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  3. Sputty

    Not Simon Leach

    Now that's a yarn bowl that would at least work as it should! It's actually remarkably difficult to find a yarn bowl which is intelligent from the perspective of functional design, but which also has some aesthetic sense to it. Almost every bowl I've seen has been clumpy - squat - to the point of ugliness. I go to a number of yarn events, and see stalls-ful (stallfuls?) of these things, almost always horrible, graceless, ill-thought out objects. Some of the nicer ones have actually been in turned wood rather than ceramic. I understand that the limitations of use do rather imply a wide, heavy base, but even so... I do quite like those made by Charan Sachar. But then he is a knitter as well as a potter, and I generally like his stuff anyway.
  4. Sputty

    Not Simon Leach

    Why the sarcasm? I have a whole back-catalogue of posts here of interesting videos that I like. People occasionally comment on them. That's what happens on forums. If the only responses you want are those which agree with you, you should perhaps add a rider at the end of your posts to that effect. I wasn't exactly rude, was I? Just gave an honest, mild, and moderated opinion. Just like your inference that watching Mr Leach was akin to taking valium.
  5. Ceallach

    Building a kiln

    Marcia, altitude in terms of above sea level? How does that increase....exponentially, linear? I am at 150 ft a.s.l, so i think that makes it a non-issue. But forced air makes it seem doable.
  6. Ceallach

    Porcelain Clay Bodies

    Interesting...i checked....there are high alumina porcelain bodies but they are used for refractory porcelain....think spark plugs, crucibles, things that need ti resist strong alkalis, acids, and molten metals. Every time I think I have a good bead on things, there's something else to learn. I love it! Pres, thanks for whooshing this to a better place.
  7. Pictures please. It's also possible that someone who doesn't understand that 220/230/240v has two hot leads, a common and a ground, may have tried rewiring the kiln prior to your ownership so don't assume that what is there is correct. Does this kiln have infinity switches?
  8. yappystudent

    Not Simon Leach

    Maybe you can post something useful that you like instead. I can't wait.
  9. Callie Beller Diesel

    What's Your Work Music?

    CKUA has an Internet live feed if you’re looking for something you probably haven’t heard before. As far as individual artists go, I’m on a Coleman Hell kick. Its getting me through a bunch of writing.
  10. There has a lot of discussion of late about seconds, and recently yappystudent asked:Q: Where does one draw the line between deciding what is a second and what is OK to represent your name? For that matter, what is a second -perhaps worthy of selling out the back room so to speak albeit with your logo stamped into it forever, and what is junk waiting for the hammer or negative examples shelf? Exemplary work probably speaks for itself, but what about the gray areas below that? A set of rules for these decisions would be helpful. Oh the temptations to sell cheap, and make money at the expense of reputation. . . all of us have had it at one time or other. Mine came once when I had a perfectly sound paten by looks, really great glaze job, nicely trimmed nice preglaze decoration pressed into the pot when wet. I do a last check on all of my pots. . the ring test. I rap all of them with a light wooden dowel or something else easy on the pot. If it rings it is OK, if it has a double tone or otherwise, it has a hairline crack at sometimes impossible to see. In this case I decided to hold on to it until after I had met with the buyer. He was buying 20 Communion sets for a religious organization. We were talking about quality, and how to tell some things when I brought out the plate and showed him the ring test with the handle of a hammer. He was flabbergasted. . . especially when I used the hammer to break the pot. All too often, the crack in the bottom, the crawled glaze, or the poor form, or so many other things that go wrong, may not be that bad, but if not up to your norm, then it is bad enough. So when you ask when, if you have to ask, don't keep it. My wife has some of my rejects, that are entirely OK for us to use, but they get recycled out as I get another reject. Lately thankfully there have been very few. As my pots are signed in the green stage, they are all signed. If it is a reject, best to toss it before it comes back to haunt me. And yes, a few have! As to pieces that are exceptional, put them aside and use them for display, enter juried shows, and make certain you have good photos of them. When you sell, raise the price as this is the ++ line. It always helps to justify that by having them separated from the other pieces in a display of exceptional pieces. best, Pres
  11. LeeU

    Not Simon Leach

    LOL---I SO agree w/you Sputty. Cannot even watch him--once and done. And just for fun, here's a yarn bowl that makes some sense (maker unknown).
  12. A triple or double zero "spotting brush" for photography retouching (used for manual prints, to fill-in minute voids left by dust on a lens.) This for fine line work or narrow letters-not wide areas.
  13. Yesterday
  14. Gokul: Here is a link to some chemical analysis of your laterite clay. The only one I have been able to find from a reputable source: after two weeks of looking: http://sciencejournal.in/data/documents/SCIENCE-VOL-1-2-3.pdf. You will find a table on page three. Glad you are the production manager at this clay company, and not me. From what I have read thus far, India has some very unusual clay composition: very much different than Western clays. Combined total of alumina and iron is over 60%- wow! No wonder you cannot fire over 900C. If the duty taxes and tariffs were not so high, I would suggest importing a fix: but that would be very costly. Still digging around for local resources, which seem to be very limited.
  15. For text work in letters I use a small squeeze bottle with the glaze or stain and fill the letter voids-far less clean up and messing with things-then I wax over them for glazing.
  16. neilestrick

    Gas kilns/Firing results...

