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  2. I have mentioned this very important 2016 article (from Ceramics Monthly magazine) many times here on the forum when the subject of studio dust and cleaning and respirators comes up. The full article is now online via the DOCTOR's personal website. This is MUST READ stuff if you are working with clay. Particularly in a "home studio" situation. Yes, it is a single study, and of course that alone has its limitations on how you can extend the validity of the data accumulated. But it was done well, and by a credible professional in the field (environmental epidemiologist and professor at McGill University and avocational potter). Right after it came out I had conversations directly with the author, since it is my professional duty to keep up with this stuff since I teach it at the college level. Both of us were concerned with what it appears to show. It "blows away" a lot of assumptions about dust generation in the studio and appropriate controls. Note the highest spike on the graph. It is from "sculpting leatherhard clay". An activity we all assume is not a high dust producing activity. (This study deserves WAY more research!) http://markgoldbergpottery.com/goldberg_studiodust-final.pdf best, ..........................john
  3. I have used some liquids in the past, but of late mostly hot wax. I have a tendency to dip bottoms on the chalices, for a super clean edge, and like to do the same on mugs and pots with foot rings that are cut to be feet. However, everything else gets wet washed to remove glaze from bottoms.
  4. Kiln Install on Deck

    A very, very small percentage of the population owns kilns. Many more people walk (to the tune of orders of magnitude greater).
  5. Today
  6. Kiln Install on Deck

    That's why I crawl everywhere. You aren't going to make me a statistic Gravity!!!
  7. Home Made Kiln Controller

    You can buy this board https://www.adafruit.com/product/3263 Turns out there is a better chip that I should be using that can read all thermocouples. Link it to a pi and you are good to go.
  8. This one is easy for me to answer too. I would have someone set up my art festival display, and pack it down. I'd like to drive up to my booth location with my helper, then go get a sandwich while my helper sets everything up, exactly the way I want it. At the end of a show, I would pack the remaining pots into boxes, then my helper would show up to take down the display. I would leave to fetch the van and pull up just as the everything is ready to be loaded in. I would still do everything in between setup and packdown by myself.
  9. what is your favorite wax resist?

    A Luddite here. I still use hot wax. Have good hood ventilation, a good temperature controlled pan, a fire extinguisher next to it, and I watch it like a hawk. Have never found a liquid emulsion that works as well. BUT... I also do not do intricate fine-lined wax resist work. Much bolder strokes for decoration. best, .......................john
  10. Chilly I have a heavyish bolt I drop into the hole which depresses the lever, usually activated by the door/lid. This allows me to gave the lid/door ajar to let any steam escape....
  11. There are a couple of cracks, one in one of the creases next to the neck, and one in the inner elbow, but nothing major and nothing I'm too upset about
  12. Ozon from what you have posted thus far: buying a mixer/pugger may be your best option. I suggest this based on the assumption, that coloring porcelain will be an ongoing mode of operations for your studio. Note I said: mixer/pugger, because there are differences between straight puggers and mixer/puggers. Most all mixing puggers are single auger, and require the machine to be full, including the nozzle; because part of the mixing action requires the back pressure of a completely full chamber. Dual auger mixers work much better, but in the States: dual auger mixers only come in very large capacities. I will add some step by step instructions in the AM because the laptop I am on does not seem to be displaying correctly. I will add them as an edit..sorry. Nerd Peter Pugger is a great pugger and a mediocre mixer: I have the VPM 20. I have used a Bailey, which does a quicker job of mixing. Regardless, both machines need to be completely full in order to properly mix. The easiest way is to batch mix from a dry blend, as Bruce suggested, If you go this route, add the water to the front of the hopper, not the back: and in one third increments at a time, then mix. You add all the water at once, you will end up with a rotating slim ball at one end, and a brick at the other. Pending the dry blend, roughly 1 1/2 cups of water per 1000 grams of powder. The clay must be at a certain consistency before it will effectively pug out. You can tell when the auger tines leave defined ribbons in the clay as it passes through them. If you start with premix, load the machine until it is full. Then pug out about 2 lbs, which is roughly a 3" log. Slurry down the two pounds with1-2 cups of water and add your stain to that. Then add 1/4th of that mix at a time and mix, add 1/4 and mix..etc etc. Let the machine run for several minutes before adding: remember it is only making 12-15 revolutions per minute. Once you get the mixing chamber uniformly mixed, you have to come back and add dry powder to get it back to the proper consistency. You can either mix your own dry powder from scratch: or save all your trimmings as you go and pulverize them back to powder. In essence, you will have to get into the routine of saving or making powdered clay from your premade. I keep a separate bucket to keep all the cream off my hands and trimmings, and have a cheap blender to pulverize it in. I mix my own clay blends from powder, so my system is somewhat different than yours. Once you have blended everything, pug out about 15" to clear the nozzle, and add it back into the chamber. You will have to repeat this several times until everything is uniform in color. Color development: moist clay typically has 25% moisture content. ( + or -) So weigh out 125 gram blocks; which will be close to 100 grams when dry. Slurry that down to a thin peanut butter consistency with water. Add your stain based on percentage per 100 grams of dry powder. Then spread on a plaster batt to dry it back down to its original moisture content. By using these 100 grams test samples, you can cheaply figure out your color pallete, and figure out what percentages of stain/s to add to your large mixing batches. NOTE TO PUGGER MAKERS: the first company that comes out with a 25 or 50 pound dual auger pugger/ MIXER will out sell your competition. The only dual auger mixer/pugger currently holds 125 lbs. The smaller dual augers pug only, they do not mix. So someone needs to make an intermediate size dual auger mixer/pugger with de-airing compliance.
  13. Home Made Kiln Controller

