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bciskepottery

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  1. Like
    bciskepottery got a reaction from Julie P in Akira Satake Kohiki Slip Work (From Going Price Of A Mug)   
    Doing these types of surface treatments has really taught me patience.  You really do end up working at the clay's pace/readiness, not yours.  And, for Akira's kohiki slabs, I've mostly given up thinking ahead of time what the slab will be made into as the stretching process reshapes the slab; sometimes you get these really rolling edges that beg to be the lip of a vase, while other times the edges are just plain and boring to look at -- those become boxes. 
     
    In our workshop, Eric Serritella said he looked at birch bark but did not use birch bark as a model -- rather, he made his view of birch bark.  The trick is in the details -- using a wire brush to make small marks similar to insect borings in the bark, using a knife to peel back some bark.  I used leather strips for my basket handles; he makes his leather strips from clay -- he carries a couple of rings of clay blends he's made from blending two different clay bodies to come up with different "wood" colors.  And, he will spend 4+ months working on a single teapot or vessel.  That is patience to the nth degree.
     
  2. Like
    bciskepottery got a reaction from Julie P in Akira Satake Kohiki Slip Work (From Going Price Of A Mug)   
    A somewhat long missive.  If you get the opportunity to take a workshop with Akira, I highly recommend it.  His workshops are hands-on and he is very generous with his knowledge of technique and craftsmanship. 
     
    First, here is Akira's slip recipe: 
    Goldart, 6 lbs. (30%)
    Kaolin - EPK, 10 lbs. (50%) [Akira also uses Grolleg or Tile 6 for a whiter slip and Helmar for woodfired items]
    Custer Feldspar, 2 lbs. (10%)
    Silica, 2 lbs. (10%)
     
    His recipe makes a five-gallon bucket of slip; I usually half the quantity and make a smaller 2 1/2 gallon bucket.  For the 2 1/2 gallon bucket, I add between 4 and 4 1/2 quarts of water; for a five-gallon bucket, add 8 to 9 quarts.  I generally hold off on the last quart, adding a bit at a time to get the right consistency.  This will be a thicker slip than you are probably used to making -- almost yogurt consistency.  I've found that leaving it a bit on the thicker side and then adding some water as needed is better than making it too thin and watery.  After mixing, it is sieve time (30 or 40 mesh should be fine); this is somewhat labor intensive but the creamy slip you get as a result is well worth the effort.  I let the bucket stand overnight and remove any excess water that rises to the top of the bucket.
     
    Recently, I tried using Grolleg instead of EPK and it worked fine; fired a little whiter, which was expected. 
     
    For clay bodies, I've used Standard 153 (^10), Laguna Dark Brown (which fires to black at ^10), and Highwater Hestia (^10) that is fired in reduction.  I've played with a couple items at ^6 using Standard 266 and Highwater's Red Rock that is fired in my electric kiln.
     
    So, start with a slab . . . either from a slab roller or made by hand.  I use a slab roller because I vary the thickness of the slab just a bit depending on what I plan to make.  For things like boxes and ikebana vases, I prefer a thicker slab to start as it allows for a wider edge seam for joining (I use a 45 degree bevel cutter).  Also, as described below, when you stretch the slabs after the slip firms up, the slab compresses and becomes thinner.  So, you want to allow for that compression at the outset.  I generally set the slab roller for a generous 1/4 inch slab for general items and between 1/4 and 3/8 inches for boxes.  My slab sizes generally run 12"x15" (my slab roller is small); I've found that to be a good size for doing the stretch part described below. 
     
    I place a couple sheets of newspaper on a table and then set the slab(s) on top of the newspaper.  On top of your slab, add about 1/3 to 1/2 cup slip.  Glop it in the middle and spread it around evenly -- I use a three-inch spackling knife (you can also use a wide hake brush); don't worry about going over the ends of the slab.  At this point, just try to even out the slip, don't worry about the surface.  (If you want to do some very precise patterns, like the seashell Akira uses on his teapots, use less slip or a thinner slip.)  After allowing the slip some time to settle -- maybe 30 minutes, I go back with a second brush to make my final pattern.  Lately, I've been use a stiff brush . . . a basting brush from the kitchen.  Using that brush, I make my patterns . . . generally just a fluid arm (not wrist) movement from right to left, left to right, starting at the top and working toward the bottom.  You can criss cross or just make parallel lines.  If there is too much slip building up on the brush, remove it and continue.  At this point, the brush lines will begin to develop; work (but don't overwork) until you see a pattern that you like.  If you work it too long, the slip will become less thick and flatten. 
     
