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About perkolator

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  • Birthday July 18

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  1. Main reason why I discourage people from using wadded newspaper and other armatures when hand building sculpture, they're usually unnecessary with proper construction methods and can create problems like you're experiencing. I'd bust out a drill and make a hole up into the neck cavity from the base, then get at it with extracting as much paper as you can.
  2. Silicone only really likes to stick to silicone, otherwise you're looking at more of a mechanical fit. My best advice is to get a hold of some food-grade casting silicone and basically cast your own ONTO the clay object.
  3. First thing you EVER do when working in a new studio is measure the kilns
  4. For shelves I usually start with hand tools -- cold chisel/hammer/silicon carbide rub-brick. Bad drips that eat into furniture I use a 4" angle grinder with a diamond-core grinder head -- I used to use a silicon carbide masonry head but the diamond-core head works amazingly well in comparison.
  5. Anyone looking for a good stick blender, I finally found one. Waring Pro WSB33 commercial grade at only $80 on Amazon. Went through 3x Cuisinart stick blenders, they all failed at the connection where the shaft detaches for cleaning (plastic parts inside). Anyways, this one does not come apart, steel guts inside and haven't been able to kill it yet Follow up with small Talisman test sieve. Larger batches using a drill with paint mixer head (do Jiffy mixers really do that much better???) and follow up with Talisman crank sieve. Rarely do dry mixing of glaze, it's always inside a
  6. No prob. I think the key to his success was to make a base coat of exterior house paint, then he'd use acrylics and whatnot to do his line work. He only used quality acrylics, like Golden I believe, I doubt the cheaper paints would last as long as these did. Good luck
  7. Nail polish, enamel paint, acrylics, latex paint, etc. Artist friend of mine used to paint a lot of his work with "oops paint" from hardware stores and good quality acrylics -- his painted surfaces have held up on some of his outdoor pieces exposed to CA sun and "winters" for the last 10+ years and only in last few years have seemed to fade (the acrylics)
  8. FYI, Placer High School in Auburn CA is hiring a new Art Faculty to take over Ceramics. Job just got posted this week: https://www.edjoin.org/Home/JobPosting/1016332 They want someone good, someone who knows ceramics and who will help continue inspiring and attracting students to their awesome art department - so pass this along to anyone you know who's looking. The classroom is already setup - lots of nice butcher block work tables, an elevated wheel throwing area for their electric wheels, attached kiln room with a brand new Skutt oval and another 1227, outdoor kiln yard se
  9. Wondering if anyone can please share their source for thicker nichrome or kanthal wire and rods? Thick as in anywhere from say 8-16 gauge thickness (~3mm-1.5mm), not the thin stuff. Want to make some custom kiln furniture such as stilts and bead racks, etc. The nichrome at all the local places is too thin for our application, like 20ga or thinner. They do carry the normal 1/8" bead rack rods, but they add up $ quickly when sold a la carte. Some of the thicker rolls of wire I'm finding are about 12ga at about $1.75/ft For something like 9ga I'm seeing about $4/ft
  10. ^Sorta, yes. The glaze in question is just a matte white, the speckled look you want comes from interaction with the iron in clay body mainly. If you're looking for something to experiment with I'd suggest you try ilmenite. Can be added into your glaze or wedged into your clay body to create speckles.
  11. For a project like this I'm thinking you need a slip/engobe that has a much higher than normal tensile strength or to cast it thicker - otherwise it's super fragile like you're experiencing, like look at it wrong and it's going to break, lol. The problem with trying to "layer" your material and gain thickness is that you now lose all the detail you were trying to capture -- such as the texture of fabric, yarn, sponge in this case, etc. The key is to have a very fine particle size and allow it lots of time to wick up into the material you're trying to impregnate with slip. Ceramics t
  12. I can't think of anything either that resembles glaze and is a cold surface other than paint. Closest thing I could suggest is silicone ( and possibly clear epoxy resin) There are silicone casting products that are rated food-safe - an example would be Smooth-On "SORTA-Clear", which is a translucent silicone rubber (I think you can tint/color it too?) Not sure about the epoxy resin products. I'd assume fine for cold items, but not for warm items. Silicone is good up to at least 400+*F, you can stick it in the oven for baking or pour molten sugar in them for candy, etc.
  13. Have you tried firing it even hotter than ^6? Like up to ^7 even though it's a ^6 clay? IMO it's worth a test (use a waste tray/shelf underneath just in case) You mention you "can't see any crazing"....to a molecule of water or a tiny bacteria, a teeny tiny fissure in the glaze is like the grand canyon, of course it will make it's way through! If your glaze is crazed, the glaze and clay body do not fit one another, their coefficient of expansion is too dissimilar. This is only part of your problem, the other seems to be lack of vitrification in the clay itself. For those experiencing s
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