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  1. Like
    eoteceramics got a reaction from Hulk in removing large platter from the wheel   
    Thanks to all for their advice and tips, Ive no excuses  now, Im off to throw a massive platter
  2. Like
    eoteceramics reacted to Benzine in removing large platter from the wheel   
    Yeah, if you are cutting the bottoms too thin, just leave more, than you generally would.  Even with a thin wire, you are always going to leave some on the bat.  If you use an absorbent bat, like plaster, or some of the other wood-ish varieties, they will pop off clean, with no loss in thickness.  As I mentioned, this can be a problem, with forms, that have larger bottoms, due to the shrinkage.
    The good think about thick bottoms, is you can always trim off the excess. 
    Also, when throwing, don't be afraid to check the thickness, with a needle.  It's the best way to know for sure!
  3. Like
    eoteceramics reacted to Benzine in removing large platter from the wheel   
    So, when you go to cut and remove it, from the bat, that's where you are having the issue(s)?
    When are you wiring it? (Right after throwing, after it has set up for several hours to a day or two, etc)
    What kind of bat, are you throwing on? (Plastic, plaster, masonite, etc)
    What exact issues, have you run in to, with the way you have done it before? (It ends up being too thin, it leaves uneven marks, etc)
    Also, do you trim any excess off the bottom, with a wood knife, turning tool, etc, right after throwing?
    Personally, I use Wonderbats, which do well at absorbing water, and will allow the wares to "pop" off, once they have set enough.  I have found them to be a bit drier than I like for handle attachment, if I do this, so I tend to wire them, once I am done throwing.  I don't try and move them, it just allows them to release easily, once they have dried a little, but no so much, that I have issues with the handles. 
    I've not done many large platters, but I have read, that people have had issues, if they let them dry too much, on the bat, before wiring, due to the large surface area, that is contracting against the bat. 
    Also: If you are turning/ trimming the bottom, make sure to flip it, using another large bat, set on the rim, before inverting.  Plates and platters, have such a large open rim, they tend to distort, when inverted, compared to narrower forms.
  4. Like
    eoteceramics reacted to CactusPots in removing large platter from the wheel   
    What kind of bats are you using?  Large base pots will eventually release from my hyracal bats, but I usually cut them, then let them go to leather hard before flipping them onto another bat.  If for some reason the wire isn't a workable approach, I would think a plaster bat would be the trick.  It would be a specialty bat, as it would be fragile, but you'd have to have water absorbed to get the platter to release without the wire. 
  5. Like
    eoteceramics reacted to Min in removing large platter from the wheel   
    Plaster batt, no wiring, problem solved.
    If you do have to wire off because you're using a different sort of batt then using a thick wire helps to prevent the clay from resealing to the batt, this can happen if you use a finer gauge wire in which case you have to re-cut it which can create problems.
  6. Like
    eoteceramics reacted to Mark C. in removing large platter from the wheel   
    Yes the larger diameter wire will help-after lip is dry then put another large bat on top of platter and invert (flip) to dry our bottom.
  7. Like
    eoteceramics reacted to neilestrick in removing large platter from the wheel   
    Gotta throw it on a bat.
  8. Like
    eoteceramics reacted to liambesaw in removing large platter from the wheel   
    Use a large bat
  9. Like
    eoteceramics reacted to Babs in removing large platter from the wheel   
    Yes a bat if you've got one but maybe leave a bit more clay than you think you need to for the base. Cut with wire..twisted , when wheel is moving.
    Can leave it to firm up a bit..
    Can you watch folk doing it.
    Don't hesitate just do it. Anydistortions can be rectified when your pot has firmed a bit.
    Dont touch the rim but adjust shape further down the pot
  10. Like
    eoteceramics reacted to liambesaw in removing large platter from the wheel   
    I try to trim my foot on the wheel before I fold the walls down, then just leave it on the Masonite until it pops off, comes off right when it's ready to trim.
