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Chris Throws Pots

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About Chris Throws Pots

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  • Birthday 12/19/1985

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    Snowboarding, skateboarding, good food and drink, screenprinting, pottery.

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  1. The studio where I work has a bin labeled "ALUMINA" but it doesn't say whether it's hydrate or oxide. I'd like to mix up some alumnina wax to help prevent lids from sticking and am curious if: Does it matter if it's hydrate or oxide? If it does matter, what test can I run to determine which it is? If it's relevant, I've made kiln wash and wadding using this many times over the years. And when I've ordered it to replenish the bin, I've always just asked for alumina.
  2. @merryrogue To second what Hulk said, equally important to my pottery and display, whether for a 6' table show or a full 10'10 canopy show, is my hand truck. I cannot emphasize enough how valuable a good hand truck is. Pottery is heavy. Tables are heavy. Displays are heavy. Moving in to your new place at your masters program will be heavy. My advice: invest in a well constructed hand-truck. Mine converts from an upright to a flat/four-wheeled dolly and it is well worth it's pricetag: https://www.homedepot.com/p/Milwaukee-800-lb-Capacity-2-in-1-Convertible-Hand-Truck-CHT800P/100071520. Also, if there is a newspaper in your area you can usually get endrolls of blank newsprint for free that are great for wrapping pots. Past issues of newspapers work well too, but I often cringe at wrapping my work in the current events. Have great shows!
  3. Start with a solid block of clay and carve away.
  4. Wedge while the clay is room temp and store the prepped balls in an insulated cooler?
  5. @liambesaw Yikes! But aside from the explosion, no issues? That feels like a weird thing to write. How hot did it get under the water? If you touched the heater with your hand would it burn you?
  6. Does anyone use an aquarium heater in their throwing water to keep it warm? I am considering trying one but am curious if anyone has experience with them, specifically if they are effective once clay gets in the bucket and if the constant cycle of getting grit and muck on them poses any risk of damage/shock.
  7. 2185 with a 15 minute hold should get you to 6 in a way that'll allow you to get into your controlled cooling segments of the firing while limiting the risk of glazes running all over the place at peak. But you should include cones in your firing to inform how best to adjust top temp if the program doesn't get you to 6.
  8. Attach a small bobber to the end of your chamois or plastic and you'll never find yourself fishing (grooooaaannnnn) for it again.
  9. Respectfully, it's not a nightmare and you are not out of luck. It's an inconvenience, pretty typical of doing business in any sector. Bel was selling sheets at roughly $1 per page. Fired On sells at roughly $3 per page. If you consider how many decals you can fit onto a single sheet (unless you are printing very large/full sheet decals), the cost increase to produce each piece is negligible. The potential savings using another manufacturer's paper is simply not worth the risk of legal trouble. Production costs increase in all types of businesses all the time.
  10. Monthly studio membership in my studio has a prerequisite of prior experience in a clay studio. Total beginners are required to take an 8-week class so they are taught both the ceramic process and the studio's rules, regs, systems and safety stuff. Students who sign up as monthly members after their class ends do not need a studio orientation, as their class serves this process, but they do need to fill out membership paperwork. People who have previous experience and sign up as members without taking a class, regardless of how much experience they say they have, are required to go through a studio orientation process and sign a liability waiver/acknowledgement of studio policies. Within the studio there are no different spaces or rules for members and students.... everyone has the same access and expectations. And all hours of studio access are hosted by a volunteer who helps with kiln loading, glaze mixing, etc, but also can step in to make sure things don't go awry... like wax getting dumped down the sink... woof.
  11. @GEP raises a good point about the shape of the channel contributing to your warpage woes. But if you're committed to the horizontal channel, I wonder if filling the gap with a coil of wadding would help. I also think using a clay with a high grog/sand content would help as @Joseph Fireborn has suggested. Using a cone 10 clay but underfiring to 6 would probably yield improved results, but then you end up with the challenge of keeping your throwing slurry and trimming scraps separate from the cone 6 clay you're using for everything else. Maybe it's worth the headache, maybe not.
  12. Our supplier (Vermont Ceramic Supply) doesn't stock the dry clay mix either, but they order it from Laguna for us whenever we need it. I'd ask your supplier... my guess is that it'll be an easy request to fulfill.
  13. To help prevent our reclaim from throwing short, we buy 50lb bags of dry mix of one of our clays and add a big scoop of the powder directly into the pugmill with each batch we mix/pug. Each bag lasts a long time and it has really helped the quality of our reclaim.
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