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clay lover

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Everything posted by clay lover

  1. It would be such a luxury to have tables that I could devote only to glaze buckets. Mine stay on rollers, in 5 gallon buckets, under old cafeteria tables. I have to work from the height of the bucket on a rolling dolly. I lessened the back strain by sitting in a rolling chair, propelling myself around from bucket to bucket as I need to stir, rinse, get another piece. helps some, but at the end of glaze day, I'm tired! and my arms are sore from lifting turning, using tongs. In a perfect world I would have a room devoted only to the glazing process.
  2. Rakukuku, that's what it is supposed to be, working together for the greater good, like Paul said. If you have that, you are fortunate.
  3. Cut yourself some drywall boards that are just the size of the work you make, like little squares for mugs, bigger for bowls. This makes turning things over much easier, do it like geitting a cake out of the pan, board on top then turn the whole 'sandwich' over. I have several cut to the size of each thing I make.
  4. Chris is right, what you are doing is a prescription for breakdown. I'm surprised you managed 12 hours. Only you can structure your work so that it doesn't have a detrimental effect on your body. Reconsider that points Neil makes, he covers them all. If you follow his advice, after a rest, when you go bask to work you will actually work longer over time, since you won't have to deal with the time off for breakdown recovery. I'm 60 and clay is my 4th career, the others were body killers, so I am very careful to space my breaks and work position etc.. so that I last.
  5. Me too, I check his book and there was no mention of that in it as far as I could tell. Good workshop experiences, Bill Van Gilder, Steven Hill, Leah Lietson, at Arrowmont ,. Cynthia Bringle told me something that had a major impact on my work, design wise. For bad experiences, PM me. I've had some I sure would not repeat. A visit to Otto Heino's studio a few years back impressed on me that tools do not the potter make, he had none. When I asked him where his tools were, since I could only see a sponge and a needle tool, he held up his fingers, grinned, and wiggled them at me. Memorable visit and I will regret forever not buying that little blue egg shaped vase that was so perfect it seemed alive in my hands.
  6. I have been thinking the edges would dry faster, therefore unevenly and that by wrapping them I was creating a more even drying. Sort of like Wrapping mug handles. I have put a slab of 2x4 in the floor of these pieces and had them arch up and lift the wooden piece with it.
  7. I have the large 5" square Scott Creek, took me a while to figure out how to stabilize the hollow dies, but now it works well. I chose large because I already had the hand held and wanted the option of making bigger extrusions, without going to an expansion box. With the big square, I can get 4 1/2" straps by going across the diagonal There are times I wish I had the smaller 4" round, but can't buy everything, and larger one can make smaller extrusions, but smaller one can't make larger extrusions, if you get what I mean. If I am in 'extrusion mode', I wrap it tightly with plastic and use it again next day, when done, I push out left over clay and leave the box open to dry out, then tap it with a wooden mallet and dry clay falls out.
  8. Dirt Roads, I would be very happy with your 99%. A question, I also use rectangular bisque form. I have frequent trouble with the forms arching up in the middle. I leave them in the bisque over night with the edges wrapped in plastic, then turn them out onto wall board still with the edges wrapped more than the center, thinking that way would give more even drying. A friend uses the same forms and he leaves the piece in the bisque form until it is bone dry, with heavy weights in the center. He has good results, but only makes 1 at a time, I have several of these forms and need to get several made at a time and use the forms the next day to make more. Any suggestions?
  9. I spend a LONG time at 1,000 grams. different shapes, size, place in the kiln, sprayed or dipped, etc. before I mix more. 1,000 g is plenty to do that with.
  10. What do you think is the best combo of clay color VS glaze color to keep from having the waxed join be a glaring interruption in the look of the piece? That has always kept me from being happy with the ones of these I have made. But I think they are fun to make.
  11. RE using ribs, I stuck a strip of heavy, sticky backed Velcro to my metal ribs, make them MUCH easier to hold. and cleans up ok. Get it by the inch at good fabric stores, some Lowe's.
  12. If the clay says ^6, it should be glaze fired to ^6, not ^06. BIG difference.
  13. I have tried putting a thick layer of kiln wash over glaze spots that I cant' get off the shelves, but the glaze bleeds through in the next glaze firing. Will silica sand to a better job of fusing into the spots?
  14. Thanks for all your input. I will try what Shirley describes and see what I get. The plaster in the bag is pretty much like flour, with some small rice grain size bits that break up when I squeeze them between my fingers. If that amount seems viable, then I will use the ratios given on the US Gypsum site.
  15. "If you can't make it good, make it big."b I see the results of that a lot around here! Lots of BIG UGLY pots, some not even blue.
  16. Is there a way to mix a small amount of plaster to see if it is still good to use for molds ? I have a bag that has been wrapped in plastic, unopened, for 2 years. All I know about plaster involves a complex formula to make a large amount. Seems like someone on this board said something to the effect of.." I'm always mixing up a bit in a cup to make a small sprig or something." Was that Benzine? I would appreciate advice on how to tell if the old, but unused bag is still good, it has been kept in heavy plastic bags since it was purchased, and also, HOW TO MIX a small amount to use a little bit now and then, not a big day's project.
  17. maybe you are supposed to block all but the opening that you want?
  18. Is John copying and snail mailing these? That is too much to ask one person for, even if they are a generous soul. Is there a web page where they are so that if someone wants them they can go to that site and do their own copying?
  19. educate me, I thought the si-al ratio of 4.6:1 would have to produce a satin or matt. that is the ratio according to Hyper Glaze. No, this is not a clear, it is a white and on white clay it looks like a toilette, but on browns is very nice, but very shiny.
  20. Thanks for the remix suggestion. Is there any way to try that with some of the the existing bucket? I'm not the best with the glaze math.
  21. Is it too late in the game to get a copy of those? I think that would be a great way to start the year. TIA.
  22. Neil, that's almost exactly what I do. A 25 min soak at peak, then a 3 ramp cool, with a couple of holds along the way, and off at 1400* I have several other satin glazes that do very nicely with this cool.
  23. I'm sorry, yes it is a ^6. the witness cones are very close each time and the cooling has not changed. I only got the satin 2 times, from many firings but it is SO nice, I want to figure out how to get there again. and the si-al rating indicates I should be able to get the satin regularly ??and the book it came from says it is satin-matte.
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