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#1
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Single firing Done!
Well I unloaded the kiln and was amazed how many pots came out with such few
flaws. One poor little pot was glazed and reglazed so many times that I was never planning on firing it, just playing with techique. It got stuck in just on principle and came out one of the better pots. The pots that I glazed bone dry came out just the same as if I had bisque fired them. I glazed those pots last though and after I found from error which glazes fit the best. I still like the feel of glazing leather hard but most of those pots had the glaze crack off the lip and/or the outside. The repair I attempted on the lips worked but not on the outside - that either crawled or was too thin. I believe that I have to dampen the lip before glazing or glaze when the pot is less dry - perhaps cover the lips. If glazing bone dry had not been so successful I would be gungho to develop glazing leather hard. After many tries I never was able to put multiple layers of glaze on. Things I learned - You really have to be careful that the pot is as clean as you can make it before glazing. That little spec of clay left from trimming cannot be brushed off after firing, ruins the surface if glazed and become a nasty little barb. You really can put the pots right next to one another. Brushing on the glaze does not leave the awful brush marks you imagine it will. And I learned that I really like single firing. Thanks all for the help offered. It made a difference. Donna |
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#2
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Single firing Done!
Well done Donna
:-) Steve Bath UK "DKat" wrote in message ... Well I unloaded the kiln and was amazed how many pots came out with such few flaws. One poor little pot was glazed and reglazed so many times that I was never planning on firing it, just playing with techique. It got stuck in just on principle and came out one of the better pots. The pots that I glazed bone dry came out just the same as if I had bisque fired them. I glazed those pots last though and after I found from error which glazes fit the best. I still like the feel of glazing leather hard but most of those pots had the glaze crack off the lip and/or the outside. The repair I attempted on the lips worked but not on the outside - that either crawled or was too thin. I believe that I have to dampen the lip before glazing or glaze when the pot is less dry - perhaps cover the lips. If glazing bone dry had not been so successful I would be gungho to develop glazing leather hard. After many tries I never was able to put multiple layers of glaze on. Things I learned - You really have to be careful that the pot is as clean as you can make it before glazing. That little spec of clay left from trimming cannot be brushed off after firing, ruins the surface if glazed and become a nasty little barb. You really can put the pots right next to one another. Brushing on the glaze does not leave the awful brush marks you imagine it will. And I learned that I really like single firing. Thanks all for the help offered. It made a difference. Donna |
#3
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Single firing Done!
"Steve Mills" ) writes:
Well done Donna :-) Steve Bath UK "DKat" wrote in message ... Well I unloaded the kiln and was amazed how many pots came out with such few flaws. Yes, congratulations. Single firing is differant but it's not that differant and not difficult, it's too bad that most people these days end up working out the details on their own. Elaine |
#4
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Single firing Done!
In message , DKat
writes Well I unloaded the kiln and was amazed how many pots came out with such few flaws. One poor little pot was glazed and reglazed so many times that I was never planning on firing it, just playing with techique. It got stuck in just on principle and came out one of the better pots. The pots that I glazed bone dry came out just the same as if I had bisque fired them. I glazed those pots last though and after I found from error which glazes fit the best. I still like the feel of glazing leather hard but most of those pots had the glaze crack off the lip and/or the outside. The repair I attempted on the lips worked but not on the outside - that either crawled or was too thin. I believe that I have to dampen the lip before glazing or glaze when the pot is less dry - perhaps cover the lips. If glazing bone dry had not been so successful I would be gungho to develop glazing leather hard. After many tries I never was able to put multiple layers of glaze on. Things I learned - You really have to be careful that the pot is as clean as you can make it before glazing. That little spec of clay left from trimming cannot be brushed off after firing, ruins the surface if glazed and become a nasty little barb. You really can put the pots right next to one another. Brushing on the glaze does not leave the awful brush marks you imagine it will. And I learned that I really like single firing. Thanks all for the help offered. It made a difference. Donna I'm so glad that this has worked for you. Do you ever post any pics yourself? I really would love to see just how they've turned out. All the help from everyone really helped me when I needed it just now. I wonder if the power of positive thought to the nth degree affects firings ;-))) Susie -- Susie Thompson If you can't stand the heat, don't tickle the dragon! to email me, replace deadspam.com with susiethompson.co.uk |
#5
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Single firing Done!
