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  2. I'm a wheel man myself, and i don't think I really started developing actual skill until I started planning ahead of time what i was going to make and how. I generally sketch at least rough dimensions and then set about throwing something to those dimensions and shape. If I enjoy the way it looks, I will set my gauge and make a series of the same form. My goal is always to throw 2 dozen of the same form, I feel like it not only gives me a nice amount of stock on that item, but it also really hones that form and sears it into the gray matter. There is nothing like repetition to really explore yourself and a form. People ask me often what they can do to get past a hump or get on to the next level and for me it's repeating a form, it's like performance enhancing drugs for wheel throwing. So when do I decide? I decide long before i sit down at the wheel.
  3. Hi folks, once again nothing new on the QotW pool. So I will put forward the following: When do you decide? You are getting ready to throw, and the wheel being as immediate as it is as compared to hand building, when do you decide what to make? My own experience has changed the time for this decision over the years. When still young and learning to throw in college, I had set parameters in Ceramics 1, throw a 9 inch cylinder with 3# of clay. This allowed me to continue on and keep pots, but then what to make of a cylinder. . . .naturally MUGS. Ceramics 2 came around, and I started doing vases, casseroles and other things, never really thinking about weights or size, just what I thought would work. After undergrad, I started throwing and demonstrating as part of my teaching job, and it was about doing what I could do well, cylinders for pitchers or vases, or other things of size to impress the students, and demonstrate technique. Grad work came with time for post grad credits for permanent teachers certification. Here again things were pretty open, other than doing different genres, raku, salt firing, reduction firing, and a required variety of forms. When I started throwing at home, I just made, if I sat down with a large piece of clay 20# or so, it became a large lidded jar or vase. Then I became more interested in repetition, bought a scale and started throwing in repetition, trying to repeat a form in variations. So the gist here is that in the beginning I was forced into a decision, then later just sat down and what ever came to mind I made, later as I became more interested in functional forms I started weighing out with the intention of making a series of chalice, patens, honey jars or whatever. The decision time is more deliberate and often from need of stock rather than the fun of throwing. I know that there are others out there that take need to the extreme also, knowing that if they have to have 100 of something, that is what they throw. Not their decision, but more of a business decision. So for the QotW: When do you decide what you will make when starting to work? I have spoken about mostly wheel, but those of you that handbuild, is it with a sketch, just an idea, or just playing around? Wheel throwers, is it the day before, from need, an idea, before weighing out clay, or some other time? best, Pres
  4. I use Amaco and Mayco^6 stoneware glazes.. Amaco you need 2-3 coats of each glaze but i like to use 3 coats of base glaze and 3 of the top glaze... if you want something that really pops use Mayco bright green and cinnabar.. i doubt they have used this one as the bright green is not a common layering glaze. dont get stuck on just the PC glazes, you can layer all the celedons under and over a PC glaze as well.. opens up a whole new color chart..I use a speckled clay made by Kentucky Mudworks, its a white clay base.. the only clay color i did not like was red clay bodies, i tried 2 of them and the colors were just darker and maybe even dull.. they didnt pop much at all.. https://www.amaco.com/glazes-and-underglazes/layering#bottom_glaze=273&page=2 click on the picture you like- it tells you how many coats.. 3-3 is pretty common but there are some that are runny like salt buff and seaweed that may be 2..
  5. Yesterday
  6. irene, i have used little loafers for many years. it changed several years ago, though the manufacturer claims nothing is different. now it stays wet. i used to roll out a slab, cut a piece to shape, push it into thick foam rubber and the walls would stand up straight and just dry that way. the printers blankets would look slightly damp and dry fast. it is now wet, i roll it out on printers blankets and they look wet for an hour or more afterward. the slab is treated the same way but the walls fall outward so they are no longer at 90 degrees to the bottom. i have to run a finger along each wall several times to make them 90 degrees. maybe more of us should complain to highwater. i am about to use my last box from 2015, the year it changed. the second last is used up and i found it was at least a little dryer than the new stuff when i rolled it out.
  7. mine is a yellow green color.. seems to be working just fine.. went slow to 250 then did a hold at 975 .. it's at 1455 now.
  8. I don't like the texture to B-Mix it has a cream cheese feel to it. I use Laguna clay- Speckled buff, Red Standard, and Calico red and yellow. I tried a off white with a light Manganese speckle but it didn't have enough texture or character for me. I am doing coil work and the clay color and texture is part of the design. If you want a clay that works well with any glaze the off white with the light speckle would probably work well for you. The speckled buff changes white glaze to a cream color, if I could only work with one clay it would be the speckled buff. If you have a ceramic supplier near by you should learn how to work with the brand of clay they carry, it will save you a lot of money in freight. You need to look up the vitrification test in a book or on-line somewhere. I have been firing to cone 5/6 electric fire for 45 years. Denice
  9. Do you fire to 6? Is Speckled Turtle more speckly than 112? I don't mind that it might be darker, just how it works with the way I glaze. I have an electric kiln. Can I ask you how you determine it doesn't seem vitrified enough? Thanks!
