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About hantremmer

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  1. Backpack recommendations?

    Thanks Neil. I hadn't thought to look at duffel bags, or bags with backstraps. I'll see what I can find. The washing machine thing is because I have a nice backpack that's now covered in porcelain dust inside and out. It's grey and I suspect the stoneware didn't show up on it quite so badly.
  2. Backpack recommendations?

    Thanks for replying, Chilly. Right now it has to be backpack, but one day I might need a suitcase on wheels.
  3. Backpack recommendations?

    Thanks Lee. I like the idea of it collapsing flat, but as I'll be getting on packed London buses, I think a bag would be slightly better.
  4. I'm looking for a backpack to use going to and from the studio. Needs to be spacious and one that I can wash easily, preferably one I can chuck into a washing machine. Padded so I can put in pots (in bubblewrap). A rectangular shape would best, since I'd be able to fit the most into it. But waterproof and machine washable are the preferences. Any suggestions?
  5. Striking, but not at all what I expected. When I think of spraying, I imagined a (purposefully) inconsistent application.
  6. EDIT - I didn't have time to use slip on the bone-dry bowl; I tried raw glazing it intead. Three swishes of ultramarine. No idea how it will turn out. Oldlady, Thanks for the tips. Firing isn't easy in London (nor cheap). I'm trying a new place for a month or so, but they state they will only fire pieces made on the premises. I will see if I can fit any little tests in, numbering the pots of course. Marcia, For some reason I don't have permission to see the picture. However, your description intrigued me. Coincidentally, I dipped a pot in transparent glaze today and then used an atomiser to spray on a tenmoku-style glaze. The pot is going into an electric kiln. I've never tried this before.
  7. Thanks for the explanation. I think I understand. I do need to experiment more, though I'm hampered by not having a kiln. The studio I use is very busy, so it can be a while between me handing a pot over for a glaze firing and getting it back. Any testing cycle would be quite long. In the meantime I'm taking photos and making notes of my pots before and after glazing, so I can see what happens.
  8. Thanks for all the comments. What does dampening the pot do at this stage? I've seen videos of damp pots being glazed, but wouldn't any excess moisture make it harder for the slip to stick? I've heard of deflocculating clay, but I've never done it. A quick suggests it's adding a special material to help the slip flow smoothly. Is that correct? I don't have a deflocculant here. I'll have a look at the slip to check its consistency (I'm in the UK). My timeline has moved forward somewhat; I thought I'd have until next week to try this , but since posting it seems like the pot might need to be ready for tomorrow. I suspect I wouldn't have time to do this properly. Might try to raw glaze it intstead.
  9. Thanks for the extra replies. That 2.5" does seem like it would be important, at least if one is sitting down. I think I need to spend a bit more time with the wheel and figuring out exactly how I want to sit with the regular pan. That and, actually, just being more diligent about cleaning as I throw.
  10. I've got a bone dry bowl. Arctic white stoneware. It has thin walls and has been sitting for about a month. I also have a 'raven black' slip (description below). Is it possible for me to paint the pot with the slip, then paint patterns with shellac and wipe the black slip away, revealing the clay underneath? I'm unsure if the bowl will take the slip and whether it's possible to wipe the excess away, so I'm left with a black pattern. Ideas: These decorating slips, are suitable for use on both Earthernware and Stoneware bodies. When manufacturing our slips we believe in using high percentages of stain to give strong, vivid colours throughout the range. The slip can be applied to leather hard clay with brushes, sponges or slip trailers. After biscuit firing the pots should be glazed with a suitable transparent glaze which will further enhance the vibrant colours. Our sample is fired to 1060degC.The colours darken the higher you fire. Wide firing range - 1000-1300°C" Is it possible for me to paint the pot with the slip, then paint patterns with shellac and wipe the black slip
  11. Thanks for that detailed reply, What? . How do you find throwing with such a big pan on the wheel? Luckily my Shimpo came with the long Allen key.
  12. Thanks for the measurements, Sputty. I'll give it a go. I've been having some of the same issues as glazenerd. I try to take my hands away from the pot in the direction of the rotation.
  13. I'm practicing cylinders again. Can someone give me a height to aim for when throwing with 1kg / 2.2lb of clay? I need something to aim for, even if it's difficult. I'll set a gauge up so I can keep trying to hit that height. Incidentally, here in the UK we call this # a hash sign. I still find it confusing when people refer to it as a pound sign, which is one of these: £.
  14. Had a chat with a shop. They reckon that sitting at the wheel the splash pan would be 2.5" or so closer to one than the original I need to sit down and see how that might affect my throwing position.

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