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docweathers

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Posts posted by docweathers


  1. 8 minutes ago, RuthB said:

    Have you made any videos of the roller tools in use?

    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. 

    Demo of Roller tools (Small).JPG

    P1120834.JPG

    P1120835 (Small).JPG

    RollerTools (Small).JPG


  2. 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.


  3. 4 minutes ago, Bill Kielb said:

    Interesting, and you believe when throwing you compressed the shapes from out to in as much as practical so the clay in the center was truly as dense as that which had been dragged away from the center while opening this to its final size?

    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?


  4. 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


  5. 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..


  6. On 2/21/2019 at 2:38 PM, Bill Kielb said:

    I have to ask my wife, I think she is a fan of very thick slip prepared with Darvan to make it reasonably dense then flocculates what is to be used just prior to using so it becomes a smooth sticky paste that she can pipe on the surface. I think she prepares the slip this way so it is maximum density,  minimal water which makes shrinkage and cracking more tolerable. She does incredible cake decorations with the real stuff as well! Yum!

    Did you ever check with her?


  7. 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.

     


  8. 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.

    Potassium_test tile.jpg


  9. 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.


  10.  

    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


  11.  

    What I want to do is have a colored base and then pipe and intricate colored glaze on top of that rather than what I think is more common of extruding a majolica pattern on greenware firing it. Then adding the overall glaze around the majolica... I think??

    I'm a backwoods potter with no training other than CAD.


  12. I'm trying to push the boundaries of typical majolica by using cake icing piping tools. It all works pretty well except on larger decorations the cake icing is inclined to crack as it dries. At one level I have solved this by putting in a little cellulose like you do with paper clay. This works pretty well except for one hangup.

    The bits of cellulose  tend to clump together and make it hard to extrude the majolica. I've tried putting the raw cellulose in a food blender and running it for quite a while to get it chopped very finely. This helps but there's still a problem with the clumping. 

    Any suggestions would be appreciated

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