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Everything posted by yedrow

  1. Sadly, teaching is both a talent and a skill. Without sufficient amounts of both it will be done poorly. Some people seriously have weird ideas about teaching. One of the most common of the weird ideas I've encountered is the idea that bullying is a teaching style. Don't let her bully you. Bullies often depend upon convincing others that they themselves will suffer if they are called out about their behavior. This is just a deception. If this woman is bullying you and your classmates you should inform her superiors. Bullying an artist is flat out one of the dumbest things I've experienced people doing. The worst bullying that I've experienced outside of high school has been done by potters. I just don't get this. It's like they think we live in the fifteenth century. Joel.
  2. I'm a firm believer that one's legs should be parallel with the plane of the wheel head and the seat should be tilted about 10º. I use a converted saddle stool at work (round seat instead of saddle). It is very comfortable to work on. Joel.
  3. Marcia, I just did that, heh. First I put a brick under the legs then I went down to some boards that are about 1.5 inches thick. It seems to be better. I guess whining about it wasn't working as well as I had hoped. Joel.
  4. Neil, You may be right. I get crotchety when I'm uncomfortable throwing and for that reason I flat out don't like the Bailey. To be more specific, it is uncomfortable compared to my Clay Boss, all three of my Brents (including my kick/electric), the Pacifica, and the Soldner. Also, I'm not using a TS. I'm using a Bailey knock off of the TS. They just look the same in pictures. Joel.
  5. I use a Bailey with a big splash pan. It is just plain uncomfortable. It's fatiguing to sit down and throw for an hour or so since it is too low relative to the proper height relationship between my pelvis and my knees/feet. The peddle is so tall it forces me to put a brick under my right foot. From the pics I saw of the TS wheel I'm guessing the same design oversights are at play. If I can't get my Soldner back this winter I guess I'll just have to stick bricks under the legs to lift the wheel head. Joel.
  6. I had a problem with my kiln's relays so I put bigger relays on it. I've had several successful firings now. It's an old kiln and I think it loses heat too fast so the current passing through the relays is greater than that which would pass through a relay on a new kiln. Also, the relays that came with the controller looked pretty cheesy, not that looks matter lol. Joel.
  7. US Pigments is about the cheapest I've found. However, their customer service is horrible. They double shipped a three pound order I made for cobalt oxide and despite producing computer proof that I didn't make a second order of cobalt three days after the first, they refused to pay the return shipping and were a bit insulting in their refusal. Joel.
  8. I pug the clay and then cone up and down two times for anything over 2 pounds. This takes care of cracks. Good handling after drying is important too. A well designed clay will actually tolerate a lot, as long as you don't break certain rules. A poorly designed clay though will impose itself upon your work. Joel.
  9. I'm interested. Please post pics when you to your tests. Joel.
  10. This is the recipe. There isn't a lot of EPK in it so I don't think that is the problem. Custer Feldspar............. 24.1 Gerstley Borate............. 13.8 Wollastonite................ 5.8 Magnesium Carbonate......... 2.5 Barium Carbonate............08.6 FRIT 3134................... 8.7 FRIT 3195................... 2.3 EPK Kaolin.................. 9.9 Silica...................... 24.2 Rutile...................... 8.0 red iron oxide.............. 1.0 I'm working on a newer version of this glaze so the problem could fix itself. I'll do a test on it this week. Custer Feldspar............. 25.17 Gerstley Borate............. 17.70 Magnesium Carbonate......... 2.61 Barium Carbonate............ 4.29 FRIT 3134................... 9.09 EPK Kaolin.................. 10.34 Silica...................... 30.80 Rutile...................... 8.00 red iron oxide.............. 1.00
  11. I'll try the bentonite. From what I've read though, bentonite can cause the same problem. I was trying to avoid this effect. Would a 1-2% mix avoid exacerbating the problem? Marcia, It is pretty thin and I still have the problem. At the moment the glaze has a specific gravity of 1.47. I need a solution that will keep this sg. If I'm understanding the articles I've read about CMC, it can toughen the glaze. But, I don't know how to use it. From what I've read there is a learning curve to this material. Joel.
  12. I'm having an issue with one of my glazes cracking as it dries on the bisque. The problem is worse when it is put over another glaze. This of course leads to crawling on the fired ware. I've tried using Veegum T to toughen it up, but not to much effect. I have just inherited some CMC, but I don't know how to use it. Is that a possible solution to this problem? Or do I need to do something else? Joel.
  13. Thanks Marcia, that is a good, pithy, explanation of those chemical properties. I cut and pasted it, Joel.
  14. I like challenges. When I was younger I played foosball for money. I got 9.5 inches in two pulls and just a squeak under 12 in three. If I did a few with that purpose in mind I'm certain I could get up around 13" or maybe a little more. I torqued this one about half-way up (trying too hard) and that cost me a little height. http://ceramicartsdaily.org/community/topic/4793-12-inch-club/ Thanks for pointing that out, it was fun. Joel.
  15. Just a tad under 12 on one try, three pulls, with a bottom. Joel.
  16. yedrow


