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Everything posted by dhPotter

  1. @Stephen When I cut metal roofing or plastic I turn the blade around so that the teeth are running backwards. Saves the blade. You might try this for the cement board.
  2. He is my kiln shelf/ post cart, plywood, 2x4's, on wheels.
  3. @Babs it is a a glossy, light pinkish color. It is a runner. Crazed pretty badly on my Standard 630 clay.
  4. @Mark C.Perhaps it would be best if you were to read OldLady's byline and adhere to it...
  5. Here is a really good recipe and application for wash... http://jeffcampana.com/self-leveling-kiln-wash/
  6. @Hulk what is the Red splotch on the side of the round belly vase ?
  7. I would stop table wedging completely. I have not wedge clay in years. Straight from the bag to the wheel and cone wedge 3 times like you do.
  8. Me too! Robin Hopper does this also, he has a sponge in his Left hand while turning up the donut.
  9. @Roberta12 I added 5% Magnesium Carb to the Selsor Temmuko. It creates a nice gold micro crystal - looks out of this world in sunlight.
  10. @nancylee For amounts of clay you are talking about, I pat the clay, as the wheel slowly turns, into a semi-centered mound. Then I place both hands on the opposite side of the mound and as I increase the speed of he wheel, pull the mound towards my body. This gets the mound closer to centered, but I don't worry about perfect at this time. Now I cone the clay 3 times, after each cone try to place your hands in your centering position and hold till the mound gets closer to centered. By the 3rd cone everything should be aligned and centered. I had read where Marcia Selsor likes to have the chair she sits in be positioned so when she looks down at the wheel she is looking about 1 inch beyond the center of the wheel. This has helped greatly. Try to lay your weight on the mound with your shoulders well over the mound. I usually end up with clay on my chest from hugging the mound.
  11. To get the light coloring effect try Watercolor blue or Watercolor green. Use a thin application.
  12. Try to sell your pieces in person. This changed my mind from ever judging glaze results. I, like you and nearly every other potter, have a "look" you think should come out of the kiln. When it doesn't we are disappointed. But, I guarantee, there is a person who will come along and love what you have done. This has happened more than occasional. If you think it is ugly there is someone who thinks it is equally beautiful. People will buy that funky stuff because it is original and one-of-a-kind. Unique is what they seek. Smile as you wrap their purchase and stuff your pockets full. Success makes all of your second guessing go away. Try not to guess what the buying public thinks about your glaze results. The mob is fickle.
  13. I also have a base white liner that has made 3 other liner colors. On Tony Hansen's website is the chemical analysis of Butterscotch I used to back into the glaze recipe, with the help of glaze software - this is now 1 of my favorites. From MC6 - Licorice, Raw Sienna and Waterfall Brown which pairs very well with Butterscotch. From Britt's ^6 book - Bailey's Red 2 and Val's Turquoise. From Steven Hill's Spraying glaze workshop - Red Orange, strontium crystal magic cool and warm, Juicy fruit Cool, SH Copper Ash and Hannah's Fake Ash Iron. From the internet - Hsin Matte Black, Pete's Seafoam, Satin Matte Green, Shatz Blue Matte, Silky Matte Z Blue - this is Tony Hansen's G1214Z, Marcia Selsor's Turquoise Satin Matte. Actually do use all of these glazes. I go thru stages of using 3-6 in various overlaps and combos. I spray glaze. Do not have a clear glaze but don't want one either after reading about all the bubbles and other problems here on the forum. @Hulk you are a brave person with Kitten's Clear - this glaze crazed horribly bad for me. We did use this in school layered with a Floating blue, did some really neat stuff.
  14. It may be legally OK. But there are moral, ethical and honorable issues at play. Because the law says it is OK does not allow me to forget the author requested I not distribute the document without the author's permission. I was wrong in mentioning I had the document.
  15. The cone that was used in the sitter claw, is it bent 90 degrees? If not you need to calibrate the sitter. Plenty of info and videos on the interweb telling you how.
  16. @ChloeElizabeth I cannot share this document as it is copyrighted and I do not have direct permission to share the document. About your consistency issue - weigh all balls of clay, pull them up as far as you can. Do 10-12 balls at a sitting, each weighing the same amount. You will improve.
  17. I have it saved in a Word doc. It is copyrighted. Not sure how John Baymore feels about sharing this document. @LeeU find out if it is OK to share. Thanks
  18. LT I'm not sure. The link did not load the pic of the cover. I remember, from my class in 1983, it was a black hard cover.
  19. Will see if I can locate that text book. And while I'm at find my Art history book!
  20. In Quantitative Decision Making class we worked with a route planning formula for delivery trucks. Might make the route planning a little easier and maybe more economical. Excellent article!!
  21. Way back when I was taking an Arts & Crafts class we used white bread and white glue to create a modeling paste. After creating the piece we let it dry then used acrylics to paint it.
  22. @oldlady, Right now the chickens and their eggs are priceless. Have heard of a dozen eggs going for $7 in the grocery stores. To attach the hardware cloth to the plexiglass, I drilled holes thru the plexiglass (place tape over the plexiglass at your drill point then drill), then cut a piece of 1x4 to fit the width of the plexiglass. Put the 1x4 on the back side of the plexiglass, this is your "nailer". Screw, using deck screws with a pan washer, the hardware cloth thru the plexiglass into the 1x4 to hold it all.
  23. @oldlady, I did exactly what Tom Turner did in that bookmark you have. Only thing I did wrong from the begining was not use a powerful enough exhaust fan. This past fall I switched it to an attic fan like Tom Turner. It has made a world of difference with sucking the glaze haze out. If you do things the way he has done them you will do well. My booth is inside my studio and it is on wheels. The exhaust goes out a window where the booth is backed up to. The fan is about 4 inches from the open window. The most important part is to have the thin plastic film at the top of the booth that allows the water to "flow" down the wall. I used a dry cleaner bag cut down to about 12 inches wide. Another important part is at the bottom of the plexiglass - the 1/8 inch hardware cloth. If the hardware cloth is bigger than 1/8 inch the water will not flow well and you will have gaps in the water wall which allows glaze to get into the fan. Of course you can holler at me if you need any help. Good Luck. On your way home to WV, take a hard left and come by MS. I can show you how it works. John
  24. Have you a decent clear glaze? My clear glaze crazed but I did this any way and got a very nice base glaze, that does not craze, to add colorants. Do a line blend between the clear and the G2934 Dolomite Glaze. 20/80, 70/30, 60/40, 40/60, 30/70, 80/20. You will find a a nice satin glaze somewhere in the line blend. I added 12% zircopax to get a white liner glaze. The liner is 60% clear and 40% Dolomite Matte. I have added 5% Black stain to get a light grey, 2% robin's egg stain to get a nice light blue. I use the G1214Z Silky Matte with the 6% rutile, 3% copper carb and 1.5% cobalt carb to get a medium blue glaze - this glaze is used a lot. The 6% rutile and 6% rio gave me a nice caramel color.
  25. Liam do you mean hardiboard? If it is hardboard, what kind?
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