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Everything posted by Wyndham

  1. If I could get it to 1.5 %, I'd be happy with that. I agree that slake and bake is better, which is really not a problem in the long run. 1lb to 1/2 bag(wet) is about 8% for dry. Does that sound about right? Wyndham
  2. Hi folks, I've been gifted 700-800 lb of Highwater's P10 porcelain which will have to be remixed, no problem as I have a mixer. What I'd like to do is reduce the maturing range to cone 6 .The specs say that the bottom range is cone 7 at 2.5 % absorption but the working at cone 10-11 is the optimum range. I've noticed that some clays can be brought from cone 10 to a cone 6 with added flux, either g200 or nep sys. Some of you here have made clays more that I have and thought someone might have some idea of a testing % of flux to add when I remix a batch for cone 6. Thanks Wyndham
  3. First catenary i built was a cross draft dry stack 12 cu ft from a small book on space age kiln building materials. I used IFB and cut the skews on a table saw. When I got to the top of the arch I used castable for the key way. On my first firing I used some old style advancer shelves that had been stored in the open for several years. About 1/2 hr or less in the firing the kiln BLEW up.The shelves had moisture trapped in them and it looked like a stick of dynamite had gone off, but the cat stayed in place but too much damage to repair, that was 1996 My second kiln was a sprung arch with cordierite shelves, 30 cu ft, didn't blow that one up. IFB and finished wearing out the table saw cutting the IFB for the arch. I think I have over come my fear of Catenary's, I'm going to try it again sans advancer shelves Wyndham
  4. Bob, I wonder what it would take to put a coating layer of silver on jewelery Would a slt water solution and a silver bar on one side and a copper plated clay pendant on the other work? Neat stuff, I still have that CM on plating around somewhere. Wyndham
  5. Thanks John. The biggest issue I've seen with cantenary is that the walls may "suck in" from the burner channels where the flames work against the side walls in the fire box area. Still, it will last me many years before needing rebuilding . Wyndham
  6. John's pic of the kiln build has inspired me to dust off plans for a small soft brick cantenary car kiln. The 2 kilns I previously built were dry stacked but I noticed John used a mortar. I was wondering if it is fireclay used for leveling each course or kiln cement to hold the brick in place. my concern is material from the mortar, falling into the pots during firing. My last 2 kilns were sprung arch with ifb in the arch that contained no sand, those were used in the side walls. Any thoughts? Wyndham
  7. I've had folks pickup a pot and walk around the shop for a number of minutes only to put it down and leave. We say they have squeezed all the love out of it. Wyndham
  8. Donate to local fund raising for medical issues. When the charity drives a better car than I...red flag. Once I had folks from a nearby city seeking donations to send their children to Australia to experience a different culture. I noticed their car was a Lexus. Worthy charities outside the area, I'll offer 50% off. Some understand, Most don't have a clue what it takes to make a living as an artist. Wyndham
  9. Clay lover, The biggest problem with your setup will be keeping the glaze from settling, which causes issues. Air pressure should be around 40 to 50 psi. air pressure will determine thick or thinner flow. When it works, they are great.... but Wyndham
  10. Kiln wash will gloss out and flake over time if you don't sand/grind/clean the shelves. I have used a portable belt sander to clean off old kiln wash. https://www.google.com/search?q=belt+sanders&ie=utf-8&oe=utf-8&aq=t&rls=org.mozilla:en-US:official&client=firefox-a&channel=nts It's the second set of images on the page Wyndham
  11. Testing is part of every firing, gas, electric, anybody I can get a piece into their firing. My gas firing is the most active for testing because I can expect some major changes with small ingredient changes. Test for changes in % of copper in copper reds as well as fluxes in those glazes. With the thread on the temoku & leaf bowl discussion, I have some thoughts that I want to see where that may go. If all I have to do was glaze mugs with the same glaze day after day, I'd go crazy...... I got the testing bug when I used to rummage through Harding Black's boxes of glaze test and notebooks full of his cryptic recipes and comments. Toward the end of his career, I asked him about a test bowl of his that was great but not marked with any info. It was both a funny and sad moment because his memory was starting to fade. When I asked,He said, "that's beautiful , who made it?" So many test, so little time. Wyndham
  12. Early American potters, Goodwin & Websters, the bird & fish potters, named that for the cobalt decoration on crocks and jugs,NC. I used them as an example of the potters that made this country's utility stoneware and help develop this nations growth. The folk potters of the south, the Hewell's of Georgia, 150 yrs of family pottery, The Catawba valley potters, generations of family potters The potters, unnamed that developed ash glazes for whiskey jugs from clay and ash, as good as Asian counterparts century's earlier. Isaac Button, who dug the clay to make the kiln, then dug & processed the clay to turn a ton a day.. Harding Black of San Antonio Tx, that spent a life time rediscovering great reduction glazes. Just a different POV about the giants in clay, those who we stand on their shoulders. Wyndham
