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Found 39 results

  1. Hello, I have a figurative sculpture piece in a cone 5 white stoneware that I made poor Iron Oxide choice on. I put a fairly light Iron Oxide wash on over the entire thing as bisqueware, then fired it to cone 5. I'm O.K. ( or fatalistic) with about 90% of the surface, but the region of the head, which is a distinct area, is bothering me. There are some medals on the figures chest and i ran some super fine sandpaper over one and some of the oxide came up, the sanded area looks white. However that surface is closer to a burnished surface then the face is (I think) - so maybe the face absorbed more Iron Oxide? So I was thinking if I could sand off the face and... I don't know, some white glaze, or even try to underglaze and re-fire? My problems are a) I don't know how deeply Iron Oxide permeates a bisqueware piece, and b) I don't know when to stop messing with something. It may be I should just leave well enough alone. Just tried to put an image up but I'm not sure how to have a URL for an image, my carbonmade account isn't helping. Anyway, any sage advice would be appreciated .
  2. Hi, so I am new at this and asking for help. I had fired my clay, and painted it (with regular paint, ceramics friendly) and then put a glaze over top. The glaze said it could be used over paint and that it should be clear after firing. After firing the glazed pieces, it seems that the paint has been stripped off and the glaze never went clear. Did I do something wrong? My kiln is a cone 8, bought barely used. I followed the instructions on the side and the internet: Cook on low for 1 hr., medium for 2 hrs., and (after looking it up) another hour on low. Also, is there any way I can fix the pieces? They were gifts and took me a while to make them, but I know they're likely ruined. I appreciate any advice and help.
  3. Greetings good people please help me. I am an apprentice potter who's master works almost exclusively in porcelain and I've stained her plaster wedging table with a completely different clay body. I don't know it's name but it's a red clay, much stiffer, which fires to cone 11 where her porcelain is fired to cone 6. Is there a way to clean the pigment out of the plaster, and if I can't is there a risk it will contaminate her white clay in the future, will the pigment dredge up out of the plaster as she wedges? Part if me thinks it's harmless but I'm afraid I've ruined her table. When I've made reclaim in the past white crystals have formed on the surface as the plaster dries, will the red remove itself that way if I add water to the affected area? I really don't know what to do.
  4. Hello, All! I am looking for info on favorite and best clear glazes to use with slip decorations at cone 10, and favorites to use with underglaze at cone 6 on porcelain slip! any and all help is appreciated. I am in my senior year of my ceramics undergrad, so photos of results could be super beneficial because I am not 100% certain of the properties I desire as of just yet. Thank you in advance!
  5. Hi everyone. I have made the most ridiculous mistake (please don’t laugh!). As a Father’s Day present for my bf’s 1st Father’s Day I thought I’d take our little one to a ‘Paint your own pot’ place. Unfortunately, in a moment of insanity (or baby brain!) I incorrectly spelled ‘Father’s’ Is there any way this can be salvaged?? My little ones footprints on it are perfect and I don’t want to throw it away and start a fresh if I can help it. I’d even pay for someone to help salvage it for me if they could !! TIA
  6. Dipped a ton of student pottery into white dipping glaze when I thought it was clear dipping glaze. Any way of taking the white glaze out without harming their work underneath?
  7. Hello everyone! I bought a small top loader kiln that runs of mains (13amp) and I now need to change the elements. I need to know the model and make in order to get the right wattage/amperage elements. If anyone can tell from the photo below please gimme a shout! It has a dawson LT-3 sitter if that's helpful. Can get more photos if helpful! Thanks in advance
  8. I am a hobbyist and I throw at my universities ceramic studio. I have a really hard time drying things right. I go on Tuesdays and Thursdays at noon. If I throw something on Tuesday, I cant get it to dry properly by Thursday. If I put a plastic bag over it it is still far too wet to trim on Thursday and if I leave it completely bare it gets to bone dry. I cant figure out what to do differently. Any advice would be greatly appreciated.
