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Everything posted by 123pop

  1. What went wrong?? I tried single firing on a few platters I wanted to get out by Christmas. What a mess. Poured glaze on one side(undersides were left unglazed). Used 20/20 clear and commercial matte clear. Both crawled considerably. One little area had some cracking but it blended easily. There was no chipping off of glaze. It seemed very stable. I candled the load overnight and did my 2hr each setting in my kiln sitter kiln. I also had 3 raw mugs with different glazes I just dipped and they turned out fine. I don't think I will try it again.
  2. She used a fettling knife and was very efficient. Since we were struggling with it she suggested to use a eye shadow brush, the little hard ones. If the design wasn't to detailed even a finger could soften the edges. The real trick was how to glaze. How did you get the inside black and the outside white? I used one overall glaze and then turned the outer layer in glaze from the side.
  3. Took a double wall throwing class from a Korean potter EunSookKim. We threw an inner wall and saved enough clay to pull up an outer wall. A term she used that I never heard of was beveling the cuts. So after you cut out you soften the edges by trimming off the 90degree cut inside and outside.. The beauty of this type of pot is you can carve out just about anything since the inner wall supports the piece. My mountains, lizard and clouds. Ain't clay fun!!!!
  4. My friend and I have Pacifica's. The 1/4 HP is fine for the 7-8# we throw. They make a 1/2HP also. They are fairly quiet. Hers is 35 years old and runs fine. Mine is 5 yrs old and I like it very much. Pedal is good and splash pan is a good size but not too big. The table top is adequate to hold tools etc. And the price is a bit more reasonable. But we are not production potters.
  5. Your experiences do create who you are. I was a math student but had to take the required Art Appreciation class in college. Well when everyone else was studying the art masters, my professors idea was students had to try different art mediums and produce a project in each one. I would not have ever even known what a wheel was if not for that class. I threw a very thick 6" bottle with a thin neck and never forgot the experience. (Still have it somewhere). After 40 yrs I had an opportunity to try clay again and it is everything I remembered. It is dang....FUN. I now have a wheel and kiln in my garage, access to a great art center and enjoy the potters social life. Never underestimate what we give and take from life experiences.
  6. I think I got this one. 8000gms x .15% = 12gms chrome oxide (recipe) You put in 8000 x .75% = 60 gms You have 4x too much chrome oxide So you need to make up 32000gms (4X8000gms) of the original glaze minus the chrome oxide. Which with your original 8000gms = 40000 or 4 buckets of 10000gms . You need to buy 3 since you already have one Check answer. You will have 40000gms x .15% chrome = 60 gms chrome oxide. And you will have a lot of glaze. Why can I do this so much easier than throwing a pot???
  7. Nerd...you hit the nail on the head. " A professional will make a hard job appear easy" I mean really how hard can it be ... you threw it in "like" 5 minutes. Other arts and things do seem to take longer. Painting or wood making even sewing, quilting, climbing mountains but pottery ...it was a lump of clay now it is a mug. It has to be easy.
  8. Thanks all. I always do a slow glaze with a kiln sitter. I'm in Knoxville... very humid in the garage. So do I glaze at leather hard or dry green ware???
  9. Cone 6 glazes on bmix clay or I could do 266clay with just a liner glaze. To hold all these ready to fire glaze pieces until I throw and do a bisque is almost impossible in my small studio.
  10. I have a small studio. I had almost enough bisque to do 2 glaze loads in a row. To fill the 2nd glaze load I need a few more pieces. Any negatives to throw them and glaze the green ware and mix in with my standard load? I know some potters do one firing and no bisque. The only negative that I am aware of is that the pieces will be very fragile. I think I can be very careful for 3-4 pieces. Any other considerations. Thanks for any info.
  11. Our center charges $40 for 25# of clay which includes bisque , glazes, glaze firing and use of the studio. We do have some equation and charts based on size of piece you want to fire but fortunately no one does this very often. Take home clay costs $15 and those potters all have kilns at home. Only clay bought at the studio is allowed to be fired. Google search reveals various ways studios handled this matter. One charges $4.50/ lb.
  12. Our studio bought a brand new L&L kiln in Oct 2014. We have 78 firings on it and just got a E1error indicating the elements are shot. Any comments?
  13. I had this happen on a glaze firing,,,, the kiln sitter cone broke. I called Orton and they said to check each cone by holding with fingers and pull... not twist. The cone should not break. I had about 15 in a 50 piece box break. Not sure why... defect in cones or rough handling in shipping??? But with the test pull I feel more confident it won't happen again. I had some interesting glaze melts which didn't quite correct in the refiring and never to be replicated.
