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Everything posted by JLowes

  1. Good points all. The clay body is Highwater Clays Craggy Crunch. It is advertised as a cone 7-10 clay. I will have to evaluate which may be food ware and set them aside for a later firing. I got just a quick look yesterday as I packed them for the trip home. I know one is designed for use as a utensil holder, so isn't really food containing unless repurposed. You never know what the buyer will do with a pot once it's in their possession. Most of what I make are decorative pieces, and wouldn't be an issue. I do have two electric kilns in my studio with cone 10 capability, but I haven't fired beyond cone 7 on either to give them an easier life. My access to cone 10 gas or wood is through classes at a community art center, or the semi-annual group wood firings. I may just need to suck it up and wait until Spring. I will try one pot with unmelted ash and try it as cone 6 with a clear to help it flux and see what happens. Thanks for weighing in. John
  2. At a recent group wood firing in an Anagama, the middle and back (front being nearer the fire) pots were fired cooler as the flow wasn't good past the front. The result was very dry surfaces, less glaze melt, and ash deposits that didn't melt fully. Several of my pots suffered these deficiencies. I won't have access to the Anagama until Spring 2018, so I am assessing whether refiring in an electric kiln to Cone 6 would help my situation. I would like to have these pots for sale in the upcoming holiday season, So...does anyone have experience they can share on how wood fired pots do in an electric refire? My "worst" offenders have Oribe glaze that is a light pink, instead of the typical green. Several pots have small, but very dry ash deposits. I am thinking a Cone 6 electric refire may melt and oxidize the Oribe, and possibly melt the ash. The pyrometer in the middle never got above 2143 F, and then only for a short period. What do you think? Worth trying, or wait until Spring? Thanks for your help. John Lowes Wynhill Pottery LLC Buford, Georgia, USA
  3. I use the Harbor Freight model that regularly goes on sale for as little as $9.99. It has a 2.0 mm tip and works very well. My gun has 4 adjustments and playing with them a bit made the results improve. My preferred pressure is 40 psi. Higher or lower doesn't work as well,so there's another variable. I find a little thinner than pancake batter works well for me. John Lowes Wynhill Pottery llc
  4. Greetings preeta, Basically, handmade plates are thicker, so heavier. Slip cast commercial plates I have read, are bisque fired to the higher temperature, then glazed and fired to the lower temperature, and the industrial controls on even drying, rate of progress through from slip to finished plate are much tighter than most potters can achieve. This reduces losses from warping. Some manufacturing facilities have a continuous process that gets the ware done in hours, not the days we usually take for handmade. I recently made a couple of four piece sets for my own home use utilizing a 1/4" slab for all pieces. My bread and salad plates didn't warp, but the dinner plates did warp slightly. The larger size just couldn't keep its shape, but the weight was acceptable. Less than my Fiesta Ware. Good luck with yours. John Lowes Wynhill Pottery LLC http:// wynhillpottery.weebly.com
  5. My wife insists that I should offer a discount to other artists at art festivals. I prefer not to, but in the interest of a happy life I will. If I am interested in their art a trade would be nice. Fortunately I have never been asked to trade by someone whose art I don't care for; that could be awkward. John
  6. The Evenheat $500 is if you are converting from their earlier model. It sounds as though it might be more costly as a stand alone. Being able to change things mid-fire sounds good, but probably a rarely used feature. Unless of course you programmed one of the user schedules incorrectly and want to make a change. Been there, Bartlett didn't like the idea John
  7. Bravo Mark! A well thought out and explained plan and a shop willing to take a risk equaled success. I retired last February and now am devoting myself to pottery and am looking for ways to market my production. I have just branched out from my art fair, art center and regional invitational sales venues to include a gallery with a 50-50 split. The art fair overhead is pretty close to the gallery split when all costs are figured in (I am not one of those folks with multiple thousands in sales at art fairs.) The art center and regional invitational both get 30% of the sale, and there are few other costs other than getting the work to and fro. So your split is attractive, and it would be nice to find something similar here in Georgia. I wonder if the Krispy Kreme donut shops sell coffee mugs...... Best luck with the growth of your sales. John
  8. I consistently find inspiration from the CAD feed. Even if a subject may not be of interest at the moment, just knowing that something came through may be a reminder to search when I may need that bit of information. Even the more commercial advertisements of books and videos typically have a teaser that are frequently useful. I love being able to search an archive of the depth CAD provides. John
  9. I think some credit should be given to the design of the egg as well, but kudos to your bright lad. John
  10. I think that type of plate is called a coupe. John
  11. Generally, slip is applied before bisque firing, as it will shrink during firing and possibly pop off, or crack, as it shrinks. The shrinkage for 266 to cone 6 is 13%. There are vitreous slips that can be applied and fired on bisque, but this doesn't sound like one of those if it's straight clay slip. If the slip is thin enough it may adhere and fire fine. I had an example that worked before I was told that the slip should have been applied before bisque. Best of luck with it, John
  12. All the fuss we make about drying tiles on drywall, between drywall, on wire grids, tile setters for firing, etc., etc. Just throw them n the dirt, stack them to support each other, and no problem John
  13. I have a friend who I was discussing this with that always has the most interesting titles. I was surprised that the name comes after the work, and may be as simple as the last place she vacationed with a twist. If you see a titled work in a show or gallery and want to find the artist later, the title may help. I was embarrassed when I took Second in Show and my piece was listed as "Untitled". That will never happen again. John
  14. I have the Dirty Girls system with the 7" round inserts and love it. Like Benzine said, it can be a challenge to take work off and get the insert placed back in, but not so much as to be unusable. It is just a tight fit, and the insert doesn't want to go all the way flush. The Dirty Girls insert material looks like Masonite, but is not showing adverse signs yet. I typically just leave an insert mounted and cut my work off, so the material is getting a good test. John
  15. I tried using a horticultural sprayer upon advice that it would work, but had poor results. The way the spray tip is configured was the problem. I have one of the sprayers shown in the Bridges Pottery video, and it works okay with human power making large droplets and spatter, but works much better with air from an air compressor directed down the mouth tube. Much better atomization. I use spray guns from Harbor Freight along with one of their air compressors. One can get the whole setup for just over a hundred dollars by watching the prices of each component and/or using the 20 & 25% coupons. And, you can inflate your car tires too!
