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Isculpt

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Everything posted by Isculpt

  1. I ordered a large new Olympic oval kiln, interior measurements 35" L x 25" W x 29" H. It has the counterweight lid lift assist handle. It was to be delivered next week, but when I stopped by the clay store to look at it today, we tore away the wrapping and found a small crack at the front of the lid, where the handle is screwed on through the metal band that wraps the lid. (It looks as if someone didn't pre-drill or they didn't drill deep enough before inserting the screw.) The crack is about an inch or so long and doesn't go all the way through to the underside of the lid. The store owner mentioned having it repaired, but I think it needs to be replaced. It seems to me that the crack will only grow as stress is continually put on that spot when lifting the lid. The store owner told me that she will have to remove the lid and make the 4-hour drive to Atlanta to swap it out, as the Olympic folks will not deliver another one unless they happen to be delivering something in the vicinity. The owner is really nice, and I don't want to make her life harder by being unreasonable, but this was a big investment for me, and I don't want to watch that crack grow. What would you (more experienced kiln-owners) do? Jayne
  2. Let me reiterate and emphasize what others have said : Find out EXACTLY what is included in the purchase price in terms of delivery and set up. A friend ordered a kiln and was shocked that there was no liftgate to lower the kiln to the ground. Further, the truck driver refused to lift a finger (insurance restrictions, he said) to help my 4'11" friend. She had to build a ramp out of boards she had in her yard and then get the kiln down the ramp by herself, then move it 40 feet to her studio. I don't know where you live, but I just ordered an Olympic from Carolina Clay Connection in Charlotte NC, and for a $150 charge, CCC will deliver the kiln in a small truck (very important if you have a long, twisty driveway like mine), unload it, set it up, and hook it up to the electrical box. I consider that $150 well spent. Check and see if you can get similar service.
  3. Thanks all of you. I definitely will send a picture to Shimpo. And if I don't hear from them I'll paint or oil the thing myself.
  4. I've wanted a nice banding wheel for a long time, but at a hundred bucks for the larger Shimpo, it took me awhile to go for it. After 3 weeks of light use, the top (cast iron, I guess?) is starting to rust. I'm worried that a year from now it's going to be pitted and pocked with rust! Is this "normal" ??? Jayne
  5. I posted the same question a while back. This link should take you to that conversation, where I got lots of helpful ideas about creating texture. http://ceramicartsdaily.org/community/topic/3867-materials-to-press-into-clay-for-random-texture/
  6. Wow, I'm surprised that Elmers stuck to a soaped surface, too. It must be that the surface absorbed a lot of the soap product. One thing I do know about Elmers (and some other glues, too) is that while it may hold at first, applying some pressure to it will make it let go. It can fool you into thinking you've got a good bond, but do try to break the bond to test it. Better you should find out that it's gonna let go while you're testing it than when you're carrying it across a tile floor. Guess how I know that!!!!
  7. I Googled Liquid Nails to see if there is a product by that name that I'm not familiar with, but all I found was the construction product. I'm very familiar with Liquid Nails in a caulk-like tube as used in construction, and I don't recommend it for small jobs. It's quite messy and clean-up is not easy. It is also too thick for the kind of work shown in your attachment. I've used it to attach 20 lb wood moldings to cabinetry, but I'd never use it for anything that required small, precision work. I know nothing about plaster, but does it not work with miracle glues or 1-minute epoxies? I use the 1- and 5-minute epoxies on everything that I do with ceramics.