  11. Like
    eoteceramics reacted to Magnolia Mud Research in removing large platter from the wheel   
    I use either a canvas bat, tarpaper bat, or a cardboard bat (aka a soft bat) between the platter and the solid bat sitting on the wheel head.  These thin soft bats are attached to the solid bat with some slip.  When the rims of the platter have stiffened, I run a wire tool between the soft bat and the solid bat and either slide the platter off onto a drying rack, or flip the platter over onto a drying rack.  When the platter is leather hard, I peal the soft bat off.  Learned this technique from Fred Olsen at a workshop years ago.  Canvas/tarpaper bats are discussed in the textbook by Vince Pitelka. 

  12. Like
    eoteceramics reacted to Benzine in removing large platter from the wheel   
    I also use a needle, before wiring, and advise my students, to do the same.  The students that cut the bottoms off their projects, do so, because they either made the bottoms too thin, or did not trim/ undercut the bottom, before wiring.
    Instead of a cheap paper towel, what about using newspaper on the bat?  It is also quite absorbent, which is why crumpling it up, and stuffing inside of wet shoes, is a great way to dry them!
  13. Like
    eoteceramics reacted to Diana Ferreira in Drying Plaster Molds   
    I work with molds. I got some molds (had no time to cast my own, as I had to deliver 150 bowls 5 days later, and was about 60 short). Long story short, I got my molds (still wet) last Saturday from the moldmaker. I put them in my 'wind channel', which is a serious laughable thing. Just some wooden planks on the sides and top. On the floor I added some kiln furniture to lift the molds off the ground, and put my little fan heater on. I was at work the next day at about 7 am. My brand new molds were so dry, I had to spray them with a bit of water before I casted the first lot. And I casted each mold 6 times that day. I made my 60 target and some extra.
    I will try my best to remember to take some pics. I know I have promised this previously too :-(
  14. Like
    eoteceramics got a reaction from JohnnyK in Add saying plate or carving sayings into mugs   
    have you tried using letter stamps, they work great in clay!
  15. Like
    eoteceramics reacted to LeeU in Bisque temp for raku   
    Steven Branfman's Mastering Raku is a comprehensive wealth of information if you really want to get into it. He generally bisques at ^08 (explains in the book) and uses a commercial raku body...Sheffield has a nice one.
  16. Like
    eoteceramics reacted to Benzine in Bisque temp for raku   
    Denise,  I have used stoneware, for Raku as well.  The school district, where I learned the process, fired to Cone 5, for most projects, prior to me starting there.  So it made sense, to use the same clay for  our Raku firings, if the same  clay body would work, which it did.  So I stuck with that same approach.  
    The stoneware body worked well, the same reason that specific Raku bodies work, they are intentionally underfired.  This is what allows them to handle the thermal shock associated with the process. 
    In a matured ceramic body, the particles are locked together, which is great when you are making functional wares, thay don't seep liquids,  but bad for something that has to tolerate quick/ dramatic temperature changes during the firing.  That locked ceramic structure is not good at quickly transfering energy from one part to the next. So the expanding and contracting that happens, leads to cracks/ dunting.  This is why you are not supposed to put a glass or ceramic casserole from the fridge into a hot oven.
    With an underfired body, the bodies are still "open" and the particles are not fully locked together.  There is space between them, which allows the heating and cooling to be relatively gradual, and lessons the odds of dunting.
    I have honestly never tried to use low fire with Raku, but I have taken low fire pieces, out of the kiln, when they were still somewhat hot(200 degrees F) and had them develop cracks.
    Being weak due to underfiring, is the nature of Raku.  With the exception of the Japanese Tea Ceramony,  Rakuware, is not meant to be functional, so it's relative fragility is not that big of a drawback.
  17. Like
    eoteceramics reacted to Denice in Bisque temp for raku   
    Why do you want to use a stoneware clay in a Raku firing?  Using a low fire clay will make your piece stronger,  stoneware will be extremely fragile at that temperature.   Denice
  18. Like
    eoteceramics reacted to Benzine in Bisque temp for raku   
    Really?  Why is that?
    I usually go to 04 with mine, and have had no issue.  The reason I do so, is because I go to 04 for my main classroom clay, and it doesn't make much sense to do a separate firing for the few Raku projects we do. 
