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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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    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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  1. 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.
  2. 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
  3. 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!
  4. 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.
  5. 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.
  6. 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.
  7. 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.
  8. 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.
  9. 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.
  10. Chris Throws Pots

    Dipping 10" plus plates

    Dorene, Check this out: I originally saw this on Jeff Campana's Instagram account and immediately bought one of these gadgets. They are suction cups designed for replacing cell phone/tablet glass, widely available in different sizes. This one is a 2.5" suction cup that was about $5. Bisque has to be well waxed to create a nonporous surface for the suction cup to work.
  11. Chris Throws Pots

    Glasslike Crystals in Wet Glaze - What the...?

    Happy to report that microwaving the lithium crystals did work to get them back into solution. I used a blender to chop them up, covered them in some of the lithium-deficient slurry and nuked them for 2 minutes, stirring after 1 minute. I was a little nervous that they'd recrystallize due to the rapid temperature drop when I sieved the mixture back into the bucket, but they seem to be fine. Thanks for all the help y'all!
  12. Chris Throws Pots

    Glasslike Crystals in Wet Glaze - What the...?

    Thanks so much, Min, for taking the time to run this exercise! Per an older thread about possible composition abnormalities in custer, reducing the overall percentage of custer seems like a good idea... if I get a funky batch of custer the impact on the glaze would be more mild (in theory at least). Also, the price reduction is a nice bonus. Just need to find a retailer of Fusion frits. I use iron laser decals in a lot of my work and have found that some of my ^6 glazes are not tolerant of the ^06ish decal firing. Some glazes seem to begin fluxing in the decal firing, but without making all the way to ^6, so they are rendered soft, matte, scratchy, no longer food safe (using acid test). Will the chemical changes you've suggested alter either the stiffness of the glaze when fired to ^6 or lower the point where it begins to flux? Do you see any issue with this glaze begin brought back up to ^06ish? My iron decal program is 100/hr to 200 hold 0:30; 275/hr to 1810 hold 0:15.
  13. Chris Throws Pots

    Glasslike Crystals in Wet Glaze - What the...?

    Thanks, Sputty, for sharing this! In my dismay at discovering the issue I didn't exercise the most patience, and jumped straight to posting a new thread, rather than searching through the resources already available. Per the linked thread, I believe it's the lithium carb that has crystallized due to inactivity and temperature drop. I saved as many of the crystals as I could and will be microwaving them along with some of the now lithium-deficient glaze to get them back into solution. Neil, the recipe is as follows in case you have any other theories or can confirm that lithium is the culprit. Tin White Liner ^6 Ox Silica: 2.1 Custer: 64.4 Zinc Ox: 5.4 Gerstley: 14.5 Whiting: 3.0 Lithium Carb: 3.1 Tin Ox: 7.5 add Bento: 2
  14. After letting a big batch of my tin white liner glaze sit for about six week, I’ve just sieved it to start working with it again and found a pile of glass-like crystals sitting on my sieve’s screen. My glaze has been stored in a cold area (it our most recent cold snap the temperature inside my storage space probably got down to high 40s/low 50s) but it hasn’t been exposed to freezing temperatures. Some of the crystals look like snowflakes, while others are just chunks. Does anybody know what they are and why they developed in my glaze? My hope is that they are just debris, but my better sense tells me that they’re one of the glaze ingredients. Is it worth saving drying and weighing the crystals and then replacing an equivalent of the powdered ingredient into the wet glaze before using it? Or can I just toss them and move on using the glaze as normal?
  15. Chris Throws Pots

    Designing A New Studio

    The organization I work for is in the process of retrofitting a warehouse space into community art studios including a clay studio. The HVAC contractor who designed the air exchange system for our new facility thankfully had some personal and professional experience in clay studios, and designed a system using the mitigation of silica dust exposure as the highest priority. Clean incoming air will be delivered from the ceiling and move down toward the floor in a curtain (no swirling or circulating). Exiting air will be pulled from floor level, so any dust that is produced will be whisked away without traveling past the mouths and noses of studio participants. We will of course be using frequent mopping as our first line of defense. The process has got me thinking about how to improve the air quality in my home studio. Right now I have very little air movement. This is better than lots of circulating air, but still not great. It can be pretty stale/musty in my studio (located in my unfinished basement). I have a three-pane ground-level window in my studio. My plan is to remove one of the panes and attach two blowers (like the blowers used in electric kiln vents) into the window frame (one blowing in, one blowing out) and run dryer tubing off the blowers. I'll position the incoming air tube on the ceiling, pointed down, and the outgoing air tube at floor level. It won't be the prettiest system, but I'll be the only one who has to look at it. WoogiesPlace, perhaps some version of this floor-level exhaust will be helpful for your studio build.
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