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  1. Like
    eoteceramics reacted to Diana Ferreira in Drying Plaster Molds   
    I work with molds. I got some molds (had no time to cast my own, as I had to deliver 150 bowls 5 days later, and was about 60 short). Long story short, I got my molds (still wet) last Saturday from the moldmaker. I put them in my 'wind channel', which is a serious laughable thing. Just some wooden planks on the sides and top. On the floor I added some kiln furniture to lift the molds off the ground, and put my little fan heater on. I was at work the next day at about 7 am. My brand new molds were so dry, I had to spray them with a bit of water before I casted the first lot. And I casted each mold 6 times that day. I made my 60 target and some extra.
    I will try my best to remember to take some pics. I know I have promised this previously too :-(
  2. Like
    eoteceramics got a reaction from JohnnyK in Add saying plate or carving sayings into mugs   
    have you tried using letter stamps, they work great in clay!
  3. Like
    eoteceramics reacted to LeeU in Bisque temp for raku   
    Steven Branfman's Mastering Raku is a comprehensive wealth of information if you really want to get into it. He generally bisques at ^08 (explains in the book) and uses a commercial raku body...Sheffield has a nice one.
  4. Like
    eoteceramics reacted to Benzine in Bisque temp for raku   
    Denise,  I have used stoneware, for Raku as well.  The school district, where I learned the process, fired to Cone 5, for most projects, prior to me starting there.  So it made sense, to use the same clay for  our Raku firings, if the same  clay body would work, which it did.  So I stuck with that same approach.  
    The stoneware body worked well, the same reason that specific Raku bodies work, they are intentionally underfired.  This is what allows them to handle the thermal shock associated with the process. 
    In a matured ceramic body, the particles are locked together, which is great when you are making functional wares, thay don't seep liquids,  but bad for something that has to tolerate quick/ dramatic temperature changes during the firing.  That locked ceramic structure is not good at quickly transfering energy from one part to the next. So the expanding and contracting that happens, leads to cracks/ dunting.  This is why you are not supposed to put a glass or ceramic casserole from the fridge into a hot oven.
    With an underfired body, the bodies are still "open" and the particles are not fully locked together.  There is space between them, which allows the heating and cooling to be relatively gradual, and lessons the odds of dunting.
    I have honestly never tried to use low fire with Raku, but I have taken low fire pieces, out of the kiln, when they were still somewhat hot(200 degrees F) and had them develop cracks.
    Being weak due to underfiring, is the nature of Raku.  With the exception of the Japanese Tea Ceramony,  Rakuware, is not meant to be functional, so it's relative fragility is not that big of a drawback.
  5. Like
    eoteceramics reacted to Denice in Bisque temp for raku   
    Why do you want to use a stoneware clay in a Raku firing?  Using a low fire clay will make your piece stronger,  stoneware will be extremely fragile at that temperature.   Denice
  6. Like
    eoteceramics reacted to Benzine in Bisque temp for raku   
    Really?  Why is that?
    I usually go to 04 with mine, and have had no issue.  The reason I do so, is because I go to 04 for my main classroom clay, and it doesn't make much sense to do a separate firing for the few Raku projects we do. 
  7. Like
    eoteceramics reacted to William K Turner in Bisque temp for raku   
    You should never bisque for raku above cone 06.  I bisque to cone 09.
    Raku Art Inc.
  8. Like
    eoteceramics reacted to Marcia Selsor in New Studio Set Up In Montana   
    Today I am designing an insulated storage for clay. I have several plywood boards to canalize and some garage door insulation.
    Want to have shelves for various types of clay. Also have some excellent lumber from the kiln shed hanging above the kilns.
    Have peg board painted and ready to install as well as more shelving. I have been a bit under the weather with a serious cough.
    Feeling a little better today.

