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  2. The specific gravity won’t affect how the glaze drips but the rheology, or how the glaze flows will. This is the thixotropy of a glaze, or lack thereof. While I am a fan of Tony Hanson, Sue Macleod is a much more thorough and effective teacher on this subject. Her explanations are far more approachable. She goes into more depth on how to troubleshoot and fix things. https://suemcleodceramics.com Epsom salts would have been my first choice to fix a dripping issue. How much did you add, and was it thoroughly incorporated? Did you add your Epsom salts as dry material, or did you add them as a small amount of a super saturated solution?
  3. Sadly I wish it was that easy @LeeU. FWIW I had two relatives that passed during this pandemic. Young or old this isn't a thing I would wish on anybody. Lately major chains have announced that wearing masks is mandatory only to find it is impossible to enforce. A few days ago I went to Lowes to pickup something I needed for a home repair. Right in front of the only entrance was a sign stating that is mandatory to wear a mask to enter the store and to check out at the register. As I was entering there was a couple behind me going in as well, neither were wearing a mask. I stepped aside giving them social distance and let them pass. The guy turns and stares at me and angrily says, "Yeah, what are to going to do about it?" This is in front of a store employee supposedly asking customers to wear a mask. I looked at the worker and he shrugged his shoulders and he was a big burly guy which I am not. I was a bit shaken and said nothing knowing that was the safest course of action. People are motivated by money which is why I liked Roberta's idea. I avoided using the word "proper" because there are those that look for reasons to be offended. I don't want confrontation I want to sell some pots.
  4. Hi and welcome! Are you right or left handed? Typically if you’re right handed, you work with your right hand on the outside of the pot and your left hand inside with the wheel turning counterclockwise, and vice versa if you’re left handed. But there are a lot of ways to make pots, none of which are wrong per se, if they result in a pot being made. I would pick one method and stick with it on both wheels because there’s a lot of muscle memory to build, and trying to do it both ways is bound to trip you up. Hope that helps!
  5. Going through K-12 schooling, we did essentially no clay work. We had a single project, my Junior year, and those projects weren't fired, because our high school did not have a kiln. My Dad was originally an Art teacher as well, with an emphasis in Ceramics. He learned from a guy, who was a former student of Hamada. They were all about altering their thrown forms, and splattering on glazes and oxides in large motions with large brushes or nasal aspirators. So I grew up seeing those glazed wares around the house (Some of which did not survive my siblings and myself). When I finally took Ceramics in college, we had the studio glazes in the large Rubbermaid garbage cans. Not a *huge* selection, but I liked most of them, and since they were fired in reduction, nothing too "bright", more aged looking, which I liked. When I started teaching, we had mostly bottled glazes, and quite a few of them. It was a good variety and catered to pretty much any student's taste. We also had underglazes, which I was previously unfamiliar with. We talked about engobes and colored slips, in college, but not underglazes. I did quite a bit of experimenting with those glazes, and encouraged students to do the same, to figure out some interesting combinations. We also had some bucket glazes, that my predecessor really liked. Turns out, I like them as well, because I still use them fifteen years later, and at a completely different School District. My Dad gave me a couple nasal aspirators my first year teaching, to use in my classroom (He is still a big fan of them). At my second District, all the glazes were in five gallon buckets, and there was a way smaller selection. I liked the colors personally, but the students opted for underglaze, which gave them more color selection. My current classroom is more like my first. We have a good selection of bottled glazes and underglazes to choose from. I do have those couple of glazes I mentioned, in buckets, though I probably use them more than the students do. Despite my insistence on the ease of dipping and pouring, the students are more comfortable with applying a color, using a brush like they have been doing since Pre-K, and I don't fault them for that. Currently, I personally lean towards dipping and pouring glazes, because it just works so well! If I'm doing an intricate design with underglaze, then I'll bust out a palette and some fine watercolor brushes. But if I'm glazing, point me to the large vat of earth-toned liquid!
  6. Send an email to the address on the serial plate and see what they say.
  7. That kind of makes sense. Try letting it run for a couple of hours and see if it goes away. If not, ask for a replacement belt. It just seems odd that a belt would have a flat spot, because belts are usually already flat. It could be they're using a round belt of some sort that has flattened due to sitting.
  8. Unless you've got auto-ignition on the kiln, a control board would be overkill, especially if you're already using a high limit shutoff controller. With a basic Baso system, you'll be manually lighting the system, and the high limit controller will open or close the solenoids as needed to shut the system down when it reaches the safety temp. That's a pretty safe system. If you're using power burners, then you also want to wire it up so the solenoids shut down the gas if there's a power loss to the blowers- basically put everything on the same circuit. If you're wanting the board to control the rate of climb, etc, then you need valves that can adjust the degree of gas flow, not just cycle them on and off like an electric kiln. When they cycle on and off, the pressure in the kiln gets messed up and the kiln fires very unevenly. In combination with the gas adjustments, you also need an automatic damper adjustment that can control the pressure in the kiln, as that will change as the gas and temperature increase. It becomes a pretty complex and expensive system to go fully automated.
