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mregecko

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Everything posted by mregecko

  1. That's a really good option to look into, Neil, thank you! I hadn't thought about that. I was certain someone on here would have some insight! The area is very open, and I'm hoping that firing with the sliding glass doors open will help keep the inside temperature well regulated... I'm in California, so our weather is never really too terrible ;-) I think I'll talk to the landpeople about changing or disabling the sprinkler, and if that's too costly or not an option, then I'll see about the vent-a-kiln hood. Thanks again! -- M
  2. Just realized, this maybe should have gone in the Studio Operations forum... Apologies if I mis-categorized. :-)
  3. Hi Folks! I'm in the process of building out my first full home studio, and just got my electrical & kiln all scheduled for installation. Very excited to start firing some work :-) I had one question regarding fire sprinklers. I'm getting a Skutt KS-1027 electric, and it's going indoors over my concrete slab foundation. My ceilings are 10'6" tall, so the kiln lid will rest about 7' away from the ceiling. There is a fire sprinkler in the ceiling, about 6' offset from where the kiln is going. It appears to have a red-type glass bulb activator, which I believe means it is LOW temperature rated (about 140*F). Do any experienced kiln installers know if I should be worried about this fire sprinkler? I can always try to get the building to disable it, or up-rate it, but that's definitely going to cost some $$. I'm attaching a terrible drawing that I made to illustrate. Definitely not to scale, and those are large sliding doors on the left of the 'floorplan'. Thanks for any experiences you can share! -- M
  4. Great advice everyone, thanks a bundle! I think the steel wool & WD40 suggestion sounds like a great first step to give it a try. If no luck there, then will check with some local machining shops. Appreciate the help! -- M
  5. Hi Folks! I've got a Skutt / Thomas Stuart wheel that I bought new a few years back. Lovely wheel, no real problems with it, but it has been in storage for the last year or so. When I put it away I didn't do the best job of cleaning it off, and now the wheelhead has some stubborn grime, rust, and pitting. Does anyone have experience or recommendations on cleaning these wheel heads? I'm tempted to just take some oil and some fine-grit metal sandpaper to it, but figured I would ask here before end up bungling it and having to order a new one ;-) Thank you!
  6. Thanks John! I should have mentioned, I've been poring over that site trying to spot the mark. No luck yet, but will keep poking around! Thanks for the referral!
  7. Hi folks! I'm hoping someone here can help me identify (or at least read) a chop on a hand-built teapot I recently purchased. Photos attached (hopefully). I rarely find myself purchasing other's work when I have SO much of my own in the house, but this piece really spoke to me. Purchased in the Bay Area in California. It's a lovely teapot that looks like it was thrown and assembled. The chop looks to me like either an HB, KB, or PB... But I could be wrong? Anywho, thanks for any help, and have a great weekend!
  8. Hi Folks -- I'm hoping someone will have some words of wisdom for me about lighting! I have been making my own lamps for a few years. Doing all the wiring myself, no problems. I now have an interior designer client doing an installation for a commercial application that requires UL Listing on their lamps. Not just UL Rated parts, but a UL listing on the final lamp. After checking around with a couple of lighting shops in my area (San Francisco), the UL Listed shops I can find are only licensed for hard-wired installs, not table lamps... They say the table lamp licensing is too much $$ to warrant it. Does anyone know of a way to find shops that can do UL table lamp wiring? Or have any referrals in Northern California? Shot in the dark, but I figured I couldn't be the first one to come across this. Thanks! -- M
  9. Looks like I have even more reason to grab that book now!
  10. I was afraid I might hear something like that... My glaze manipulation from base ingredients isn't the best. Fingers crossed I'll be able to figure something out. :-P
  11. Absolutely will do! If only I can find these darn frits... :-P
  12. Good call! I'm already finding some in the 800-1000 mesh range, that should be about the range I need. Thanks for the suggestion! Now, onto finding the frits... ;-)
  13. Hi Folks -- I'm looking to play around with some ^6 Copper Reds in Oxidation using chemical reduction. I've read the classic Pearsons article, as well as Tom Turner's great research on doing the same at ^9. The problem I'm having is finding some of the listed ingredients. I've reached out to General Color & Chemical, but my standard suppliers don't have any of the General Color Frits or even their Ferro equivalents (GF-146 / Ferro 210R for example). I'm also having a hard time finding anything other than chunky 400-mesh Silicon Carbide. Any recommendations for suppliers here? Thanks in advance! -- M
  14. This has already been said I think, but looking at those plates with cracks on them, the outside is visibly considerably dryer than the center. This kind of uneven drying will absolutely cause cracks. I'd recommend drying them upside down (on foam is a good option to prevent damage), and slowly. Wax on the rim isn't a bad idea either.