  9. Like
    eoteceramics reacted to Stephen in Ideal studio setup   
    In reference to the kiln location, I built a studio that was similar in size as a companion to the garage being the kiln/glazing area and when we added a 2nd kiln for bisque so that we could move loads through quicker we added it to the studio in an end spot that was planned when I built the studio. The building was built finished out like a house and as such was really tight. When that kiln was fired the room (with 4 windows and french double doors open still bathed the room in heat. This meant anything drying or being handbuilt had to be moved or covered really well. Got to be kind of a pain. If I had it to do over again I would add a small kiln shed next to the studio with a deck connecting so there would be no stairs. I put a 6' deck that ran the length of the studio so it served as a great drying/hanging out area in the spring/summer. By putting a kiln shed on one end it would have eliminated the issue and given us back that end area. A room works but takes space away and the kiln building can be really rough and unfinished.
    Had these plans in the works but sold the house, back to a garagio and very jealous of your new studio 
    Have fun!
  10. Like
    eoteceramics reacted to Denice in Ideal studio setup   
    I had my GFCI outlets installed above work tables,  I probably should have more put in so don't skimp on them.  The electrician argued with me that I didn't need as many as I wanted.  What kind of settling system for your clay are you working with.    It sounds like you don't need much of a drying cabinet with your high humidity,   some metal shelves with a sheet of plastic hung over it or nothing at all.   Maybe someone from a real humid area can suggest something.   I built a small room for my kilns and I made sure it had a window in it, I have a vent fan in the ceiling that pulls the hot air outside and my kilns are set up with Skutt vent system.   My husband covered the two walls closest to the kilns with concrete board that you use as under tile.   I can work in the studio while the kiln if firing and not smell any fumes,  towards the end of the firing it gets really warm in there so I like to open the door and set up a fan to blow some of the hot air out the window.  I am looking for a good window fan that sets in the window.    Make sure you have a lot of lighting,  I had outlets put in my ceiling so I could hang work shop type florescent lights and plug them in.   My studio is 13'x24',  I have seven outlets in the ceiling and ten double bulb florescent lights that are 4 feet long.  One in the kiln room, one over the sink area and the others laid out in a grid pattern on the ceiling.  My ceiling is 12 feet high so I have the fixtures that hang down about 12 inches.    Some people don't like florescent light but there is a choice of colors the light bulbs come in now,   I used the soft white bulbs.  My husbands workshop that is about the same size as your new studio has twenty of the same lights,  he doesn't care what color the lights are he is working on cars.  I hope this sends you in the right direction.   Denice
  11. Like
    eoteceramics reacted to Mark C. in Ideal studio setup   
    A working potter thinks about work flow-clay coming into studio pots leaving on the other side.
    do a  search on Amin page`as we have covered this more than once.
  12. Like
    eoteceramics reacted to Callie Beller Diesel in Ideal studio setup   
    I think an important thing to do would be to think about your work flow, and how any given piece moves through your studio before it's finished. Think about a work triangle, similar to the way you would want an efficient kitchen set up. 
    I agree about putting as many things as you can on wheels, with the addendum that I would have a look at how smooth the floor surface is, and make sure the wheels or castors you get roll smoothly enough that ware carts won't rattle too much.
  13. Like
    eoteceramics reacted to Pres in Ideal studio setup   
    Any electric outlets in a studio should be GFCI, or controlled by a GFCI breaker. Best to be safe than possibly . . . fried or frizzed!
  14. Like
    eoteceramics reacted to GEP in Ideal studio setup   
    Most of the outlets in my studio are installed at the normal household height, which is near the floor. I have one outlet that was installed more recently, and I asked the electrician to install it at table height. If I was starting from scratch, I would have all of the outlets installed at this height. Or I would first decide where my work tables will be located, and have outlets installed right above them. 

  15. Like
    eoteceramics reacted to oldlady in Ideal studio setup   
    what a wonderful future you will have working out exactly what you want and then actually using it!  congratulations, and happy thoughts to you.
    there was a post a few years ago that asked what your studio was like.  many people responded with photos.  you might be able to find that info if you search.  looking at youtube videos just to see what the potter's studio is like is very helpful.  a recent post showing one of our late potters, tom roberts, included a large view of his space with many horizontal surfaces available for work.
    i have 2 studios, one very large and a small one here in florida where i spend the winter.  i am actually allergic to cold and react the same way other people do to more "normal" allergens.  and oil is very expensive and i come down here so i do not have to heat the big house.  anyway, each studio has some unusual features that you might find worth copying in your space.  if you click on my avatar and go to my profile page, look at albums for photos of the ideas i use.  i am retired so i cannot afford to buy the fancy pottery supply items that many people have.  everything is used, from a thrift shop or made by me.  just think of what you will be doing at each step and lay out the floor plan so you walk in a single direction from clay arrival to finished work leaving.
  16. Like
    eoteceramics reacted to dhPotter in Ideal studio setup   
    My ware racks and work tables are home made. They have wheels that lock.
    The shelf supports are 6 inches apart. The shelf is a 3/4 inch plywood cut to 12 inches wide. The rack is 4 feet wide x 2 feet deep x 7 feet tall. I used leftover house wrap to cover the rack to slow the drying. The wrap closes on the side using self sticking magnets that come in a roll. The tables are covered with a 1/2 inch plywood then cement board. Extremely durable and holds no dust.

