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Found 3 results

  1. I recently did my first experimental pit firing, most of my piece survived, but they are super smelly. I used a paste wax to buff and varnish the surface, but the smell is still intoxicatingly strong. Is there something that I can use or do to reduce the scent when they go into the gallery?
  2. Hello all! I am a potter of several years but know that I still have a lifetime of learning to do. I have a very particular aesthetic I try to accomplish with my mugs-- essentially they are liner glazed interior with a thick coating of multiple glazes on the exterior. Many potters do this, amiright? I have been creating these intricate glazes myself for 3 years now, without issue. It seems like all of a sudden (last 4 months) I have had customers come to me saying that their piece has been fine during multiple uses, when all of a sudden they pour their hot liquid in, get a ping, and a horizontal crack appears on the vessel moving along in a ring. To me, this sounds like thermal shock dunting. Right now, I am feeling lost among the vast amount of variables and don't know where to begin trying to solve the problem. I will list all of the variables/info I have collected, and hope someone out there can tell me where to focus my attention. I appreciate this community, immensely-- Thank you in advance!! -I fire with Laguna Bmix 5 and Standard 225. Both mature at cone 6. I fire to cone 6. Majority of issues have been with the 225, with one or two bmix pieces. I worry it is a clay body issue. -My firing cycle is quite standard and the same each time. I fire at a medium rate with no slow cool (I can provide the schedule if needed). -I throw my mugs thin. -My liner glaze is always the same. Black Licorice, Cone 6 (Mastering Cone 6 glazes). Recipe below. I do add Epsom Salt to this to prevent settling. -The exterior glaze always has a bit of the glossy liner glaze above and a matte as the undercoat. Then-- there are SO MANY different glazes I use from there in my laying techniques-- application and amounts differ from piece to piece. -Each time the issue has happened with a mug, the glaze has been thick and the issue arose when the customer added freshly boiled water. My glaze is alwayyyys thick on the exterior though... What does everyone recommend? If I had my biggest wish come true, there would be an adjustment to the Liner Glaze (better COE) that would allow a more balanced thickness of glaze overall in the piece. Can you see an adjustment I can make in the recipe below? Is there a better black recipe for this? Or, Should I throw thicker to ease the tension of exterior vs interior glazing? Orrrr... Am I missing something entirely, hah! Black Licorice Material Amount Ferro Frit 3134 26 Silica 26 Custer Feldspar 22 EP Kaolin 17 Talc 5 Whiting 4 Total base recipe 100 Red Iron Oxide 9 Cobalt Oxide 2
  3. I've had this article in my bookmarks for a while. I've used gold leaf in painting using bole and water size, but this oil size is something new I'm excited to try. A few artists make this technique work with pit fired terra sig. Working with impossibly thin gold is a joy. Just don't sneeze. http://www.steveirvine.com/goldleafhowto1.html For those who don't know Steve Irvine's work. He's brilliant. My favourite are his ceramic cameras that take real photos.
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