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Tristan TDH

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About Tristan TDH

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  1. I use a lot of wax, both brushable wax resist and hot soy wax on my pieces. I have two kilns hooked up to ventilation system that came with my L&L. and run each about once a week. i have had no problems with wax build up in the motor. the only issue that Ive had with my ventilation in the last three years ( when I installed this system ) is that the miasma of corrosive and nasty crap that comes out of the kiln during the firing process will make the ventilation duct work brittle. Ive seen no wax buildup, just corrosion. I have short ( less than 5 feet ) duct-work between my kilns and the motor though so I imagine everything going through it is still very hot, maybe the problem comes if the ventilated air cools too much before it hits the motor. My experience is that you have to replace the duct-work and ventilation motor periodically, for me its proving to be about every 4-5 years, not because of wax build up so much as corrosion IMHO look at your ventilation system as something that wears out, like elements and thermocouples, and dont worry about it. It would be a shame to not realize your full artistic potential because of worry over a $125 fan motor.
  2. Attempts to handuild a teapot.. IMHO, I can never get the grace of a thrown teapot when handbuilding, but the "going places" teapots have a dynamism that would be hard to duplicate in a thrown vessel..
  3. A few months ago I started getting all sorts of nasty fumes and vapors floating around my kiln room every time I fired. Initially I thought that the fan in my downdraft vent had gone, it was fine, then I checked the duct work from the kilns and the connections to the kilns all were fine. A lit match held up to the peepholes showed tat I was indeed still getting a downdraft in both of my kilns. It turned out to be a fauly in the connection between the fan and the outside wall. It seems that that was just far enough away from the heat source to allow water to re-condense, and this had settled in that duct work and corroded it away. A temporary fix was made with aluminum duct tape. I'll have to replace that connection eventually.
  4. I use a Cricut explore Air, I use it to cut pattern templates into crafr foam which I then roll into the clay. Its wonderful. I use mine with Adobe Illustrator, which while an industry standard, is a far cry above what you need. Cricut's design studio, included with Explore, has basic editing and scanning It may be all you need , but have a look. After that I could check with one of the lesser and less expensive vector programs. ( Make sure its vector, I noticed earlier someone comparing photoshop to Corel Draw. Comparing apples and Toyotas. Corel Draw is a vector editing program an One thing to be away of is the file type that whatever die cutter uses for an upload.
  5. Iwent to the hardware store and got a floor scraper. Its about 18: long very heavy duty has a removable blade that is about 1/4 inch thick at the back , non sharpened end. it's intended to remove adhesive and linoleum from a floor before you install new flooring... It works SO WELL it takes all of the kiln wash off easily in one pass usually. Works so much better and with less dust than when i used to sand then use a wire brush and a smaller less industrial scraper.
  6. I often wish I could go around and collect much of pottery that ive sold or given away in the past, so that I might introduce it to the hammer, and replace it with better and more recent work.
  7. I have a commercial glaze, a coyote Shino, The glaze is about five years old, I bought it dry, its been mixed up in a bucket for about five years. The bucket was apparently faily airtight, it didn't dry out much at all. I've used it every now and then but not a lot, this time when I went to use it, it won't adhere to the bisque. I tried on several different pieces, I tried wiping them with a damp sponge first, it still will not adhere. I am thinking that maybe some organic element of the glaze has broken down in time. Does anyone have any ideas what I could do to make this glaze work again, it's a lovely glaze and I still have almost 3 gallons of it I don't want to throw it out if possible.
  8. Instead of risking the kiln, and everyone else's ( and your other ) work by firing these, you should probably put these on a shelf and do them again. On the up side, if you've done it once, it is something that you can do again. Additionally it will likely be better the second or third time you do it anyway. I often see people spend so much time trying to "save" work that is problematic, sometimes spending more time trying to save a piece than it would take to do it over. This sounds like it may be one of those situations. As an artist you cant be timid about chucking out work that isn't making the cut, as long as you learn from it, its not a waste, its just a step to the work that does make the cut, that is something to be proud of. Don't waste time, just learn from it and do it again. Practice makes perfect.... or closer to perfect anyway.
  9. Hi May I ask where you get your soy wax? I too use hot wax but dont like the fumes from the paraffin, but the bee and soy way I've found around here is prohibitively expensive.
  10. I use hot wax on my bottoms... It works so much better than any of the brush on waxes. I have an electric frying pan, i turn it up to 250, never higher. Then I put I half a pound of paraffin wax, and about 2 tblsp. Of baby oil, it softens the wax slightly. I then set the pots into the hot wax, take it out immediately and set it on newspaper for a few minutes. That's it, it is 100% resistant to just about anything. It also has the benefit of a nice straight line if you dip carefully. I do this in a well ventilated room, and get everything ready to go before I turn on the wax. Then turn off the wax immediately. Paraffin fumes are toxic, so watch the temperature and make sure it's well ventilated. Hot paraffin is also flammable so watch ignition sources, and the temp. 200 to 250 seems to work best for me.
  11. I had exactly the same thing happen to me... I threw the wax out and bought wax that was already colored.
  12. The only explanation that I can think of is that when the load is really light that the heat transfer is less efficient ( I fire to cone 7 ), but yeah.., it consistently takes longer with a very light load than it does with my usual dense load.
  13. When I have to fire a light load I've noticed that generally the firing takes longer than usual. I haven't noticed a huge difference in the cones though. I wonder how much of this has to do with your controller. Are you using a Bartlett controller? Or manual? Or?
  14. And no one see the obvious answer here? a poltergeist inhabiting your wheel.
  15. 90% handbuilding, slabs mainly. And about 10% slip casting... And the slip casting is slowly becoming more.
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