"Susie" wrote in message ... In message , DKat writes Well I unloaded the kiln and was amazed how many pots came out with such few flaws. One poor little pot was glazed and reglazed so many times that I was never planning on firing it, just playing with techique. It got stuck in just on principle and came out one of the better pots. The pots that I glazed bone dry came out just the same as if I had bisque fired them. I glazed those pots last though and after I found from error which glazes fit the best. I still like the feel of glazing leather hard but most of those pots had the glaze crack off the lip and/or the outside. The repair I attempted on the lips worked but not on the outside - that either crawled or was too thin. I believe that I have to dampen the lip before glazing or glaze when the pot is less dry - perhaps cover the lips. If glazing bone dry had not been so successful I would be gungho to develop glazing leather hard. After many tries I never was able to put multiple layers of glaze on. Things I learned - You really have to be careful that the pot is as clean as you can make it before glazing. That little spec of clay left from trimming cannot be brushed off after firing, ruins the surface if glazed and become a nasty little barb. You really can put the pots right next to one another. Brushing on the glaze does not leave the awful brush marks you imagine it will. And I learned that I really like single firing. Thanks all for the help offered. It made a difference. Donna I'm so glad that this has worked for you. Do you ever post any pics yourself? I really would love to see just how they've turned out. All the help from everyone really helped me when I needed it just now. I wonder if the power of positive thought to the nth degree affects firings ;-))) Susie -- Susie Thompson If you can't stand the heat, don't tickle the dragon! to email me, replace deadspam.com with susiethompson.co.uk I've tried posting a couple of pictures. of a sampler. I don't know if this link will work... http://new.photos.yahoo.com/album?c=...489903&.src=ph http://new.photos.yahoo.com/album?c=...489903&.src=ph |
#6
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Single firing Done!
In message , DKat
writes "Susie" wrote in message . .. In message , DKat writes Well I unloaded the kiln and was amazed how many pots came out with such few flaws. One poor little pot was glazed and reglazed so many times that I was never planning on firing it, just playing with techique. It got stuck in just on principle and came out one of the better pots. The pots that I glazed bone dry came out just the same as if I had bisque fired them. I glazed those pots last though and after I found from error which glazes fit the best. I still like the feel of glazing leather hard but most of those pots had the glaze crack off the lip and/or the outside. The repair I attempted on the lips worked but not on the outside - that either crawled or was too thin. I believe that I have to dampen the lip before glazing or glaze when the pot is less dry - perhaps cover the lips. If glazing bone dry had not been so successful I would be gungho to develop glazing leather hard. After many tries I never was able to put multiple layers of glaze on. Things I learned - You really have to be careful that the pot is as clean as you can make it before glazing. That little spec of clay left from trimming cannot be brushed off after firing, ruins the surface if glazed and become a nasty little barb. You really can put the pots right next to one another. Brushing on the glaze does not leave the awful brush marks you imagine it will. And I learned that I really like single firing. Thanks all for the help offered. It made a difference. Donna I'm so glad that this has worked for you. Do you ever post any pics yourself? I really would love to see just how they've turned out. All the help from everyone really helped me when I needed it just now. I wonder if the power of positive thought to the nth degree affects firings ;-))) I've tried posting a couple of pictures. of a sampler. I don't know if this link will work... http://new.photos.yahoo.com/album?c=...2351119816&pid =&wtok=UZjVt1DKkq4KM6iunAoN5Q--&ts=1164489903&.src=ph http://new.photos.yahoo.com/album?c=...2351119816&pid =&wtok=UZjVt1DKkq4KM6iunAoN5Q--&ts=1164489903&.src=ph The link works - thanks Donna. I do like your glazes, especially the floating blue and the red one. It seems years ago that I tried making up glazes and I don't think that I'm ever going to do it now. I don't know what would happen, but could happen if you double dipped the rims of pots in a different glaze, or ran round them with an oxide, provided that things didn't flux too much. I remember doing this years ago when I went to Saturday morning art school when I was around 16, not that I knew much about the chemistry and complications. Longer ago that I am going to own up to! I envy you working with glazes, but other than celadons I can't think of a glaze that I might use working in fine detail. I always read that reduction firings in an electric kiln really reduces life of elements - is this still true? I don't have the space for wheels and glazing. Do I make small things because I have a small workroom? Look forward to seeing just how things go for you from now on. Susie ps, who's the cat? -- Susie Thompson If you can't stand the heat, don't tickle the dragon! to email me, replace deadspam.com with susiethompson.co.uk |
#7
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Single firing Done!