    At this point, you need to let the slab set . . . I can leave mine out overnight in the studio; how long this takes will depend on temperature and humidity (during the DC summer, it can set in a few hours; during the winter, I've let them set out a couple days in the garage studio).  You want the slab to get about medium leather hard.  Too soft and the slip will not create the breaks you want when the slab is stretched; too hard, the slab will crack and tear.  If the slab does dry faster than you thought, you can use a water spritzer to rehydrate the slab (spritz both front and back to restore even moisture).  If you can bend the slab and the slip does nothing, its too soft; if you bend the slab and it breaks, too hard. 
     
    Once the slab is set up, the next step is to stretch it.  This is how Akira creates those beautiful patterns.  For stretching, gently toss the slab across a plain piece of unfinished plywood, 24"x24"x3/8".  First, I drop the slab on the plywood from a height of about 12 inches (just a plain pancake drop). . . this wakes up the clay.  Then I turn the clay over so the slip is face down on a piece of thin foam.  I take a cardboard tube . . . mine are the tubes from rolls of shrink-wrap, about 4" or so in diameter (you could substitute a piece of PVC wrapped in newspaper so the clay won't stick) and if roll the slab around the tube.  This helps break the slip along its texture lines and also begins to give the slab memory of being a curved surface and not flat slab.  [if you are not doing round work, no need for this step.]  Remove the slab from the tube and place it slip-side up on the plywood.  The next step is stretch the slab.  To do this, pick up the slab by the sides and gently toss it -- at an angle -- against the plywood slab so that the slab stretches as it strikes the surface of the wood.  I generally hold the slab in my outstretched arms and toss it at an angle towards me.  Rotate the slab 180 degrees, and repeat.  With each strike against the plywood, you will begin to see the slip stretch and pull away from the underlying clay slab.  Repeat until you get the look you like but don't get greedy . . . too much stretching and the slab will tear or it will compress unevenly.  This is the hardest part of the process and it takes some time to  get a feel for doing.  I've noticed a tendency for slabs to thin more in the middle and tear along the edges if you stretch it too many times. 
     
    Once you've gotten this far, your slab is ready and you can make whatever form you want.  If the slab is very pliable, you can let it set up for a while.  For joining edges, Akira uses an overlap technique where he takes a rasp (Sherrill's Mud Tool rasp) and shaves down opposite sides about 1 inch, then scores and adds slip to join.  Basically, you want the thickness of the join to be the same as the thickness of the slab wall . . . if it is thicker, it can distort while drying. 
     
    Bisque firing is your usual bisque firing.  Once bisqued, Akira applies a red iron oxide wash to the vessels and sponges off the wash from the high areas of the surface, leaving the RIO to penetrate into the exposed clay body.  I've used straight RIO and water, as well as a combination of RIO, Frit 3124, and water.  Insides are glazed -- he seems to favor shino or iron red, but its really up to you. 
     
    Akira fires in reduction to cone 10 in either his diesel fueled kiln.  I fire my kohiki work in reduction in a natural gas kiln.  I've been trying to get a similar look in an electric kiln by applying a soda ash wash to the outside to get a similar sheen on the slip; I'm not quite there yet. 
     
    The two keys seem to be catching the slab at the right time to begin stretching, and then stretching itself to get the slip to break and expose the underlying clay body.  When I do kohiki, I'll make 6 or 8 slabs at a time, fills up a 6' folding table top.  Once stretched, I'll store them in a plastic bin, with sheets of plastic separating each slab, to keep them moist while building various boxes, bottles, vases, etc.  The process is a bit time consuming, but well worth the effort, in my opinion.  And, I've adapted and added to what Akira taught in the workshop.  Right now, I'm trying thicker slip applications so the surface is more 3-D feeling. 
     





