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JLowes

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  1. Like
    JLowes reacted to Biglou13 in Refiring dry wood fired pieces in electric advice sought   
    i'm about to refire  wood fired, in wood fire......
     
  2. Like
    JLowes reacted to Tyler Miller in Source Material on Cobalt and Copper Leaching in glazed wares   
    Neil,
    my buddy has haemochromatosis, retains iron like a Wilson's sufferer retains copper.  So Iron's out.  Vanadium, nickel, and chrome are out, as is manganese, and barium (obv.).  Boron can have reproductive health effects, so that's out.  Strontium's out because it's almost always contaminated with barium. Etc. You get the point
    There's no such thing as a risk free glaze, just knowledgeable risk management.
    I respect your passion and care--I'm sure your customers and clients see it too.  And I'm not going to force you to use pigments you don't want in glazes you don't want.  I'm just saying the risk isn't even close to what people think it is.  We all make our own choices, and I respect yours.  But reasonable compromises do exist.
  3. Like
    JLowes reacted to GEP in Refiring dry wood fired pieces in electric advice sought   
    Are these food ware pots? If yes, I would wait for another cone 10 firing. If they only fired to 2143, and refired at cone 6, the clay will not be vitrified enough for food use. 
    If they are not for food use (planters, or dry use only pots) then yes you can refire them to cone 6. The cone 10 glazes or the ash will not melt, but you can overspray the pots with cone 6 glazes. The cone 6 glazes might encourage the others to melt. This needs testing, so you might not have time to fully explore this before the holidays, therefore it might be worth waiting for the next wood firing anyways. 
  4. Like
    JLowes reacted to Mark C. in Refiring dry wood fired pieces in electric advice sought   
    I suggest a cone 10 reduction firing. You never mentioned your clay body as to temp range. Moist wood fires are cone 10-or way past. I am assuming your clay and glaze is all cone 10.
    I have often referred my cone 10 salt bots in a cone 10 reduction fire with spectacular results.I do not think a cone 10 oribe glaze will melt well at cone 6.
    Cone 10 reduction should be easy for you to find.
    let us know how the cone 6 pots flux if you pursue that temp?
  5. Like
    JLowes got a reaction from Shelly M in Looking for a cream or white glaze with dark speckles   
    I suspect that you have guessed correctly, that it is granular manganese in the clay body that is manifesting itself as spots through the glaze. That said, check out Mayco Stoneware glaze Sea Salt and see if it will give you what you seek.
    http://maycocolors.com/index.php?page=shop.product_details&flypage=mayco_flypage.tpl&product_id=9151&category_id=88&option=com_virtuemart&Itemid=4
     
    John
  6. Like
    JLowes got a reaction from Shelly M in Tip Size For Hvlp Spray Gun   
    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
  7. Like
    JLowes got a reaction from Linda Lees in Weight/size Charts?   
    I believe this link will help you:
     
    http://www.lakesidepottery.com/HTML%20Text/Tips/amount-of-clay-per-pottery-ware.htm
     
    You should be able to select the text, copy and paste it to a text file, or maybe that PDF I attached will be downloadable.
     
    I think, but not certain, that there is something similar in a Robin Hopper book, Functional Pottery. It might even be the same chart.
     
    John
    Weights of Clay Needed for Thrown Pottery Ware Size Measurements.pdf
    Weights of Clay Needed for Thrown Pottery Ware Size Measurements.pdf
  8. Like
    JLowes got a reaction from Roberta12 in Throwing Plates, Different Way?   
    I think that type of plate is called a coupe.
     
    John
  9. Like
    JLowes got a reaction from Karen Mc in Creative Wholesale   
    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
  10. Like
    JLowes reacted to neilestrick in How I Pack Pots For Shipping   
    The corn starch peanuts are not nearly as clingy as others. I typically use those, but I've got a good supply of free peanuts that I'm going through right now.
  11. Like
    JLowes reacted to Panamax in Wadding Use In Electric Kiln At Cone 6   
    Curious if I could use wadding for loading at cone 6 in electric kiln. Want an easy way of preventing student’s wares from sticking onto shelves. I currently use little trays, but find it takes up space. If so, any good wadding recipe? Thanks
     
     
  12. Like
    JLowes got a reaction from Pres in Centering A Large Mass Of Clay   
    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
  13. Like
    JLowes got a reaction from mss in Weight/size Charts?   
    I believe this link will help you:
     
    http://www.lakesidepottery.com/HTML%20Text/Tips/amount-of-clay-per-pottery-ware.htm
     
    You should be able to select the text, copy and paste it to a text file, or maybe that PDF I attached will be downloadable.
     
