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Posted 20 May 2013Jim,
I don't know if any of the earthenware suppliers for handcraft type potters are doing this, but an industrial trick to get the glaze on earthenware to go into slight compression (to prevent any crazing) is to deliberately add some of the cristoboalite form of silica into the body formulation. Because it has a very high COE... it helps the body shrink slightly MORE than the glaze (which without lead is typically dominated by hiogh COE alkaline fluxes) and keeps it from crazing. So if the glazing application is uniform and covers all of the clay........ no leaks.
This does not stop the absorbtion of moisture through unglazed areas like the rings of feet. Ot into things like pinholes and other such glaze defects. So microwave use after getting them wet is still potentially an issue.
This is really important information. I didn't realize this. While I am partial to a deep foot ring, I also like to put terra sig on the bottom ring. Thus, while my bowls will be fine for everyday use, they likely may not be as waterproof as if the whole vessel had been glazed.
Thank you for posting this.
Posted 20 May 2013Dear All,
I have just closed the lid of my kiln to start glaze firing a batch of red ware I have been working on for about 2 months (i.e., on and off). I have glazed it with the Arbuckle Majolica Glaze and commercial colors.
As I closed the lid, I thought to myself, what have I just invested of myself in this load?? Please know this is the first time I have done this glaze technique independently.
1. Reworked some hardened majolica clay to get it ready for throwing.
2. Made the vessels on and off for the last few months (i.e., paying really close attention to drying times for optimum trimming, crack prevention etc.).
3. Purchased and sieved a large batch of glaze.
4. Purchased the commercial colors.
5. Dipped the work to prevent drips and waited overnight for the glaze to dry before painting.
6. Wiped off the bottoms etc., etc., etc.
Every single step takes time and knowledge of how to proceed.
I cannot even begin to calculate the number of hours my body and mind have put into this project. To learn a new technique takes time.
I remember learning to pit fire. This too, took time and great energy to get everything together to attempt this firing safely.
So what am I rambling about???
Maybe it is a delayed post to really say, pottery does take time and it is WORK. While my kiln lid is closed and I could have done everything correct today over the past few months, ultimately the load will be what it is. It is clay. All I can do is wait.
I don't mean to sound whiny but when I closed the lid it just made me think how much time this took to put together...the steps, the learning, the anticipation, the planning etc.
Ironically, despite all the planning, the one area that surprised me was during my process, I never gave much thought to decoration. THIS is what majolica is all about. All I could think about was vivid color. Thus, over the weekend, I struggled to decorate when it should have been a main focus of my planning. Unlike cone 6 where you never know what will happen with the glaze, majolica, I think if done right should be fairly exact.
Anyway, I am rambling.
Have you ever gone through a type of consideration of your effort or investment (in all senses of the word) in learning a new technique??
Hope it comes out great. I love majolica. A big show is coming up and in the gallery part of it you display two of your own pieces plus a pot from your collection. A friend in Colorado does incredible majolica and she is shipping me her most treasured piece so I can use it for the guest piece in the show. I've never done majolica. Finally getting around to my question: Do you make majolica mugs? Is there a problem with leaking--even if it is a very slow leak?
I have only one mug in this load. I will let you know. As I recall, in working with this technique many years ago, they can retain water and as you say have a slowish type drip. They also respond unfavorably to acid type foods. So for example, you cannot put a bowl with say an acid based food in it for long periods or it can leach the glaze...I think.
Will let you all know how it turns out.
Did blow me away though this weekend as I was working on the decoration to realize I had spent so much time in figuring out the technique that my plans did not include what I was going to do in terms of adorning the bowls??
What's that about??? :rolleyes:src="http://ceramicartsdaily.org/community/public/style_emoticons/default/rolleyes.gif"> I hope you are all smiling. I mean, how can you go through the entire process of figuring out such a complex process and forget to think about how you are going to decorate the darn things you are making??
Posted 19 May 2013come a long way from your original question haven't you? that i why the forums are so good. other people have ideas you can consider before making a decision. but 30 inch??? overkill, maybe.
if this is what you really, really want, please ask your handy husband to make the table bigger than what is shown on the clay king website. at least at one end so you will have working room after the slab is produced. find out how to remove the huge wheel handle so you can get at the slab to work without hitting your elbows. it is very handy to have flat work space right there so you don't have to lift the slab to another working surface. my northstar is fitted with a set screw and i just slide the wheel onto the shaft without tightening the screw when i want to roll a slab. (my Bailey is the same.) otherwise the wheel is stored standing on the floor at the end of the table since the tabletop is in almost constant use.
don't bother with a box to cover the working part, a clean heavy cloth will save your lifting muscles and the working parts.
the picture shows the smallest table i have ever seen and the most industrial looking heavy duty rolling gizmo. who makes it? why haven't i heard of it????
it is easy to drill the metal legs to support shelves. i put one about 15 inches from the floor. to hold plaster forms. then i put a smaller piece of plywood with wheels and a rope handle on the floor to hold boxes of clay. it rolls out when needed but is out of the way. every inch counts in a small studio.
the manufacturer's name is not shown. who is it?
good luck and make lots of things.