    There is no difference in reduction depending on the type of kiln. It's caused by how it's fired. But downdrafts and updrafts have to be handled differently, so if you're seeing different results it's the teacher's fault, not the kilns. That said, not every kiln is designed well, and you can get areas where the reduction doesn't penetrate as well, or hot spots or cold spots. One thing that can add consistency is to reduce for about 45 minutes, with the kiln stalled out. I would also reduce at a higher temp, like around 012 if you're firing any shino glazes, or 08 if not. If one of the kilns if over-firing and the glazes are melting too much, that's a result of not shutting off the kiln soon enough, not the longer firing. If your teacher is watching the cones, then it doesn't matter how long it takes. Cone 10 is cone 10, whether it took 8 hours or 12 hours. Cones measure heat work, not temperature. It's temperature over time. The longer it spends at temperature, the more heat work is developed. So yes, you can hold temp when cone 5 drops and in 20-30 minutes, cone 6 will drop, and so on.
  17. Denice

    Averting kiln disasters

    You were talking about sculptures, I do a lot of hand built work and sculptures and I would candle them overnight before I started firing them in the morning. Denice
  18. postalpotter

    Gas Kiln Continued

    thanks again 2 it is!
  19. Mark I was wondering if you had ever used the Wonderbat system.   I tried it out today, and it didn't want to stay seated in the opening, kept moving up and down.  This is my first time throwing in about 2 years and I have never thrown much on a electric wheel.  The next pot I got out a regular  bat and didn't have any problems centering it.   Does the square need some clay underneath it?  The wheel I got off of E-Bay came with two sets,  it would be a shame not to use them.   By the way I sold my kickwheel so we were able to set up the Brent this weekend.   I also bought a 3 cu. ft. Blue Diamond kiln,  I paid $250 for it.   It has a manufacture date of 1969 on it but has never been used,  it also came with $100 worth of shelves and stilts.   My small Paragon finally bit the dust,  it is around the same age but it is well used.   I like having a kiln that size for special jobs.   Denice

    1. Mark C.

      Mark C.

      I never have used that system-all my small work is thrown on homemade plaster bats that stick to a thrown clay pad on wheel head. I use the blue plastic bats for lager work from Northstar-they use the two pins in wheeled which are usually off my wheel heads

      If the wonder bat system is pressboard that stuff can warp so you could wet it and press it flat under pressure as it dries?

  20. Pres

    Gas kilns/Firing results...

    I have moved this strand to Equipment Use and Repair as it seems to be more relevant than being In the Studio. best, Pres
  21. Pres

    Porcelain Clay Bodies

    I have moved this strand to Clay and Glaze chemistry as it seems to be more relevant here than In the Studio. best, Pres
  22. glazenerd

    pugmill - Bailey vs Peter Pugger

    I own a PP VPM 20SS. For studio work I could see the advantage of having the vacuum in the nozzle. For production, the PP pugs out nearly double in the same amount of time. I talked to the Bailey people: friendly, knowledgeable, and a good reputation. I think either machine will give you good service. The question to me is: how much clay will you use and at what rate? Do you need 25lbs at a time or 45 lbs? Ease of cleaning was one factor for me. Either machine will give you good service. T
  23. hantremmer

    How long is too long for Greenware

    After I trim a pot I inscribe the date on the bottom.
  24. glazenerd

    Porcelain Clay Bodies

    Porcelain typically runs 70-72% silica, 17-19% alumina for the target of 4:1 si/Al ratio. ( mr. Ron Roy). Porcelain usually has 50% more flux than stoneware; which is where the plucking comes in. Cone 6 stoneware runs 2.89 molar alkali and porcelain averages 3.89 molar. The more translucent the body: the higher the alkali molarity, which also translates to higher COE values. Vitrification comes with a price: plucking being one of them. T
  25. neilestrick

    Porcelain Clay Bodies

    Porcelain is high silica, not alumina. They get very close to their melting point during firing, so they soften up a lot and will stick to the kiln shelf. I would not put sand under my porcelain, as it may leave a texture on the foot as the clay softens.
  26. neilestrick

    Averting kiln disasters

    Bowls can be stacked inside each other as long as the weight is carried at the bottom. That is, the foot of the bowl must sit all the way down onto the bottom of the bowl below it. No weight or stress on the rims. I usually stack bowls and plates in stacks of 5 or 6 in bisque.
  27. neilestrick

    Rusty Kiln lid

    You should only need to keep the side peep hole open. If you find you really don't need the lid hole, remove the ceramic sleeve, clean up the hole, and mortar in a piece of soft brick to plug it. Don't worry about the metal other than digging out the loose bits. If you need to be able to open the hole, then I would do the same thing, but then drill a new hole through the new soft brick plug.
  28. neilestrick

    Gas Kiln Continued

    Yep, I agree. Just two peeps. One top, one bottom, on the shelves.
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