  3. Like
    bciskepottery got a reaction from blackthorn in Sanding Cone 10 Bisqueware?   
    Any sanding should be done outside and away from where the silica dust could be inhaled by anyone else in the studio or tracked back into the studio. And, if you sand, be sure to where an appropriate breathing respirator (P-100 rated) to protect your lungs from silica dust. Smoothing your surfaces while leather hard with a soft rib is preferable since it does not raise silica dust. Or, use a wet sanding approach that minimizes (but does not completely eliminate) silica dust becoming air borne. Smooth is nice; healthy lungs and being able to breath is nicer.
     
    http://www.3m.com/product/information/P100-Particulate-Filter-Respirator.html or something similar. But rated P100 or it does not capture the fine dust.
  4. Like
    bciskepottery got a reaction from elaine clapper in Turned Foot Rings On Mugs; Elegance Or Affectation?   
    This might have been posted before, but it is one of my favorite clips . . . Pete Pinnell on cups, how they are handled, and how he judges them.
     
     
  5. Like
    bciskepottery got a reaction from Lisa Montoya Catlin in First time on a wheel...   
    Works with clay . . . including porcelain. If the clay is pretty dry, I'd start out with a cup of water. Also, make sure there are no tears or holes in the plastic bag; you don't want excessive water leaking in and making a soft mush. I've got a couple of "bricks" coming back to life in the garage.
  6. Like
    bciskepottery got a reaction from Lisa Montoya Catlin in First time on a wheel...   
    Your terra cotta clay may be a bit dry and just need some moisture restored to make it more workable. Assuming the terra cotta is in its plastic bag, add about 1/4 cup water, squeeze out excess air from the bag, and tie off the top. Put the clay/bag in a bucket and fill the bucket with water until the water level is just below the top of the bag. Let stand overnight. Next day, check the clay to see if it is more moist. If it is still dry, add another 1/4 cup and repeat. The water in the bucket will force the clay to absorb the water you poured into the bag more evenly. An easy way to rehydrate clay that has dried out.
  7. Like
    bciskepottery got a reaction from Kilngod ceramics in Akira Satake Kohiki Slip Work (From Going Price Of A Mug)   
    A somewhat long missive.  If you get the opportunity to take a workshop with Akira, I highly recommend it.  His workshops are hands-on and he is very generous with his knowledge of technique and craftsmanship. 
     
    First, here is Akira's slip recipe: 
    Goldart, 6 lbs. (30%)
    Kaolin - EPK, 10 lbs. (50%) [Akira also uses Grolleg or Tile 6 for a whiter slip and Helmar for woodfired items]
    Custer Feldspar, 2 lbs. (10%)
    Silica, 2 lbs. (10%)
     
    His recipe makes a five-gallon bucket of slip; I usually half the quantity and make a smaller 2 1/2 gallon bucket.  For the 2 1/2 gallon bucket, I add between 4 and 4 1/2 quarts of water; for a five-gallon bucket, add 8 to 9 quarts.  I generally hold off on the last quart, adding a bit at a time to get the right consistency.  This will be a thicker slip than you are probably used to making -- almost yogurt consistency.  I've found that leaving it a bit on the thicker side and then adding some water as needed is better than making it too thin and watery.  After mixing, it is sieve time (30 or 40 mesh should be fine); this is somewhat labor intensive but the creamy slip you get as a result is well worth the effort.  I let the bucket stand overnight and remove any excess water that rises to the top of the bucket.
     
    Recently, I tried using Grolleg instead of EPK and it worked fine; fired a little whiter, which was expected. 
     
    For clay bodies, I've used Standard 153 (^10), Laguna Dark Brown (which fires to black at ^10), and Highwater Hestia (^10) that is fired in reduction.  I've played with a couple items at ^6 using Standard 266 and Highwater's Red Rock that is fired in my electric kiln.
     
    So, start with a slab . . . either from a slab roller or made by hand.  I use a slab roller because I vary the thickness of the slab just a bit depending on what I plan to make.  For things like boxes and ikebana vases, I prefer a thicker slab to start as it allows for a wider edge seam for joining (I use a 45 degree bevel cutter).  Also, as described below, when you stretch the slabs after the slip firms up, the slab compresses and becomes thinner.  So, you want to allow for that compression at the outset.  I generally set the slab roller for a generous 1/4 inch slab for general items and between 1/4 and 3/8 inches for boxes.  My slab sizes generally run 12"x15" (my slab roller is small); I've found that to be a good size for doing the stretch part described below. 
     
