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Posts posted by dhPotter

  1. @HulkSpraying - You can do it !!

    Granted it took me 5 loads to figure out how thick to spray - that was before I saw OldLady's suggestion of spraying till the glaze looks like "Chunky Velvet" - works nearly every time. The SG on these sprayed glazes, for me, is around 150-155. Set your compressor for about 42 psi and when you pull the trigger the psi will be at 40 - perfect for my Critter spray gun. As far as keep mixing the glaze - fire you some 1 inch clay balls to maturity to make ball bearings - place 2-3 in the sprayer jar. As you spray, periodically swirl the ball bearings around to pick up what has settled to the bottom of the jar. Even layer - spray till the spot looks wet then move on - really get into a good rhythm spraying and spinning the banding wheel. Spray over the piece multiple times to even the glaze out. Over Spray - You do not have to pull the trigger all the way. Also, direct the spray more at the target inside off to the side of the piece.

    For a very cheap spray booth - make it out of a big plastic garbage can and a PC fan - I used this for a year till I decided spraying was for me. The design was on a lady's facebook page but I cannot find it now. However, I saved all the pics and instructions in a Word Doc.

  2. Hey there @LC88 Fellow Mississippian

    I had dug some clay in Holmes county. This area is in the Yazoo River basin. The clay is white but fires to a reddish at cone1. The clay has an enormous amount of calcium. When fired to cone 6 it oozed calcium so much so that the piece looks like it has been glazed with a lava glaze. Both of these tests were single fired. It is plenty plastic on its own.



  3. To center large amounts of clay I pat center for a long time. Then place both hands on the opposite side of the clay and gently pull toward you while slowly increasing the wheel speed.  Now do your coning. The clay should be centered but may need  a little coaxing into center.

    Assuming the wheel is spinning Counter clockwise - After opening the ball and compressing the bottom, place your left hand on the left side and your right hand on the clay directly in front of you with your fingers, I use my middle finger, at the bottom on the inside and your thumb reaching to the wheelhead. Find you a finger hold on the left side of the clay using your left hand. Now pull up using both left hand and right hand - this will get rid of the mushroom and pull your clay up into a nice thick cylinder. It can be an awesome first pull. Watch Robin Hopper do this - he uses a sponge in his left hand.

  4. 3 hours ago, 2Relaxed said:

    If anyone here makes pots in a situation similar to mine (very slow, very part-time), how do you guys go about trying out/developing new glazes?

    @2Relaxed   I am in the same boat as you - I work full time during the day then go to the pottery for a few hours each evening. Testing glazes takes excruciatingly long! You have to be willing to fire the kiln with nothing but test tiles.

    I have a commission to make a 12 piece dinnerware set. I have to create the glaze color for the customer. The customer wants 1 color over the whole piece. So the glaze must be food safe. Testing started around June 22. After more than 100 test tiles, the testing is down to 4 glazes. The testing is past the test tile stage. Now I am test glazing on 1 pound cups. Today, after work, will be mixing up 200 gram batches of each of the 4 remaining tests. After wetting and slaking overnight, tomorrow will get the water amount correct then pour the liner, wait a day, then spray the glaze on the outside. Probably have 6 pieces in the glaze firing. I cannot wait to fire the tests untill I have a full kiln - that takes about 6 weeks. Time is marching on towards Thanksgiving - my delivery date. 

  5. 13 hours ago, Rachel Hawkins said:

    Another potential hypothesis: My wedging is bad and introduces too many air bubbles. Would I be better off using clay straight from the bag? (Or, sigh, trying to get better at wedging?)

    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.

  6. @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.

  7. 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.

  8.  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.

  9. On 4/26/2020 at 7:36 PM, jrgpots said:

    Does anyone have a copy of John Baymore`s cylinder homework?  That has helped me.

    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

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