  9. If there's too much paper in the kiln, the vent will not be able to keep up with the amount of smoke being produced and it will come billowing out of the kiln. No damage to the kiln, but I've had a couple of schools I work with set off the fire alarm and smoke up the hallways because of this. Downdraft vents are made to remove just enough air to draw out the fumes made by the clay and glazes, not the large amount of smoke from burning newspaper. So get as much of the paper out as possible. How much is too much? No idea, but you'll know when it happens.
  10. At the very least, you could strengthen them a bit, by putting them in a bisque fire, which is going to be about the same regardless of the type of clay. Fire them to Cone 04 or 05, which will make them a whole lot stronger than they are as greenware. After that, you could "sacrifice" one, and begin firing it at increasingly higher temps. Start at Cone 5 or 6 and go from there. I should note, that if your kiln is rated for Cone 8, that is the hottest it will get with brand new elements, and only a couple times after that. From that point on, it will only get to Cone 5 or 6. Before you bisque fire the wares, I would also buy some clay, that rated for whatever the highest temp you plan on firing them to. Make some rimmed dishes or plates to go under the wares. Bisque fire those along with the old pottery. Have them sitting on the dishes/ plates you made, when you start firing them hotter. This will protect your kiln and kiln shelves in the event that the old pottery melts. (This answers your question of what will happen to the pottery, if you over fire it. Low fire clay will melt at mid and high fire temps, and mid fire clay will melt at high fire temps. How much they melt is dependent on how over fired they are. I bought a damaged second hand kiln that likely had low fire clay, fired on the high end of mid fire ranges. The projects melted into nearly unrecognizable mass, and started to eat into the bricks on the kiln floor. If you under fire the clay (say it's actually a high fire clay and you only take it to mid fire temps) it just won't be functional The clay won't be fully vitrified, and would absorb and seep liquids, on any bare spot. So a lot of things to consider, it kind of depends on what your end goal is with them, and whether or not you are OK with losing one of them in testing.
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  12. Hello - I have been throwing cylinders on my kick wheel for 3 months, teaching myself. I have the wheel going clockwise which seems good - Now I have just bought a small electric wheel and wonder if I should use this one anticlockwise so I don't pick up bad habits. Any comments would be interesting on this subject Thanks
  13. Hello All I have just bought the RK 5T Shimpo Aspire wheel after reading great things about it. However there is a knocking sound each time the head moves once around, where I have bought if from says because the machine has probably been sitting for 5 months an indentation has occurred on the belt which is causing the noise & that this should disappear with initial use. should I accept this? or return the wheel. I have tried it on different surfaces and the sound is still there. Any advice please Thanks
  14. I have seen a lot of reference of late on the forum talking about commercial glazes, or homemade, and the reasoning behind using each. As there has not been a new question of late in the question pool, I will pose one based on that observation, and an assumption about the choices. My question for all of you out there is What glaze expectations/conceptions did you bring with you when setting up your studio and how have these evolved.? My very first introduction to ceramics as something someone would make in the family came from my parents when we were in Hawaii, stationed at Hickam AFB. The community center on base must have had some sort of ceramics class, that my mother would go to. She would bring the bisqueware home and carefully glaze them with little bottles of glaze, and eventually my father would be helping hre out or making some of his own. Those little bottle would be cleaned out completely and horded for the next project. They would constantly be discussing how one or the other would work and how it was supposed to look when finished. It kind of reminded me of the paint by number sets we would have around the house on occasion. Flash forward to My first college class where glaze were in 5 gallon buckets, and brushing onto a pot in many cases was almost. . taboo. These glazes were not premade, but made by the professor and his few preferred students. We would dip and slosh, pour and splatter, put banana peels on top of pieces, sprinkle in nuts or bits of glass, all sorts of things. It was freedom of a new sort, and full of magic and mystery. Then I started teaching at a HS where the glazes came in bottles, larger by far than what my parents had, but still premade from Amaco. We had maybe 20 different ones, and they were precious to our budget, as for the size of our classes every penny counted. I eventually moved the program into house made glazes, a series of recipes that required a limited number of materials but with enough flexibility to have much more than ever before in the way of glaze variety. I did overcome some of my prejudices for premixed materials when I started buying engobes or underglazes for greater color and brushing decoration on some of the student pieces. So once again QotW:What glaze expectations/conceptions did you bring with you when setting up your studio and how have these evolved.? best, Pres
  15. I wasn't terribly worried, especially since it was a limited, one time exposure. I just found the timing of me hearing the story and myself getting some on me, to be a fun coincidence.
