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Everything posted by JohnnyK

  1. Some very interesting stuff there, particularly the pieces that look like they were dug out of the ground at the base of some volcano...
  2. I think as a test I'll fill one of the bisque pots with distilled water to see if it goes yellow...I know that my water here is running through galvanized pipes that are more than 100 years old and there's some rust in it which may or not be reacting with the clay...
  3. What has brought you all to the conclusion that it is sulfur causing the yellow stain? I had filled a bisqued Laguna Raku ^10 clay pot with water and let it stand overnight. The water seeped through the pot to the point where tiny droplets formed on the outside of the pot and the pot had a slight but noticeable yellow tinge to it with a little more intense yellow on the rim. I refired it to ^04 wondering if it would burn off, but it didn't. I would think that if it was sulfur it would have gone away. That's why I ask...why do you think it's sulfur?
  4. You can get discounted shipping rates with UPS if you are a member of ICAN...You could probably cover the cost of membership if you ship a lot of stuff...
  5. Been there and done that twice, Mark...This was posted back in Nov 2019. The second hand was done back in 2016 and both hands work perfectly more than 4 years later. I had the bone-on-bone problem with both my hands due to arthritis and decades of wear and tear in the construction business. The solution was surgery that removed the trapezius bone at the base of the thumb joint. The procedure is called "Carpometacarpal joint hematoma distraction arthroplasty". In this version of the operation, the bone is removed and your thumb is pinned to your forefinger for six weeks while your hand is kept in a cast to minimize the use of the joint. After that, the cast and pins were removed and I went through physical therapy, twice a week for about 6 weeks. Home exercises continued after the PT. I got full, unfettered use of my hand after about 6 months. When I was fully recovered from the operation on my right hand, I had the left hand done. There is a version of this procedure where the surgeon takes part of a tendon in your forearm, splits it lengthwise and rolls it up like an anchovy and secures it in the space where the trapezius bone was. I've spoken to folks that had the "Anchovy procedure" done and had problems afterward and some who were OK with the procedure. I am totally happy with the outcomes on both hands. The problem might be finding a surgeon who does the procedure I had done. (My surgeon is in the Dignity Health system. I can pm his name if you have access,) In either case, I have regained full, pain free use of both hands. Here is an x-ray of the pinned thumb. You can see where the bone was removed in the dark space below the pins: Good luck with your decision on how to proceed taking care of your problem. (The downside of this procedure is the amount of time you will be away from the wheel. The major upside is being able to throw pain free!)
  6. I just had an experience with the daughter of a friend (the daughter is also a friend) who called and told me that she had some friends over for dinner last week and she had used a chip & dip bowl that we had given her for a wedding present about 5 years ago and her friends "just fell in love with the piece" and could I possibly make another that she would purchase for her friend. The thing here is that I didn't make the first bowl...It was something I got from someone else but didn't really like the glaze so I re-gifted it to this gal. The upside is that it was the design of the piece rather than the glaze that her friend liked. The downside was that I had never made one of these chip & dip bowls before...soooo, I said OK and the price would be $50 with my choice of glaze. She said "Sounds great!" I checked out some YouTube videos, saw a technique that I liked and went about making one. It turned out great and is now drying on the wareboard as we speak. I'll do some minor trimming on it today or tomorrow and bisque fire it this weekend... The pricing thing wasn't too difficult. I decided what was reasonable and what I thought she could afford to pay and priced it accordingly.
  7. Welcome to the forum, Robin...All of what you have listed here will be more than adequate for what you plan to do. 4+ cfm @ 90 PSI of air pressure with 150 PSI max pressure with 100 feet of 3/8" hose will easily handle your requirements. I've run roofing guns with more hose and less pressure, and sprayed finishing lacquer on cabinets at around 35 psi... With the HVLP gun, you are only going to run it at about 20 PSI for the glaze or terra sig. Make your purchase and have fun!
  8. And even after you fire, if you don't like a piece as it is, you can break it up and use the pieces for some sort of mosaic...
  9. Have you tried giving them a call to see if you could order and pick up your materials? Alpha Fired Arts is doing just that here in the Sacramento, CA area, just to stay in business...
  10. What kind of clay are you using? You might find a^10 clay bisqued to ^05 would be a good choice for this project...
  11. Since it is your grill, why don't you try firing with a bunch of charcoal briquets, or some very hot burning wood to get the temp up? Do you have a thermometer to tell how hot it gets?
  12. A few questions, Avery...Are you absolutely sure that the wheel head does not come loose from the shaft? There is probably right hand threads, so if you start a rotation of the head to the right and quickly grab the head and crank it to the left, it may come loose. The connector at the flywheel has a setscrew in that collar. Is the collar fastened to the flywheel and the shaft goes down through the collar and bottoms out in the bottom bearing? If so, treat the setscrew with penetrating oil and remove the setscrew. There are collars at the top and bottom of the upper bearing. Loosen both the collars and see if you can pull upward on the wheelhead and break the shaft loose from the flywheel. If that doesn't work, you're pretty much screwed. What you may do is take a torch to the collar at the flywheel and heat it up a little. then try to break the shaft loose from the flywheel by using the method up above for trying to remove the wheelhead. If you can break the shaft loose from the flywheel, you should be able to pull the head an shaft up through the upper bearing. Then you can replace both bearings and reassemble it all by reversing the removal process.
  13. I've gone from thick as a beginner to thinner, then back to a thicker pot. I just like the feel of a heavier piece whether it be a yunomi or bowl or one of my horsehair raku pots. The heavier pieces just feel more comfortable in my hands when I pick them up. The thicker cups also keep the coffee warmer a little longer...
  14. Just got my first Bison carbide cutting tool . It will be a little while before I get to using it since I'm in the process of getting my little farm ready to plant. Also working on glazing another 20 or so pieces before I start throwing again.