  15. No need to apologize! :-) After some debugging, we think it might be a problem with the milling on the wheel head not being perfectly concentric. I'm going to work on it over the weekend and see how it goes.
  16. For what it's worth, our community studio has an older-modeled 231, which was the predecessor to the 1027. Slightly smaller than the 1227, but still rated for ^8. We fire it about once every 2 weeks at ^6 with no problems. Elements have lasted at LEAST a year, probably closer to 1.5.
  17. Just had to vent somewhere. Finally saved up my money and got the space figured out, so I could buy my dream wheel... Got a Thomas Stuart wheel from Skutt! Waited all week for it to arrive, and it gets here today... With a WOBBLE! Still diagnosing the problem with the provider, but I'm afraid I'm going to have to send it back and wait even longer. So frustrating! Anywho, that's all. Feel free to share your frustrating stories like this to make me feel better! :-P
  18. Honestly, I found a bunch of places in LA that rent studio access with the use of kilns to (paying) members, without the need of classes... I just googled it. Try Echo Ceramics and The Clayhouse to start. They can probably direct you to other similar places if they don't work out for any reason (price, location, etc). Also, I'm up in San Francisco, but that's the kind of situation I have right now and it's great, and I feel like it's becoming more common in urban areas.
  19. Axner has what I believe to be generic-brand Advancers (nitride bonded silicon carbide) for significantly cheaper than any Advancer brand I can find. http://www.axner.com/nitride-bonded-silicon-carbide-kiln-shelves.aspx But I can't vouch for the quality. Maybe call Axner and inquire? Get some referrals?
  20. Simon Leach! I tried to edit my original post, but am not allowed to... Weird.
  21. Hello everyone, I found a decently priced AIM updraft kiln on Craigslist and wanted to know if anyone had experience with them. I'd want to be taking it up to ^10 (it is advertised as a ^10 kiln). I know the Olympics have an iffy track record, with a lot of work required to even out firings and control reduction. The only real difference I can see is it has a side-burner port instead of underneath, which would (I think?) make it easier to insert a bag wall in the flame path and hopefully even out firing. Or even add an internal flue like John Leach in his electric kiln conversions. Anywho... Any thoughts or personal experience with them would be appreciated! Thanks, -- M
  22. I had a very long response typed up, but just deleted it because I cannot think of how to say my honest feelings without coming off aggressive or offensive. So I'll retreat from this discussion, and just say we have two points of view on this. My point of view on "handling" museum work causes no potential danger to priceless works of art when you apply it to the millions of people through museums every year. Can you say the same about your point of view?
  23. I'm sorry, and not to be contentious, but am I the only one that's a little horrified by the blasé attitude being given towards inappropriately handling what are, in all honesty, priceless and irreplaceable works of art? If everyone with an "uncontrollable urge" (which is absolutely controllable) were to touch these vases / bowls / paintings / whatever... They'd either have to be locked behind plexiglass or they'd be destroyed by now. It's the same kind of carelessness that leads people to take flash photography of delicate manuscripts like those on display in the British Library, despite many of postings not to. No matter if you are in complete reverent awe of a piece, or if you're a curious five year old child, these pieces belong to posterity and we all have a social obligation to preserve them. In a gallery where handling is encouraged? Absolutely. Go for it. In The Louvre? Tie your hands behind your back if you have to.
  24. Hi Folks! This may not be the right forum, but I couldn't think of a more applicable one. I'm making a trip to London next week for work, and I'm going to be there a stretch of time. I love the city in general, been many times, but have never explored any pottery shops / studios. Do we have any UK potters or UK-frequenting potters who have the inside scoop on good galleries, studios, factories, etc? Hopefully looking for things in the London-vicinity since I won't be driving. Cheers! Looking forward to any leads.
  25. I think of a pasta bowl as a low, wide, mostly flat bowl. Great for salads too. Things you might want more "contained" than on a plate, but a typical cereal or soup bow is deeper than you want. Like a small platter with a curved-up bowl-like edge.
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