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Celia UK

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Everything posted by Celia UK

  1. I have a Shimpo RK3T wheel with a small removable splash tray. I use a Giffin grip for trimming which is almost as wide as the splash pan. Does anyone have a good system for keeping the clay trimmings from flying off and on to the floor? I've tried a shield of flexible plastic held to the outside of the splash pan (3/4 of the circumference) with a bungee, It helps a bit, but trimmings still escape through the space left for my hands and they also settle between the shield and rim of the splash pan, and when I remove the shield, they fall to the floor! Has anyone got a way of keeping the trimmings in the splash pan? I know there are some very ingenious problem solvers out there so I'm handing this one over. All suggestions welcomed!
  2. New studio almost finished.....just discovered new forum....will be exploring ideas above VERY soon. Have plenty of bits of vinyl to try a 'skirt' resting inside the splash pan. I've been searching for some kind of cable clip wth a flat side to stick to the vinyl and a curved loop to push down over the rim of the pan. This would hold the skirt away from the Giffin grip as it turns...... Photo shows left side of studio, wheel not down from bedroom yet! Will post more pics when all set up...before it all gets messy!!!
  3. Ron - absolutely! They're already wondering what the converted double garage is going to be (new detached garage built and old garage doors replaced by full length windows) I might stick an 'Open Studio' sign outside when I'm set up - it'll to give the neighbours a chance to nose around! Min - a children's paddling pool would indeed contain the clay but would still need sweeping up into the reclaim. Knowing me, it would flip and throw it everywhere if I attempted to tip it out. Joy - a photo would be useful here. Sounds like a good idea to me.
  4. I also use a Badger airbrush - uses an aerosol propellant. I haven't tried it for glaze but I use oxide washes. Just oxides/carbonates in water. No sieving and nothing added. Never had a blockage - I just spray clean water through, when finished, to clear the tube and nozzles. Never replaced it in 4 years.
  5. Made me chuckle just picturing this one Ron - especially in my brand, spanking new studio with full length windows in full view of the passing public! Thank you, but I think I'll pass on this one. BTW - does anyone know why I no longer get notifications when I follow a thread? I used to, but they stopped a few weeks back.
  6. Thank you all. The most reassuring thing from your replies is that it's evidence of an issue faced by more than just me! Mea - I think I might try a pice of vinyl resting on the inside edge of the splash pan - that would help with the bits collecting between the rim and my shield,, though I think I need more than the 1" extension. Perhaps I'm having my wheel turning too fast...I'm sure my trimmings fly out higher than that. Marcia's 10" sounds more like it. John - my trimmings are virtually bone dry by the time I've finished a few pots...not so easy to 'gather' them up without crushing, spreading clay dust etc. My studio is currently in a bedroom in the house, (not for long - 5m square garage conversion is currently underway!) so keeping the dust down is even more critical than in a dedicated space; though I will want to keep my new studio clean too, of course!! Min - I tried that before the 'collar' idea but think I managed to keep spilling bits when trying to lift and tip into the recycling. However...I might have a second attempt with a more rigid sheet of polythene, perhaps cut around the wheel base a bit... If it works it would be a one-step process into the recycle bin, as even collecting everything in the pan involves scooping it all out or removing the pan (hazardous for me when full of dry trimmings as the clips release quite suddenly....get the picture). I also suspect that due to my 'improver' status as a thrower, I have significantly more trimmings than many of you 'experts' out there . Perhaps throwing practice is what I need to invest some time into?
  7. Callie - in your recipe for slip, will any kaolin and any frit work, or should they be particular ones?
  8. celia, the flowers are stroke & coat applied with tiny sponge teardrop shapes glued to short pieces of chopsitcks. Q-tips add the dots of yellow in the centers. Well it certainly works and looks lovely!
  9. The interiors of the two bowls at the front would tell me you're not bring entirely truthful about your I ability to paint Old Lady! All these are lovely! Carving is my thing too.
  10. Use thin underglaze, several thin coats rather than one thick one. Apply with a wide flat brush. Can you put it on your wheel and turn v slowly, or a banding wheel? You can always gently rub down any over thick bits with a fine grain sanding sponge or sandpaper before bisque firing. Good luck.
  11. Have you got a plan of some kind to prevent your tools from 'walking' out of the studio? Labelling everything to prevent them getting mixed up with students' own tools and/or a system for checking everything is returned at the end of each session? Without this, you'll find a good number somehow manage to disappear ... pretty quickly. Experienced teachers will be able to chip in here with ideas, I'm sure. Mud tools...yes yes yes! I have red ribs (used a lot!!!) and green ones both in 2 different shapes. Their metal ribs are also superb. Worth the money as they last forever! Get big car cleaning sponges from the dollar store for clean up. Buckets and tubs - ask in restaurants - loads of foodstuffs come in large, lidded tubs that just get thrown away.
  12. New Crop Of Flutes. I Need Critiques

