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Piedmont Pottery

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About Piedmont Pottery

  • Rank
    Advanced Member
  • 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'm a big fan of backer board, both as a wedging surface and for quickly drying out slop. They're readily available, inexpensive, and no worries about getting bits of plaster in your clay.
  2. It sounds like a loose belt. If I remember correctly you tighten the belt by taking of the splash pan and loosening the 4 bolts underneath the wheel head just a bit, then a spring tensioner will adjust the tension. Tighten the bolts back down and you should be good to go. Be sure not to take the bolts all the way out, just loosen them so the tensioner can engage. There's probably a description of the process in the owner's manual.
  3. If it's windy, it's a good idea to turn the pots periodically even if they're not in direct sunlight, so they don't dry unevenly.
  4. This is an example of Mason 6374 at 8 g to 100 g transparent base. Even at this level of stain there is still a fair amount of transparency. Breaks nicely over texture, still shows fine underlying textures when thin.
  5. I get requests like this at least once a week. What I've settled on is an open studio plan, where for a fixed fee per month, users can rent a section of shelf space and use studio equipment to work on projects when I don't have classes in session. The fee includes bisque and glaze firings, and a selection of the glazes I use in class. However, they must purchase their clay from me so I know what is going into my kilns. Several of my open studio users have wheels or slab rollers at home, but no kiln, so they bring in their works from home for firing and glazing. It's been working out ok s
  6. Have you tried calling M&M Pottery Supply? They might be the best source of information on this.
  7. As long as it was bone dry before the freezing temperatures hit, it should be ok, I've had that happen once when power went out in an ice storm. They fired just fine.
  8. I had a custom order to make a set of mugs that matched a mug with the coiled look on the outside. Using a hole punch to punch out a series of half-circles along the edge of a credit card did the job.
  9. Diamond disks attached to a bat work well for this. They are available in different grits, I have an assortment that I use for polishing the bottoms of macrocrystalline glazed pots. Be sure to keep the diamond disk surface wet at all times while polishing to minimize the ground clay particles from becoming airborne, and to make your diamond disk last longer.
  10. I use wadding routinely in glaze firings now. It has the advantage of giving a bit of extra space for student pieces that have a too thick glaze application allowing the glaze to pool at the bottom edges of a pot without reaching the shelf. Another advantage is that it lets the hot air circulate under the pots so the bottoms and tops heat more evenly. The kiln selves tend to lag a bit in heating compared to the pots. Also, I do reuse wads routinely. A drop of glue to stick them the the bottom of the pots is just as fast as rolling a ball of wadding and sticking it to a pot.
  11. I have computer controllers on all but 2 of my kilns, but I still use cones to make sure that the heat work got to where it should have gotten. Not every firing, but whenever I change a program or whenever I suspect a problem. The bowls in the photo are larger than I would typically stilt. If I was going to try to stilt them I would use multiple stilts per bowl spread out to distribute the weight. I usually add foot rings to bowls that size and leave the bottoms of the rings unglazed.
  12. Are you sure that the piece in the photo was cone 6 porcelain? It looks more like what happened when I accidentally fired a high talc low fire body to cone 6. I f you're sure of the clay, are you sure of the firing temperature? Did you have cones in that firing? I have often used stilts with both porcelain and stoneware at cone 6, and have never seen that degree of slumping.
  13. Stilting at cone 6 is entirely possible, as long as the stilts are rated for that temperature and the pieces being stilted are not too heavy. You will have some small stilt marks to deal with, but if you have been stilting at cone 06 then you already know how to handle them. The stilts I use are rated for cone 10, and work fine at cone 6.
  14. 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.
  15. 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
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