JohnnyK
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Posts posted by JohnnyK
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Hi Folks...As many of you know, I've been glazing almost exclusively with Amaco Potter's Choice glazes at ^6. I decided to try one of Laguna's black clays which can't be fired higher than ^5. Soooo...I'm going to fire about 3 dozen test tiles to ^5 and would like to get your input on where to place them in my electric kiln. Should they all go on one shelf or be spread over multiple shelves? If on one shelf, at the bottom, middle, or top of the kiln? All this is to find out if there is a difference in the look of the glazes between ^5 and ^6. I like my ^6 products but am open to experimentation and am looking forward to the ^5 outcome. What do you think?
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A young friend of mine had seen one of my chip-n-dip bowls at a party and asked if I could make one for her to give as a gift...I made 2 since I was at it, and she wound up buying both of them. The most recent "custom" job was for one of my Forum friends who asked if I could replicate a tool that she had purchased 40 years ago but was worn out and was no longer available...I made 2 slightly different variations of the tool and was happy to hear that she was delighted with tools and was going to put them to work the day after receiving them. So, if it is within the realm of my capabilities, I am happy to do custom work. I've spent most of my life in various jobs and careers helping solve problems, and custom work in pottery and anything else is just an extension of the problem solving which I am good at!
- Callie Beller Diesel, Pres, kswan and 1 other
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I would leave it in the crate for the move if you don't plan on hooking it up at your current location...
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On 6/12/2021 at 3:31 PM, Mark C. said:
Never heard of or seen a composite commercial wheelhead
How about bolting a new bat to head for the top surface
My old CI has the same wheelhead that has split in one of the guide grooves, causing a slight surface offset, but not enough to cause real concern. I was contemplating having a machine shop fabricating a new aluminum wheelhead, but I like your suggestion of mounting a bat to the surface. I think I would go with 3/16 or 1/4 inch aluminum material with countersunk screw holes...I also have some 3/8" Corian that might also work.
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If they will be acrylic, why would you want to glaze them at all?
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12 hours ago, Pyewackette said:
Wait - do cars still HAVE carburetors?
If it's a small engine, it might be in a small car. Just depends on how old the car is!
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Welcome to the forum, Sinnerman... My first question is "WHY"? Second: Is the entire BBQ ceramic? Third: How big? Fourth: What shape? Fifth: Is this a one-off?
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...and, obviously, after you make the substitution, test, test, test!
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I would say that you are looking at 2 different mugs because the base color of the mugs is different and the gold highlights on the bows are in different places than the red spots and they are raised like they are attached nuggets...
- Roberta12 and Bill Kielb
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2 hours ago, Roberta12 said:
I was given a recipe years ago and asked not to share it. So I have not. Everything else that I have learned over the years I readily share. Like @GEP I have also heard Sarah Pike explain that she does not share her glaze recipes. She developed/tweaked it and it is hers to use. There does have to be some proprietary parts to a business I would think!
I would agree about the proprietary parts of a business to a certain extent, but when it comes to the marketplace, I would not have a problem with sharing one of my glaze recipes or techniques with someone who is not working or selling in the same market as I am...
- Roberta12 and Bill Kielb
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I am all for sharing whatever knowledge I have on any subject. Having been a photographer for 60 years, I have found that I could show a technique to 10 other photographers and have them demonstrate that technique, and they would come up with 10 different expressions of the same subject. As Denice says, "Your own personality comes through." My best days, and I have had many of them, is when I can teach something to someone else, no matter what the subject. So, to answer Pres' question...no, I have no secrets and am happy to share what I know that may improve another's outlook on life...I think my most shared "secret" is Napoleon Hill's book, "Think and Grow Rich". I have read it at least 4 times and have given many copies to young folks that I thought would benefit from the knowledge it contains!
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The pitting that we see there is most likely due to allowing water to dry on the wheelhead. I'm guessing that you are probably using grogged clay...
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After you get it home, invest in a digital controller. You'll be waaay ahead of the game when it comes to the short learning curve for operation as opposed to the time and effort it takes to learn the manual operation of the kiln and you will still be at around half the cost of a new kiln. It's kind of the difference between processing your own film and photos and shooting digital. I've done both with regards to the kiln and photography...
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I think you might be better off (once you get the right crackle glaze) rather than hoping the colored underglaze will show through, washing the pot with a colored stain so that the stain fills the cracks and then refiring with a clear glaze overcoat.
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I have a Lowes and HD and Harbor Freight within a mile of me but I'll go online to check their stock before venturing out...Pottery supply 5 miles away, but I'll call first to see if they have what I want in stock...
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A shortage of hands would do me in. I had both thumbs operated on some years ago and the surgeries gave back full use of my hands. The rest of the arthritis is nowhere near enough to make me give up. Electricity to fire the kiln would be another thing. Although I prefer throwing over handbuilding, I could get by without a wheel, but not very easily. My extruder and a flat surface for working with slabs could get me by...
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Old Lady and LeeU...are there any special considerations to keep in mind when doing single firing? I'll be doing a glaze firing in the next couple of days and I have some greenware that didn't fit in the last bisque firing and I'd like to give the single firing a shot with one or two pieces to see how it works out.
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Have you thought of splattering the black spots onto your last glaze layer with a stiff toothbrush? With some practice you could come pretty close to your example and you wouldn't have to add anything to your clay...
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When I took my first Learning Exchange pottery class, brushing was what we were taught. Then I went to college and dipping was the way to go although I still did brushing at home. Once done with the college classes, I stuck with brushing. Right now, just about all my glazing is done with Amaco Potter's Choice and a few Celadon glazes, and layering is my method of choice. All are fired to ^6 in my electric kiln. However. I am experimenting with a ^5 black clay to see how it works primarily with the Amaco C-1 Obsidian. The next glaze firing will be dropped to ^5 to keep the black clay from bloating and, since the PC has a 5-6 cone range, it will be interesting to see how the glazes react on the black clay. I think I will fire the black separately and at the same time run some test tiles with the glazes that I normally fire to ^6 to see how they react at the lower temp. B-Mix ^5 is my current clay of choice, but I'm going to do some work with ^5 B-Mix w/grog to see how it throws with larger pots...
Repair unfired clay sculpture
in Clay and Glaze Chemistry
Posted
I have used DAS Air-Hardening Modeling Clay, 2.2 Lb. Block, White Color for repairs on plaster, clay and cement objet d'art with great success. Got it from Amazon...you can carve it to a limited extent before it hardens. You can work it after it hardens with files and grinders.