    I place a couple sheets of newspaper on a table and then set the slab(s) on top of the newspaper.  On top of your slab, add about 1/3 to 1/2 cup slip.  Glop it in the middle and spread it around evenly -- I use a three-inch spackling knife (you can also use a wide hake brush); don't worry about going over the ends of the slab.  At this point, just try to even out the slip, don't worry about the surface.  (If you want to do some very precise patterns, like the seashell Akira uses on his teapots, use less slip or a thinner slip.)  After allowing the slip some time to settle -- maybe 30 minutes, I go back with a second brush to make my final pattern.  Lately, I've been use a stiff brush . . . a basting brush from the kitchen.  Using that brush, I make my patterns . . . generally just a fluid arm (not wrist) movement from right to left, left to right, starting at the top and working toward the bottom.  You can criss cross or just make parallel lines.  If there is too much slip building up on the brush, remove it and continue.  At this point, the brush lines will begin to develop; work (but don't overwork) until you see a pattern that you like.  If you work it too long, the slip will become less thick and flatten. 
     
    At this point, you need to let the slab set . . . I can leave mine out overnight in the studio; how long this takes will depend on temperature and humidity (during the DC summer, it can set in a few hours; during the winter, I've let them set out a couple days in the garage studio).  You want the slab to get about medium leather hard.  Too soft and the slip will not create the breaks you want when the slab is stretched; too hard, the slab will crack and tear.  If the slab does dry faster than you thought, you can use a water spritzer to rehydrate the slab (spritz both front and back to restore even moisture).  If you can bend the slab and the slip does nothing, its too soft; if you bend the slab and it breaks, too hard. 
     
    Once the slab is set up, the next step is to stretch it.  This is how Akira creates those beautiful patterns.  For stretching, gently toss the slab across a plain piece of unfinished plywood, 24"x24"x3/8".  First, I drop the slab on the plywood from a height of about 12 inches (just a plain pancake drop). . . this wakes up the clay.  Then I turn the clay over so the slip is face down on a piece of thin foam.  I take a cardboard tube . . . mine are the tubes from rolls of shrink-wrap, about 4" or so in diameter (you could substitute a piece of PVC wrapped in newspaper so the clay won't stick) and if roll the slab around the tube.  This helps break the slip along its texture lines and also begins to give the slab memory of being a curved surface and not flat slab.  [if you are not doing round work, no need for this step.]  Remove the slab from the tube and place it slip-side up on the plywood.  The next step is stretch the slab.  To do this, pick up the slab by the sides and gently toss it -- at an angle -- against the plywood slab so that the slab stretches as it strikes the surface of the wood.  I generally hold the slab in my outstretched arms and toss it at an angle towards me.  Rotate the slab 180 degrees, and repeat.  With each strike against the plywood, you will begin to see the slip stretch and pull away from the underlying clay slab.  Repeat until you get the look you like but don't get greedy . . . too much stretching and the slab will tear or it will compress unevenly.  This is the hardest part of the process and it takes some time to  get a feel for doing.  I've noticed a tendency for slabs to thin more in the middle and tear along the edges if you stretch it too many times. 
     
    Once you've gotten this far, your slab is ready and you can make whatever form you want.  If the slab is very pliable, you can let it set up for a while.  For joining edges, Akira uses an overlap technique where he takes a rasp (Sherrill's Mud Tool rasp) and shaves down opposite sides about 1 inch, then scores and adds slip to join.  Basically, you want the thickness of the join to be the same as the thickness of the slab wall . . . if it is thicker, it can distort while drying. 
     
    Bisque firing is your usual bisque firing.  Once bisqued, Akira applies a red iron oxide wash to the vessels and sponges off the wash from the high areas of the surface, leaving the RIO to penetrate into the exposed clay body.  I've used straight RIO and water, as well as a combination of RIO, Frit 3124, and water.  Insides are glazed -- he seems to favor shino or iron red, but its really up to you. 
     
    Akira fires in reduction to cone 10 in either his diesel fueled kiln.  I fire my kohiki work in reduction in a natural gas kiln.  I've been trying to get a similar look in an electric kiln by applying a soda ash wash to the outside to get a similar sheen on the slip; I'm not quite there yet. 
     
    The two keys seem to be catching the slab at the right time to begin stretching, and then stretching itself to get the slip to break and expose the underlying clay body.  When I do kohiki, I'll make 6 or 8 slabs at a time, fills up a 6' folding table top.  Once stretched, I'll store them in a plastic bin, with sheets of plastic separating each slab, to keep them moist while building various boxes, bottles, vases, etc.  The process is a bit time consuming, but well worth the effort, in my opinion.  And, I've adapted and added to what Akira taught in the workshop.  Right now, I'm trying thicker slip applications so the surface is more 3-D feeling. 
     