    One useful feature for the software would be to have one screen option that simply displayed the temperature(s) as big (giant) numbers and nothing else on the screen. One big number for each thermocouple channel, that the number could be seen and read easily in all kinds of ambient light from 20 or 30 feet away. This would make it easy to know the temperature from anywhere in the general vicinity of the kiln (say, down on hands and knees squinting into a porthole) without having to get up and walk over to a pc or laptop and search on a screen. I am looking for something like this right now to display thermocouple temps for a wood fired kiln and have had no luck so far finding it. If anyone has any ideas?....
  14. Working like a fiend to end up with bisqued pieces via my kiln, for two pending fires off-site. One is a raku demo and the other a wood fire in an anagama kiln.  I procrastinated committing and thus painted myself into a corner, since I'll have to make & dry a lot of stuff right quick to fill my kiln and make the deadlines. 

  15. Well this is the easiest one to answer, ever!! Reclaiming and wedging. Wedging and reclaiming. Oh, and maybe someone to code, measure, describe and enter inventory on the spreadsheet. And picking clay out of the MKM Hops roller-those tiny tiny little incised parts of the buds determinedly do not want to give up any clay--wet or dried-that has settled in and refuses to leave. And...
  16. So Babs very recently asked: If you wanted to and had the means, which part of the process would you assign to an apprentice/assistant? For me it would be preliminary glazing and base clean up. Most of what I do, lately, starts with a base glaze with spray on over top from different angles to bring out the textures. Years ago when my wife and I were doing the Penn State festival, she would help by base glazing with a friend and do clean up before I sprayed on glazes and did brush work over that. As we don't have the big rushes anymore, I do everything. best, Pres
  17. Yesterday
  18. what is your favorite wax resist?

    Ceramic Supply. Rinses totally clean out of brushes with just water. Never gums them up. Dries quickly and completely, not sticky. You can add food coloring to wax to make it easier to see. It takes a surprising amount to do the job.
  19. colouring large batches of porcelain

    I use a commercial size Hobart dough mixer, but these might be more expensive than a pug mill. One way to make your job easier is to saturate your clay with stain. By that I mean ... if you want 5% mix your batch at 10 or 15% ... it is very easy to knead in the right amount of white clay to bring the % down ... less clay to store and less times you have to make it.
  20. colouring large batches of porcelain

    One thing to check out is if you can get your clay dry, not already mixed. That eliminates the need to dry it out to get a powdered form. Many clay manufacturers sell their clay dry.
  21. what is your favorite wax resist?

    Forbes Resist. Freaking amazing.
  22. Absorption

    One test you can do to see if your clay has vitrified, is to fill it with water and let it sit of a surface all night. In the morning , if there is a ring of moisture at the base, the clay is not vitrified. When working with outdoor freeze proof clay, there are a few differences of opinion on what rate is preferred. Nothing over 3%. Some say 1.5% Marcia
  23. Looks good. Did you have any problems? Marcia
  24. For anyone interested, this is the sculpture now.
  25. During the Sunshine Cobb demo/workshop this past weekend at the Red Lodge Clay Center, the topic of wax resist came up. One person said the Wax resist from Columbus Clay was a "game changer". in Montana, many people have used the Liquid Wax from Archie bray developed in the 1950s for Hamada's visit. I have been using Aftosa wax for several years because I can see it. Its blue. Anyone have a favorite? Marcia
  26. winter came last week with 6 inches of snow. I have a lot to do before the extremely cold weather gets here. 

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