    Aah ..... but not if they're to be played along with other instruments! And/or for conventionally notated music. Number 5 is my favourite - as Lee says - personal taste.
  13. My clay clothes aren't thickly coated in clay and I just throw them into the washing machine - sometimes on their own other times with other items - on a hot wash. Never had a problem. All sorts of other dirt (children's muddy clothes, gardeners', builders etc.) stuff gets washed and we don't hear the same worries about them, so I assume the system will cope with my apron and towels!
  14. How To Paint On A Vase

    Given the sharpness of (most) of this design it looks as if it may be done after the glaze firing (on glaze decoration). It looks like a white porcelain clay to me, with a transparent glaze. It would then have a 3rd lower temperature firing. However, it could possibly be as you describe, painted on white-dipped bisqued ware. Someone more knowledgable than me will probably chip in here with their suggestions.
  15. Sell for charity (individually/sets) at local art centre or similar potters' group. Do you have any charities supporting up-and-coming ceramic artists? eBay?
  16. White earthenware 'shell' bowl

    From the album Winter 2016

    Thrown white earthenware, linear additions, Holes carved then dots added. Wash of copper oxide and cobalt carbonate airbrushed when bone dry. Bisqued to 1000oC. Transparent glaze poured over, fired to 1100oC.
  17. White earthenware 'shell' bowl

    From the album Winter 2016

    Thrown white earthenware, linear additions, Holes carved then dots added. Wash of copper oxide and cobalt carbonate airbrushed when bone dry. Bisqued to 1000oC. Transparent glaze poured over, fired to 1100oC.
  18. Textured Slab additions

    From the album Winter 2016

    Thrown white earthenware, cut and altered. Slabs textured and added. Copper oxide and cobalt carbonate washes when bone dry. Bisqued to 1000oC. Transparent glaze poured over, fired to 1100oC.
  19. Winter 2016

    Latest kiln opening - White earthenware with texture slabs and copper oxide and cobalt carbonate wash under transparent glaze. Fired to 1080oC.
  20. Textured slab additions

    From the album Winter 2016

    Thrown white earthenware, cut and altered. Slabs textured and added. Copper oxide and cobalt carbonate washes when bone dry. Bisqued to 1000oC. Transparent glaze poured over, fired to 1100oC.
  21. Textured slab additions

    From the album Winter 2016

    Thrown white earthenware, cut and altered. Slabs textured and added. Copper oxide and cobalt carbonate washes when bone dry. Bisqued to 1000oC. Transparent glaze poured over, fired to 1100oC.
  22. My experience of low fire glazes is that they have quite a wide range, often beyond that stated. 06 fired to 04 - no problem with any of mine! It would have to be a very 'picky' glaze. But probably not worth risking anything precious without testing first, as Johnny says.
  23. Definitely can do this - I regularly fire both together. (Keep on different shelves!) Downside is that your finished ware will not be as strong as it hasn't been taken up to maturity. You want to find the highest your glaze can go to and try that! Good luck.
  24. Small Kiln In House (Not Garage Or Basement)

    My small kilns - 40 litre and 60 litre (less than 2.5 cu ft) are in the garage. I only ever run one at a time. Worst thing I notice is fumes around the 250-350oC (480-650 oF) mark. I'm not paranoid about venting and have none except normal garage draughts or sometimes leaving door propped open. However - I totally avoid going into the garage at the above temperatures because I suspect these fumes aren't good ones! (Think I may have read carbon monoxide somewhere, but I might have imagined that!) I wouldn't think they'd do much good inside the house, even if you're not working in the room at the same time. I think you'd want something extracting them out so they don't leak into the house. This is only my experience - for all I know they may smell awful but be safe enough.
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