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Chris Throws Pots

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About Chris Throws Pots

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    Advanced Member
  • Birthday 12/19/1985

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

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  1. Chris Throws Pots

    Emulating other people's work

    In my college Intro to Wheel Throwing course my professor had us all do this as a project over the course of a few weeks. We found pieces in Lark 500 and other ceramic books or from websites like Schaller or Musing then did our best to deconstruct and reconstruct the forms. As very green clay students we were completely unaware of the challenges that lay ahead of us when trying to recreate salt/soda/wood effects with only cone 6 ox, but it was a pretty great exercise for getting a crash course in materials we likely wouldn't have otherwise touched: latex, oxide washes, oxide resists, colored slips, underglazes, vinyl. Very few of the pieces looked much like the originals they aspired to, but the project was graded on progression through a few rounds of tests, and it planted lots of seeds for how to use the other materials in projects for the rest of the course. So in that case emulating was extremely valuable not for the products of emulation, but the lessons learned about the medium.
  2. Chris Throws Pots

    Where do you put freshly thrown pieces?

    @Denice The idea is to replace/modify the existing table so that students use it in the exact same way they currently do... to replace/modify so that the new table has the same function but takes a smaller side-to-side footprint in order to increase the walkways on either side of the wheels. The current tables are used every day, they are just a bit too wide for our space (as mentioned earlier in the thread we recently to a new studio space similar in overall size but with very different dimensions). I intend to build something with two fixed tiers or one fixed tier with adjustable tier(s) above the fixed platform. I was seeking pictures/examples of existing shelf/table setups that function the same way to use as a starting point for my design.
  3. Chris Throws Pots

    Where do you put freshly thrown pieces?

    @PSC Me too. I stop the entire class every 45 minutes or so to have students stand, stretch and look at their pots from different angles. Most students are good about getting up form the wheel when they feel their body needs it, but some students need reminders that pottery isn't the most ergonomic activity and that frequent stretching is important. The goal of my question was to get ideas about improving the studio layout by increasing walkway space between the wheels and the shelving racks lining the walls. Our current system works well: Students place their freshly thrown pieces on wareboards and place the wareboards on the table between the wheels. When they fill a wareboard (or sooner) they get up and move the wareboard to their personal shelf space. I am not seeking to retool the system, just the tables. Once our summer camp program ends, the studio has a couple weeks of downtime before our fall programming gets in full swing. If I decide it's ultimately worth the time/energy/material cost to overhaul the tables I'll be doing it during this quiet time and will post pictures of what I come up with.
  4. Chris Throws Pots

    Will Re-Bisqueing Stop Bloating?

    Hi Plum, I'd like to add one other thought to the conversation, as I recently found myself with an entire kiln's worth of work badly bloated and had to go through the process of diagnosing the cause. As many have already stated the two major causes of bloating are insufficient burnout of organics during bisque and overfiring. What I discovered was that I was overfiring, but wI was oblivious to it. The calibration of my thermocouple had drifted due to corrosion on the wires that connect the TC to the controller. Essentially my kiln thought it was firing its normal ^6 medium speed program, but it was really firing a hard ^8. The thermocouple was telling the controller that the kiln was the equivalent of two cones colder than where it actually was, so all my work was getting scorched and bloated. Hopefully this is not your issue. Hopefully you're firing with cones either in a sitter or as a check on the controller's/TC's accuracy. But if not, include cones in your firing to make sure the ^6 you're intending to fire to is actually the heat work you're achieving. My understanding is that the Standard 266 really can't handle overfiring/refiring without bloating. So making sure your kiln isn't overfiring will be helpful in figuring out how to best proceed with clearing up your bloating issue.
  5. Chris Throws Pots

    Where do you put freshly thrown pieces?

    Thanks Lee, Neil and yappystudent for your thoughts, but I don't think I explained my question well. Our studio already has the walls lined with boltless/rivet style shelves for members and students to put their work in progress, clay, personal tools, etc. I'm talking about when you make a piece on the wheel and wire it off, where do you put it then, in the moment so you can move onto the next piece without getting up? Below is a picture of the current setup. While throwing, people land wareboards and bats on the tables that sit in the middle of the wheels. Then later, when they clean up to leave the studio, they wrap their work and store it on their personal shelf. When people are seated at the wheels it's a tight squeeze between the wheels and the shelving units. I'd like to rebuild the two central tables that the wheels are positioned around so that they are both narrower and hold more. Vertical is the way to go, I just haven't figured out what will work better than what we have without obstructing students' view of their instructor at the wheel on the end.
  6. 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!
  7. Chris Throws Pots


    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.
  8. Chris Throws Pots


    Teala, As others have mentioned, the foot pedal adjustment is easy. Here's a how-to video from Brent:
  9. 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?
  10. 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.
  11. 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
  12. 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!
  13. 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.
  14. 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.
  15. Chris Throws Pots


    +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.

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