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Stephen

Member Since 28 Jan 2013
Offline Last Active Today, 03:45 PM
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In Topic: New Potter: Advice Appreciated!

02 March 2015 - 01:06 PM

hey you have been busy, work looks great. Did you cut the day job? 

 

The only thing I would mention u may want to consider with the relief sprigs is that they are harder to take care of (dusting and not damaging by knocking off a piece) and many folks may shy away from buying them because of this.


In Topic: How Many Sell Ceramics For A Living?

02 March 2015 - 12:43 PM

We are a time and a half team and I think the thing I would stress is take your time and don't get in a hurry.    

 

It takes research and time to budget for, buy and learn to use your studio equipment and then its a forever process working out your product mix. I would recommend not just letting your studio come together with random buys based on what's available or what's cheap. Each piece requires some detailed thought if you are going to use it for production and in some cases the choices you make will define what you can or can't do, meaning either a costly upgrade or not being able to do something you want/need to do.

 

I would also be hesitant to buy old worn out equipment. Much of the equipment does last for a very long time but some needs regular maintenance and part changes and the savings you think you are getting may not be what you thought once you do some of this needed maintenance. A new set of elements for a kiln or a motor for a wheel are a couple of examples.

 

If you have an electrician put in a special plug for an older electric kiln you may want to decide what your upgraded kiln will most likely be so you can try and have the same plug installed. A Skutt 1027 is one of the most popular studio electric kilns, draws 48 amps and uses a 6-50 plug, This is a very popular spec but older kilns may vary. Factoring this later requirement into your used purchase you will make life easier when you upgrade. 

 

Buying one type of extruder only to find your work needs something different or a large slab roller when it turns out a small countertop or even rolling pin would not only be a better fit to the work but also fit your studio space better are just a couple more examples.

 

Good luck and remember to have fun!


In Topic: Setting A Kiln To Start Firing At Night? - Finishing When I Am Awake? - Nest...

20 February 2015 - 02:35 PM

in another thread someone suggested a timer set out beyond when you expect it too finish and I really liked that idea (after this post I am going to find that post and 'like' it :). One note though, make sure the time is set beyond the time for any controlled cool down period.

 

That way if by chance you didn't check on it right away it wouldn't just keep climbing. I think that is the most likely issue beyond the things you mentioned that can go wrong. If the kiln does not stop climbing due to an error or fault it eventually exceeds a safe temp and a fire can start as everything starts the big meltdown.  

 

We normally start loads late afternoon so the firing has stopped and the kiln is cooling down (controlled until 1200) b4 we go to bed. Like u, we never leave the kiln completely unattended while it is climbing either. 


In Topic: How Is Your Local Pottery Community For Social And Professional Interaction?

20 February 2015 - 01:22 PM

u mean a 326 miles away don't ya?


In Topic: Firing Disaster? Fired For 20 Hours - 9 Hour Soak?

20 February 2015 - 12:53 PM

well all we really need to do to know for sure is to set up a controlled experiment with 3 kilns. The first one will run a normal cone 5 program, the 2nd one will be set to fire the same cone 5 program twice and the third will be set for a cone 5 with a 10 hour hold. Then we can simply compare the results ';-) 

 

I'll take care of the regular firing so I just need 2 volunteers to do the other 2.