  8. Nancy, I feel your pain! I'm basically shy, so my first shows were agony. I supported myself for nearly 20 years doing craft shows with work that ranged from $50 to $1000. My selling style necessarily differed from that of someone who sells $5 and $10 items, but I think that the lessons I took away from all those shows would serve anyone well. I learned that most people attend shows with the intention of enjoying themselves and maybe buying something from a craftsperson whom they feel a connection with. So I stopped looking at every visitor as a potential buyer. I treated the visitors as I would treat a guest in my home; i.e. I chatted with the ones who wanted to chat and I left alone the ones who didn't. It took some acting skills, but I took the dollar signs out of my eyes, hid my financial anxieties and made them feel that they were welcome as visitors, not as buyers. Most people are very sensitive to the vibe that you put out, and if you can relax and share with them the joy that the work brings to you (whether it's antiques or handcrafts), then they can relax and enjoy the work, too. Enjoying it is just a step away from buying it, if they are acquisitive people and can afford it. One of the nicest unintentional compliments I received from a fellow craftsperson was that he thought I was a "trust fund-er", because it never seemed to concern me whether my work sold or not. Believe me, it concerned me deeply, but putting out that vibe made people feel safe. And feeling safe meant that they could relax, enjoy the work, make a personal connection, and maybe even buy something. Jayne
  9. Thanks all of you. No, I'm not doing the work myself. But having spent years in the construction industry, one thing I learned is that it's helpful to know a little something about the work someone else will be doing. You cannot imagine the non-code things I've seen licensed professional tradesmen do in new residential construction, which is where I spent much of my time between 2000 and 2008 (when the bubble burst).
  10. Thanks, Karen! It's always the obvious stuff that plumb evades me! Jayne
  11. Thanks, all of you. I didn't want to believe it was 4 gauge, but apparently it is! Since it's such a large unwieldy gauge wire, I was going to run it up through the attic, then down again to a cut-off box by the kiln, but after Terry's comments, I think I may keep it in a conduit along the ceiling line. I need to have the wiring done before the kiln comes, so I'll double check with the Olympic folks, but it sounds like 4 gauge it is.
  12. Occasionally someone replies to a post of mine several weeks later, and I'd like to be notified by email that another reply has been posted, so that I don't miss their post or fail to acknowledge it. Toward that end, I visited the notifications page on my profile page and selected "notification by email" for everything that was offered. But I still don't get email notifications (other than for personal messages). Also, I noticed that there are two options shown for notification methods, and I recognized the email option by the envelope icon, but I don't understand what the other option icon (a silhouette of a person) refers to! Can anyone offer any insight on how to get email notifications of replies to my posts?
  13. Shirley, I didn't find your post until now. Thanks for the insights. As a sculptor, you certainly understand the challenges I'm facing. I have to admit that I was afraid that placing a tall piece on its side would have unhappy results, but I was hoping to hear that I was just being a worrywart. I'm currently limited by the size of my kiln -- 18"x18", but I've ordered a much larger one that is 29" high, 35" long, and 25" deep -- and ALREADY I'm trying to figure out how to fire work that's taller than the new kiln!!!!! Jayne
  14. I have a new electric kiln coming which needs to be wired. I have a single phase home breaker box; the kiln requires a 70 amp breaker. What gauge wire should be used by the electrician? Friends, from a do-it-yourselfer to an electrical engineer, have insisted on everything from 4 gauge to 10 gauge. thanks, Jayne
  15. Denice, can you explain your answer a little more thoroughly? thanks....
  16. This post may seem that I'm shilling for Susan Schumpert, a potter who sells Olympic kilns, but I promise that's not the case! She retails Olympic kilns that have been refurbished or that have scratches and dents and such. She also sells new kilns at 30% off retail. I found her two years ago through a pottery site that lists items for sale by potters, pottersweb.net. She posts a list of available kilns a couple of times a year, I think. She was really helpful to me when I went looking for my first kiln, although I ended up buying locally because I needed to have the kiln delivered and set up for me (and the local seller was the only retailer who offered that service). I don't know what kilns are available at the moment, but you can Google her name to get contact info.
