Thanks. I'd pictured that cream/rust glaze to look a bit different... I like it on the cups but not so much on the salt pigs. Oh well, somebody will like them. That seems to be pretty much the case with most things... even if I don't like it, somebody else will.
These are quite nice! I like the texture you're using on the plates - I'll have to try that! Did you put blue into them, then wipe it back so it's just in the crevices?
I like the cup you do, but I also really like the fish one as well! I'm with you on the color of the salt-pigs; I think I'll have to see one in 'action'. (Well, and it's often dampish here, so it wouldn't really work here either.)
I've got a bunch of bisque coming out of the kiln on Tuesday; I'll take pictures and share!
Which plates are you asking about? Third picture down?
I really like the fish stuff and plan on doing quite a bit more of it in the future.
Salt pigs originated in England or Scotland... so I think they are suited for damp climates. The inside is not glazed which makes me think it helps to absorb moisture? I'd imagine they are meant for a coarser grind like you'd find in kosher salt.
Erm, the square plate up at the top and then the two soap dishes? That texture; I'm assuming you used a rib or ribbed ... thing. You know, they sell them in craft stores for texturing paint and glaze on walls, right?
Huh. I don't know that I use salt enough to need a whole pig. *grin* I try to keep salt to a minimum.
I've been thinking about the fish stamps you use, and now the other texture stamps you've got. I think I'll get out some erasers and see if I can't make something fun!
The one in the top pic is only glazed and the two down lower were exactly as you said - I brush a thin layer of Blackbird slip onto bisqueware, then wipe it off and then glaze it with a transparent glaze, in this case, celadon.
I want to carve out some new stamps and pour them in plaster. One of these days.
So does losing heat part way through risk destroying the load? How much electrical power does it use? Would an uninterruptable power supply keep it running? They are pretty cheap.
It shouldn't destroy the load, unless it has a rapid cool, which mine didn't. I do suspect that it affected that glaze, though. I also think I applied that particular glaze too thin.
I do need to get a UPS or something for the kiln. It's a right pain when the burners go out. It's just a solenoid so takes a minimal amount of electricity to run. It's a safety feature to cut off gas supply in case of emergency, you can pull the plug without getting close to the kiln.
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I like the cup you do, but I also really like the fish one as well! I'm with you on the color of the salt-pigs; I think I'll have to see one in 'action'. (Well, and it's often dampish here, so it wouldn't really work here either.)
I've got a bunch of bisque coming out of the kiln on Tuesday; I'll take pictures and share!
Stasia
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I really like the fish stuff and plan on doing quite a bit more of it in the future.
Salt pigs originated in England or Scotland... so I think they are suited for damp climates. The inside is not glazed which makes me think it helps to absorb moisture? I'd imagine they are meant for a coarser grind like you'd find in kosher salt.
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Huh. I don't know that I use salt enough to need a whole pig. *grin* I try to keep salt to a minimum.
I've been thinking about the fish stamps you use, and now the other texture stamps you've got. I think I'll get out some erasers and see if I can't make something fun!
Stasia
Reply
The one in the top pic is only glazed and the two down lower were exactly as you said - I brush a thin layer of Blackbird slip onto bisqueware, then wipe it off and then glaze it with a transparent glaze, in this case, celadon.
I want to carve out some new stamps and pour them in plaster. One of these days.
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I do need to get a UPS or something for the kiln. It's a right pain when the burners go out. It's just a solenoid so takes a minimal amount of electricity to run. It's a safety feature to cut off gas supply in case of emergency, you can pull the plug without getting close to the kiln.
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