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Chris Throws Pots

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About Chris Throws Pots

  • Rank
    Advanced Member
  • Birthday 12/19/1985

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  • Website URL
    http://www.ChrisThrowsPots.com

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  • Gender
    Male
  • Location
    Vermont
  • Interests
    Snowboarding, skateboarding, good food and drink, screenprinting, pottery.

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10,168 profile views
  1. For those who run or work out of community studios: What shelving/counter top space is available to place freshly thrown pots on bats and ware boards? About year ago the community studio I manage moved from one location to another. Last year's budget limited us to moving all our existing equipment and setting up in the new building, without purchasing/building anything specific to the new space. Now that we're into a new fiscal year I have some available funds to make improvements. The facility is much better overall, but one of the quirks is that the wheel room, though comparable in square footage, is narrower than where we'd been. Our (14) wheels are set up in the center of the room around a long low table, 24" wide and the height of wheel. So 6 wheels on either side facing each other and one wheel on each end to make an island. If you're seated on either long side of the island there are storage racks behind you for studio members/students to store their clay and work in progress. When the studio is in use it gets pretty tight between the storage racks and the wheels/people throwing. So I'd like to rebuild the wheel pod/island tables to be narrower and potentially have two fixed tiers or some sort of adjustable/track shelving to take advantage of height/levels and gain much needed walkway space. If anyone can share what their studio does for at-the-wheel storage it'd be greatly appreciated. I have a few ideas, but before I go and try to reinvent the wheel I figured I'd ask. Space is always a precious commodity in a clay studio, so I'm thinking there must be some folks on the forum who have been faced with this chellenge. Thanks!
  2. Chris Throws Pots

    WEIRD NOISE ON BRENT CXC

    Can you get the seller to meet you at a middle point to limit the travel? Even if for a little more on the asking price? Four days of travel, travel expenses, lost wages... seems like the wheel may cost significantly more than the $400 you'll be handing over.
  3. Chris Throws Pots

    WEIRD NOISE ON BRENT CXC

    Teala, As others have mentioned, the foot pedal adjustment is easy. Here's a how-to video from Brent:
  4. Chris Throws Pots

    Problem with laser dacel

    The decal paper has a bit of a stretch to it so it will handle curves, but it will not work with texture. The decal will only bond to the spots where the it has a solid connection with the pot. Any spots where there is texture the decal will adhere to the high spots and burn off from the low spots.
  5. Chris Throws Pots

    Problem with laser dacel

    Is the work already fired to ^6 or are you trying to fire your decals at the same time? Is the oxide wash applied when the work is green or after bisque? Typically your decals would need a separate, additional firing after the work has been fired to maturity at ^6. Applying the decals requires water, so this could blemish your oxide wash if it hasn't been applied prior to bisque. I have had good results with iron-rich laser decals adhering to raw clay/raw/slip/underglaze/oxide when fired to ^6, but on top of glaze/under a thin glaze wash they have always bled and faded when fired that hot. I have not done extensive testing on the decals that were not bonded to a glaze to see how they hold up to repeated use and washing... it was just a test to see if they'd stick to an unglazed surface. I'd recommend first seeing how they fair when left without a frit wash/glaze at ^6. If you like the results, you'll be able to keep your firings to the standard bisque and glaze. If the decals fade or bleed you could run them back through the same test (decal on unglazed surface) at ^06. If that isn't rendering a good bond you could try firing with some thin ^06 clear brushed under/over them to keep temp, energy and time to a minimum.
  6. Chris Throws Pots

    Brent Wheel not turning on

    That fuse looks strange. Every glass tube fuse I've ever seen is clear glass with a wire running through the center. If the wire is intact, the fuse is good. If the wire has split, the fuse is blown. Usually when the fuse blows it also leaves the glass a little cloudy/dusty on the inside of the tube.... but not opaque. Is there a wrap on this fuse?
  7. I use 2x4s to make the frames forms for plaster wedging slabs and fill 1/2 to 3/4 full. So somewhere in the 2"-3" range. I'd recommend using pottery plaster, not PoP. It's going to be stronger and hold up better.
  8. Chris Throws Pots

    1 ramp vs. 2 ramps in a segment

    To mimic the effect of two ramps per segment just set the hold for segment 1 as 0:00. Like others have said, there's no real benefit of having two ramps in a segment if you have 9 segments available. Seg1: 100C/h to 600C; no hold Seg 2: 150C/h to 1200C; then hold for xx min/hours is the same as Seg1: R1 100C/h to 600C; R2 150C/h to 1200C; then hold for xx min/hours
  9. Chris Throws Pots

