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Everything posted by Hulk

  1. Looks like an RK-2 to me - many distinctive features, eh? ...the foot pedal and lever, switch, overall shape, recessed hand grips, number and location of fasteners... Note also the rounded edge (vs. angled) at the back - looks like an oldie to me. fwiw, I did find a match on the splash pan; yours is missing the shelf that sits on the support flanges there on the back/straight part. Try searching "vintage shimpo rk2" ...peruse images... Is the nameplate missing? What's it look like inside? As for asking price, extend your search; what are others asking for similar piece, in same (does it work? is it quiet?) condition?
  2. Hi Natalie! Does your kiln have a pyrometer? ...very handy for monitoring temperature. Regular contributor Glazenerd (former ) has posted guidelines for firing schedules here, e.g. http://community.ceramicartsdaily.org/topic/17903-critical-firing-temperatures/ Your buff clay may not require as lengthy holds as very red/brown/dark clays; see also http://community.ceramicartsdaily.org/topic/17882-blistering-bloating-coring/ I run my bisque load up to about 300F the night before; the next day, it's still warm (plenty dry), then I go full on with significant pauses at the three critical temperatures. I'd be lost without the pyrometer though...
  3. Add scale, dust mask (not a throwaway), graduated cylinder, Epsom salt and/or vinegar, several sizes of kitchen whisk (already mentioned, however, I have one chucked up in my lightweight portable drill - lighter than the 1/2" corded drill + grout mixer), long scraper to check for globs on bucket bottom and particularly the corners, screens/sieves, masking tape, razor blades and utility knife, wax emulsion, map gas torch, assortment of brushes, grout sponges, bucketS, small/purpose cut sponges, patience to wait for stuff to dry, more patience. Haven't been into tongs at all, might give it a go...
  4. Have had luck burning off wax spots (on bisque) with map gas torch - quick, easy.
  5. I started out with one small hole in the bottom - where the box fits up - and a small hole in the lid; from there, added a second small hole in the bottom, now it pulls well. How leaky is the kiln, that's a variable, also how hard your fan pulls against the kiln is another key variable, and related, how much push required to move the kiln+ambient mix out the hose, and any pull required to make up the air to the space. imo, make up air should flow freely to the space.
  6. + coning Just a bit of movement on the bat can be frustrating, often overlooked; the slicker bats are worse-er for that - wider base, or more grippy bat.
  7. There may always be a niche for new pots, as most all pots eventually break.
  8. Hi Jeff! Do you back the pin tool with a finger from the other hand, c a r e f u l l y? I do, however, the point of the tool is moving somewhat sideways to the supporting finger - supporting the other side of the clay. Any road, point being (ahem) that perhaps the supporting finger can help you find the spot to start ? Else, if you're freehanding, the other hand help find the spot as you begin, by feel? Finding the spot by feel without assistance from the other hand, more difficult, but not impossible - try shortening up your grip such that you can reach the tool tip with your index finger, gripping with the ring and little finger Avoiding that wobbly, aye, that's the ticket! …however, what's not wobbling in an open shape can get there as the top is necked down and/or in. Any road, reducing the wobble still helps. In my (limited) experience, starting out well wedged and thoroughly coned up&down and really centered helps, from there moving the clay smoothly, especially at the start and end of each pull, where the amount of clay brought up is dead even all way 'round.
  9. In taping curved surfaces, a burnished groove really helps - vases, bowls, etc. - the edge of even plain cheap masking tape catches and also stretches well enough; a groove also acts as a guide. A tiny cut with a trimming tool widens a bit when burnished with (curved) back edge of a small loop tool. I'm gonna try that pinstripe tape Bill! Here the lip edges were done wax and cut; the transitions on the outside by tape and wax. The highlighted chatter marks, float on with a wetted brush, wipe offa with small sponge...
  10. Hi Jeff! For a sharper transition line I wax and cut, or tape and wax; from there, the edge may soften, depending on the glazes. Wax and cut: Glaze past the boundary (a lip or edge - where it's not possible to tape, else, tape is easier...), allow glaze to dry. Wax past the boundary, allow the wax to dry (be patient here!!). Cut the line with a razor knife, carefully sponge away any remaining glaze. Allow the clay to dry! Dip the second colour, carefully sponge away any drops that bead up on the wax side. See Tony Hansen's video*. Tape and wax: Tape your edge; run fingernail along the edge o' th' tape to lock it down, then glaze. Allow the glaze to dry some, then wax. When the wax has set up some, pull the tape - you'll have to learn when the time is right, and pull the tape such that the edge o' th' tape acts as a knife edge, cutting the film of glaze and wax cleanly. Wait for the clay to dry!! Dip second colour. That for dippin' - spraying is another ball game, eh? *found it https://www.youtube.com/watch?v=QlZqlsF1rFU The more glaze literate may expand on "...depending on the glazes..." - some stay on their side o' the line, some don't!
  11. Aye that LeeU! ...an', just pots - as in pottery only - or include related good and/or services, e.g. instruction/classes, firing other's work, publishing books, speaking engagements, workshops, etc.?