  17. Like
    eoteceramics reacted to Viking Potter in Ideal studio setup   
    I have become a huge fan of the Members Mark Steel racks we have at our local Sams club.  They can be set up with or without wheels, adjustable shelf heights, Sturdy enough to stand on, we use them for drying racks with plastic wraps and for everything else.  Wheels are lockable so you can move them if needed but they stay put pretty well when locked.  You can even split them so that they are either about 7 feet tall or 2 racks about 3 1/2 feet each.  And  I believe they are stainless so should not rust.
  18. Like
    eoteceramics reacted to GEP in Ideal studio setup   
    No such thing as too many shelves, or too many outlets.
    I’ve seen lots of studios with inefficient shelving, like utility shelving with 12 or 18 inches of height between shelves. Very few things in a pottery studio are that tall. Shelves in a pottery studio should be 6 or 8 inches apart, along with a limited number of shelves for taller things. You can really maximize your drying space with this in mind. I also love that my drying shelves are on wheels. I can move this unit around to wherever is the most convenient place as needed.

  19. Like
    eoteceramics reacted to Pres in Ideal studio setup   
    A few thoughts about your spaces: Kiln room, ventilated; glazing area, separated, table heights so that glazes on dollies may be stored underneath along with large bulk containers, storage for smaller oxide etc containers above waist height; drying area shelving on outside of kiln wall works, or near windows so that you can get ventilation if needed; Wet area, a plastic sheet enclosed shelving unit works well-easy to make with slotted two by 8's where ware boards can slide right into rack, can be attached to floor and ceiling, or to walls; Handbuilding area: Tables with varied heights for different sizes, adjustable stools, Tool rack storage for ease of inventory, boxes/drawers for stamps etc, Oiled wood tops easy to clean, less dust than canvas/cloth, storage rack for ware boards; Wheel area: storage rack for bats, tool bucket/tool storage area, close proximity to wet racks, 
    Just some thoughts,
  20. Like
    eoteceramics reacted to dhPotter in Ideal studio setup   
    You may have already thought of this.
    If you do not have access to an architectural program, you can measure each of your pieces of equipment. Get a piece of 1/4" = 1' graph paper and draw the outline of your building. Draw and cutout your equipment models. Now try and place them within the boundaries of your drawn out building. Remember to leave enough space between pieces of equipment for movement, at least 30". Very helpful to be able to move things around before you "go live" in the studio.
    Good Luck with new studio!
  21. Like
    eoteceramics reacted to Denice in Ideal studio setup   
    I used the architectural program I used to build my house.  I already had work tables, slab roller and kilns I had to place in the plans.   Your drying area will depend on the humidity levels where you live.   My old studio was in a basement that was so humid I had to carry the work outside so it would completely dry.    In my current studio I have some plastic utility room cabinets,  they are  vented and have adjustable shelves.   I did have to get old refrigerator racks to put on each shelf to put the pots on.   Are you using electric or gas firing?  I located where my kiln room went first and then the sink area.  This is going to be quite the adventure for you and fun.    Denice
  22. Like
    eoteceramics reacted to Babs in hiding the joints in slab built vase   
    thin coil pressed into seam then ribbed over thoroughly, or a coating of same body slip and sponged or ribbed over when dry enough, or both.
  23. Like
    eoteceramics got a reaction from Sheryl Leigh in Strange brown specks !   
    Thanks Guys,
    Im learning as I go 
  24. Like
    eoteceramics reacted to David Woodin in firing schedule needed   
    I think that you can follow Min"s program by using the  first time ramp as a slow ramp from ambient  to what will get you to 200 deg F, (2  hours 10 min from ambient of 75 deg F gets to around 200 deg F) than the second time ramp to get you to a temp you will set in the program, than the next two  time ramps to get you to the bisque temp you will set in the program.   In other words you don't have to use up your 2  setpoints for temperature  right away but can use ramp rates to get to blind setpoints.
  25. Like
    eoteceramics reacted to Min in firing schedule needed   
    I would just run the candle overnight then if you have 4 ramps the Bartlett controller slow bisque program should work.
    candle: get the kiln up to 185F over 2 or 3 hours then once it's there hold at 185F overnight.
    Then I would enter the slow bisque profile from Bartlett controllers:
    200F an hour up to 1000F
    100F an hour up to 1100F
    180F an hour up to 1676F
    80F an hour up to end of firing temp (I don’t know what you fire to, ^04 would be 1926F with this program)

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