    Cone 6 work.
  17. yedrow

    12 In Pot

    From the album: ^6

  18. Thank you Pres. I'm curious, what is a, "nine inch club?"
  19. Nancy, Thank you for the complement. I mean 3 pound regular size pie plates. This is a video of me making a pie plate.
  20. I throw four to five days a week at work, and I work at home some as well. It's a pretty tight pace. Throwing bigger stuff uses up a lot of clay. That being said, unlike Neil and others I don't throw anything over 20 pounds and rarely that much. I make production stuff at the pace customers purchase it. Most of what I make is 6 pounds and under. That means lots of mugs and pie plates. Joel. Joel.
  21. Thanks for taking care of the site John. I was wondering if I had a virus on my mac. Joel.
  22. John, that was very informative. I'm referring to the size change that occurs during kiln cooling and during use, in an oven for instance. I may be all wrong about the terms I'm using. It wouldn't be the first time. As I understand it, the clay and glaze will shrink to the maximum loss in size at the maximum heat-work they experience. Then, as the materials cool they will contract. In this case, COE would be seen as -COE, or coefficient of contraction. At room temperature then they will expand and contract relative to temperature change and if they get very (~400 f.) hot they will experience however much of a crystobalite bump the body possesses. Also, if the glaze has a greater COE than the clay, it will craze, if a lesser COE it will dunt. Given both are excessive enough to generate a sufficient differential. Isn't that what it means when Insight lists COE? If not, please explain since I'm totally confused Joel.
  23. Ben, by failure I mean shivering, dunting, crazing, etc. John, I understand. I need to know the COE of the body I'm using. My supplier doesn't have this information. I'm guessing I'll have to extrude some bars to get a ball park figure and go by that. This is really probably not very doable without a dilatometer reading of both the clay and the glazes. I was drawing inferences from what I took to be an average set of glaze COEs, from original sources. Is there any value to drawing such inferences? I don't think I can afford dilatometer testes. But, that being said, if I only had the clay tested perhaps I could. I guess my main question would be that range of acceptable COEs, `6.5-7.8, good for a rough draft on a glaze designed in Insight? Joel.
  24. I have always used melted wax in a skillet. I dip work with flat bottoms and I paint it on footed ware. I've tried the sponge method but there were problems (not coming to mind at the moment). Wax resist has never worked well for much of anything to me. I use it when I have no other choice. I'm very interested in trying the damp carpet trick though, thanks, Loretta! Joel.
  25. Since this came up in another thread... How does COE work in a relative sense? I understand the dilatometer sense. But the COE of one glaze relative to one body doesn't seem to have the same effect as the COE of another glaze on the same body, at least as far as failure goes. Am I correct? I've been looking at glazes that are within Insight or in the Roy/Hessleberth book and I find what seems to me to be a pretty wide range of COEs. I've been assuming that a COE of ~7.8 (Insight) to be the upper limit, and ~6.5 to be the lower limit. Is this even close to right? Joel.
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