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  1. Hello everyone, I recently got a pottery crafts aurora kiln and I need a good 2 segment firing schedule. i contacted the company for one but my pieces came out under fired (I use HF amaco glazes) my program was 1) 60 Celsius to 600 soak for 10 2) then 120 to 122 and soak for 10 mins anyone recommend another firing schedules for cone 5 or 6 for me to try out? Or should I just make the second soak longer?
  2. It will be used on Standard 266 Dark Brown clay to paint into carved recesses, and NOT glazed over with clear. I’m looking for color to stand out against the deep brown of the vitrified clay. Like rich rust, teal, green…. Possibly for white stoneware as well, but right now, it’s the dark brown carved clay project that have numerous bisqued pieces waiting for an answer. The only ones I have used are Amaco Velvets (only Velour Black) and Speedball white. I know there are other brands out there, but I don’t know which ones flux. I don’t necessarily need it to be matte finish like the Amaco Velvets: just that I am not going to paint clear into every little carving to make it shiny. I usually like matte or satin anyway. The studio where I fire my work also has glazes for low-fire “paint your own pottery”. I tested those in the colors I liked, and all of them bubbled to some extent or the colors were dull. Other people have used them, but maybe not on this clay body, and always with a high fire clear on top. The Speedball white was for a different idea: I was trying to create a white base to use certain glaze colors that don’t show well on the 266 Dark Brown, or that blister on this clay; to have part of the piece unglazed dark brown, and the glazed area over the white base. The Speedball White fluxed under a glaze on top and came up through it: a truly ugly, spotty effect. I’ve moved on to using a white slip instead for the portion I plan to glaze: though I can’t really carve properly into it. If I could find the right product for this second concept, that would be great too. Thanks for your help.
  3. L Plater! I’ve bisque fired stoneware pre-glazed with 06-6 cone underglaze. I’m going to glaze with cone 9 glaze and fire at cone 9. Have i stuffed up using a low cone underglaze or is it ok?
  4. I have been having a strange issue with my Cone 6 Black Stoneware Clay from Standard (266). It gets these big cracking bubbles upon glaze firing. I bought this clay to marble with Porcelain (Standard 365) because it had a similar shrink rate. The marbled pieces came out SUPER bubbly, really horrible. I thought it was just poor clay preparation on my part because of the mixing of the two. However it has been happening with pots I make solely out of the Black Stoneware. I prepare this clay the same way I do all my other clay bodies and never really have this issue otherwise. Has anyone else had this problem with this clay? Any advice?
  5. I'm in need of stilts to suspend the interior of dome-shaped sculptures up to 4cm (so the rim/base doesn't touch the shelf surface). I've looked into heavy gauge nichrome wires, but I'm not sure if they'd be able to stand still during the high firing process, plus they are pretty difficult to cut. So I wonder if metal nails could be used as stilts. For example, the pointy part touches the sculptures, and the cap sticks into a flat body of clay, i.e., the base of the stilt. If so, what kind of nails can sustain in cone 10 firing? Thanks!
  6. From the album: Lori Hess of Claybird Pottery Studio

    -this was the first pitcher I ever threw and then subsequently altered

    © Claybird Pottery Studio

  7. I am wondering how to fire - in an electric kiln- burnished pots brushed with a porcelain/stoneware terra sigillata- or even just burnished! Is this possible? What temperature would you suggest to fire to? I’d like for them to be strong enough to be carried at markets and slightly shiny and smooth on the outside. Any knowledgeable advice and tips would be valued. Thank you V.
  8. Hi there. I recently glazed some items on white stoneware clay. The clay (White Stoneware PF560) was glazed fired after being bisqued at : room --> 600 degrees C at 100 deg/c per hour 600 -> 1230 at 150 deg/c per hour 20 min soak It came out really patchy and there are some air bubbles. If anyone could recommend good firing ramp for this glaze in degrees celcis with timing that would be great - thanks so much Terracolor orange Ember - https://www.scarva.com/en/gb/Terracolor-FS6031-Orange-Ember/m-1772.aspx was the glaze that didnt look very good! Clay was : https://www.bathpotters.co.uk/white-stoneware-pf560
  9. Can work with two different kinds of clays with different porosity together when marbling or doing other clay combinations? For example one terracotta which ends up very porous and one stoneware clay that vitrifies to be less porous? Or will it crack?
  10. Hi there. I have two types of clay and I was wondering what the best firing schedule is for them for bisque? I have an electric Nabetherm kiln and I am making bowls/mugs. I don't really understand cones and so if possible, please explain using degrees C! Grogged Buff EarthenWare clay - Firing Temp.1000-1280deg.C Stoneware Special Fleck Clay - 1120∞c - 1280∞c Thank you !
  11. Hello ! I received my new skutt KS 609 and test fired it successfully given that I have never worked with a kiln sitter. I will mainly be using it to make small stoneware and porcelain components for jewelry and wall hangings. My question is has anyone tried to fast fire cone 6 unglazed stoneware and porcelain to vitrification ? I only want to fast fire for small beads and components. Also, is it safe to stack cone 6 stoneware plates without warping (slow fired of course) I’m fairly new to mid fire clay bodies Thanks! Asmaa
  12. 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.
  13. From the album: Curves and Crisp Edges