    1. oldlady


      you will LOVE it!   congrats!

    2. Joseph Fireborn

      Joseph Fireborn

      Yep. Worth every penny.

    3. Mark C.

      Mark C.

      I keep mine in a wall mounted plastic tube next to trimming wheel. Mine is accustom small double ender. Its either in the tube or my hand no other place ever. Of course I have a few spares as I do wear them out in a few years and send them back for new tips.There really is no reason to burn thru cheap carbon steel tools like butter melting in the sun when you are doing this like i do.

  15. Welcome to the Forum, Meghann...Does it make any difference where in the kiln these pieces sit? Are they right next to the elements or away from the elements? Are they all glazed the same or are you using different glazes? Are you mixing your own glazes or are you using commercial glazes? I have found that each of these situations could have an effect on the outcome of a particular firing. This may or not be related, but Glazenerd just posted some interesting pix of an experiment that he is doing on clay bodies here . I'm sure he and others will be weighing in on this to give you more info on your situation... JohnnyK
  16. JohnnyK


    The great takeaway from this experiment is that it is of paramount importance to know what color the clay is going to be at the final firing so that you have a better idea of how to go about glazing the pieces since their final color will be affected by the base color of the clay at cone... Thanks, nerd!
  17. It's been 3 months and I'm sorry for not getting back sooner on the first use of the Liquid Quartz...I treated one bowl on the inside, let it dry and then filled the bowl with water. After one day, I found the bowl to be damp with a yellow ring around the top of the bowl. I figured that what happened was that when I filled the bowl with the LQ, I did not fill it all the way to the top . However, when I filled it with water, I did fill it to the top and the water leached through, dampening the bowl and leaving the yellow ring around the collar. Needless to say, I was somewhat disappointed. I just sat the bowl aside and forgot about it until about 2 weeks ago when I put it in my kiln with a bisque load. I figured that it would burn off the LQ and maybe get rid of the yellow ring. Well, the ring was still there when I took it out of the kiln. I was still curious about the yellow ring, so I filled the bowl with water and sat it on a dish for a couple of days. Water had seeped through the bowl to the point where it was totally saturated and there were droplets on the bottom half of the bowl and to my surprise, the previous yellow ring was gone! Now the entire bowl has a slight yellow tint to it, but the big surprise was that the rim was now an interesting shade of chartreuse. So this is going to lead to a new set of experiments to see if the bisqued pieces of this clay (Laguna B-Mix ^5) turn yellow when H2O saturated, and also making sure that when I treat the pieces with LQ, I fill them to the top on a level surface. Another takeaway from this experience was the realization of how bowls that are used for African Violets work. The bottom of the bowl is unglazed which allows water to seep through to saturate the plant's soil from the bottom up, which, in turn, provides me with an idea for another product...
  18. Yes to both questions...in the short term It will maintain the moisture level of the pieces you put in it. In the long term it can actually increase the level of moisture in your pieces depending on the amount of water you saturate the plaster with. I am currently running an experiment on a couple of yunomi that I put in my damp box back in 2013. While the pieces are currently leather hard, they are showing signs of deterioration, that is, they are becoming a little brittle around the rims but are thoroughly moist. I put about a cup of water in it about every 3 months. JohnnyK
  19. Hi Leo...Welcome to the best ceramics forum in the world! Here are a few pieces that I have done with an edge similar to the pink platter. The Hare's fur effect is gotten by glazing the rim of the pieces with Duncan Renaissance Glaze RG704 Shino Cream...2 or 3 coats of this stuff in a band about 1/4" to 3/8" wide will cause the underlying glaze to run nicely. These pieces are done by layering Amaco Potter's Choice PC31/33 (in a 50-50 blend) over PC41. So far I've just used the RG704 over the PC glazes but plan on experimenting with other glazes in the future...Hope this helps...
  20. Excellent...I just love it!
  21. JohnnyK


    Would you be willing to share the process you used to get such a beautiful lamp?
  22. Creative Industries manual.pdf Here is a copy of the manual...the pics are lousy but the rest of the info is good. I also have a design for a replacement splash pan...
  23. I would cut the hole after everything is assembled. This way there is no undue stress on the piece. You can cut the hole while the clay still has some moisture in it but before it goes bone dry.
  24. A description of the kilns would be helpful...pix too...
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