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About docweathers

  • Rank
    Gismo Guy
  • Birthday 09/01/1944

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  • Gender
  • Location
    Spokane Wa
  • Interests
    Cone 6, gas and electric, thrown pottery
    Large welded sculpture from scrap metal

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  1. No I have not. They work just like your finger sliding over the clay only pressure being applied with a roller so you don't need water as a lubricant. All the clay moving strategies are exactly the same. The only disadvantage I can see is that you have to change tools more often since rollers are not as flexible as fingers. Attached are some pictures the roller tools and one of me throwing a jar with it. What you can't see in that picture is that there is another roller inside the jar. I keep adding new variants on the basic design. As you can see one of them is nothing more than a wallpaper seam roller.
  2. I've used magic water. That seems like good stuff. Why do you folcculate before application.
  3. I will try some super slip. It sounds like it could have a lot of uses.
  4. Bill I use my roller tools to push the clay out to in and out to in a bit before I move to get a final shape. If what I'm doing doesn't fit your definition of compression then we need to find some other terms such as mixing or destroying particle memory. Both of which I think I'm doing a pretty good job with my roller tools. Min I think I've got my cracks patched so it would be very hard to get a decent picture of them. Breaking my platters and half would be a heartbreak not just the platter break. They are just generally straight very fine hairline cracks that jiggle back and forth just a little bit across about the center third. of the platter.
  5. Since I throw completely dry with some roller tools that I built, I can put a huge amount of pressure on the clay to compress it. If it's not compressed after what I do in it is not going to be compressed with anything. What is this super slip you mentioned?
  6. I got the dry slowly thing from Tony Hansen. The plastic bags were an attempt to slow the drying is much as possible. The dry upside down thing came from a South Korean MFA who does a lot of videos on YouTube, but I don't remember his Korean name. I vented the bags at least once a week or more often to make sure there is no condensation building up inside them. The bottoms are highly compressed over and over and about quarter inch thick and quite even. None of the crack seem to have anything to do with any decorative features. The platters do not have feet or a foot... They were for wall hangings. The cracks were relatively straight crossing the center with no spiral or S crack pattern. They were thrown on Masonite bats and removed as soon as they were stiff enough to handle. They were made from new G-mix 6 w/ grog with some wedging
  7. Recently I got into making large (20 inch) platters for wall hangings. To dry them I put them upside down in large plastic bags and let them set for a couple months. I took some out today and several have cracks about 1/3 of the way across the center. These are not S cracks but relatively straight cracks slicing the platter in half. They do not follow any design feature. I'm using , G-mix 6 with grog. They are just beginning to turn white. The humidity is low and the average room temperature is about 45°F. From my thinking, what I'm doing should work but obviously I'm missing something..
  8. I am familiar with sodium salt as part of salt firing. What else can you do with it
  9. I use John Britts silicon carbide copper red all the time. I've never had a problem with pitting etc. This could beca se I use slow heating and cooling a standard practice, a somewhat modified Stephen Hill firing schedule. I have experimented with adding more silicon carbide It really doesn't make any difference in color or anything else.
  10. Marsha seltzor just posted a bunch of very cool pot and a test tile. I contacted her to find out how that was done but she's currently so overloaded with snow blowing and writing an article and getting ready for a show that she doesn't have time to explain it to me. Which I fully understand. Does anyone else know anything about using potassium salts on glazes like the picture of her test tile attached.
  11. Yes, that works fine when I'm using one of my stiffer glazes. It's my understanding that at adding a little EPK to running glazes tends to stiffen them up. I may try that.
  12. I've been doing glaze trailing on vertical surfaces with no problem, until it's fired and the underlying glaze is runny. Then the majolica travels with the underlying glaze. I think my next strategy is going to scrape a thin band of the underlying glaze off where I'm going to apply the majolica. Hopefully, it will get enough contact with the bisque to anchor it. One thing I love about ceramics is that there's an endless number of things to experiment with. I'm more interested in finding new ways of doing things than actually producing pretty pots.
  13. Yes that is accurate. I have been putting the majolica over other glaze and this has worked out fairly well except on vertical surfaces. With a runny glaze the majolica takes a trip south. One way I thought of dealing with this was to put the majolica directly on the bisque and then put the general glaze around it. It seems too much work to either use latex or wax resist to coat the majolica before putting on the general glaze. I was hoping someone had found a clever way to make this an easier process
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