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deHues

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Everything posted by deHues

  1. Ready for bisque

    From the album My Studio

  2. Digital Die Cutter

    I have used the Adobe products since 1988 and I am so hooked. Perhaps I need an intervention. I have been paying $50 a month for years to have the whole package. I don't know how I would work without Photoshop, Illustrator, Lightroom, and InDesign. But then again I don't buy wine and don't have TV cable which I am sure everyone else I know is spending way more than $50 a month on. We all have our own priorities. But whenever I hear people complaining about the cost of using professional tools as if they are poor I think, there is not one potter in this country who is not richer than more than 90% of the worlds population. (little rant over, please pardon). The thin foam is sold at Michaels and it works just fine on the Silhouette for clay texture mats. There are lots of youtube videos with instructions for setting the blade depth. You can do test cuts to get your depth right by just holding the blade assembly in your hand and rubing it over the foam, adjusting setting till it cuts all the way through without maring your sticky backing sheet.
  3. I live in North County San Diego and I have no kiln. I have many years experience in Pottery but my little studio in the garage of my rented condo is no place for a kiln. Not to mention no permission from the rental office. I have a wheel and a slab roller and the studio is cram packed with unfired cone 6 and cone 10 small pieces. I am currently enrolled in the local college so I can fire but I am restricted to their clay and glazes. I have searched for a workshop in the area but haven't found one yet. Or even better would be someone with a small studio that could use another potter to share the cost of firing. My email is darthehues at sign gmail dot com. Thanks
  4. I have bought a few of the DVS and find them very helpful, and I use many of the techniques I learn from them. But I also love to take online courses. I finished 2 of Diana Fayt's e-courses and I got so much out of them. The camaraderie of sharing the assignments for the 6 weeks with all the other students was a joy. I work alone in my studio and I am not able to leave home for workshops so having that experience online was perfect for me. We were all working on the same weeks assignments and could ask questions as they came up. We could upload photos of our progress and workspaces and finished pieces, and then see what others were doing. The feedback from the instructor was so helpful and encouraging. I don't think it would be right of me to share any specifics of how her classes were organized and implemented. And without stating the cost or how many were in the class, I will just say that it looked to me to be a good income source. Some of the comments above that talk about how it is not something that can be done are completely missing the potential of this exciting new method of teaching and learning. It reminds me of myself in the late 1960's when my Dad bought a first Texas Instruments computer and I kept asking, "But, what good is it? And, "Why would anyone want a computer?" Right now I am making my first glazes and doing many tests. I have John Britt's DVD and his book to guide me. But I sure wish there were online courses that could direct my week's glaze work. I keep getting lost in the process. A class would give me the direction and focus and feedback that I have always thrived on.
  5. Production Glaze Ideas

    Simon Leach, in one of his most recent videos, put his 5 gallon glaze bucket on the wheel and a regular sieve on top of the bucket. He turned on the wheel medium speed and held a spatula in one hand and a dishes brush in the other to push the glaze through the sieve. It made quick and easy work of a lot of glaze sieving in a short time.
  6. I am almost ready to start purchasing glaze materials to make my own glazes. First I would like to decide on the storage containers that I will transfer the dry ingredient bags to. Could you share with me what size containers to purchase for 50#, 10#, 5#, 1# of the dry materials. All of the container sizes seem to be in gallons. I will be purchasing a very good dust mask to do this job. I want to wind up with a neat and orderly looking glaze area so I am thinking of squared containers. Do you have any favorite brands or dimensions? Thank you.
  7. Pictures Of Your Studio

    Some of these shots were before I started producing. Lot's of mess now.
  8. Glaze room in garage