  16. I keep mine in the original boxes, and on one shelf dedicated to "0x" cones, and on the opposite wall another shelf for cone 1 and higher. I am making it harder to mess up as my memory changes, lol. John
  17. Thanks Neil. I have a supply of thicker insulation and bought supplies for a new build this afternoon. John
  18. Raku kiln, updraft (flame under shelf, exit port in center of the top), and I have a couple of glazes that mature at Cone 05-ish. I was having a hard time holding onto he 1,850, but could stay in the 1,825-1,830 range easily. I was full open with a 1/2" ball valve, fed by a 3/4" line. The orifice in the Venturi is approximately 9/64" (it was sized by the Venturi manufacturer for natural gas.) John
  19. I am going through this as well, as I am switching to natural gas from propane for my fiber raku kiln. The Venturi burner I bought is supposed to be 100,000 btu, so should do well in my kiln. This is based on 7" w.c. pressure at my home studio. The kiln is 6# fiber, 1" thickness, 20" interior diameter by 24" high. The propane weed burner never had any problem getting to, or beyond, my glaze maturing temperatures, but the new natural gas burner seems to top out at 1850 F, and then only with much fiddling of distance from inlet port, covering the exit port, etc. I am going to rebuild the kiln and am thinking that the ports for the weed burner are too large for the ng Venturi. They are both about 4"x4". I am thinking I need to make the inlet port 3"x3" & leave the exit port the same since I can damper it with a piece of kiln shelf. I have in my collection of stuff, enough 8# fiber, 2" thick that I will be able to make the walls over. Not sure there is enough for the lid too, though, but I could always double up 1" thick. Any thoughts from gas kiln folks on the 1850 F top temperature will be appreciated. I think this should be able to exceed that if I get the ports configured correctly. John Lowes Buford, Georgia http://wynhillpottery.weebly.com
  20. You will need to check and be sure the vent hose and through wall fitting are clear of obstructions, lint, and such. The run from the Envirovent should be kept as short as practical, with as few directional changes as you can get by with. Firing your own work is a step forward and adds a whole new aspect to making. Are you going to be making your own glazes too? Another world there too. Best luck with your installation and firing. John
  21. If cone 05 wasn't completely collapsed, then you did not get the firing temp required for Saturation gold. Does your kiln have a sitter for shut off? If it does you may have an 05, not 6, in the sitter shutting you off way early. Make sure you have a small cone 6 in the sitter and try it again. Best of luck on round 2. John
  22. In the book Alternative Kilns and Firing Methods, the author converted a Venturi burner to propane by soldering the 1/8" orifice closed and drilling a smaller orifice. It appears they raku fired all weekend thereafter with no issue looking at the photography. John
  23. I will try that. What I usually do is swipe a damp sponge across the far half of where I roll so the coil still gets moisture, but also has a dry area for friction. I first saw Tony Clennell demo that on one of his DVDs. John
  24. If you have a way of knowing the difference in RPM of the immersion blender versus the Jiffy mixer HS-2, then that could be a clue. Also when you have a larger volume, the container to mixer dimensional characteristics may change enough to make the difference. The Axner description of the Jiffy mixer said it is 304 stainless steel, so I would discount the idea that it is contributing enough iron to make specks in your glaze. The turbo mixer is probably a good route to go since you want to get into production right away. Experiments take time. Best of luck with the new mixer. I sieve through 100 and 80 mesh and never have this issue, although frustration with the 100 mesh can take a toll too 😠John
  25. For a larger amount of clay, one should switch to using larger tools. For instance, instead of using your hands to center, use your forearm. it is always a good idea to start centering with the mass as centered as you can get it as mentioned by Pres, slapping the mass to close center. Watch a Guy Wolff video on YouTube to see how he handles 50# centering. I find for me coning up and pushing down with my forearm and controlling horizontal with my hand works for me to get the inner clay centered with larger masses. Like Pres, I throw sections to join for larger pots in general, but every once in a while, working with a single large mass is satisfying. John
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