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  1. Asking $300 (open to offers) Max Cone = 8 120 Volts 15 AMPS Max Temp – 2372 Furniture and Shelves Included Stand (Pictured) Included We also have SEVERAL molds for porcelain dolls .
  2. Dear colleagues, I have to make a decision as I could have a Venco Super Twin in a few days here in my studio what would normally take months to be delivered and I have a big order of lots of plates to throw. In my research about pugmills I have come as far as that I think I have to decide between buying a Peter Pugger vpmss20 and a Venco Super Twin, both stainless steel and de-airing. I throw porcelain and run a studio production, means around 2 tons a year, getting more (sorry, I'm not a native speaker)... I'll need it in the first place for replacing the wedging of new porcelai
  3. Hi ...... Have some porcelaine cups that have reached the bone dry stage .Am wondering if I can still use engobes or slip on them before bisque firing ? Also can engobes or slip be used on bisque ware ? and then does one glaze as usual ? Thankyou Nicky
  4. Hi ....... Fired two batches of porcelain ware .The one was “ onefire “ And the other “bisque» My problem is they got mixed together. Now I cannot tell the difference as I want to glaze the bisque ware .Is there a way of testing the difference Thank you Nicky
  5. Hi there! I was wondering if anyone knows what the composition of Audrey Blackman porcelain is? I've searched high and low and the only info I got was that it contains quartz. I sell ceramics on a very small scale and someone is enquiring if my work vegan and I have no idea!!
  6. 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 ?
  7. Hi I am using Audrey Blackman porcelain and am interested in using stains into the clay. Can anyone suggest which stains are good to use and can I just wedge it in? Many thanks. Debs
  8. Hi, I have a question about the compressive strength of porcelain vs stoneware, if both clays are modelled with the same thickness and are both cone 6 clays. Which one would be stronger or better to use for large (4-5ft) sculptures? Thanks, Callum
  9. Hello everyone! Another question from me: is it possible to cast a flat plate (without a foot) with a one-piece plaster mold? I am usually throwing a prototype with a simple white clay on a wheel, then wait until its dry enough and cast a mold, but when i tried making a plaster mold for a flat plate, plaster seemed to heavy for the clay to hold, clay got softer and caved in. As the result: the mold is with a little knob in the middle. Any advices? Thank you! Nata
  10. Hey all, I was informed a while back that most commercial slips are deflocculated with Darvan, which can cause adverse effects (warping) on the resulting wares depending on the temperature of the room in which casting occurs. I have found in my testing that this is certainly the case, trying my best to control all other variables within reason only changing the temp of the room. Cold temps certainly seem to increase warping. What I'm wondering is if anyone has any ideas regarding what the ideal temperature would be for slipcasting with darvan in it. I am trying to minimize warping a
  11. Hello everyone, I find your site tremendously insightful and factual, and this is my first post here. I'm a fairly proficient handbuilder and sculptor but have never worked in porcelain. I need to know whether these lentil-shaped hollow beads will fall flat in the highfire glaze firing, with or without glaze. They are slightly larger than a quarter in diameter, and thickness varies from 11 to 13 mm. A classmate at community college handbuilding class gave me the porcelain clay because I just wanted to see whether I prefer it for my hollow beads. They all have holes, not showing in pic. My con
  12. Hi guys , We are INSULATORS manufacturer HOLLOW INSULATORS have these problems of ID OVERFIRED problem rest of all material is OK If we talk abouts shed(which is thin portion of INSULATORS ) is OK stem is OK but in ID facing OVERFIRED problem Top portion of ID approx..300mm is OK Bottom portion of ID approx ..300mm is OK But middle portion of ID which is 500-600mm is OVERFIRED How can be short out this problem If we talk about other material like bushing is OK in same kiln Note:- HOLLOW ITEM FIRED IS BOTH HANG AND WITHOUT HANG BUT FACING PROBLEM
  13. 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
  14. Hi, I have problems trying to find the answers to this question. I want the "paint" I use to be something like China ink, but that it doesn't run and that fires well to cone 10 without loosing color. Thank you for your help!
  15. Just to say .... bisque firing went well cups facing up and hardly any warpage Thankyou for imput Am now preparing for glaze firing .I will only glaze the insides of cups I would like to get the satin smooth effect by sanding ( extra work but makes a diff in the feel ) Do I sand before or after glaze firing ??? Much appreciated Nicky
  16. Hello, I’m new to ceramics and have been working with some mid-fire porcelain clay as well as white earthenware clay. I made several hundred small jewellery pieces from both clays and had them bisque fired at a local kiln service. Unfortunately they combined all my work together and now I don’t know which is porcelain and which is white earthenware, soI don’t know which clear glaze to use on which piece. Might anyone be able to give me some advice about what I could do? Are these pieces salvagable or bound for the bin?
  17. It's a simple question from a relatively inexperienced potter who has only thrown stoneware and earthenware... don't want to stir up a "which is better" debate or anything like that. Why porcelain? In general, and then specifically, why do some functional potters who cover all but the foot in semi-opaque glaze choose porcelain, considering that it's expensive and finicky (from all I hear). When I go to art fairs, none of the functional potters work in porcelain (I ask about clay and glazes, of course). But online and in the magazines, I see functional potters who work primarily in po
  18. Hello, I am making some porcelain work for an exhibition and I am hoping to achieve a finish on the porcelain that slightly resembles the Japanese sand wall plaster technique: https://habitusoutlet.com/portfolio_item/wara-juraku-wall-finish/ I was wondering if anyone knew of any techniques of adding plaster/sand/grout to fired porcelain? Or if not if anyone knew of any glazing methods that could help me reach a similar effect. I would quite like the finish to be quite textured. Any help would be appreciated, Thanks
  19. Yoshi Fujii Seductive Elegance: Clay Carving Techniques This 2-day participation workshop will introduce students to surface embellishment through carving the leather-hard surface. Yoshi will demonstrate using the potter’s wheel to create functional objects (simple cup & bowl forms) to serve as a collection point for visual inspiration. Students will explore the elegant quality of porcelain and seductive beauty possible through hand-carved lines, patterns and motifs and slip trailing to create visual and physical depth for tactile communication. Previous clay experience is req
  20. Hi all, I just joined your lovely community. And I was wondering if someone could advise me on making my first white slip. I've been trowing some stoneware pots and I would like to decorate the inside with white slip. I have a pack of 25kg of this deflocculated porcelain dust clay in my studio: http://www.vdiez.com/catalogo/porcelana-sa-2.html?lang=en and when I asked advice to salesman I was told I could just add water and apply it directly on the stoneware. Is this true? I know that porcelain has a different shrinking percentage that stoneware, therefore I'm a bit confused. Can a
  21. From the album: July 2019