    I think, but not certain, that there is something similar in a Robin Hopper book, Functional Pottery. It might even be the same chart.
     
    John
    Weights of Clay Needed for Thrown Pottery Ware Size Measurements.pdf
    Weights of Clay Needed for Thrown Pottery Ware Size Measurements.pdf
  14. Like
    JLowes got a reaction from florence w in Trouble With Closed Lidded Forms   
    They may just be throwing drier than you throw, or forty years of experience gives them a leg up on this activity.  In my experience the wettest place on the pot is at the top; particularly when you are collaring in the top as lubrication is required for success.  Try using slip from your throwing to lubricate instead of water.  It is slick, stays on the surface, and doesn't wet the pot as much.
     
    Here's what I do after I have closed up the pot. I first clean all the slurry off the outside of the pot, then make the "groove" where i want it.  I keep a heat gun next to my wheel.  When the "groove" is set in how I want it, I turn on the heat gun and direct the air to that location while the pot rotates slowly on the wheel.  It doesn't take too long to firm up that area. I will dry the rest of the pot some too, so it will be firm for my next step. Then, with the wheel turning slowly,  I carefully use my needle tool to cut into the bottom of the groove.  Patience here is important, as you want the wheel to spin several rounds as the needle tool cuts the clay and makes it release the top.  Once it has cut through, I carefully remove the top and set it aside.  I clean up the inside of the pot wall, cutting any clay from the inside without expanding the wall.  I carefully pick up the top and compare its outside diameter to the inside diameter of the pot wall to see if the fit needs to be adjusted.  I firm up the top of the pot wall with the heat gun, then turn the, now lid, upside down and set it on the wall so I can trim it, dry and clean up its interior, and adjust the fit. It takes me five minutes to do all of this, as I have 11 years experience, not 40  ;-)
     
    The idea is that the lid will sit inside the bottom pot wall.  I use this technique in making animal figure treat jars (see example in attached picture), as well as other lidded forms.  It takes making a few before it starts to get easier. 
     
     


  15. Like
    JLowes got a reaction from Darcy Kane in Trouble With Closed Lidded Forms   
    They may just be throwing drier than you throw, or forty years of experience gives them a leg up on this activity.  In my experience the wettest place on the pot is at the top; particularly when you are collaring in the top as lubrication is required for success.  Try using slip from your throwing to lubricate instead of water.  It is slick, stays on the surface, and doesn't wet the pot as much.
     
    Here's what I do after I have closed up the pot. I first clean all the slurry off the outside of the pot, then make the "groove" where i want it.  I keep a heat gun next to my wheel.  When the "groove" is set in how I want it, I turn on the heat gun and direct the air to that location while the pot rotates slowly on the wheel.  It doesn't take too long to firm up that area. I will dry the rest of the pot some too, so it will be firm for my next step. Then, with the wheel turning slowly,  I carefully use my needle tool to cut into the bottom of the groove.  Patience here is important, as you want the wheel to spin several rounds as the needle tool cuts the clay and makes it release the top.  Once it has cut through, I carefully remove the top and set it aside.  I clean up the inside of the pot wall, cutting any clay from the inside without expanding the wall.  I carefully pick up the top and compare its outside diameter to the inside diameter of the pot wall to see if the fit needs to be adjusted.  I firm up the top of the pot wall with the heat gun, then turn the, now lid, upside down and set it on the wall so I can trim it, dry and clean up its interior, and adjust the fit. It takes me five minutes to do all of this, as I have 11 years experience, not 40  ;-)
     
    The idea is that the lid will sit inside the bottom pot wall.  I use this technique in making animal figure treat jars (see example in attached picture), as well as other lidded forms.  It takes making a few before it starts to get easier. 
     
