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Everything posted by bciskepottery

  1. Try Taos Clay Studio . . . just up the road. They have a workshop option that might work.
  2. I use a wire cutting tool to make 45 degree beveled edges on my slabs, score the edges, and assemble. Use the triangle piece cut from the edge on the inside to strengthen the corner, or a thin coil. For boxes with tops, I follow Min's process -- make the box, let it set up, then cut the top part off. On the inside of the bottom part, I add some thin slaps to serve as a gallery or sorts.
  3. Good starting point for understanding cones: Use cones to make sure your digital controller is accurate and validate its temperatures. Like an insurance policy.
  4. At one point, we were all beginners and newbies. Min and the others have given some good advice. On your bloating, does it happen throughout the kiln, or just top, bottom, or middle? Does your kiln have one thermocouple or three? Sounds like one -- which means your kiln controller is measuring its firing temperature at the middle of the kiln (also called one zone). To compensate for unevenness in temperature, the manufacturer will alter the elements for top and bottom to heat differently than the middle -- all part of their design to even out the firing. A kiln with multiple th
  5. Applying glazes takes practice; you should get better over time. Unfortunately, there may be many pieces made, glazed before you get the technique down. But I've found that is a learned skill. As many potters will have as many tricks of the trade they've developed. You sound like you have the basics (although I'm a three or four second dipper); just make pieces and practice. The part of potting that most "hate" is glazing, because it doesn't turn out the way you envisioned the glaze. But you'll get there. Some glazes are very sensitive to glaze thickness, so even rubbing down a drop
  6. Yep, locally made . . . with glaze ingredients/oxides mined from Africa, kaolins imported from New Zealand, feldspars from England and Spain, etc. etc. etc. And don't forget to support your local artists . . . who are more than willing to sell/ship world-wide from his/her Etsy/Amazon/personal web site. I associate the word "bandwagon" with fleeting supporters/fans who join the latest fashion or fad. Give me long-term, loyal customers who buy regardless of trends. (Just feeling the irony today). ; )
  7. https://www.amazon.com/dp/B019QX7CY8/ref=asc_df_B019QX7CY85233239/?tag=hyprod-20&creative=395033&creativeASIN=B019QX7CY8&linkCode=df0&hvadid=193166724913&hvpos=1o1&hvnetw=g&hvrand=1972749360143774791&hvpone=&hvptwo=&hvqmt=&hvdev=c&hvdvcmdl=&hvlocint=&hvlocphy=9008188&hvtargid=pla-362684347567
  8. I am not a "big" thrower; on those really rare occasions when I do make a big item, I take the Tony Clennell approach and throw in sections . . . 8 to 12 lbs. or so. At those weights, torque is no problem. Coning, centering, and throwing 25 lbs. or so takes strength I just don't have at my age. I had an instructor who would occasionally throw a demo with 25 lbs. -- and he would collapse the ware at the end of class.
  9. I have a Shimpo Whisper VL. Love it. Learned on Brents in a community studio that also had some old Shimpos and found the Shimpo foot pedal more responsive. Direct drive means fewer moving parts to replace down the road. Had I not gotten the Shimpo, I would have gone with either the Thomas Stuart (pre-bought out by Skutt) or the Bailey Pro.
  10. If you are up for testing, consider letting the half pint dry out into powder, then reconstitute with water (no gum). Then treat as a dipping glaze, like the undercoat of obsidian.
  11. Can you also get the second glaze in powder form to mix? That avoids the whole no-gum/gum situation.
  12. Unless you apply alumina to the rims, they are likely to stick during a glaze firing (unlike a lower temp bisque firing). Understand the desire to maximize kiln space, but work with what you have and focus on quality, not quantity. Cost of electric firing is not that much in terms of overall price of an item. May be a few pennies more per piece now, but you'll make it up later with larger kiln. Think long term, pottery/ceramics is not for those who tend toward instant gratification. But you already knew that -- as evidenced by your journey so far and your work to achieve your own voi
  13. Agree with Mark, probably used for kiln wash. Using calcined clay reduces cracking when the wash dries.
  14. 6 of one; half dozen of the other. Comes down to personal preference. Many community studios use 05 as it the bisque is hard enough to prevent over-absorption of glazes by beginning students who all count to 1003 (or 1005) at different paces. Not sure you'd notice a difference unless some glazes are real sensitive to thickness.
  15. Gas bubbles in the 266. The glaze is maturing and sealing the surface before the gas bubbles from the clay body are released. Most common remedy is to hold top temperature during bisque to allow more of the Sulphur and other impurities to burn out. Also, stack the 266 loose in the bisque to maximize surface area to promote burnout of impurities. Not an uncommon problem with 266 and similar clay bodies.
  16. Actually, thanks to you . . . been around that word all my life, have even used it, but never bothered to check its meaning.
  17. hack·le /ˈhak(ə)l/ noun plural noun: hackles; noun: hackle 1. erectile hairs along the back of a dog or other animal that rise when it is angry or alarmed. 2. a long, narrow feather on the neck or saddle of a domestic rooster or other bird. 3. a steel comb for separating flax fibers. verb verb: hackle; 3rd person present: hackles; past tense: hackled; past participle: hackled; gerund or present participle: hackling 1. dress or comb with a hackle.
  18. The bias and snobbery is evident in the article title . . . warning real artists that amateurs are persons to be avoided and how to detect them. I have no problem admitting to being an amateur potter because that is what I am. No more, no less.
  19. Depending on how wet or dry you throw, you tend to lose the fine particles of clay in your slop. When recycling, you need to restore those fine particles or the clay becomes stiff/hard to throw -- potters use the term short to describe the clay. By adding your slop to the recycled clay (see Marcia's post), you restore fine particles and the clay keeps more of its plasticity. If you don't add back your slop, you need to add a fine clay to the recycle clay. Given Coleman is a bit pricey, save your slop and recycle your own . . . don't mix it with the others.
  20. On the Northstar, both rollers work and you can adjust for the thickness of the slab. No shims, I use slab mats.
  21. My first pottery equipment buy was the Northstar portable table top roller. Even slabs, no problems -- going on 7 or 8 years.
  22. Electric fence with concertina wire across the top . . . and even that is not a guarantee with school kids.
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