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  2. The unit GEP linked comes in sizes; note the letter "S" on the nose portion. For your daily check, palms over the replaceable filters, try to breathe in - the face portion should suck down tight w/o leakin'
  3. At the pottery shop, where I work, we get "mask tested" once a year. A private company conducts the tests. About 8 people work with glaze materials so 8 people got tested. (I coordinated the event.) The mask test involves the tester putting a hood over the test subject and spraying a smelly substance under the hood. We look to the left, we look to the right. We look up, we look down. We bend forward, we lean back, All the while the tester is asking, "Can you smell that?" and then works with each test subject to make sure their mask fits tightly. They check our blood pressure and they note t
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  5. Hard to tell in the video but it looks like a bunch of release air along the perimeter and maybe little to none in the decorative relief lines. My thought - I think it would be preferential to release center out to overcome the roughly 14.7 PSI on the effectively evacuated interface plus any adhesive forces if you will, or at least uniformly from center out before the pressure escapes along the perimeter. For the local adhesion issue, a suitable mold release seems likely a decent easy fix.
  6. I don’t think you will have any problems when working with wet clay. I would avoid lotion before a glazing session though. If you touch a bisque pot with lotiony fingers, you may create spots where glaze won’t stick.
  7. This is the respirator that I bought, based on recommendations given on this forum a few years back. I’m very happy with it. It’s very light and the part that touches your face is soft and flexible. After it warms up with your body heat it will conform to the shape of your face and make a nice seal. I’m Asian so my face has an unusual shape, but this mask still fits me well. https://www.amazon.com/gp/product/B008MCUVN4/ After a year of wearing cloth face masks for the pandemic, I find that wearing this respirator is actually more comfortable than some cloth masks. The straps do not
  8. You have good air flow/purging so that's good. The design looks FAIRLY unobtrusive, so that's good. Thinking about it...the folks who use the presses, at the pottery shop, do allow their clay to stiffen. They are, however. using 30 ton presses. Can you use stiffer clay and pound it in using a hammer? (There's a video online showing such a process.) The RAM press also allows the user to throw the mold into vacuum. Does your device allow that? A drier surface could also help. Pure-Lube is described as a separating compound. (Like Murphy's Oil Soap.) It's typically used to separa
  9. Most N 95 and above rated masks rely on a good fit and being able to put the mask on with minimal leakage. Here is an article that may help https://blogs.cdc.gov/niosh-science-blog/2020/03/16/n95-preparedness/ even respirators require some reasonable practice to make sure they are fit well when you put them on, for them to be as effective as their rating. ……….. Lots of you tube instruction videos out there.
  10. So as the end of my 35 year quest to have my own pottery studio draws nigh, it suddenly occurred to me that the last time I was able to work much, I did not yet know about (and they were not yet as serious then as they are now) my allergies to anything derived from coconut and any other palm. Basically this boils down to no lotion for me. To date the only thing I can use is beeswax mixed with mineral oil, or hemp oil (not the druggy kind, the eating kind). It had not occurred to me until late last night (and yes, this was one of those rare sit-up-in-bed moments where you wonder why the
  11. If you can make it work it saves time and energy. Generally Once fire schedules are at bisque speeds so exploding pieces seems to indicate pieces that were not dry or sufficiently dried prior. Pieces that did not work out aesthetically can be a function of the combination of glaze and clay as well as potentially a firing schedule. You did not mention your schedule so just curious if you have something that works for you most of the time? Most potters I know have worked out which combinations and firing schedule work for them over time to avoid the high defect rate issue. No shame in once
  12. Sorry for joining the conversation late, but I am just starting up some tile production, and need to ask: Do you not worry about warping during bisque firing? If warping is unlikely, then I love the domino and vertical ideas; otherwise I might have to go all out with individual tiles on tile setters like I will be doing for glaze firings. Thanks in advance for your thoughts.
  13. Hmmm, tell me more of these Thermal-Lite shelves of which you speak. Are they really that resistant to being damaged by glaze drips? I've read that bad things happen if you let them get wet (apparently even a little wet is very bad). Are they harder to store properly when not in use because of that? Oh heck just tell me everything LOL!