     


  16. Like
    JLowes got a reaction from Darcy Kane in Making Small Handles   
    I'm with Babs, roll an appropriate size coil with a taper.  Cut to length, flatten it a little, add some texture, and attach. 
     
     
    John
  17. Like
    JLowes got a reaction from florence w in How Do You Develop You Own Aesthetic?   
    Frequently other people notice your aesthetic before you do.  My potter friends say they can pick my pots out of a grouping with ease.  We all have techniques we like, or have mastered, and how we process even a new idea will have tell tales from your skills that translate as your aesthetic to others.  I also like to try on forms that I may see in a pottery magazine, or at a display, to see how it may work for me.  I have found that I like making animal figures and curvy, spirallly designs, with lots of surface texture, or worn looking surfaces. These traits show up when I try out the observed forms.  So my aesthetic has emerged from my ability to make a form, and from application of my favorite design characteristics.  I would love to reach deep and find some ground-breaking aesthetic, but that seems pretty unlikely.  I am happy with that, so don't wait to see my name in the trades for the next great thing in ceramic arts.
     
    As Chris said, if you are new keep expanding.  For the first seven years I wanted to try everything pottery related I could get my hands on.  I have settled in with a combination of wheel, hand-build and extruder produced forms. Half of my sales are figurative raku fired pieces, and the other half generally are explorative pieces that may, or may not be functional, but I make for the challenge or design concept.  I started with wheel throwing, then added hand-building as altering the round came into play, then did hand-building as a main method with wheel thrown additions, then I got an extruder and have adapted my main body of work to extruded forms.  Along the way I have electric fired, gas fired, raku fired, soda fired, wood fired, and hope to pit fire and barrel fire before long.
     
    Around 3-4 years in I started selling work at the arts center annual sale and the quarterly shows they put on, then at year 5,  I started selling at art events around the Atlanta GA area.  Now I show about six times a year at various art events.  This year is my 10th year from first touching clay.  Like Mea, I have used my construction management job to build my equipment inventory and  to build skills and test the sales waters.  Next year I retire from construction and will amp up the pottery biz to see if it can do more than be self supporting. I sure hope the aesthetics will support the endeavor.
     
    John
  18. Like
    JLowes reacted to Stephen in How Quickly Do You Get Rid Of Failures?   
    I've never actually had a pot not come out spot on but I suppose I might have to smash the first one that doesn't work out.
  19. Like
    JLowes got a reaction from Min in How Quickly Do You Get Rid Of Failures?   
    The hopelessly ugly, the cracked, the crazed, the overfired, and generally anything I think unworthy get the hammer.  The merely too old, seen in too many shows, not my style any longer, but otherwise serviceable, get donated to a suitable charity.  I am far enough along in age that I do not worry about my work re-appearing and tarnishing my sterling reputation as a potter (it would be great if this could become a concern) as being less than the current body of work.  If there is a fail at the bisque stage, the hammer falls and the small bits get used inside my raku figures to make them more interesting with rattling sounds.
     
    Many times I will cut open a piece on the wheel to see if I can tell why I am having trouble, or if my thickness perception is matching reality.  I will hold onto a piece that falls short of my vision, so I can use it as the basis for developing the vision further.  I had rather wedge it again than break up bisque.
     
    Like Diesel, I have the first piece I made on the wheel (which is pretty nice), as well as the second piece, which showed me I wasn't a prodigy, but just lucky with the first.
     
    John
  20. Like
    JLowes got a reaction from ChenowethArts in Airbrush Recommendation For Underglazing   
    I use a Badger 250-2 I bought from Amazon, with which I also purchased a half dozen extra jars.  Today their price for both items is $27.85, plus shipping It is external mix and a simple as can be, but it does its job, is easy to clean, and a quick finger to direct air down the pick up tube clears clogs well.  It has a pretty good spread and you can vary the width by how close you are to the work.
     
    I picked this particular one on a recommendation from potter Martha Grover.
     
    I also bought a set with with a sprayer and several quick change bottles from Harbor Freight.  It is pretty cool to just unclip a bottle and change to the next to continue spraying and not lose the creative momentum removing, cleaning and installing a new bottle.  It was $9.99 if I recall correctly.
     
