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Everything posted by oldlady

  1. wait, wait, wait, spotty. how many switches are on your kiln? i looked at olympic's website and there is no model with just 1818H that i could find. is there a way to see a photo of the kiln itself? firing on low for 10 to 12 hours sounds extreme. if your work is thoroughly dry, there is no need to fire on low for that amount of time. and "wedge" could be half an inch to 6 inches or more. maybe there are other kiln manuals that are more clear. have you tried calling them to ask this question? Neil, what do you think?
  2. thanks, good suggestion. sometimes, when the brain has been fried and then soaked in a heavy rain, it does not work well. been that kind of a day. sitting in a gallery with only 8 possible customers walking in, paying $7 for parking at the gallery, driving both ways in rain, having no internet at all and almost thankful not to disappoint customers who MIGHT buy something, all makes me think selling from home MUST be easier.
  3. callie, i am interested in internet sales. i have considered an Etsy shop and even know someone who can help me make one. the retrieval of email addresses through etsy is a concern. i agree that having my own email list is very important. would this work??? thank you, mrs customer for your purchase of the butter dish. i am always interested in how people use the items so could you please send me a photo of your new butter dish in use? i promise i will not sell your private info if you do this for me. thank you with proper capitalization, of course. i do care a lot about the photo but my real purpose is seeing that return email address. what do you think? will Etsy notice?
  4. spotty, there really is no simple answer to your question other than liam's sensible suggestion. every person makes pots that are individual to that person. putting them in the kiln and then thinking they should fire in the same amount of time as the nearest other potter just won't work. maybe you make very thick, heavy pots and get 4 of them into the kiln. maybe that other guy puts 50 tiny things in the same kiln. maybe you use 1 shelf and he uses 5. try liam's suggestion. personally, i have had the timer shut off the kiln before it was fired because i forgot to set it. it all depends.
  5. tell the owner to look at the right side of the red painted section that sticks out. whatever the price is, that is a very old kiln so find out as much as you can. was it used for only earthenware, low firing temperatures, or how often was it used? can you get a photo of the inside, (hold the camera down in the middle and get a shot of the wires in their grooves) is it still in use today or has it been in storage for a time? there are lots of previous posts about what to look for in a used kiln, try to find them.
  6. i do not think they will work very well, the clay is just damp enough that it might cause the jiffy pot to collapse. it is not hard to teach them to use slabs that are cut to the right shape and put a bottom on, a very simple example. to get a shape that will work, i suggest finding a good size paper cup that they can handle easily. too small is hard to do. cut it on its seam and flatten it under a heavy book. have them cut their own shape and form it over a second paper cup. look at Sandi Pierantozzi's work and see how simple it can be.
  7. that is the size i bought for a test kiln for about $100. or less, i do not remember. it is not in the greatest shape. i would keep shopping.
  8. you have not entered your location. if any of us finds something, it could be 2000 miles away. tell us more about yourself. do you visit other potter's studios? are you in a big city or a rural location? do you dream of having a salt kiln or are you happy with electric? wheel now, handbuild later? do you use power tools with gusto or do they scare you to death? can you build a table for the studio or not? everyone is different, their studios reflect the kind of work they do.
  9. aoiew well, that didn't work. i thought the cancel in edit would do it but that only works for the edit itself.
  10. welcome, andy. "tonne" tells me you are probably not in the USA. i am inferring that you have tested this particular clay by mixing, making and firing it to your satisfaction. there are several books that i have read that talk about this process. one written by an englishman in the 1970-80 period. i cannot remember the name of the book or the author but i know someone here mentioned it last year. the green cover shows a teapot and the theme of the book is that you can build a lot of your own tools and save money by firing with cooking grease from local restaurants. i knew a potter who slaked his clay down a series of wooden troughs that had wire screening starting with large openings at the top and working down to small square wire we call ratwire. it is used in places like under a porch to prevent animals from getting in. will look for the title and author. edit found it The self-reliant potter by Andrew Holden, 1986. maybe you can find it in your local libray.
  11. sadly, art teacher has only entered the question then disappeared.
  12. congratulations on summoning up the courage to get started! i assume that the numbers are measurements, do you use metric in Poland?
  13. i have experience in using HVLP and siphon spray guns. you can keep all the complicated HVLP guns, just don't try to take my simple to clean siphon type. EZE makes a good sprayer, their bottles are a four letter word, though.
  14. welcome, what country? the label on the jar shows that the material can be piped. that is the most commonly used way of applying the lines. Angelica Pozo, in the USA, wrote a book about tiles and included this technique. i have her recipe in my studio and will find it for you. it is very simple. you have put your question in a section where many members who can help may not see it. could you move it from "forum FAQ and terms of use" to one called "Clay and Glaze Chemistry" so you can get an answer. you never need to start with a cry for help, that is what you always need when you ask a question.
  15. oh, for heaven's sake! this reads like a sneaky way to advertise your latest contribution to Ceramics Monthly magazine. i am embarrassed. (and that is hard to do!)
  16. bet the receipt for your giffin grip showed a very small amount of money for such a great tool. today they cost as much as my first kiln did, with shelves and posts.
  17. dearest nerd, i have several very ancient boxes of coleman cone 10 porcelain. since i cannot fire it, it sits under the wheel. there is a new clay studio where i would be able to fire it. if i decide to use it, i will use the "put the bag of clay into a bucket of water to cover it. wait a day or so and it will soften" method for the new stuff. i do have scraps and see your suggestion above. however, there is no quantity given for the amount of "slops". could you please add that? thank you.
  18. callie, i use the plastic grocery store bags with the handles cut off. put a pot into the bottom of the bag, fold the sides over the top and if necessary, cover that bag with one over the top. just found a double bagged bowl from last fall. it was perfect to trim. (student never came back before i left for the winter.)
  19. ryleigh, once you start using your pacifica, you might never want to use one of those noisy brent things. hope you enjoy it for many years.
  20. welcome out into the light, lurker! i used to make fish about the size of my hand. in shaping them, i used my right thumb to press the body of the fish into the palm of my left hand. did this for years until the hands started to cramp up and tell me to stop it. so i understand now that supporting the work in order to do things to it is very important at all stages. today, i cut a piece of 2 inch thick leftover foam into a hollow curve to hold the pot whose interior i wanted to spray with glaze. now i can direct the spray into the bowl without it bouncing back into my facemask. i think you might try something similar to hold your pieces. since they are small, i would try cutting thinner foam into circles that can be stacked to hold a particular piece today and a different one tomorrow. you probably work in similar sizes most of the time so a stack of cut circular voids can help get the work steady so you can place it conveniently and comfortably in a good position for carving. supporting bigger work might involve stuffing tubesocks and shaping them as needed.
  21. tim, can you post a series of photos of the entire wheel? they can be a little different from each other but the basic principles of their operation is pretty standard. from every angle and any part you have questions about.
  22. welcome to the forums! congratulations on the gift of a kiln. now to find out more about it so you can use it wisely. your photo is very informative but a few more photos of the critical parts would help. there are many kiln manufacturers who do just a tiny thing differently from most others. stand back and get one of the whole thing. then take a photo of the interior and a close up of the elements so we can judge the condition of them in place. also, any switches, knobs or other things. neil is our kiln professional but so many others know a great deal, someone will be able to help. does it have a kiln sitter attached to the side?
  23. oooohhhh mark................
  24. liam, it is not fair to tell a total newbie that a step you know well is one she should be able to do. at least tell her how, please.
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