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Found 21 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 touching them more than I have already.
  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 pieces that I'm not going to refire?
  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 dipping greenware in the glaze, and brushing it on. The dipped pieces came out just as beautiful as the brushed pieces, but the glaze pooled and or looks slightly milky in the areas where a little extra glaze collected after dipping. (clear glaze was not cheap, I want to try making my own, and I know there are many recipes but never sure where to start... I triple checked that I measured and calculated the specific gravity properly (1.41 g/ml) and I'm wondering what the pros and cons of direct firing a greenware piece with glaze on it. The color seems to have come out the same, but dipping pieces are tough cause I cant use tongs, and small buildup seems to be inevitable with a hand held dipped piece due to awkwardness of holding while dipping. Also dont want handles to fall off into expensive glaze bucket... Brushing worked ok, but perhaps I should try spraying a light layer instead? Current picture is greenware, but hoping this shows that I'm not some n00b with terrible output. 2 marbling types to date. Ones for practice with terra cotta and stoneware, and the second with porcelain and porcelain mixed with mason stains with the same wedging and throwing process. I have lots of pictures documenting the process but I don't know if this would ever be requested for a How-To. Mostly looking for advice on: 1 - achieving a thin clear glaze (brushing vs spraying vs making my own glaze - since the 10lb bucket of mixing clear set me back $76!) 2 - pros and cons of direct glazing said greenware marbled pieces since coat will be thin and all the detail work lies within the clay so no thick / glaze run expected.
  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 thing is that the kiln in the studio where i used to fire my work is very old, and as a kiln technician said, it fires hire than it should and moreover fires unevenly. I wonder if this could be the reason for the pinholes on the glaze surface? Or maybe pinholes on the greenware? Or both? Do you have any ideas? Or similar experience? Thank you in advance!!
  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 anyway, it's work rushed into the kiln so students can have it fired before next week's class. So I made a little marble with a huge air pocket inside it, let it dry out about 3 weeks just to be safe, pretty damp here on the coast, and put it in with a load of my work. So I wouldn't forget which one it was I marked it with a little bomb-shaped impression . After bisque firing I took the doubters outside, had them examine the marble for holes, cracks, etc (they confirmed there were none) then opened it up with a hammer, showing them that it was in fact, completely hollow. Sometimes I really would rather be right than be happy! -actually I'm pretty happy about it, go figure. Every ceramics teacher should do this instead of giving misinformation about moisture, I literally did not know that this was wrong until I joined the forums.
  9. Hi peps, I have an unfired stoneware planter that needs to be decorated. However my painting skills leave much to be desired. Because I don't have any spraying tools I will have to rely on using brushes. How can I achieve an even coat?
  10. So, I need a crack expert. I have a piece of cone 6 porcelain greenware that keeps cracking when it drys. I've repaired it numerous times, dried it for weeks, wet the entire piece down, nothing is working. It's a small crack on the edge of the piece. 1 cm maybe. I can not make it again, I need to fix this crack. Help me please!
  11. From the album: WIPs

    Greenware on the left, Bisque fired on the right

    © Ann Nielsen

  12. I make clay statues but the piece I'm needing help with is a poured greenware piece from a ceramics studio. I have an unfired daschund that i want to make look like a blue merle one. You can see examples of blue merle dogs in border collies and a few other breeds,if you care to look at one so you'll know what I'm talking about. They are sort of grey with color splotches and hair striping. The only underglaze I've ever used on this type of material is a 3-coat painted on type. Would it work to do 2 layers in grey with spotches and then top coat it with single-stroke underglaze the hairs? Or would there be an easier method? Since I'm going to clear glaze on top would it be better to use single-stroke for white or cut through the bottom layers down to the greenware? Any ideas or product recommendations? I've never tried doing something like this before.
  13. It is currently 27 degrees in NY and I can not tell if my green ware is completely dry. I loaded my kiln today for a firing in 2 days and I am thinking of preheating it for 2 hours to dry it out. Is this possible and worth it? I am also trying to avoid an extra 2 hours in firing.
  14. 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
  15. Hey Everyone, I have moved and do not have a normal "studio" space. The space that I've been using is actually a converted garage that also has my laundry dryer in the same room. Unfortunately I am running into some major issues in the drying process in my greenware stage. I live in a cold climate so during some points in the year my "studio" gets very cold and then when my dryer is running, it gets fairly warm in that space. I've tried drying in other rooms but I also have kids and, well, things haven't survived to reach bisque firing. Does anyone know if a damp box would help in this situation in controlling the immediate environment a little? If so, has anyone used a plastic bin or tote with a lid as a cheaper alternative to a damp box as I'm not prepared to spend lots of cash at the moment on an official dampbox. If any of you have a similar situation and have any ideas or suggestions I would greatly appreciate it!
  16. Alright, I'll get straight to the point. I have a wheel, and would love to start creating. However, the kiln i bought will not be available/functioning for 2 weeks-2 months (need to upgrade my electrical box). How long can my greenware sit before it NEEDS to be fired? Is it OK for pieces to dry for that long? I can't imaging why not, but I would hate to put in a bunch of hours/make something I really like, only to have to scrap it. Side note: this will be my first time firing my own pieces, so I'm sure I'll have lots of questions in the future! Thanks!
  17. Now this is embarrassing. I made a cute little lidded jar and the lid is stuck on the greenware and I cannot get it off. Talk about a tight fit. can anyone suggest a way to get the lid off without my ruining the greenware? I assume that if I just fire it the thing will explore... no escape route for the air inside. any suggestions?
  18. 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.

  19. 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.

  20. 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.
  21. Hi I am a newbie with a history of handbuilding on and off over the last 20 years. The elements where I live are much hotter and windier than where I use to live and I'm finding it challenging to keep my pieces leather hard. I want to keep them in the leather hard stage longer so that I can do both surface decorations with stencils/screens etc. Some of these pieces are containers and I want to be able to cut into them to make lids and flanges. I can't get to these pieces every day and they are drying out too much inbetween. I wrap them in plastic and put them in an outdoor closet under stairs. Any and all suggestions that would help extend the leatherhard stage would be appreciated. Thank you.
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