    Thrown porcelain vase, cut vertically from rim. Textured slab attached with slip. Copper & cobalt oxide wash applied to bone dry greenware. Bisqued to 1000oC. Transparent glaze poured inside and brushed on textured addition. Fired to 1200oC (cone 6/7). Gold lustre highlights added then fired to 780oC.
  22. Hello All! I wonder if someone here has the knowledge to solve a very annoying problem I have been facing lately: I create Porcelain plates, about 9" in diameter. The wight of each plate after glaze firing is about 200 to 250 grams which makes them pretty thin. When bisque firing them, all is well - Always. When glaze firing them (1230 C) , many many of the plates are broken WHEN TOUCHED, that means that when I open the kiln, they all look fine but when I come to pick them up, they break up in my hands. Those that do make it in one piece, have a hollow sound when knocked an
  23. From the album: July 2019

    Thrown porcelain bottles (sometimes off the hump) - 3-4” tall. Underglaze transfer decoration applied to leather hard clay. Bisqued to 1000oC. Poured and dipped in transparent glaze. Fired to cone 6/7 (1200oC)
  24. From the album: July 2019

    Thrown porcelain. Wax resist all over, carved when leather hard. Black underglaze inlay painted over and wiped back. Bisqued to 1000oC. Orange underglaze highlights added. Transparent glaze poured and dipped then fired to cone 6/7.
  25. From the album: July 2019

    Thrown porcelain. Wax resist all over, carved when leather hard. Black underglaze inlay painted over and wiped back. Bisqued to 1000oC. Transparent glaze poured and dipped then fired to cone 6/7. Gold lustre applied before third firing to 780oC.
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