  14. Here are a couple thoughts that might lead to some ideas: Metal sheds (fire resistant construction) are let’s say 14.00 per sf to 50.00 per sf for commercial types. Your kiln likely needs 3’x3’ space including minimal spacing from the wall and absolute minimum space to load and unload. A person needs about 3x3 space to stand in and maneuver a bit. So minimum size shed likely would be 6x3 to accommodate just the kiln, reasonable entrance and some space to enter and passage and some minor shelving or storage space.. Will a 6x 3 space work? I personally think it would be hard to work w
  15. Hi all! I've recently become enamored with tall, funky birds, kind of like sculptures, but I think they are hollow and also jaunty shapes with attitude, like teapots or pitchers that kind of lean or look like a person with a hand on her hip. I don't want to throw the birds, cause they have a narrow neck and I am not good at tall forms that narrow like that. Any ideas on how to handbuild them? As for the jaunty forms, I can handbuild or throw pitchers and teapots, but I'm unsure as to which would be better to then change their shapes so they are more intriguing. I know, I should
  16. Hi, new to these forums but really wanted to get some advice. I own my own small ceramic studio, I've been doing my own work all through the pandemic as I've not been able to teach. To try and save time, money I decided to try the one firing technique. First few bits of work came out ok. But the past two lots (and it's been a lot of work, a full kiln ) have either exploded or the glaze has just now worked. I think I'm being counter productive with my work. I have lots of pieces I can't use and now have to make more to cover orders ! Just wanted some thoughts on this pro
  17. Thanks Marcia; I replied to your message. My current focus is Raku firing pieces around 30"+ in height; though glaze blistering is the main problem I'm dealing with at the moment. I haven't been able to find anyone else doing pieces this size while searching yet unfortunately.
  18. Brand means nothing. It's all about glaze fit and COE as Hulk described. With commercial glazes there's not much you can do besides buy some and test them to see if they fit on your clay body. And just because one glaze in a glaze series fits, that doesn't mean that the others will. For instance, Amaco Potter's Choice glazes or Laguna's MS series are all different formulas, not just color variations of the same glaze. If you mix your own glazes then you can tweak glazes to fit.
  19. I got the L&L 23-S, which is a shorter kiln, and Thermal Light half shelves that are super easy to get in and out. I like the half shelves for flexibility-the kiln has a large capacity so I can do all kinds of varied shelf heights for a mix of different types of pieces, from flat smalls to bead racks to tall vases etc. in the same load.
  20. N100 or P100, labeled in purple. A mask will not fit as well as a respirator. Different brands and different models of respirators all fit differently, so if possible it's good to try one one before buying. Most people will find medium size to fit well. Personally, I have found 3M brand respirators to be the most comfortable, with softer plastic than others. Also look at the cost of replacement filter cartridges, as they can vary in price by quite a lot.
  21. I primarily use mid-fire commercial clay bodies & glazes from mainstream manufacturers such as Amoco/Coyote/Laguna/Highwater/Sheffield/Standard etc. and have not had any problems whatsoever with clay-glaze fit. I mix it all up and 99% of the time love the result. If you jot down what you used/what you did, if you run into issues you'll have a head start on figuring out what went wrong. Or what to do to duplicate that happy accident!
  22. Soda firing will show and accent every little bit of texture, and slip doesn't melt out smooth like glaze, so consider how you're applying the slip and how it will affect the final look. If you're talking about flashing slip, those are often applied very thin by dipping. Other slips can be brushed on thick for texture. I'd talk to whoever is supplying the slips to determine the best application method.
  23. Neil, thanks for your quick response to my questions. I appreciate your help. we have checked the fuse holder and will open the controller box to check ribbon connector etc. I had the controller box repaired after the kiln was damaged after hurricane Florence. somehow i think the repaired box is not the same since. I have had advice from skutt re the ribbon connector etc... who know, anyway I thank you for helping ease my mind that I have logically tried to trouble shoot the problem. we'll see, I am hoping that the kiln didn't overfire and don't have ware ruined. Best, Joyce
  24. Hello All, I have the opportunity to participate in a soda firing, this will be my first experience. I'm wondering if anyone can give me any tips on applying the slip? What tips or techniques have worked for you, or what hasn't? Thank you, Betty
  25. Hi MKelly! The matching likely to come down to "glaze fit" - where the glaze doesn't craze (crackles), nor shiver (flake off) due to mismatched expansion*. There could/may be other issues**, however, glaze fit is big. In my (limited) experience, glaze and clay by same vendor does not guarantee a fit! With a bit of luck, you might find someone who uses the clay you selected, that can recommend commercial glazes (or recipes). If you liked the clay and glazes at the community ceramic lab, you could start with those products. I did not like the clay where I got my start, so sta
  26. New-ish potter here! I've taken many community classes before but am just starting a home studio (got wheel and kiln 2nd hand). Starting to gather materials now and am wondering if you have to match brand of clay with brand of glaze? I assume you don't have to? For example, I have ordered some Laguna WC-608 stoneware clay but have come across some Amaco brand glazes that I really like the look of. How do I tell if these two products will fit well together? Thank you in advance, I'm sure I'll have lots more questions in the near future!
  27. I don't do kit builds, and tin is stupid expensive ATM. I've actually never seen a tin kit, just painted metal. But anyway. I built an entire house mostly by myself in the 90s. My only concerns here are ventilation and the actual footprint necessary for safe operation of the kiln. Those are not typical construction concerns, those are kiln safety concerns. Likewise the various schemes for dealing with the heat of a kiln, like the idea of channeling hot air through an air gap. I can build it - I just don't know if I need to go that far. As far as I know so far, there are no fire
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