  8. Like
    bciskepottery got a reaction from HarleyDP in Seeking a cone 6 white glaze recipe for very dark clay body   
    This breaks nicely on Standard 266 dark brown:
     
    Antique White ^6
     
    Neph Syenite 41.7
    Silica 16.7
    Gerstley Borate 25.0
    EPK kaolin 8.3
    Whiting 8.3
    Total 100.0
     
    Bentonite 2.2
    Tin Oxide 8.3
    Red Iron Oxide 0.9
     
    (Sorry about asking cone in earlier post; senior moment)
  9. Like
    bciskepottery got a reaction from Bill Kielb in Manganese Dioxide   
    Yes, manganese dioxide is toxic -- both in dry form (breathing risk) and in suspended form (it can be absorbed by through the skin, causing neurological problems). And, your kiln should be vented to outside to remove gases emitted during firing. Lip of a mug is not a good idea as the contact is a point for leeching. Outside of a bowl or mug -- to highlight decoration or make a mark, likely okay; to cover the full surface -- not a good idea. A heavy application is going to go metallic and may/may not completely melt. Will it leech through to inside -- depends. Are your firing your stoneware to vitrification? If not, could be problematic. Are you using a durable, trusted liner glaze? You might see some fuming from your wares to others in the kiln -- are you firing your own kiln or are you risking others pottery in a community kiln?
  10. Like
    bciskepottery got a reaction from LDTarp in temp for opening kiln?   
    For a bisque load, I'll open the top at 130 to 150F.
     
    For a glaze load, I'll prop open the top at 120F and open fully when it gets down to 100F. If it's a cool/cold day (my kiln is in the garage), I might wait a bit longer and let it cool some more.
     
    I fire an electric kiln. I fire with a vent . . . turned on at start of firing, turned off when unloading. Plugs stay in.
     
    At the studio I also use, some have unloaded glaze kilns at higher temperatures . . . to a chorus of "pings" and crazing.
  11. Like
    bciskepottery got a reaction from Bill Kielb in What To Do With Old, Dry, Moldy Clay?   
    A better way of rehydrating your clay is to keep it in its plastic bag and add 1 to 1 1/2 cups water (maybe a capful of bleach in the water in this case 50/50 water and bleach in this case), and reseal the bag with a twist tie. Then put the bag of clay in a 5 gallon bucket and fill the bucket with water until it just reaches the top of the clay block. The water pressure from the bucket will force the water/bleach into the dry clay and rehydrate it. Let it sit in the bucket for a couple of days, or until it is soft and pliable. By not poking holes and filling with water, you eliminate the potential for air bubbles when you wedge the clay.

    I've found mold on some clay just out of the box; it burns out during bisque. I've also had mold grow from recycled clay . . . always figured it was dead cells from my hands, etc. that were decomposing.
  12. Like
    bciskepottery got a reaction from preeta in Sanding Cone 10 Bisqueware?   
    Any sanding should be done outside and away from where the silica dust could be inhaled by anyone else in the studio or tracked back into the studio. And, if you sand, be sure to where an appropriate breathing respirator (P-100 rated) to protect your lungs from silica dust. Smoothing your surfaces while leather hard with a soft rib is preferable since it does not raise silica dust. Or, use a wet sanding approach that minimizes (but does not completely eliminate) silica dust becoming air borne. Smooth is nice; healthy lungs and being able to breath is nicer.
     
    http://www.3m.com/product/information/P100-Particulate-Filter-Respirator.html or something similar. But rated P100 or it does not capture the fine dust.
  13. Like
    bciskepottery got a reaction from McRocks in Paper Armature   
    If you bring it in the house, you'll want to dry it slowly . . . the legs are thinner and will dry out first, which could cause stresss and cracks in the main body of the dog. You could wrap the legs in plastic, allowing the body to start drying and then allow the legs to catch up. Regardless, if brought inside, I'd alternate periods of covered/uncovered so you can control the drying, along with plastic wrap on the legs. Find a place inside that is relatively constant in temperature, not in sunlight. Time is your friend, so enjoy it's company and don't rush it.
     
