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Karen B

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Posts posted by Karen B

  1. Old Lady, thanks for the suggestion. I will call Jim Bailey on Monday. 

    Mark C, I will check out the PPugger Dies, Thanks

    Neil, yes, I did look at some, but at this point, I'd rather use what I have. 

    Also, thanks all for the heads up about the pressure issue, and it is an issue according the Shimpo tech person, Their dies are almost all open.

    I am thinking that since I would be screwing the die into the exit, I could put a small nut under the screws so clay could spew out the sides of the die.  And maybe making the circle an oval will also  leave room to drill  holes around it for pressure release. What do you think?

    I will let you know what comes back from Shimpo Japan. 

     

  2. On 2/15/2019 at 12:53 PM, Min said:

    Karen, I've clamped a Peter Pugger handle die onto the end of my Bailey pugger. I left all the handle shapes unblocked so the actual area of restricted clay flow is minimal. You could do the same idea with a tube, make some holes around it to relieve some of the pressure, toss the coil extrusions. You can make a bridge for the die with U bolts and nuts, three would probably be enough. If you can drill holes in a premade die you could make it fit your pugger quite easily. 3 U bolts, 6 nuts, 3 lock washers for the die then 3 bolts, 3 nuts, 3 lock washers to bolt the die to the pugger. U bolts would have to be short enough to not come anywhere close to the end of the auger but long enough that the clay can heal over after passing around the ends of them. Might be easier using an oval rather than a round extrusion, more room for the bridge.

    Not my die but the idea of the U bolts is to make the bridge.

    image.png.7278565f92e6cd9410e6d0591eb36ae6.png

     The augers stops well behind the exit opening.  So with the u bolts, I wouldn't need a bridge. Is that correct?

    Thanks Min. 

  3. Thanks Min for that insight. I called Shimpo and asked if I could get a blank die with just the screw holes drilled. They will call Japan and get back to me. She was concerned that the pressure might ruin the machine. I had looked at the die they sell and the whole plate is coverd with shapes. I asked her if the clay didn't heal back after going thru their die. She said it did stick together but was possible to peel apart. . . 

    Thanks Hitchmss, love what you made, but I only do woodworking on the side, no tools or experience in metal. Thanks for the pics. I understand better what I am dealing with.  I'm not sure why you have the 3 bars behind the hole. Will those make it a hollow form?  As you can see, I really have no experience with extrusion. 

    Thanks Mark.

     

     

  4.  I am considering paying North Star Equipment a lot of money to make a custom extrusion plate  for my Shimpo NRA-04 pug mill. Prob well over $100+.  What I need is a die to make a simple hollow form so I can easily extrude 100+ tubes for glaze testing. I want a tubular form so I can see the difference between the glaze on the inside of a form and the outside of a form. (In case you were wondering.)  

    They offer plastic and metal. It would have the three screw holes as you can see in the picture below with sinkholes for the screws.

    Looking online, I see that Shimpo has a couple of dies they offer, but none of them fit my needs.

    Has anyone done this? Has anyone worked with this company? Do you think that sounds too pricey?

    I’m adding a few pictures of my pug mill. (Also wanted to show off my modification of the lever handle which I I turned to the side so I could pull it easier.)

    Thank you!

    Shimpo1.jpg

    shimpo4.jpg

    Shimpo2.jpg

    Shimpo3.jpg

  5. 16 minutes ago, neilestrick said:

    @Karen B L&L lids are made to open all the way back and rest there. No support arm needed. Your kiln must be far enough from the wall to allow it to work, though. If you have the recommended safe distance of at least 16" from the wall you should have plenty of room. Once open, there is a small pin that fits into the hinge to ensure that it can't fall forward. See HERE.

    Yes, I just now see the pin. I didn't previously as that side of kiln is towards the wall.  So now I know.  The kiln is 18" from wall in the corner of the room.  I didn't like opening it beyond verticle because it doesn't seem to be weight assisted as it goes back, and would bang into the wall upsetting the alignment.  But now that I know that it is supposed to go back, I can ease it back to it's intended stop point. At that point, there is no way it would fall forward, but I will use the pin. It is just extra effort to get it to that point and to close it till it gets to the weight assist point. 

    Thank you for the help Neil

  6. I have a 10 cu ft L&L Kiln. It has a spring supported top for easy opening. The problem is, it has no catch to hold it securely opened. I have to use a lot of energy to make sure it doesn't fall closed, or fall backward. I seriously miss the door rest that was on my former Skutt.  Am I missing something? What can I do to secure it?

    Thanks,

    Karen

  7.  

     

    Hi Again

    I have unloaded the glaze firing and i put sand on my shelf... thankfully no cracks this time, but the sand has stuck to the back of the 3 pieces  and also to some of the shelf,  is this normal & should I try to clean it off the shelf or just put more sand on it for the next firing???  How thick should the layer of sand be? Should you be able to see some the shelf through the sand or should it be totally covered.  What kind of sand should i have used?

    I have made some small coil rods to try next time, so will bisque these next time.  Once these are bisqued, Should these be placed under the hearts for the bisque firing as well as the glaze firing?

    also you talk about a cookies... are these the same size as the piece to be fired or do you place a few smaller cookies under each item.  Sorry for all the questions but am pretty new and flying solo here with my new kiln.  I have lost many pieces to this cracking business and am very keen to rectify it  :rolleyes:  Can anyone post a picture of the cookies they use?

