Laurie Kneppel on tue 28 oct 03
Bil l Daley
Hi Wayne,
We "Maccies" have the same sorts of things on our keyboards too. Except
we don't have an "alt" key and there's a little apple on the key where
you have the "Windows" key.
Laurie (by necessity, reasonably fluent in Mac, PC and SGI)
Sacramento, CA
>
> Maccies? Is it any different on yours?
> Hope that helps,
> Wayne Seidl
Barbara Kobler on tue 28 oct 03
Bil l Daley
Dear Clay Arters:
1. How do you make the upside down carrot as a cone symbol?
2. Louis, I just realized my response to your info about FF3304 a week or so ago (so I'm slow sometimes) may have sounded dismissive. I appreciate your experience and knowledge and time to respond.
3.Need Input for a deep red sig to fire to cone 5.
Was thinking of a starting point of
(1) A 50/50 blend red and goldart
(2) Same 50/50 blend with 10% iron.
I know it will lose a shine but that's okay. My thinking is the goldart fires higher and may keep the redart from glazing out, and while the gold will lighten the color the iron should help. Will use yellow iron to keep staining down. Any ideas out there.
4. My take on Molds & Press Molding: I used to throw. In my 40s I became a wall relief hand builder with a teeny bit of throwing. Now I am not able to throw and only hand build--making my own supports the way Bill Daley taught me, or not. Sometimes I actually use a commercial mold. Oh my gads! I can just see the horror that would have been in the eyes of colleagues and teachers in the 60s! Thank goodness we clay people are not so rigid anymore.
I teach in a clay studio with 330 retiree members. Only a handful ever worked with clay before and while we do teach a full range of ways of handbuilding we try anything as a vehicle for creating clay art. By press molding into a classic simple shaped mold, one can explore their own creative expression with many techniques such as manipulating soft clay, laminated clays or by altering the shape after taking it out of the mold. I can post examples of their work on my website if anyone is interested.
5. Slip Casting Is Great for Pit, Sagger, Raku Firing and Biz's Fuming:
The past 8 months I have been slip casting simple forms (Using cone 5 "store bought slip"). Sometimes I alter while still moist or not, spray terra sig bone dry (XX or 0m4ball), burnish, bisque 08, then saggar, pit, naked raku firing. I have also fired on a low fire glaze then refired to 800 and did the nasties of various nitrate and chloride fuming. I have not had any pot crack or lost. The sig adheres perfectly and maintans a nice shine. This usage of slip casting is especially good for inexperienced clay people who have difficulty getting the really smooth surfaces you want for saggar, pit and naked raku. The slip casting gives a smooth clay body and with the burnished terra sig, it is gives exceptional results.
6. Slip Casting for Crystalline Glazes: By using porcelain slip (cone 10 Aardvark porcelain) I can obtain the nice smooth finish I need for crystallline.
Question: Is there such a thing as cone 10 terra sig. Wouldn’t that be ultra smooth for
cyrstalline?
Barbara Kobler http://www.claywoman.net
Snail Scott on wed 29 oct 03
Bil l Daley
At 08:57 PM 10/28/03 GMT, you wrote:
>1. How do you make the upside down carrot as a cone symbol?
It's the 'caret' mark above the numeral 6 on most keyboards.
Just hit the shift key and the 6 together.
>3.Need Input for a deep red sig to fire to cone 5.
Sounds like starting from a terra sig is not the best way to
approach this. Why not start with en engobe base? An engobe
will allow you to apply it more easily, without the shrinkage
issues associated with pure-clay slips in general and terra
sig in particular. It will also allow you to control the level
of vitrification and shine. Since the main reason most people
go through the effort of using terra sig is for the low-fire
burnished surfaces it yields, I don't see much advantage to
using it as a base at ^5. At ^5 it's just a fine-grained slip
with a long prep time and high shrinkage.
-Snail
| |
|