    You might want to start thinking about how you plan to fire the piece, as the clay will shrink and expand during firing, along with heat retention in the kiln shelf during cooling . . . and that could put stress on the legs and cause cracking. Firing on clay slats, or a bed of grog or silica sand, would help mitigate that problem.
     
    Beautiful sculpture . . . and you say it's your first?!!!
     
     
  14. Like
    bciskepottery got a reaction from yappystudent in Nine Warning Signs Of An Amateur Artist   
    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.
  15. Like
    bciskepottery got a reaction from douglas in pieces warping during glaze firing   
    Does your yarn bowl design include a cut in the rim to allow threading the yarn? If so, that might be contributing to the rim distortion . . . as the clay expands and shrinks during glaze firing, the cut in the rim may be allowing it to distort. Because your bisque temperature is lower, it does not occur at that firing, only when you hit the higher temperatures of a glaze fire. You might think about altering your design, perhaps foregoing the cut in the rim for just a hole in the side that allows the yarn to come through. Or, you could switch to glazing at low fire temperatures.
     
    As for the platters, in general, make sure you are compressing the slabs, rolling them in all directions . . . especially if you are using a slab roller to make them. Also, after rolling, take the ware board with slab on it and drop it flat against the floor from about mid-waist high -- that will compress the slab. Handle slabs minimally to prevent warping. If you could tell how you make your slabs, it might be easier to diagnose what is going wrong.
  16. Like
    bciskepottery got a reaction from D.M.Ernst in pieces warping during glaze firing   
    Does your yarn bowl design include a cut in the rim to allow threading the yarn? If so, that might be contributing to the rim distortion . . . as the clay expands and shrinks during glaze firing, the cut in the rim may be allowing it to distort. Because your bisque temperature is lower, it does not occur at that firing, only when you hit the higher temperatures of a glaze fire. You might think about altering your design, perhaps foregoing the cut in the rim for just a hole in the side that allows the yarn to come through. Or, you could switch to glazing at low fire temperatures.
     
    As for the platters, in general, make sure you are compressing the slabs, rolling them in all directions . . . especially if you are using a slab roller to make them. Also, after rolling, take the ware board with slab on it and drop it flat against the floor from about mid-waist high -- that will compress the slab. Handle slabs minimally to prevent warping. If you could tell how you make your slabs, it might be easier to diagnose what is going wrong.
  17. Like
    bciskepottery got a reaction from terrim8 in Ceramic Tape Recipe? (Like Keraflex)   
    Alfred_09_Tape_Casting.pdfAlfred_09_Tape_Casting.pdf
  18. Like
    bciskepottery got a reaction from Sheryl Leigh in pieces warping during glaze firing   
    Does your yarn bowl design include a cut in the rim to allow threading the yarn? If so, that might be contributing to the rim distortion . . . as the clay expands and shrinks during glaze firing, the cut in the rim may be allowing it to distort. Because your bisque temperature is lower, it does not occur at that firing, only when you hit the higher temperatures of a glaze fire. You might think about altering your design, perhaps foregoing the cut in the rim for just a hole in the side that allows the yarn to come through. Or, you could switch to glazing at low fire temperatures.
     
    As for the platters, in general, make sure you are compressing the slabs, rolling them in all directions . . . especially if you are using a slab roller to make them. Also, after rolling, take the ware board with slab on it and drop it flat against the floor from about mid-waist high -- that will compress the slab. Handle slabs minimally to prevent warping. If you could tell how you make your slabs, it might be easier to diagnose what is going wrong.
  19. Like
    bciskepottery got a reaction from andros in Ways To Make Square Forms\Urns   
    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.

  20. Like
    bciskepottery got a reaction from yappystudent in Ways To Make Square Forms\Urns   
    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.

  21. Like
    bciskepottery got a reaction from Chilly in What are cone temperatures   
    Good starting point for understanding cones: 
    Use cones to make sure your digital controller is accurate and validate its temperatures.  Like an insurance policy. 
  22. Like
    bciskepottery got a reaction from Min in Ways To Make Square Forms\Urns   
    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.

  23. Like
    bciskepottery got a reaction from GEP in Ways To Make Square Forms\Urns   
    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.

  24. Like
    bciskepottery got a reaction from Joseph Fireborn in Ways To Make Square Forms\Urns   
    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.

  25. Like
    bciskepottery got a reaction from Babs in Ways To Make Square Forms\Urns   
    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.

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