  19. Like
    eoteceramics reacted to William K Turner in Bisque temp for raku   
    You should never bisque for raku above cone 06.  I bisque to cone 09.
    Raku Art Inc.
  20. Like
    eoteceramics reacted to Marcia Selsor in New Studio Set Up In Montana   
    Today I am designing an insulated storage for clay. I have several plywood boards to canalize and some garage door insulation.
    Want to have shelves for various types of clay. Also have some excellent lumber from the kiln shed hanging above the kilns.
    Have peg board painted and ready to install as well as more shelving. I have been a bit under the weather with a serious cough.
    Feeling a little better today.

  21. Like
    eoteceramics reacted to Stephen in Ideal studio setup   
    In reference to the kiln location, I built a studio that was similar in size as a companion to the garage being the kiln/glazing area and when we added a 2nd kiln for bisque so that we could move loads through quicker we added it to the studio in an end spot that was planned when I built the studio. The building was built finished out like a house and as such was really tight. When that kiln was fired the room (with 4 windows and french double doors open still bathed the room in heat. This meant anything drying or being handbuilt had to be moved or covered really well. Got to be kind of a pain. If I had it to do over again I would add a small kiln shed next to the studio with a deck connecting so there would be no stairs. I put a 6' deck that ran the length of the studio so it served as a great drying/hanging out area in the spring/summer. By putting a kiln shed on one end it would have eliminated the issue and given us back that end area. A room works but takes space away and the kiln building can be really rough and unfinished.
    Had these plans in the works but sold the house, back to a garagio and very jealous of your new studio 
    Have fun!
  22. Like
    eoteceramics reacted to Denice in Ideal studio setup   
    I had my GFCI outlets installed above work tables,  I probably should have more put in so don't skimp on them.  The electrician argued with me that I didn't need as many as I wanted.  What kind of settling system for your clay are you working with.    It sounds like you don't need much of a drying cabinet with your high humidity,   some metal shelves with a sheet of plastic hung over it or nothing at all.   Maybe someone from a real humid area can suggest something.   I built a small room for my kilns and I made sure it had a window in it, I have a vent fan in the ceiling that pulls the hot air outside and my kilns are set up with Skutt vent system.   My husband covered the two walls closest to the kilns with concrete board that you use as under tile.   I can work in the studio while the kiln if firing and not smell any fumes,  towards the end of the firing it gets really warm in there so I like to open the door and set up a fan to blow some of the hot air out the window.  I am looking for a good window fan that sets in the window.    Make sure you have a lot of lighting,  I had outlets put in my ceiling so I could hang work shop type florescent lights and plug them in.   My studio is 13'x24',  I have seven outlets in the ceiling and ten double bulb florescent lights that are 4 feet long.  One in the kiln room, one over the sink area and the others laid out in a grid pattern on the ceiling.  My ceiling is 12 feet high so I have the fixtures that hang down about 12 inches.    Some people don't like florescent light but there is a choice of colors the light bulbs come in now,   I used the soft white bulbs.  My husbands workshop that is about the same size as your new studio has twenty of the same lights,  he doesn't care what color the lights are he is working on cars.  I hope this sends you in the right direction.   Denice
  23. Like
    eoteceramics reacted to Mark C. in Ideal studio setup   
    A working potter thinks about work flow-clay coming into studio pots leaving on the other side.
    do a  search on Amin page`as we have covered this more than once.
  24. Like
    eoteceramics reacted to Callie Beller Diesel in Ideal studio setup   
    I think an important thing to do would be to think about your work flow, and how any given piece moves through your studio before it's finished. Think about a work triangle, similar to the way you would want an efficient kitchen set up. 
    I agree about putting as many things as you can on wheels, with the addendum that I would have a look at how smooth the floor surface is, and make sure the wheels or castors you get roll smoothly enough that ware carts won't rattle too much.
  25. Like
    eoteceramics reacted to Pres in Ideal studio setup   
    Any electric outlets in a studio should be GFCI, or controlled by a GFCI breaker. Best to be safe than possibly . . . fried or frizzed!
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