  9. So, I've been working on two slab projects for the last 2 weeks. Both of them have some pieces in the 3rd dimension as well as lots of 2D detail. I finished constructing both pieces today and despite how shaky my hands were, managed to paint both almost immaculately. Thing is, I forgot to give them a bisque firing before I jumped into glazing them. They're so detailed that there's no way I can remove the glaze without destroying the work in the process, so unless there's another way to make finished work out of them, they're garbage and I wasted my time, materials, and effort. My instructor must have felt really bad for me, because as I was sticking the pieces back on the rack and deciding whether or not to trash them she came over and decided my stuff was special enough that we were going to try a risky operation, putting both pieces through both bisque firing and final firing despite them being glazed out of order. She says that the color won't be as consistent and you couldn't eat off of them (fine by me, because they're not dishes), but they should still stick together and come out okay. Before we try this, however, I wanted to take some initiative and research both the risks of this test and any alternatives. Despite my excellent googling skills, I haven't been able to find an article or forum topic specific enough to my situation, so I figured I'd start one myself. Any and all information you can give me will be useful. I just want to know what might happen if we try to fire this thing and/or if there are any other ways to save the work with less risk involved.
  10. Hi, I'm a newbie and have a problem with my bartlett v6-cf I use for glas (vary fire). The kiln heat up just fine in the programmed steps but when it reaches max temp it won't hold the temp. The hold time is 20min but already after a few minuts the temp falls. After 20min the temp had dropped 40 C. I'm fairly sure the programming is right. Could it be a problem with the control unit or the kiln itself?
  11. I’ve just gotten up and running with my new-used Cress B23h kiln. I have ran two bisque loads to 06 and last night I got my first collection glazed. I loaded up my kiln with the glazed pieces to fire to come 6. It’s only a small load. I switched it on this morning and left on low for 2 hours and then bumped it up to medium. After about an hour or so the top pilot light went out and I don’t think the top elements are on. I’m wondering if the switch is the problem. When I noticed it was out, I turned the switch a little more and the light flashed on and then off again. Now it won’t turn on at all. The bottom seems to be working fine and the elements were getting red before I shut it down. A little back story if it is relavant- when I first go the kiln, I test fired it, empty, and the top infinite switch sparked inside the control cage. I immediately shut the kiln off and unplugged it. I took out the switch and it had obviously been sparking for a while before I got it. I was eager to get my kiln going and I didn’t have any luck finding a switch I could buy in person but I did luck out that the owner of the potter supply place had a used one he sold me. Got home, installed, and have fired 2 bisque loads without any problem. This time when it stopped, it hadn’t gotten even close to as hot as my bisque fires got. In my inexperienced opinion, I think it looks like it’s the switch that’s the problem? And not the elements? I have put a call into Cress and am waiting on a response from their technician. At the moment I am also trying to find a new switch to buy online because I think it would be a good thing to have, regardless. I am, however, having trouble finding this particular switch. Which is a inf-240-31b. It is on the Cress parts list so I am hoping I can still order it from them but I saw on Robertshaw that it is discontinued? Does anyone know of a place to get these switches? Have you experienced something similar? I am so excited to finish firing my first glazed pieces! So any insight you might have, I would greatly appreciate! You guys were great with my other question, so I thought I’d come back and try again Thanks!
  12. Hi everyone! I am am new to ceramics after moving to it from metal clay. Things are going well but there is one constant error. I have a small jewellery kiln and it fires to the correct temp and the ceramic and glaze is working fine APART from where the object touches the kiln shelf on a glaze fire. I make pendants and rings mostly and it is so upsetting to have the items ruined or stuck to the shelf!! I use low fire stoneware clay and low fire glazes. So my question is what do I fire my pieces on. I have seen metal kiln furniture, is that the way forward? I am hoping you can help me, if you need any more info from me let me know! Thank you! Emma xxx
  13. Hi everyone, I'm really hoping you can give me some advice on possibly what to expect from this event. Our kiln is electric and was set going yesterday for a bisque firing at 3pm after school finished, I came in this morning to find the kiln still on, hovering at 987*c, the target temperature on the electronic control was 1000*c before ramping down. I can only assume that its been stuck at almost the top temperature for around 8-9 hours. The main problem being that the only option I've had is just to switch the kiln off and let it cool down, and if it was just my work I wouldn't be so worried, however the kiln currently contains final exam pieces from our students so I am very worried, I am new to ceramics and learning every day but this is something I've never encountered. How will being held at so close to top temperature for such a long time affect it? Am I going to open the door to a kiln full of shards? Thanks for any help you can give.