    Glaze Disposal

    Absolutely it would take a long time to dry. But wouldn't it take almost as long even is the vessel was only fired to bisque? Even with the vessel walls at 1" thick they it can only absorb so much water from the glaze before the process relies on evaporation. I figure either way it'd be the type of thing where the glaze waste gets poured in then the vessel sits for a month or six weeks. Pouring into a puddle and loading the cylinder with dry glaze sounds like a good idea. Break out the respirator!
  10. Chris Throws Pots

    Glaze Disposal

    hitchmss, Do you think it would be helpful to fire the glaze log containers to maturity with a liner to help prevent any potential leaking? I've been considering something similar to this for some time now but have been too concerned about a kiln disaster. I fire at ^6. I have been thinking I'd make a container and fire it to ^6 with a liner glaze to seal it, then fill it up with trash glaze and after LOTS of drying fire to ^3 to get a decent melt. Do you think this would help? Totally unnecessary? Either way I think firing the container in an additional sagger vessel as you suggestied would give me piece of mind.
  11. Chris Throws Pots

    Shimpo-West Wheel- (Bats)

    I'd bring it to a machine shop and have new holes drilled at 10" center. If you can't get the old pins out... they look pretty well oxidized... the shop would be able to cut them off or grind them down flush. Then you can buy any of the standard 10" center bats that are widely available. If the wheel head is thick enough to have the holes threaded, have them tapped and threaded for 1/4 20, then you can screw your bat pins directly into the wheelhead without the need for a wingnut beneath. If the wheelhead doesn't have the thickness needed for threaded holes just have them drilled so that a 1/4 20 socket cap screw can slide through with just the tiniest touch of wiggle room.
  12. Chris Throws Pots

    HOW OLD IS TOO OLD FOR A WHEEL?

    +2 for what Neil said and +1 for SD. I don't think I've ever seen Bailey not offering free freight on wheels when shipped within the lower 48. For an extra few hundred just buy a new wheel. There are plenty of options in the $900-$1100 range. Or if you're willing to forego some of the bells and whistles, the Pacifica GT400s are a solid middle of the road wheel for $800. I run a community studio with 12 of these and they see constant abuse... I mean abuse... not the heavy workload of a production potter with understanding of/respect for the equipment... abuse like kids kicking the pedals off as if they were trying to break the floor beneath, people powering off the wheels while the pedals are still engaged, switching from FWD to REV without allowing them to come to a full stop, water everywhere, the list goes on. Occasional repairs (aside from the controller) are pretty inexpensive. The bearings/motors last 10-12 years in this type of environment. With basic care I'm sure this wheel would last many years beyond that.
  13. Chris Throws Pots

    Judge my pots - 3rd batch

    Yes, but every dud piece is made from and requires additional natural resources to complete. I am all for keeping some sacrificial lambs (particularly with beginning students I find it's important to keep a really high percentage of pieces both for learning all steps of the process and to keep students engaged), but keeping everything, especially when you are throwing with a level of proficiency shown in shawnhar's pictures seems a bit irresponsible to me... especially if there's an expectation of just throwing out pieces you aren't satisfied with.
  14. Chris Throws Pots

    Judge my pots - 3rd batch

    I'm 45 minutes out from teaching my weekly mixed level wheel class so this was a perfect thread to find as I get into teacher mode. Lots of great feedback here already, but to add my two cents, the most impactful advice I give students is the simplest: focus on developing muscle memory of strong fundamentals. Improving your wall evenness without having to rely on corrective trimming and developing more precision/intention/style in the trimming of your feet will progress your work much faster than learning how to new forms in a mediocre way. There is a shift that I am always so happy to see in my students' work when the pots make the jump from looking like the clay was in control, to communicating human command over the material. You're getting there, shawnhar! Focus on the basics, develop a true command over the material while making cylinders and bowls, then the fundamentals will carry over into other forms like planters, plates, vases, jars, etc. Repetitive throwing of basic cylinders and bowls, only to wire them in half to inspect then re-wedge them isn't the most glamorous or exciting exercise, but it sure is effective.
  15. Chris Throws Pots

    Firing Pots With Lids

    The policy of the community studio I manage is that we fire pieces how we find them. Most people fire with the lids on for the reasons already described by Min, but some others do fire lids separately. If lids clearly look like they'll fuse together with glaze we'll leave an "are you sure about this?" note before loading them. But in general we fire however each artist leaves their work. When lids fuse I tell my students they've made top shelf jars... just display them at a height no one will be able to remove the lid and your secret will be safe. Unless you really do have some doors that need stopping.
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