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21 May 2013 - 20:44
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Posts I've Made
Posted 23 May 2013I like it. For me the weak parts are where you make cut-outs. The bowl shape is strong, the donut in the center is strong and the piece on top is strong. The decoration is nice. The two pieces that have cut-outs, especially the bottom one are weak. By weak I don't mean they need to be bigger, thicker or stronger (even though Big Lou is right about the bottom), I mean a stronger form for the eye. It's the edges of the cut-out that are a problem. Even smoothing and rounding those edges would help some, but it needs more than that. With that said, let me repeat that I like it.
Don't over think it. Walk away from it for at least a day and look at it with fresh eyes.
Posted 23 May 2013I finally have a little time to read the posts in the communities, and I love that there are so many talented people in the group. I notice that when I view profiles it helps to visualize and TRY to solve problems if I can get an idea of what the final products you make look like. Please take advantage of the gallery benefits of your Ceramics Arts Daily accounts. This would be of good use for people that don't have web pages, and at least Ceramics Arts Daily participants can view your work. Never know, might work like free advertising!OH! I FORGOT! Please let me know when your update your gallery!
Nice piece in you profile gallery. I'd like to know more about it.
Posted 23 May 2013The relief work on good Yixing is not sprigged. Each element of such designs is hand done with remarkable precision (and the ability to replicate items at a very high level).
I was watching an undergrad class on a very similar type of surface technique at Wuxi Institute of Arts and Technology (in Yixing) a couple of weeks ago, and the painstaking time taken with every movement and the intense focus of each student was what struck me the most.
While the cheap stuff might involve sprigging.... the decent pots don't.
Maybe when you don't have anything else to do (imagine an emoticon of your choice here), you could post about your trip. I know I'm interested and I bet a lot of other people here are, too. Pictures like those here are fascinating.
Posted 23 May 2013image.jpg
I'm having some problems with bisque firings and would like to run this by you...
I use stoneware which I underglaze at leather hard, then I sgraffito the piece. I let it get to bone dry and do the bisque in an old kiln - it has 4 on/off switches; the manual said to flip one switch an hour and then wait till the kiln sitter turns it off (^04). then I apply clear glaze to the cooled work and fire to ^5 using a newer kiln with an electronic controller.
Then I started having a problem. After the glaze firing some of my pieces had areas, usually circular, where the it looks like the glaze has pulled away, taking the under glaze with it. So there's a small area, sometimes several all near each other, where the clay body is exposed. In the photo, hopefully you can see the white spots, center right. Because I use their products, I called Amaco for help. I was told my bisque firing was too fast, that out gassing was not complete. And I was told a bisque to ^04 should take 10-12 hours! So now, hearing about these fast bisques, I'm confused.
I was an advocate of bisqueing as fast as possible - my little old kiln could fire off in 5 hours. But lately that doesn't seem to be working for me, so I'm going to to do a really slow bisque next time, as Amaco recommends. But why is it that some of you have no problems with a fast bisque? Wouldn't incomplete out gassing affect your glazes? Any thoughts on this? Thanks!
04 is a pretty high bisque so I think Amaco is wrong. The cone you should bisque to depends on the clay. I use a lot of different clays and for some I only bisque to cone 015 to save time and elect. Others to cone 08. Only one clay I use, Lizella Red, needs to be fired to cone 04. It has a lot of organic matter in it and other impurities so I bisque that high to get rid of that and avoid out-gassing. I fire all my bisques as fast as possible. Just slow, depending on how big and thick the pots are, to 250 degrees (to be sure I'm well-past boiling point) and then full-speed to finish. You do a lot of work on your mugs so it is probably something as simple as oil from your hands on bisqued ware or other contaminant or incompatible underglaze, etc.
Posted 23 May 2013I just made the first dinner set I have made in a couple of years. I didn't lose one plate and I was throwing Frost. I ended up with a set of 8 place settings and a few extra plates.
Like Pres says, weigh the lumps to be equal. center, flatten with a fist, open and keep it flat Keep the calipers there, before you start pulling/pushing out and and several time after. Rib the plate to relieve stress.
I use a chamois on the lip with a practiced edge and they are all the same. Dry slowly. Flipping them over to dry after they have firmed up enough not to sag.. I trim with a soft thin sponge in the center for support.
Your dinner set saved me a lot of work. About two years ago I bought a half ton of Frost and no matter how compressed the clay was or flipped during centering, etc., etc. I got cracks in the bottom of mugs, etc. and handles cracked. Frost is so wonderfully translucent that I kept struggling with it and finally solved the problem by adding a little paper to it and used Frost that way until on a post where I warned someone here that Frost would crack if you even looked at it, you said you had just done a dinner set out of Frost with no cracking. That first half ton is long gone so I threw a few wide bottom cylinders that would, without a doubt, have cracked with my old Frost but with new Frost with no paper in it there was no cracking. My conclusion is that I received a bad batch of Frost. So did another potter in my area. Had you not thrown your dinner set out of Frost I'd still be adding paper to mine. Thanks.
BTW, since the glaze on the set is opaque, why did you decide to do the set in Frost?
- Member Title:
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- 64 years old
- February 19, 1949
- Lizella, Georgia
- anthropology, tree-climbing, paintball, clay