"Susie" wrote in message ... The link works - thanks Donna. I do like your glazes, especially the floating blue and the red one. It seems years ago that I tried making up glazes and I don't think that I'm ever going to do it now. I don't know what would happen, but could happen if you double dipped the rims of pots in a different glaze, or ran round them with an oxide, provided that things didn't flux too much. I remember doing this years ago when I went to Saturday morning art school when I was around 16, not that I knew much about the chemistry and complications. Longer ago that I am going to own up to! I envy you working with glazes, but other than celadons I can't think of a glaze that I might use working in fine detail. I always read that reduction firings in an electric kiln really reduces life of elements - is this still true? I don't have the space for wheels and glazing. Do I make small things because I have a small workroom? Look forward to seeing just how things go for you from now on. Susie ps, who's the cat? -- Susie Thompson If you can't stand the heat, don't tickle the dragon! to email me, replace deadspam.com with susiethompson.co.uk The cat is Shamu, who insist on being exactly where he will be the most trouble. He is a foster who has lived with us for a few years now (a feral kitten who was only going to spend the weekend - I somehow never got around to trying to find a home for him). Yes, reduction is not going to be friendly to your electric kiln. I have heard of people firing inside a sealed saggar in an election kiln for reduction but I don't understand how. Supposedly you do get some reduction in an electric kiln but it is never going to be enough to give the shino, celadon, copper reds, etc. that you get in a gas or wood kiln. Celadon is one of my favorite glazes and is one I'm going to try to fake in oxidation. I don't have much hope. There was a potter in NY who called herself the 'Closet Potter'. She actually had her wheel in her closet. She did however glaze and fire elsewhere I believe. I miss her site (I am told she gave up potting). What I'm saying is that you can do wheel work in a very small space but I don't know why you would want to give up time that could be spent on your sculptures. Speaking of which - How did you get the wonderful colors on your dragon having a picnic on it's belly if you don't do glazing? I can't even imagine having the fine motor control you must have. Thanks for asking and your interest. I will be reporting as things move along. Donna |
#8
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Single firing Done!
The cat is Shamu, who insist on being exactly where he will be the most
trouble. He is a foster who has lived with us for a few years now (a feral kitten who was only going to spend the weekend - I somehow never got around to trying to find a home for him). Yes, reduction is not going to be friendly to your electric kiln. I have heard of people firing inside a sealed saggar in an election kiln for reduction but I don't understand how. Supposedly you do get some reduction in an electric kiln but it is never going to be enough to give the shino, celadon, copper reds, etc. that you get in a gas or wood kiln. Celadon is one of my favorite glazes and is one I'm going to try to fake in oxidation. I don't have much hope. There was a potter in NY who called herself the 'Closet Potter'. She actually had her wheel in her closet. She did however glaze and fire elsewhere I believe. I miss her site (I am told she gave up potting). What I'm saying is that you can do wheel work in a very small space but I don't know why you would want to give up time that could be spent on your sculptures. Speaking of which - How did you get the wonderful colors on your dragon having a picnic on it's belly if you don't do glazing? I can't even imagine having the fine motor control you must have. Thanks for asking and your interest. I will be reporting as things move along. Hi Donna Shamu looks just lovely, a cat with attitude. Please give him/her a tickle from me. We have a nearly twelve year old black Labrador called Holly who mooches around the house most of the day. I've just posted more pictures on Flickr www.flickr.com/photos/arrandragons I've made notes against the images regarding glaze, enamels and lustres. I found a long time ago that it's possible to paint enamels onto high fired unglazed porcelain. Did the ancient Chinese used to do this? Lustres don't want to work without the glaze base. Or has anybody out there found a way around this? Over the years I've collected a rainbow of enamels and lustres. I've got some of the cadmium selenium but don't like their less subtle colours. All the other enamels seem to be pretty well intermixable. Don't worry, I shan't be going back to glaze experimenting with celadon or anything else, but I do so enjoy looking at other peoples' work. I think I've found where I ought to be and stay with it. Just out of interest, have you come across anyone else working in this sort of way with studio porcelain? We've hunted the internet with no luck. My first two cats are now on Flickr. More cats are popping out of the clay at the moment. I have work on exhibition at Ayr over on the mainland at the moment. I talked to the gallery manager this morning, and she's encouraging me to explore this new direction. I have a few ideas cooking in the back of my mind, so I'll try making them when they're good and ready. I just *can't* imagine making dragons in the closet :-)) Did you ever get to see any of the Closet Potter's work? Can I find it anywhere on the internet? I've been putting work into a local pre-Christmas exhibition in Brodick Castle on the Isle of Arran for two or three years now. Because my work is small and fragile, it always goes into a glass display case. The shelving in the case is ten inches deep with around a foot headroom. It also has yellowy-green silk lining which gives a difficult colour cast. Well, I've decided that Next Year I'm going to make a really large dragon out of paper clay and call it either "Breaking out of the Case". Something so large that they just can't get it into the case. They might even have to put in on the grand piano in the drawing room! Is this mutiny?!? Have a good time Best wishes Susie -- Susie Thompson If you can't stand the heat, don't tickle the dragon! to email me, replace deadspam.com with susiethompson.co.uk |
#9
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Single firing Done!