     

     

    Hi Jojess,

    I am going to say grog, (because that is what I use), in place of sand, (what you use). When I have grog stuck to the back of my plates, I rub the backs together and it comes off. Or I can use any fired flat bottom to rub off anything that sticks, like grog or kiln wash. The grog should be thin to avoid unevenness. I do leave the grog on my kiln shelves, however, I do rub the sides and bottom with a clean dry green scrubby before placing in the kiln to avoid any stray grains. 

    I don't know if you saw it, but I described how to apply the grog to the shelf above. 

     

    Hi Karen,  thank you for your hints and tips..i used grog on my shelves for the first time and no cracks in my hearts  yay!!  I am now trying paperclay, rather than the porcelain that i have been using as someone suggested that it maybe more suited to my flat pieces.  I have some more hearts drying so yet to see what they will do in the first firing.

     

     That sounds like a good idea Jo. Let us know how it works. 

  8. Hi Again

    I have unloaded the glaze firing and i put sand on my shelf... thankfully no cracks this time, but the sand has stuck to the back of the 3 pieces  and also to some of the shelf,  is this normal & should I try to clean it off the shelf or just put more sand on it for the next firing???  How thick should the layer of sand be? Should you be able to see some the shelf through the sand or should it be totally covered.  What kind of sand should i have used?

    I have made some small coil rods to try next time, so will bisque these next time.  Once these are bisqued, Should these be placed under the hearts for the bisque firing as well as the glaze firing?

    also you talk about a cookies... are these the same size as the piece to be fired or do you place a few smaller cookies under each item.  Sorry for all the questions but am pretty new and flying solo here with my new kiln.  I have lost many pieces to this cracking business and am very keen to rectify it  :rolleyes:  Can anyone post a picture of the cookies they use?

     

     

    Hi Jojess,

    I am going to say grog, (because that is what I use), in place of sand, (what you use). When I have grog stuck to the back of my plates, I rub the backs together and it comes off. Or I can use any fired flat bottom to rub off anything that sticks, like grog or kiln wash. The grog should be thin to avoid unevenness. I do leave the grog on my kiln shelves, however, I do rub the sides and bottom with a clean dry green scrubby before placing in the kiln to avoid any stray grains. 

    I don't know if you saw it, but I described how to apply the grog to the shelf above. 

  9. A word about putting grog (or sand) on your kiln shelves. I found that it doesn't need to be more than a thin coating. 

    The easy way to get an even thin coating is to hold your hand about a foot or more over the shelf and sprinkle as you move

    over the entire surface. Of course you are far away from anything that doesn't need grog on it!

    Since putting grog on my kiln shelves, I have had no cracking. 

  10.  

    Wondering if the corelite or advancer shelves heat and cool at a rate that is closer to the heating and cooling of the clay?

    I have issues with this on standard shelves when firing large flat platters or tiles.Solutions have been previously discussed for raising platters off shelves, but not whether changing shelves will help.

     

    Look at the thermal conductivity number for the material the shelf is made out of.  That is a measure of how "fast" heat energy will tend to penetrate the shelf.  Look at the specific heat of the material the shelf is made out of.  That number indicates how much energy it takes to heat the shelf material itself up.  Look at the combination of specific heat and overall mass of one shelf relative to another to compare them.  That will tell you more about how much energy is going into the shelf to heat it up... or how it will tend to slow down the cooling.

     

    best,

     

    .......................john

     

     

     

    Thank you john.

  11. As a follow-up to the problem with my hardened zinc:

    I put about 6 very lumpy cups of the zinc oxide in a heavy previously fired pot .

     

     I heated it to 700 degrees and held for 20 mins. After cooling enough to open, I found that the lumps broke up, but was not fine enough to mix in a glaze. It would never pass through the 800 mesh sieve.

     

    I tried sifting out the finest particles, but realized that I would never get the 2000 or so grams I would need.

     

    I commandeered an old coffee grinder from the kitchen and found that it did the job. It quickly made the zinc into a fine powder.

     

    I have glazed and fired with that zinc and glazes all look great. 

  12. How do I make colored slip for use in a slip trailer? I'm working with stoneware to be fired to cone 5. I want to apply it to my greenware while still wet on the wheel. I'd like it not to drip while spiraling down my pot while on the wheel. I assume that I dip in clear (or colored glaze) after it has been bisqued. I would buy flocculant/deflocculant if this makes it any easier for me. Also... is there a simple way to make this slip also a "raised slip" if I want for other decorating purposes? Thanks in advance for any help/words of wisdom!!

     

     

    Dear Marge,

     

    I have gone to great lengths to make slip using Robin Hopper's recipe. People in my old studio laughed that I was taking dry ingredients and making slip in this manner. It was, however, great slip and stuck to everything. I think if you google his slip recipe you should be able to find it on-line or at the very least in one of his books.

     

    Now however, what I do is take some of either my reclaimed clay or cut off slices of the clay body I am using, dry it throughly, put it in a bucket with some water and let it slake. You don't want to add too much water but just enough to really cover the dried slices. After a few days of slaking, I then take a hand held mixer or you could use a blender and simply mix it up to the consistency I want. I try to really make sure if I am adding Mason stains that I mix these really well so no spots or speckles come through in the initial bisque firing. This is quick and easy and serves all my purposes. I store the slip and simply use it as required. For example, I will take some out of the storage container, mix it up again well and add my unique colorants bit by bit as needed. Works great for me. I am sure it would work equally well in a slip trailer but you may need to water it down to the right consistency. Not so watery that it runs but not so thick that it clogs the end of your bulb or bottle.

     

    Good luck. I love working with slips.

     

    Nelly

     

     

     

     

     

    If using clay other than porcelain for this process, I would recommend screening your slip after slaking and before adding Mason stains. This way you will filter out the grog in the clay and have a nice smooth slip to match your clay body.

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