  14. I am asking for suggestions for matte white underglazes or engobes. I would also consider making my own engobe out of my white stoneware clay body but I don't know how. I've never done that. I need it to be able to be painted on bisque ware under my Clear Bright from Laguna. I have tried: - Duncan Concepts white underglaze. It flares up and comes through the clear glaze. Yuck. That's not going to work. - Dune White engobe from Laguna. If applied too thickly it forms micro cracks along the edges. Since this is filling in carving .... I thought I would try Amaco's Velvet White but it says it is only food safe if I use it with their clear. I have extensively experimented with the Clear Bright and my clay bodies and I am not willing to change it. I have been making a series of highly decorated pie plates with carving and slip inlay. I paint wax on a leather-hard piece and then carve through to the clay, then paint it with white stoneware slip. The problem I am having is that the two most recent pieces I've made this way have been horribly pitted, tiny air bubbles formed when I painted on the slip and they did not show up until after it was fired. I thought I had them filled with the glaze but after glaze firing about 20 pits were still open, making a high-investment piece completely unusable. I want to try just carving it plain and painting on/wiping off an underglaze or engobe after it is bisque fired. This is not the item with the issues, this is another one that I made with the same technique.
  15. Hi, I'm wondering is anyone can offer any advise!! I loaded my kiln about 9pm last night, and after I switched it from low to medium to high, I went to bed like normal. Today around noon I went in to going unload my stuff from the night before and to my surprise my kiln was still running!!! I turned it off right away. After letting it cool a few hours I was able to peak in the top and my trees looked like this!! They are glazed exactly the same as the other tree in the other picture though. I am wondering if maybe my kiln didn't reach temp. it should have which is why it didn't shut off and these did not fire all the way? Or if they fired to much and they are burnt?? Can anyone help me??
  16. Hello everyone, I have set the kiln to fire at night time and it switched off in the middle of the firing because of a power cut. Can I fire that again to get to the right temperature? Will the glaze be compromised? Thank you! Tatiana
  17. Hi guys! Id love to start making my own glazes however I have no idea how to! Where I used to help teach the other artist always made the glazes and now on my own Id love to learn! Ive tried looking it up and watching videos but I just can't get the hang of it! Any help with ideas, recipes, recommendations and options would be great!
  18. Hi all, I have recently purchased a Podmore wheel to find that the whole electrics system needs repairing! not ideal Everything else in the wheel seems in good condition and would be a shame to write the wheel off! My uncle fixes motorbikes and deals with electrics so had a look at it and got it working but then it stopped again. we figure that someone previously has done some soldering work on it and basically it needs a replacement electric system. I rang Potterycrafts who took over Podmore in 1982 and asked if it could be refurbished or if they sell the parts and they said I would need to find an electrician who wanted to fix it for me and the modern wheels are so different electrically wise that we cant even combine the two. The wheel is currently in swindon, Wiltshire. Any ideas of how to get it fixed or who to ask? i really dont want to scrap it
  19. Hello! New user here, I am pretty new to ceramics and just inherited my first kiln! My grandmother passed down a Duncan EA-092 kiln to me, and through internet searches and reading the manual I can not find what its maximum cone temperature is! I read somewhere that someone fired it at 019 (1220 degrees F)....which is a bit disappointing as I wanted to be able to fire at at least cone 5 for the typical clays and glazes I am used to using. I have only been using glazes and kilns through classes, so I have not had much hands on application for firing my own ceramics. My questions are, what is the EA-092 max cone firing. And if it does only fire to 019 what are my options for clays and glazes? Thank you!