    I don't see spending a lot on an air brush that I am going to spray glazes through.  TCP Global has a page with the Iwata Eclipse models here:
     
    http://www.tcpglobal.com/Eclipse/?gclid=CMb794Kow8ECFWkV7AodO1UAhQ
     
    John
  21. Like
    JLowes got a reaction from potterybyosa in Getting A Bit Of Sheen On A Raw Fired Surface?   
    I have used a soda ash wash and it gave a nice, low luster, finish, while maintaining the red clay color at Cone 6.  I made mine by dissolving the soda ash into the hottest water coming out of my faucet, stirring constantly while dropping the powder into the container until a few crystals wouldn't dissolve.  I decanted and stored the rest in a non-reactive container.  I have not noticed it precipitating out (which is why I assume Chris recommended making only what you use for one time.)  The result is caustic, so please be careful with the liquid, and particularly don't get it in your eyes.
     
    You can search at Ceramic Arts Daily and get more information.  It turns up several discussions in the forum of this subject.
     
    John
  22. Like
    JLowes got a reaction from GEP in How Would You Describe Your Current Studio Location. Suburban Garage, Urban Basement, Community Setup, Rural Spread?   
    Suburban basement/garage layout.  My basement formerly had one third dedicated to a woodshop, and now the rest of the basement has been overtaken by pottery needs.  I have just about added all the shelving it will hold, and every time I added one it filled up immediately with glaze making materials from studio shut down acquisitions. One corner holds plastic tubs with finished ware ready to go to shows, alongs with packing materials.  What room is left has been filled with a pottery wheel, a large slab roller, a wedging station, and I screwed my extruder to a board so i can clamp it to my woodworking bench.  My garage holds one small and one large oval electric kiln, and I store a fiber raku kiln there as well.  The kilns have their own subpanel power, and are fired using a Skutt KM-1 wall mounted controller and share an Orton Vent.  The garage also houses my air compressor which gets moved out into the drive when spraying glazes.
     
    I am moving to another house next year that has an unfinished, but studded, basement, that my bride says is all mine to configure.  Mea Rhee's re-do will be solidly in my mind as I proceed with building it out.
     
    John
  23. Like
    JLowes got a reaction from Min in Skutt 1627   
    I took a look at the Skutt website, and that doesn't appear to be foam. 
     
    http://skutt.com/products-page/ceramic-kilns/km-1627-3pk/
     
    It is an insulating fiber insert, designed to keep more even firings by better insulating the bottom.  Your lid is also fiber insulation, same idea, keep more heat in and even out the firings.  So check it out, and if it isn't foam, leave it in.  I would put shelves down on those posts and  I would also contact Skutt to see if they can offer more advice on the loading than is available in the manual, or the brief intro from your installers. 1-503-774-6000  That is an expensive bit of equipment and doing the most you can to treat it right is in order I'm sure you will agree. Skutt support is supposed to be top shelf.
     
    John Lowes
  24. Like
    JLowes got a reaction from Darcy Kane in Monkey's Fist   
    You might be able to emulate the rope texture using a kitchen tool, a zester.
     

  25. Like
    JLowes got a reaction from LeeU in Current Opinions On Best Mobile Credit Card Options   
    Diesel Clay -  PayPal pays you into a PayPal account you either set up, or link to your existing account.  The account is accessed via a PayPal Mastercard (I think it's Mastercard) debit card.  You take a customers payment, PayPal takes out their share and places the rest in your account.  PayPal claims this to be faster access, as swiped transactions are almost immediately transferred.  If you are cash or credit card poor, and away from home, having this access for expenses could be a good thing obviously. 
     
    With Square it goes to a bank account I have specifically set up to receive the payments.  A friend had an issue with one of the payment systems tying up their funds due to a customer backcharge, which froze their bank account somehow, so i didn't want to get into that kind of position if it could be avoided.  That is why I set up a specific account for Square payments.  My experience has been from a weekend show, the funds appear in my bank by Monday afternoon or Tuesday.
     
    Brian Reed - I am not sure it is legal to refuse to accept cash in the USA.  It is the legal tender of the land.  My workaround involves pricing to always come out in even dollars.  If your price points match up in $20 increments, you stand a better chance with change, as the $20 is the predominant "coin of the realm" at ATMs.  It may also be the predominant favorite of counterfeiters too, unfortunately.
     
    John
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