  16. Tony Hansen's suggestions https://digitalfire.com/4sight/library/thixotropy_and_how_to_gel_a_ceramic_glaze_73.html have been very helpful for me. I use Epsom salts (or vinegar). Have found that a good grip is also helpful, for it allows me to give the piece a downward shake and twist+flip to fling away gathering drips; from there I'll run any remaining drip around and around the rim ...once the glaze is set up, I'll wet a finger and smooth the drip (if any). Timing is important; practice helps. Be sure to stir before each application - that thin layer of more watery glaze at the surface will wreak havoc. Good luck!
  17. Can gently even them with fettlingknife or carefully " sand" , I use a kitchen green scratchy pad thingie
  18. Thanks everyone, I sorted it. Just in case anyone gets the same issue, here's what I did: I popped it apart by stacking various pieces of wood between the head and the base and using leverage. The photo below was taken at this stage; before cleanup. I then used an air compressor to blow any loose stuff out. Then sprayed degreaser into the bearing. Then flushed it out with water. Allowed it to dry in the sun. Packed some proper grease into the bearing. Also cleaned everything rusty with wire wool and WD40. Popped it back together. Now it spins beautifully. I've just given it a good spin and fully expect it to still be spinning at Christmas...
  19. Those nasty drip marks look like a slip texture on the cup...but if they are that persistent, I'd look for a different glaze to work with. I'm not a dipper, so I've never experienced this before. Have you fired any of the pieces yet? If not, give it a shot and see what you come out with. You might like the effect. If you have, what does it look like?
  20. why do you want to fire these pieces?
  21. throw a thick bottom, cut the bottom with a loop tool and avoid the places the feet are. then adjust the feet for decoration. only one way, there are others.
  22. Morning, After a fruitless google search using what are probably the wrong terms and a search of my brain where I know this knowledge was stored at one time, I am flummoxed. I can't remember how to cut feet out of the bottom of a jar/cyliner/bowl. A client wants a piece with feet like the ones on this antique piece, and I need help. How do I cut feet like these out? Any help would be appreciated. Thank you, Nancy
  23. Hi, I’m firing earthenware at 1050 C using a commercial Ferro glaze. I can’t seem to find a fix for this nasty drip marks when dipping.. In this particular case the specific gravity was 1.5, too high, recommended is 1.4. but even at 1.4 i’m getting drip marks. My guess is the glaze is under flocculated, can someone correct me if i’m wrong? epsom salts probably don’t help, tried on a small batch, i guess theres little to no clay. i’ve made it thixotropix by adding an additive similar to OPTAPIX G1308 (binder and flow agent). that made it a little better but not good enough. I’d love to hear your thoughts on how to go about this issue. https://imgur.com/gallery/odrmHGD
  24. Lol. I set this up to fill a Togo bottle and was going to do something else while it filled.... Then I quickly realized I essentially setup this scenario, where the weight of the water would transfer and end up knocking this glass to the floor! But who doesn't like to hear glass break! Lol! Sorce
  25. Though some folks have succes drying between layers of things, It is actually uneccesary, and as we are witnessing, actually highly detrimental, depending on the clay, and prior treatment of it. Just ONE extra swipe of the rib on one side is enough for some clays to want to bow. Any minor amount of bowing trained into the molecules IS garaunteed to break if that bowing has nowhere to go. Hence the breakage in this project. Most of the shrink occurs by leather hard, shrink is what makes things bow, by ribbing and flipping until leather hard, we completely eliminate the need to "keep things flat". No shrink no bow. Add in the "pinning and shrinking", which is essentially the same phenomenon as "s" cracks, and it's quite easy to see why near every piece is cracking. But screw speculating failure. I am absolutely positive all you have to do to find success...is... Make a slab correctly, rotating and flipping between about 60 and 80% evenly. Then Rib perfectly evenly. Depending on slab size, x amount of strokes in your most comfortable position (usually towards you) then spin the slab and do all 4 directions. Sandwich and Flip and do all 4 directions. Note, spin the slab, because you can't apply the same pressure with an away stroke as a towed stroke. This is a requirement of perfect. Spinning on a wide banding wheel works. After a couple flips the clay should no longer stick to the Flipboard at all. One more ribbing for good measure. You may decide to outline your cuts and texturize here, to minimize texturing failures that can occur with thin strips. Then cut out your strips. Some clays may require a downward full sheer cut to not introduce warp again. Dragging a knife down one side reorganizes those side molecules again, which can then warp during firing. These can be left in the wide open to continue drying. If you, @LeeU can't get near 100% success with this method, I will buy you a box of clay. Sorce
  26. No, im guessing between 3000-3500. It's almost brand new, no real usage. I am located in Norway.
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