    From the album My Studio

  9. glaze room

    From the album My Studio

  10. My Studio

  11. Mishma Drawings

    From the album My Studio

  12. New kiln

    From the album My Studio

  13. Wheel

    From the album My Studio

  14. Slab roller

    From the album My Studio

  15. Painting table

    From the album My Studio

  16. I am firing a bisque in a new L&L kiln with a Vent-sure running. I can at certain times (not exactly sure what temperatures) smell some strong smells that keep me out of the studio. At what specific temperatures are the gasses from a kiln toxic? I have the studio doors and windows open, but I am still concerned.
  17. OK, Neil, thanks. I just opened the vent half way. Didn't know that was there. What is a sweet spot and how will I know it is there? Thanks bciskepottery, I will keep the vent on through the firing for sure. I think it was around 800F that I began to smell it but it is up to 1400F now and there is no smell. I am vented to the outside and also it is way too warm in there to be working. I think I will do a few more firings to get familiar with everything and then I will fire overnight. I did a preheat for 10 hours last night to make sure my kiln shelves were dry.
  18. Actually I did do the first firing a couple of weeks ago, with an empty kiln to burn off the elements. Also not using wax resist. Does the sulphur dioxide come off all through the firing or only at specific temperatures.
  19. I thought I knew how to do this but now I'm confused about how to position the cones in the clay pack. In the image there is a cone box with an image of a cone pack. It has each cone turned so that it has a sharp edge toward the bend direction. That is how I did the front pack. On the second pack to the left, I did it how I always thought it was to be with the flat face of the cone facing the drop or bend direction. Which way is correct? Second question: I read on this forum that someone said the cone must be angled 8 degrees. I am using a protractor to measure that tip and I am assuming that is referring to the part of the cone facing the bend direction. Not the back of the cone which has more of an angle. Sorry if I am over thinking this. Oh also, how far apart should they be? Thank you.
  20. Making Cone Packs

    Thanks to each of you for your teaching. Mark, that makes such sense that they should not fall on each other.
  21. Free Glaze

    If "Glazes" applies to their underglazes also, you might consider the Amaco Velvet underglazes. I just finished an online course with Diana Fayt and learned so many great techniques for underglaze decoration on ceramics. Perfect for cone 6. I am making a set of test tiles with all of the colors I have so far and am getting ready to do color blends, similar to what we did in watercolor classes. Great fun.
  22. My new L&L 6.8c.f. kiln has been shipped! Thank you Neil Estrick. Now I am overflowing with questions. 1. Do I fire my first test firing with just shelves and posts? Or can I add test tiles to bisque? Or can I do a whole bisque in the first firing. 2. I built these test tile holders with the help of Bob Coyle after I saw them in a post of his. I am experimenting with different sizes to fit nicely on the shelves. Should I bisque fire the tiles in flat piles like in the front of the holders, and how high a stack can I pile them? Then I will glaze fire in the holders. I don't want them to warp in the bisque, but say they were 5 high...would the middle tile be discolored from being sandwiched between the others.
  23. New Kiln Questions

    Thanks for the answers. I pulled out the pdf and am reading it from the beginning. One safety issue was to not wear loose clothing near the kiln. I'm glad I saw that because that is the type of clothing I wear except when throwing. Glad to know that I can stack test tiles. Great suggestion to get the hole making tool. No more spinning the fettling knife, I like that. Now question #3 Is there an inexpensive gage that can go on the kiln or the fused disconnect box that will tell me how much the firing is costing? Thanks
  24. Setting Up A Kiln

    And once it is vented out do these fumes rise or do they linger at the altitude where they come out? Should there be a stack up to the roof line? Do these types of fumes fall?
  25. The kiln I am getting is 28" diameter inside. The kit comes with (6) 25.5" shelves. I may buy shelves separate so I can get Corelite shelves. There is also a 26" size which I would prefer, but, Is there usually a space left between the shelves if they are on the same level such as the bottom shelf? I most likely will be staggering the other shelf levels of. So if I have to have a space between the bottom, I could buy 2 shelves at 25.5" and 4 shelves at 26". What do you think? Second question: What are your preferences for posts, square or triangle? Thanks
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