The Clay King Slabmaster is made by Friendly Corporation, same as Shimpo rollers and Axners rolling Thunder. The studio I belong to has the Shimpo version which looks a lot like the Slabmaster and I have used it and like it. I'll take into consideration a longer working surface. He suggested the cover so I wouldn't have to worry about hitting the rollers and maybe that I could use the cover as a shelf to hold whatever tools I needed while using the table. The shelves are a must and kind of planned to measure whatever space I had on the table Slabroller I get and install what ever configuration would work. I LIKE your idea of clay on a rolling platform makes much more sense than hefty those blocks around.
My main work surface is a worktable I got a SAMs it's tall enough I can stand to work or use the tall rolling stool I have. I think its 5 feet long and super heavy duty with steel legs and a butcher block top and can take a beating so seems to be working out. Unfortunately the top is sealed under varnish so clay seems to like to stick to it and I have thought about getting out the sander and attacking it but for now a piece of canvas seems to be working. I want to get a piece of that board from a Home Depot next time I head that way but haven't made the hour plus trip out that way recently. I even added a shelf under it, with the bonus of its at a good height for me to put a foot if I want. I keep all my plywood and drywall ware boards standing on the shelf and for now clay, my rolling pin and slats on the other side. If I make the rolling platform like you have for my clay I might add a couple more shelves on one side and keep additional supplies there. I even made a small shelf for the end out of 1x4s with each shelf being tall enough to hold pints of underglaze and glaze it ain't pretty but the shelves are level and I used zip ties to attach it to the table legs so it doesn't fall over. Kind of maximizing my one work surface. I would REALLY like to find another table to have dedicated for glazing but not sure where I would put it, might have to get rid of my easel lol. You have no idea how shocking that idea is to me as a painter; my friends would be convinced i was an alien if they even heard that I would consider sticking my easel in the closet.
I also need to figure out someplace to put some shelves to dry ware on, currently I am using a repurposed drying cabinet from my darkroom days to store pieces under construction as well as slowly dry finished pieces. I bought some of that plastic grid made for light covers and use that as the shelf so the pieces don't fall through the widely spaced wire shelves that came with the cabinet. But I can see quickly outgrowing the cabinet as I get stuff made. Just have to decide if I should get one of those rolling wire shelf units from SAMs so I could move it around as needed or just cut up some of the scrap plywood in the garage and screw them to the walls. Will have to think that through some more.
So yes I know and understand multi purpose work spaces and the suggestions you made will be remembered and taken into account as I try and get set up so I can work without moving stuff around every time I want to work on a different piece.
My main work surface is a worktable I got a SAMs it's tall enough I can stand to work or use the tall rolling stool I have. I think its 5 feet long and super heavy duty with steel legs and a butcher block top and can take a beating so seems to be working out.
Several years ago when I was adding furniture to the HS glazing room I purchased a couple of these tables. They worked really well for the glaze room as they were narrow, and had a durable/cleanable surface. I purchased the rolling cabinet with top for my home studio which even though large has great storage. Gotta love some of the stuff at SAMs at their prices.
I have a slab roller. I think mine is the 18 inch one with legs. It uses shims to guage the thickness of the clay. If, IF I had to do it again, I would wait and buy the Bailey. It is cumbersome to use the shims and you only really get 4 or 5 choices for thickness. I have a friend who comes over who looks at it and all he can think about is making perogies with my slab roller.
Please know this is just my opinion. I know many potters who use the small one and get along just fine. I think for me, the sturdiness of a bigger model is what I am after. This one I have does have some limitations. But alas, I do have one and that is what counts for me.
Posted 12 May 2013Did your pots melt away to nothing?
Well, I exaggerated a little. It was gust a drizzle, so they are all dry again. It is Nevada, you know.
It rains 4-5 times a year, and when it rains, it is just a joke most of the time. It does snow in winter, but that's a different story.
We have had an exceptionally nice weather this year! It is 80-90 F for the last 3-4 weeks. I already have small pears, apricots and peaches on my trees. Peonies started to bloom.
TJR, good luck with your sale!
While you may have rain and hot weather, where I am in Ontario/Canada, we had hail and snow today. Very messy weather. Just last week all the tulips and daffodils were out but right now there is snow. Not much but enough to make me worry about some plants I just put in a little ahead of schedule. It can make for a bit of a slow dry of my pots in my studio if I leave the heat off.
Posted 12 May 2013so much out there is beautiful, whose work would you like to claim as your own? not their lifestyle just the pot or pots. anything goes.
mine would, hands down, be tom coleman.
Probably myself 20 years younger, and a little more motivated!:Psrc="http://ceramicartsdaily.org/community/public/style_emoticons/default/tongue.gif"> However, I have always admired the work of John Glick.
If I could be any potter I would be Lucie Rie, Hans Coper (for their stylized simplicity and strength of design) or Walter Ostrum (for his highly knowledgeable ceramic brain and talent).
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