  17. Sorry about that. The reply box showed that it was attached.....Maybe I accidentally hit "clear selection"!? Anyway, this should get it! Jayne InstructionsSlabAluminumEdgeForHomemade.pdf InstructionsSlabAluminumEdgeForHomemade.pdf
  18. For those with handmade slabroller tables who are having issues with the canvas getting yanked down between the output table and the bottom roller, here is the file that Mike at Bailey sent to me. It shows instructions for finishing the edge of the output table with an angled aluminum strip. He said that they are using this method more than the old one where you cut the leading edge of the output table on a long slant parallel to the roller. This will require a bit of time, so I'll post again when I've made the change and given it a test roll. Jayne
  19. Peter, that's how I do it -- using one canvas sheet folded in half, but I leave the top canvas draped over the roller since that's supposed to help avoid wrinkles. And let me be fair to Bailey's -- the technician, Mike researched further and sent me an alternative solution in a pdf file. It uses aluminum angle on the output edge rather than the long taper. I'll try to attach that to the next posting in case anyone else with a handmade table needs a solution to this problem.
  20. Sorry about the spelling above. New tablet, new keyboard. My husband called Bailey for me since he spent an hour or so working to diagnose the slabroller problem last night and I'm notoriously non-mechanical. The only diagnosis offered by a technician was that the output table needs to be no further from the roller than a double thickness of a sheet of paper. Since that pretty well describes how it's been since day 1, that's no help at all I'm pretty disappointed with that level of "help", and sorry I have nothing to pass on to you.
  21. Good groef. if it has to do with humidity, I'm well and truly screwed here in South Carolina! And your technique wouldn't help me, since the canvas takes a nose dive immediately, before I could grab it! But I'll let you know what I find out....
  22. We built our own table exactly to Bailey's specifications. My husband is a former furniture maker -- when something calls for a 1/6" inch clearance, it doesn't get 3/32", it gets one sixteenth! So that's not the problem. The tables are covered with smooth formica so there is nothing catching the canvas. The tops seemed tight and secure, but tonight we removed and reinstalled the table tops, both feed and output, with no improvement. I've asked myself what could have changed after an autumn and winter's use to make it go weird this spring/summer. We studied the progress of the canvas for over an hour tonight, and every time the canvas starts to slide properly across the output table for about an inch before it suddenly buckles and slips down under the receiving table.We finally threw up our hands in defeat and walked out the studio door where we darn near tripped over a BIG (2" diameter) copperhead snake. We like snakes, but with 3 cats and 3 dogs (and me) blundering about, coexisting with copperheads is not an option. No sooner had we dealt with that one than another one made its presence known. All-in-all, not one of my better days. (Not that it was a particularly good one for the copperheads either!) Tomorrow I'll call Bailey.
  23. Thank you both. As I said, I'm fairly desperate to understand and alleviate this problem. At the moment, I'm trying to learn a new smartphone, a windows 8 computer, and I'm ordering a kiln with my first electronic controls. I NEED something that works right and easily in my life right about now!!!
  24. No, the Bailey doesn't allow reverse rolling. This slabroller has been used fewer than 40 times, and I don't force it to do major reductions in slab thicknesses (I reduce the clay slab by no more than 1/2 -3/4" with each roll-out) so I wouldn't expect any of my problems to be due to wear-and-tear. But I'll look into the possibility of wear-and-tear on the screw holes anchoring the roller to the table. Is this problem -- the canvas getting sucked down into the table opening instead of sliding smoothly away from the roller -- common?
  25. I purchased my first slab roller about a year ago. It's worked like a champ -- until now. All of a sudden, the canvas is getting sucked down into the table after it passes over the roller. I'm doing absolutely nothing different to make it misbehave! I've tried using a thin carboard under the canvas, which worked but made it hard to keep a uniform clay thickness since cardboard compresses and gets weaker with each use. I tried placing a large piece of tarpaper on top of the canvas, with the clay on top of that, hoping to get a nice texture on the clay while firming up the canvas as it goes through the roller. Worked once, created a disaster the second time. I've just spent an hour with a screwdriver taking apart the table in an attempt to free up the canvas that is currently wrapped and twisted around the roller. What's happening here????? (and how much damage will I do if I forcibly yank the canvas out, putting reverse pressure on the rollers?) I really am waaaay beyond frustrated and I'm desperate for a diagnosis and solution. Jayne
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