  12. Hi Spotty! fwiw, my bisque firings take longer than glaze firings; even though the target temp is lower, I'm slowing down the rate of temperature increase in the ranges specified by regular contributor Glazenerd, see links in second post, here
  13. Hi Spotty! The targets (e.g. cone 05 bisque, cone 5 glaze) are a combination of time and temperature; it's not just time, not just temperature. My best advice* would be to set cone packs where they can be seen via the kiln's peep holes**. Consider the timer as a fail safe - set it plus thirty minutes or so over how long it typically takes to reach target (yep, experience necessary). Time may vary due to aging elements, ambient temps, how the kiln is loaded, etc. Consider the sitter as a fail safe as well (hopefully you'll be able to repair the damage...). Monitor the kiln carefully! Perhaps the more experienced kiln operators leave their kilns alone - I watch/monitor mine very closely... I've met several auto kiln users who set and walk away, however, all manual kiln users I know of monitor closely - at least at the end. *I've only three bisque and two glaze firings under my belt, so far. ** be sure to wear appropriate kiln glasses!! I use a pyrometer as well, which provides feedback... Your cone packs (three cones - the target, one above, one below target, hence, for cone 6, a 5, 6, and 7 cone) should be visible. I like the idea of painting an iron oxide line on the target cone - easier to see.
  14. Mastering Cone 6 Glazes still available via Apple Books, $19.99 ...reading same on a PC, hmm. Hmmm
  15. Craft as therapy, err, craft is therapy. Thanks for the link!
  16. Try search string Laguna Pacifica Glyde Torc - looks like there's a GT-400 and GT-800 model GT == Glyde Torc seems likely Here's a .pdf http://www.lagunaclay.com/support/pdf/Pacifica_Manual_2015.pdf ...nearby there's a troubleshooting guide; I'm not finding a wiring diagram. You might have the replacement pedal, here: https://www.axner.com/pacifica-magic-pedal-conversion-kit.aspx ^ yep It looks like a Laguna product.
  17. aye, that th' trade off - I'd rather have the cast covers
  18. ...I like th' idea painting a thin line of iron oxide on the cone t'make it easier to see. Not sure who posted that now ...was it Min? Any road, it helps ...'nother helpful hint, stand up the cone packs so they are level with (in front of) the peepholes; I cut thrown tube into the needed heights and fix a lil' slab onto them... Recall to wear the appropriate protective glasses!! !!! From Bailey website: "Infrared glasses are imperative when looking into kiln spy holes. These protect your eyes from the radiant heat. (Please note that regular sunglasses are inadequate for this purpose and may actually melt.) Protective glasses may also allow you to see your cone packs more clearly."
  19. I'm really liking progressive lenses. The only glasses I have that sport the fixed focal length segment at the bottom are sunglasses - where the top is all "infinity" - hence good peripheral performance for bike riding - and fixed focal length close up for flat repair and such. Any road, my readers/cubicle/computer glasses are progressives close as is possible at the bottom of the lens, about four feet out at the very top - optimized for near work. If you are using fixed focal length eyewear*, perhaps something that allows a bit more distance would help? Drawback on progressive lenses, the sweet spot is in the middle - peripheral vision isn't very good - hence there's adjustment for that, and getting used to nodding/tilting up or down to adjust focus... *I use optivisor for peerin' at lil' stuff; it goes right over glasses, and can be fitted with different lenses (more magnification, shorter focal length). Mom had a large lens, about 8" diameter, on an adjustable arm fitted with a light for doing her embroidery - neat gadget.
  20. "...worry about ...the... types that retire and have no plans other than to do what they feel like." Yep onna that'n!
  21. Hi Dianen! Would you be willing to post pics of you working at your wheel and at detail? At a table 'bout halfway between bellybutton an' sternum might allow for elbows to rest, an' the workpiece elevated such that just above the wrists can also rest on what the work is on? Perhaps another scenario to consider, where you're leaning back in your workchair, against the backrest - an' arms can then use the chair's armrests - where work is elevated above your lap by an adjustable shelf of some kind, swing-away attached to the chair, or on rollers, or... I imagine the work has to be close enough to get in the sweet spot o' your bifocals (heehee, if'n y'old as meee), for sure such that your elbows are well bent past 90 (inna strong position for rotation of the hand) - hence, close in?
  22. ...learnin' t'shift vernacular gears, yep, good skill to have; agreed that adding new gears can be difficult. I feel a bit lucky having moved about the world several times as a young lad, hence some exposure to languages, definitely classes, and some culture as well - not that I have a great ear or nuthin', mebbe better'n average.
  23. In the pics, looks to me that the lighter part - Alabama rain - has crazing, however, you'd see it in real life it was. The test tile pic you just posted tells the tale, aah, an' that rutile!
  24. Might be able to get a sharper boundary with some help from tape and wax? - tape, dip, wait for the glaze to dry some, wax, wait for the wax to set up enough, remove tape, wait a while... dip the other glaze. ...if you're using two different glazes. On rereading, OP, you're asking about a boundary forming where same glaze overlaps, yes?
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