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Found 16 results

  1. From the album: July 2019

    Copper & cobalt oxide glazes applied to bisque fired (950oC) pieces. Fired in a dustbin raku kiln at recent kiln building workshop. (1000oC) then plunged into sawdust to reduce.
  2. Hi folks, I am new to this forum and apologise if my questions have been and gone before, I’m sure they have! I have bought an old gas fired port-o-kiln and have had in installed into the granite lean to which has a tin roof, at the end of the stables (no horses in there anymore) it seems like a good space. Its small but there is air flow. The kiln is small, it has two burners in v good condition and I have a19kg bottle of propane for it. The kiln didn’t come with a flu or hood so I have got someone to fashion a basic hood and chimney to take the heat and fumes out. There is about an 8
  3. Hi all, I'm looking for advice on how to achieve a darker charcoal/black carbon trap finish. I'm working with Malcolm Davis Shino on bee mix & coleman porcelain. I have been unable to fire the gas reduction downdraft kiln because of work so I haven't been able to play around with it. This image was taken a while back before I really cared how heavy the carbon trap was (record record record). This is what I'm trying to achieve. It's Malcolm Davis Shino on Coleman Porcelain with wax resist fired to cone 10 in gas reduction. Any thoughts?
  4. Hi everyone, I recently fired a gas kiln but there was very poor reduction and my pieces (with a celadon glaze) came out oxidised. Would it work to refire these same pieces in a fully-functioning gas kiln? Is there any reason the might not reduce as they have already been high-fired? Thank you!
  5. From the album: Medicine Hat Soda Kiln

    We had the kiln in reduction sometimes.
  6. From the album: Ceramics Fall 2016

    Made 4 matching bowls in this glaze combo and B-Mix. I have to say, I LOVE how b-mix throws, I can get the walls so thin and delicate. The colors show up fabulous on it as well. Only problem is when I remove the pots from the wheel white wet, if they warp even slightly, they held that warp through firing. Personally, I am okay with this, as the pieces were very thin with undeveloped lips to hold their shape, and they otherwise feel ok. Had no problems with cracking, only the warping. I don't have many other options for white or light clay bodies, so I will probably continue to use it.
  7. From the album: The Guinea Potter's Stuff

    I made this as a depiction of the loneliness and isolation a rabbit in an outdoor hutch feels. I am a fierce advocate of the House Rabbit Society's philosophy. Rabbits are my life, and it is my dream to see them all in loving homes as members of the family. Cone ten reduction, 13" tall. Heavy as a boat anchor.

    © Sarah Alderete

  8. From the album: My pottery

    This bowl was fired at cone 4 and brushed with 2 coats of Potter's Choice glazes Blue Rutile (inside) & Chun Plum (outside) to cone 06 in a reduction kiln.

    © 2013 Deutmeyer Pottery

  9. From the album: My pottery

    This bowl was fired at cone 4 and brushed with 2 coats of Potter's Choice glazes Blue Rutile (inside) & Chun Plum (outside) to cone 06 in a reduction kiln.

    © 2013 Deutmeyer Pottery

  10. From the album: My pottery

    This bowl was fired at cone 4 and brushed with 2 coats of Potter's Choice glazes Blue Rutile (inside) & Chun Plum (outside) to cone 06 in a reduction kiln.

    © 2013 Deutmeyer Pottery

  11. From the album: My pottery

    This bowl was fired at cone 4 and brushed with 2 coats of Potter's Choice glazes Blue Rutile (inside) & Ancient Jasper (outside) to cone 06 in a reduction kiln.

    © 2013 Deutmeyer Pottery

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