  10. I think it's me that doesn't use it well. I rolled a slab yesterday and let it get to almost leather and cut out some flat pieces and sandwiched them in dry wall. They seem to be very flat but I won't know till I bisque them. I think I need to let the slabs harden like that more often, but usually I forge ahead and give myself problems. I think my bag of clay is very fresh and moist too, nice for throwing but a little soft for slabs.
  11. Why don't you like the B Mix with grog? What do you use to handbuild? It's ok if it's not white. Thanks for the input.
  12. I do think that spraying might be the easiest way to get close to this affect. To me, it looks like a dip method of some type was used. I'd have to post more pictures to show why. If it was a spray method they would have had to use a conical spray vs flat spray I think. But I'm no ceramics artist. The glaze is so pretty I thought it may be a known and well used technique. However, it could be lost to time. I'm going to keep hunting and if I figure it out I'll let y'all know. Bill, The brick arch under the hearth has settled. The plan is to reinforce it with framing and bracing. We were discussing about taking the bed down a half inch or so and installing a semi floating concrete board panel as a decoupling layer as well. Thanks everyone for your input!
  13. I think if I we’re doing it I would spray the base glaze and use a touch up gun (Maybe 1.5 mm tip) to spray the dark glaze by hand semi randomly. If I got real creative I would layout all the tiles (numbered) as they would be final installed and connect the semi random pattern from tile to tile a bit to drive the next guy bonkers as to how it was done. The Ombré to me looks more like a gentle feather not so much ombré. From what I see the tile did not fail, the bed did. You might be able to bridge it with an uncoupled membrane if you can’t stop the movement and deflection or it’s just too hard to fix the old bed reliably. I think I would bridge the new tiles regardless. For these areas not to reflect the crack underneath we would try to limit the deflection on the order of 1/360 th of the span which is a pretty small movement.
  14. Thanks everyone, and I've found the problem and solution! When I glaze smaller pieces I've usually done a single dip to cover both inside and out. This worked when my pots were thicker. But I've since thinned my walls, and the issue was being caused by too much water and too thin a wall for the water from the glaze to go. What I do now is -- glaze the interior, let it sit for a few minutes and then dip the outside separately. Haven't had a problem since changing to this method. I usually work in batches so the timing works out well.
  15. Folk art guild white with behrens satin matte on top Here it is with just folk art guild white
  16. Mine is any VOM I have handy so either grey or red or yellow. They all auto shutoff though so a bit annoying. I am addicted to the PLC graphic monitor now and am also addicted to the digital temp module displays which are cheap now as well and as plug in to the wall, stay on permanently. When I venture to other kilns I miss the graphics. Oddly after I created the software and graphics, one of the most useful pieces of info among many others Is knowing the firing rate. Unexpected benefit for sure. Now everyone is used to dialing up 200 - 500 degrees per hour or whatever they like. More toys the better I guess.. Turns out full blown controller is 39.00 bucks and panel meter is 70.00. Controller makes for nice always on display.
  17. Mine's greenish-yellow, also shuts down after some minutes; timed shutoff can be overridden, however, does extend battery life...
  18. If it is a glaze with chrome in it I don't think you would want to try making, applying or firing. These tiles were probably fired with wood or gas almost impossible to replicate in a electric kiln. I notice a seller on Ebay that seemed to specialize Victorian fireplace mantle tile. He had sets listed but he might have some small tile groupings. If you contacted him he might look for the tile you need, he would need a photo and the different size and shapes of the tiles. Good luck Denice
  19. Love them. They would need a lot of looking!
  20. So I've been doing glaze combo tests on glazes that I use but didn't think would be any good together. Got a few surprisers anyway. But what I've been doing for a bit is making carafes. Lots of them. I'm sending my first shipment of 10 with matching mugs next week. That is, weather permitting... It's been 50 degrees at 98% humidity here for a week, so things are NOT drying. Very frustrating, even when I have them on the tables next to the kiln, it's very slow drying.
  21. My pyrometer is the same. Lemme guess, the red one
  22. They shouldn't flatten, but I doubt you will get translucency.
  23. Well thank you! Yes, it is wood fired w/a celedon glaze. The brush is one of those Mack automobile detailer brushes.
  24. i finally got the kiln back up and going.. did a break in on the coils and shes ready for tomorrows bisque.. installed the Pyrometer and made sure it was working properly.. the only thing i do not like about it is, it shuts itself off after about 10 minutes and i have to turn it back on ...
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