  14. "Don't be afraid to be afraid". Not sure who said it but words to push you to new heights. About liking pots later....some pots came out of the kiln not what I expected so I immediately gave them to a friend (she liked them). A year later or so I was at her house. I saw these lovely pots and asked where she got them. She said from you. I loved them...the glaze was quite nice and colorful. You just never know.
  15. My fourth grade nun squashed any artistic ability I may have had. She returned a landscape drawing with my clouds circled asking "What are these?" . If she could not tell they were clouds then I obviously could not draw. My entire life I said I had no artistic ability but flourished in math(she made us do long division problems on turned paper with the red line). I have been potting about 3 yrs now and am enjoying every minute. Pottery has allowed me to explore my creative side. Looking back I think I was drawing on white paper and made the clouds blue so you could see them. Amazing how our interactions with others paints who we are.
  16. I bought my cress kilnsitter for $500 2years ago. Never used but sat in a shed for 20 yrs. Had to replace a switch recently. I bought my wheel new.... impatient.... but shortly after a studio closed and sold 5 Pacificas for 350 each ...half of my new one.
  17. Does your lip hit the bare clay?
  18. Well isn't 112 clay used in many a studio? And aren't all those specks (112 BROWN CLAY (Cone 4-6)Plastic clay for wheel and modeling. The addition of granular manganese gives a speckled surface. ) Manganese? Is this dangerous. I just started using 112 and there are a lot of specks and I fire in my basement with a window fan. Am I being stupid?? I
  19. My kiln did not shut off for my last bisque firing last Sunday. I knew it wasn't getting hot enough. Couldn't see the glow between the lid and the base. After wishful thinking shut it down after 17 hours. Checking with a meter found it was the top switch. Looked like it had a little nest in it. Got a new one from Cress in 2 days, installed it and today bisque fired again..off in 7 hours. I hurried it a bit since everything was almost 04 but had no idea what cone. Last glaze firing the kiln sitter cone broke and shut it down early. Everything was unfired. Orton said to tug a bit on the cone before using. Then if they are weak or cracked they will break and you won't risk an underfire. I refired and everything turned out fine. I had about 10 in the box pull apart. I think I'm due a few good firings in a row now. Hope all goes well. It could be the damp ware. I am very conservative and glaze fire very slowly 13-15hours.
  20. I too was using the fry pan method with tea candles. I had a lot of wax on the bottoms. Then I felt I had to scrap it because the wax fumes were bad when firing. I just bought some Forbes wax resist....goes on so easy with a small foam brush. And you don't get that little " burp mark" on glaze edge.
  21. Thanks all ...electrician friend checked it out with meter. Elements look fine. The switch seems to be working intermittently on one side. All others look good. No apparent corrosion or fried parts. Ordered switch $24 but shipping is horrendous. Now I suppose I should refire the bisque. Underfired bisque (was trying to go to 04) can give you lots of problems right?
  22. Whoa! Looked at the cage covering ...it looks pretty complicated. I need step by step info.
  23. My(never used sat in a shed for 20yrs) B23H 240v Cress KIlnsitter could not reach temperature on Monday. This was my 16th firing only. What are steps to take to isolate problem? 1) 4 elements...top 2 are not working. Can I assume probably not elements since 2 would not go at same time and previous firing was within usual firing time. 2) 2 Pilots ...bottom comes on and starts cycling on/off. Can hear the snapping and popping noise. Top pilot light on... no noise. 3) Going to take off control cage today (pretty dirty in there) ..Am I looking for a broken wire? And can anybody give me the most likely scenario and steps to take. Thanks Hopefully I can fix this myself.
  24. Help. I'm 3yr potter and my bought used (never used but sat in a shed for 25 yrs) Cress B23H 240v kiln(Kiln sitter) It would not reach cone 04 bisque yesterday. I turned to high at 2:30 pm and still not off at 9. This is only my 8th set of bisque/ glaze firing. When I fire I can see a ring of glow between the lid and base and that wasn't happening last night. Also around the peeps... bottom was glowing but top peep looked dull red. So when it's cool I have to figure out what is wrong. What steps do I take??? If it elements does anyone know a reasonable repair person around Knoxville TN. I have $650 in kiln and just bought a $700 wheel. Now this passion is becoming expensive. YIkes!! Or is this something I could do??
  25. We use canvas or cloth bags. They are given as freebies and seem readily available. Fill it up with slop, twist it and hang it from a nail under a table with a bowl underneath. Takes up little room and it allows a bit of leeway on when to start wedging it up. The clay peels off the canvas, a nice amount ready to wedge and the bag can be reused over and over.
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