  13. Along with that look at the diversity of items that compete for the disposable $$$. Our slice of the pie is almost transparent. Wyndham
  14. Another part of this discussion for me centers around the rapid changes of the past 10 or 15 yrs. I recently saw that compact cameras, the rage just a few short years ago are being replaced by cell phones with cameras. The cell phone cameras giving the same or better quality than the compact cameras; film cameras=gone. It almost seems that our comparative clay past is not 100's of years but 10's of years as we try and keep instep with today's society . Only a half a generation ago, potters in Seagrove sold dinner plates for $1-$4 each, today I'm at $32-$36 and another potter in Asheville is at $125/plate, with the reasoning that it is a reasonable price for his customers. As in a previous post in this thread, money equals standing equals art, hard to disagree in this context. Wyndham
  15. I have heard of the compressed air but have yet to try it. I was reflecting on what John had said about plaster issues and since I need to make more molds anyway, I may start getting better at that then trey the air. Thanks Wyndham
  16. John, I'm trying to jigger plates with a thick slip or soft clay but the clay wants to stick to the plaster and not release or it sticks in one spot and not another and warps the plate. I have tried successfully, with a slab rolled round of clay dusted with cornstarch but the slab rolling imparts a memory that that shows up later as a warped or waffled rim, slight but noticable. I was grasping at straws thinking the sodium silicate would aid in the release. Somewhere between these 2 extremes is bound to be a sweet spot for jiggering plates Thanks wyndham
  17. I have no idea the function, but now that you mention it, it sounds reasonable. Wyndham
  18. I'm wondering about the use of sodium silicate in slip casting. Is it to help release the firm slip from the mold? Here's my problem. I have some plaster plate hump molds that if I use slabbed clay draped and formed, even with Mea's help with cornstarch(which works very well), slabs can retain some memory and rims warp slightly . What I would like to do is create a mud that can be jiggered onto a hump plate mold, yet release easily on drying. This is where I thought sodium silicate might come into the process, allowing the mold to release the clay. I seem to remember a potter using this method but that was 30 yrs ago and is no longer around, so I have no idea if he used sodium silicate or any other release agent in the mud or on the mold. The clay, as I remember, was firm enough to stay without puddling out or releasing any water as is sat and jiggered smoothy over the mold. I feel I'm missing a key step or ingredient to make this work Thanks. Wyndham .
  19. no I'm afraid not but the Texas tile press site videos and tutorial will give you about everything you need. I used a moist, freshly slabbed clay as the master. built a frame 10 in on a side with 1x4 pine. These 2 things replace the metal frame and silicone rubber master he used. Hope this helps. If anything else just let me know. Wyndham
  20. thanks, that's a beauty I'll have to try. Wyndham
  21. I recently did a test on strong celedon and got crazing as well. I will try Marcia's to see how that goes. I was wondering if adding some zircopax, about3 % might help and get a cloudy celedon. I've seen zircopax change copper(1%) from a yellow green to a blue(er) green in several different test. Just another path to explore Wyndham
  22. Mine broke down early, but I was not as kind to it as I should have been. I used a rubber mallet to pound the clay into submission Wyndham
  23. Yes, anyone can be an artist, potter, writer, etc. That's the beauty of a free society. If I as a Christian, proclaim my faith in a Muslim culture I may be killed for my faith, here in this country, I have the right to enjoy my faith. The issue is not the label, it's the consequences of that label.in the society we are in.. When pottery was an economic force, those who held the power to grant the status as a "master potter" held the economic viability of that person in their control. With great freedom comes great responsibility. I call myself an artist as well as a potter. I am responsible to others that I know my craft. As an artist, I am responsible to know and understand my materials and not misled people into thinking I know more than I do. The art police don't check if I am using permanent color fast pigments, it's my personal responsibility to learn this, so to just pick up paints and canvas and create does not(IMO) an artist make. Worse case, my paints peel from my canvas and the customer feels cheated. As a potter if I don't understand how to choose the proper clay for the temp I fire, the customer gets burned by a microwave issue by an improperly fired mug. There is a moral responsibility to all of our actions. Our responsibility rises with the degree of risk we ask others to trust us with. Just a few thoughts. Wyndham
  24. This is the Texas tile press but I did mine for about $20 with a wood frame, air tubing and a compressor I had from HF. Mine work fine for about 200 pressing before I made another mold. Wyndham
  25. I have used a hand press for a home made tile air release system. The hydrocal should be fine but if you wanted a little softer die then add about 25 % plaster to the hydrocal. Hobbylobby should have some silicone rubber for the masters. If you need another source, give Rampress a call and find out what they recommend. Wyndham
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