  20. I'm hoping someone can tell me how this kind of glaze effect is accomplished or if this is glaze , these were advertised as ceramic plugs so i assumed the color on top is glaze and the sides look like bisque, please help, id love to replicate these colors on my pottery, it looks more like glass then glaze. thanks
  21. Hi Everyone, I am a newbie and would like to learn how do we make ceramic pots or tiles. Currently, I am stuck in an application where i need to make a ceramic top for an instrument which can withstand temperature upto 500 C. The instrument is similar to a Hot Plate. Any knowhow on how to make such ceramic tops will be a great help for completing my project on time. Thanks in advance., Vinod
  22. Dear All, I am a newbie in this field and would like to get any know-how regarding the making of a ceramic (hot) top similar to Hotplates used in labs. Thanks in Advance
  23. New Business (What advice would you give yourself when you started doing Ceramics Full-Time) First, thank you all for taking your time reading this post. I appreciate all the advice and wisdom I can gain from a site like this. I am married to a ceramics artist and I would love to be able to aid her in the desire to run her business full time. I have a business finance background and have mostly done customer service, management or operations management in my young career. This post is not about me though, it is about my wife whom is a very talented ceramics artist whom does not set limits on the success that she can have. She will be graduating in May. My questions are: 1. What would be your first step after graduation if you had the choice to do it over again? 2. What would be your first step in starting your business? ​3. Where is the best place to go to get more exposure to her craft? 4. Is there anywhere that gives Ceramic business discounts to run their business? (Wholesale clay etc...) Any information that you can provide would be great. Feel free to read the following piece my wife's college wrote about her. http://ivyleavesjournal.com/jada-keeran Thanks again!
  24. I'm new to mixing the Laguna dry glazes and Im having a hard time finding specific instructions. I'll be pouring so I'm wondering if anybody has the specific gravity or any other way to determine the correct pouring consistency. Before anybody suggests it, I have requested this information from the manufacturer more than once. I have been referred back to the online instructions which say to add "between 8 and 11 ounces of water per pound of dry glaze". I need more specific instructions than that. The glazes I'm looking for help with are: Power Turquoise Antique Jade Clear Bright Spring Green Navy Blue Peach Blush Blackberry Wine
  25. As some of you may know, I am a beginner on the wheel. I started learning in October of last year when my dad set up his new wheel in my garage since he doesn't have a spot for it yet. (Ohhh the sacrifices I make for him ) In the past year I have gotten to the point where I can pretty much make what I want, though I still can't handle anything over five pounds. I don't feel I'm qualified to teach anybody else, but my dad is really struggling. He wants to retire from his masonry business and use pottery to supplement his pension, so there is a lot of mental pressure on himself to make a success of this as soon as possible. I know from my own experience that this kind of thinking makes the learning go much slower, and I've told him so many times, trying to encourage him to be easier on himself and give it time and patience. Today he came over to throw and I noticed this weird thing. I'm right handed. I throw with the wheel spinning counter-clockwise. When I'm lifting the clay I have my left hand on the inside of the pot and my right hand on the outside at around 3 or 4 o'clock. My dad is also right-handed and uses the same setting on the wheel. But he does everything inside the pot with his RIGHT hand, and the outside with his left. His hands are at 8-9 o'clock on the wheel. He has lots of problems with gouging the pot, thin spots, collapses, etc. etc. etc. and I think that might be why. I told him and he laughed and said that he's always thrown this way ... I never noticed before because he really doesn't like help so I leave him alone when he comes over to throw. He threw one pot "my" way and it actually turned out pretty well but he said it was strange and went back to "his" way with the next pot. My question is, which way is correct? If "my" way is correct, then is it easier to re-learn this way, or should he try throwing on the wheel with the wheel going clockwise instead, as if he's left-handed, and otherwise keep doing everything the same? Any advice or suggestions? (By the way, I think he would benefit from a wheel throwing class but I know he won't do it. He's really discouraged right now.) Is it possible that his struggle with throwing can be as simple as having his hands in the wrong position?
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