    Slab construction, stoneware with terra sigilata
  14. From the album: Curves and Crisp Edges

    Hand built using Clayworks LGH Stoneware clay. Terra Sigillata finish

    © Linda Lees

  15. From the album: Curves and Crisp Edges

    Hand built using Clayworks LGH Stoneware clay. Terra Sigillata finish

    © Linda Lees

  16. From the album: WIPs

    At least it turned out nearly flawless. Large 12" across, planter from a gritty brown stoneware with off-white slip painting under clear glaze. Formed inside an automotive oil pan with coils.

    © Ann Nielsen

  17. From the album: Custom Mugs and Commission Concepts

    I have my share of commercially produced stamps (particularly logos and finely detailed items), but I still enjoy sitting in an easy chair with my feet-up and carving clay stamps to be used on various projects. It is an exercise of patience for me and a learning experience to be aware of when the clay tells me that its OK to carve/cut/trim. I've wondered before if an exhibit of clay artist's bisque stamps might be a fun thing to organize.

    © Copyright 2016 - Paul M. Chenoweth - Nashville, Tennessee USA - All rights reserved.

  18. From the album: Forum Discussion Images

    This is the second "House Wine" vessel that I made. This time, underglaze transfers were added in an effort to build more depth to the surface. These are fun to make but seem to require a good bit of time on the workbench. This one is headed for a November show.

    © Copyright 2016 - Paul M. Chenoweth - Nashville, TN USA. All right reserved.

  19. From the album: Forum Discussion Images

    This is a close-up of the lid/stopper for the "House Wine" vessel. I like sneaking in some detail work on areas that don't show when the top is in place.

    © Copyright 2016 - Paul M. Chenoweth - Nashville, TN USA. All right reserved.

  20. From the album: Custom Mugs and Commission Concepts

    Handbuilt stoneware mugs, approximately 12oz capacity, fired cone10. Surface treatment includes 3-d dwelling, carved-out hillside community, and underglaze image transfers. The transfers are new to me...using a CriCut Explore to create silkscreen masks through which thickened underglaze is printed onto rice paper. Once dried, the surface of the mug is coated in underglaze, the transfer is sprayed until saturated, and then pressed/burnished (with pint side to the mug) onto the bisque fired surface. I'm not yet comfortable enough with this technique to try it on greenware but it should work equally well. Certainly there is a story to these mugs...the short version centers around work in some of the poorest slums in Central/South America in contrast with visits to numerous iconic cites in Europe.

    © Copyright 2016 - Paul M. Chenoweth, Nashville, Tennessee USA. All rights reserved.

  21. From the album: Custom Mugs and Commission Concepts

    This is a 14oz-16oz wheel-thrown, stoneware mug with slab-built (black only) keys attached to a carved/altered keyboard design. The handle idea is NOT original but borrowed/copied/altered from another artist's project. When I find the name, I will certainly give proper attribution. Interior is glazed with Woo's Blue. Exterior details are black and white, brushed-on, Amaco Velvet underglazes with a top coating of clear. This is a concept mug for a commissioned gift project that is currently underway. The basic form and structure may remain the same but the color scheme for the actual project will be altered considerably.

    © Copyright 2017 - Paul M. Chenoweth, Nashville, TN USA - All rights reserved.

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