"Susie" wrote in message ... Shamu looks just lovely, a cat with attitude. Please give him/her a tickle from me. We have a nearly twelve year old black Labrador called Holly who mooches around the house most of the day. I've just posted more pictures on Flickr www.flickr.com/photos/arrandragons I've made notes against the images regarding glaze, enamels and lustres. I found a long time ago that it's possible to paint enamels onto high fired unglazed porcelain. Did the ancient Chinese used to do this? Lustres don't want to work without the glaze base. Or has anybody out there found a way around this? Over the years I've collected a rainbow of enamels and lustres. I've got some of the cadmium selenium but don't like their less subtle colours. All the other enamels seem to be pretty well intermixable. Don't worry, I shan't be going back to glaze experimenting with celadon or anything else, but I do so enjoy looking at other peoples' work. I think I've found where I ought to be and stay with it. Just out of interest, have you come across anyone else working in this sort of way with studio porcelain? We've hunted the internet with no luck. My first two cats are now on Flickr. More cats are popping out of the clay at the moment. I have work on exhibition at Ayr over on the mainland at the moment. I talked to the gallery manager this morning, and she's encouraging me to explore this new direction. I have a few ideas cooking in the back of my mind, so I'll try making them when they're good and ready. I just *can't* imagine making dragons in the closet :-)) Did you ever get to see any of the Closet Potter's work? Can I find it anywhere on the internet? I've been putting work into a local pre-Christmas exhibition in Brodick Castle on the Isle of Arran for two or three years now. Because my work is small and fragile, it always goes into a glass display case. The shelving in the case is ten inches deep with around a foot headroom. It also has yellowy-green silk lining which gives a difficult colour cast. Well, I've decided that Next Year I'm going to make a really large dragon out of paper clay and call it either "Breaking out of the Case". Something so large that they just can't get it into the case. They might even have to put in on the grand piano in the drawing room! Is this mutiny?!? Have a good time Best wishes Susie -- Susie Thompson If you can't stand the heat, don't tickle the dragon! to email me, replace deadspam.com with susiethompson.co.uk I really have seen nothing like your work here in the U.S. of A. It does remind me of one of my favorite childhood treasures - a swan swimming in flowers that was brought back to me from either England or Japan... Probably England. The new set of pictures is delightful! Dare I ask your price range and if you have ever shipped overseas? We actually keep teasing ourselves with flying over to England some day. Could you tell me where the shop is that has your pieces? I was surprised to find the closetpotter back on line. Here is some of her things. http://flickr.com/photos/lindapahl/ Donna |
#10
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Single firing Done!
In message , DKat
writes I really have seen nothing like your work here in the U.S. of A. It does remind me of one of my favorite childhood treasures - a swan swimming in flowers that was brought back to me from either England or Japan... Probably England. The new set of pictures is delightful! Dare I ask your price range and if you have ever shipped overseas? We actually keep teasing ourselves with flying over to England some day. Could you tell me where the shop is that has your pieces? I was surprised to find the closetpotter back on line. Here is some of her things. http://flickr.com/photos/lindapahl/ Hi Donna Thanks for giving me the line to the closet potter. I really do like some of her work. I'll go back and have another look later. Who's cat No Two in your pictures? Shamu and ?! Can you post a picture of your swan swimming in flowers - it sounds just lovely. Maybe not the sort of thing that I'd start making, but interesting. Thanks for all your kind comments about my work. I have sent work over to the US. No, not one of the really big pieces, but something the size of the tea party made it in one piece. I often post the tiny things like the star struck mouse within the UK with no problem. As for shipping the big pieces, that's something I haven't had to work out, yet. Prices vary according to degree of difficulty and size. I made a breakfast scene similar to the tea part for that last exhibition. It was called "Sunshine Breakfast" and had mice sitting round a toadstool, with daffodils for their cereal bowls and a box of Kelloggs Cornflakes in the middle of the "table". That sold for UKP60 to a local buyer. The little miniatures go from UKP10 upwards, plus shipping costs. From there on the prices go up. By the way, the Isle of Arran where we live is just off the coast of West Scotland. I'm English - we moved up here from West Cornwall nearly 5 years ago. I'll send you some Arran links in a private reply so you can what our island looks like. Talk soon Susie. -- Susie Thompson If you can't stand the heat, don't tickle the dragon! to email me, replace deadspam.com with susiethompson.co.uk |
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