night I sprayed on a couple of layers of slip for accents/shadows (and to make the legs as white as possible for post-bisque-firing under glazing. My thoughts (for now, at least) are to keep the glazing fairly light colored at the top and darker at the bottom. The legs will get the black and white stripe treatment. The shoes will be red (what else, right?). -Paul

    © Copyright 2015, Paul M. Chenoweth, Nashville, TN. All rights reserved.

  13. firenflux

    Bell Wip

    From the album: Works in progress

    Working on this little hand bell. It's thrown and painted with blue engobe then carved. It has a bit of high temp wire shoved into the high point of the bell which I will hang the ringer from.
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