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Piedmont Pottery

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About Piedmont Pottery

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  • Birthday 10/19/1955

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  • Location
    Fuquay-Varina, NC
  • Interests
    traditional folk pottery, crystalline glazes, pottery instruction

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  1. I frequently use oxide washes to accent textures on decorative surfaces, with or without a transparent glaze over it. Application is similar to Hulk's explanation. The image below is a coil vase made by one of my students. The exterior is a red iron oxide wash, no overglaze, fired to cone 6.
  2. It's a long-shot, but if you're really keen on reglazing your mug, if you have a paint-your-own bisque shop in your area it's possible that they might be willing to dip your mug in transparent glaze and fire it. Getting uniform glaze application to an already vitrified piece will be challenging, and there is a good chance that the glaze will not be a goof fit for your clay body, so crazing is likely. Those places typically fire to cone 06, so unlikely to melt your mug. However, I don't put anything in my kilns that I don't know the origins of, and many potters I know have a similar philosop
  3. Using paper clay slip made from the same clay body can help with attachment when there is some degree of difference in moisture content in the pieces being joined. Also, covering the piece tightly in plastic for the first day after attaching will let the moisture equilibrate between the two pieces.
  4. Just to clarify, the device I referred to does not have any vacuum or suction action, so HEPA filtration is irrelevant for this device. It sprays a small amount of water or cleaning solution in front of itself, and then goes over the area with an adsorbent pad. This action is repeated until the specified cleaning area is completely covered. The clay is caught in the damp pad, which is then removed and washed out for reuse. The entire process is a wet one, so I really don't see that it could contribute to putting dust into the air, microscopic or not. I would guess that my walking back and
  5. I've recently started using an iRobot Braava Jet m6 robot mop for the studio and gallery. I just tell it which area I want mopped and off it goes. I only have to do a bit of touch-up mopping around wheel legs, etc. This has been a great time saver and really helps to control dust, and saves wear and tear on the back and hips. Wonderful for after the first session of Intro to Wheel classes. The only downside is initial price. With washable/reusable mopping pads, operating expense is low.
  6. I have this slab roller. I use it in my hand-building classes and for my open studio users, and it has proven itself to be a solid and reliable performer so far (about 1 year now). I haven't used a Bailey slab roller in about 20 years, so I cant comment on current models, but the Shimpo is at least as good as that old Bailey was from a usage standpoint. I like the ability to roll through from either direction on the Shimpo. The only weak point in my opinion is the assembly and use manual. The assembly instructions aren't the easiest to follow, but I was able to figure it out. referring t
  7. I have the Nidec/Shimpo SR-3050 slab roller, and both tables are at the same level, slightly below the top of the lower roller, so you can indeed roll in either direction. Rolling through in one direction, rotating the slab 90 degrees, slightly decreasing the thickness setting, and rolling back through in the other direction works just fine.
  8. I have a working Brent wood kickwheel for sell. This was the first wheel I bought and used for many years. The bearings are all good and there's no wobble. I've recently developed SI joint problems, so I am not able to the wheel any longer. You will need to pick the wheel up, shipping not available. $125.
  9. Works by Jeff and Lisa Ross of Piedmont Pottery
  10. I used one of these for years. Perfectly adequate for non-esoteric firing schedules. The 2 or 3 thermocouple options are only useful if you have 2 or 3 zones that you are controlling separately. I saved my old AF3000 when I got new kilns with Genesis controllers and rewired the power transformer to 115V and changed the output socket to run an ancient Cress kiln that had only a kiln sitter and runs off 115V. Still working great.
  11. While I agree that ^6 clay fired to ^04 would certainly not be functional, I'm not as sure about ^10 fired to ^6. ^04 to ^6 is a difference of 287F, while ^6 to ^10 is only 113F. Also, many nominal ^10 clay bodies will mature adequately over a range of temps. With a well-fitting glaze, leakage should not be a problem. That being said, you really have to test with your glazes and clay bodies in your kiln if you're concerned about functionality.
  12. I'm getting ready to purchase an extruder for the studio. I've been looking at the TA Metalworks extruder, but not sure if I need to go for the stainless steel option, or if I could paint the inside of the barrel and the plunger with something like a spray epoxy paint to inhibit corrosion. Has anyone done this, and if so, how well did it work? I work almost exclusively white stoneware and porcelain. Also, does anyone have experience with the TA Metalworks extruder, and if so, how do you like it? Thanks, Jeff Ross Piedmont Pottery, Inc.
  13. You can also add about 1% minspar 200 to the EPK/calcined EPK/alumina hydrate mix to have it adhere better without flaking.
  14. Actually, cobalt oxide has more cobalt per unit mass than cobalt carbonate. You need roughly 1.5 times as much carbonate as you would oxide for the same amount of cobalt. Neither the carbonate or oxide are soluble in water.
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