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Everything posted by docweathers

  1. There seems to be some controversy on whether or not one should wash wood ash to get soluble material out before using it in glazes. what difference does this make in the glazes that it is used in?
  2. I keep reading about potters layering various glazes, slips, oxides and stains on top of each other. I'm a little bewildered about what goes well on top of what and what does not work. Can anyone suggest any guidelines or can you suggest a book that covers this? I am firing it cone 6, both oxidation and reduction. I know I can test and test and I'll have to do some of that. But, it would be nice to start out in the ballpark
  3. I'm still perseverating on glass (not glaze) and how to get it to run smoothly versus the cracking that is most common. I mix my own glazes too, which makes the something of the mad chemist or alchemist.
  4. My four dollar blender works great for glazes. What causes the cracking that one normally sees with glass on ceramic, and how do you avoid that?
  5. If you've ever been tempted to try your wife's Cuisinart noodle maker as a small-scale power extruder, don't do it. I gave it a try today and the most important outcome was cleaning up a huge mess. The dies are much too small, require very soft clay, and are almost impossible to clean out. I will stick with my Northstar from now on:unsure:src="http://ceramicartsdaily.org/community/public/style_emoticons/default/unsure.gif">
  6. I got the theory now . What kind of fluxes etc. would I add to ordinary wine bottle type glass to keep it clear and make it flow on pottery like enamel does on steel?
  7. How come you can put glass on steel in the form of enamel and it doesn't crack whereas if you put glass on pottery it cracks? I would think the expansion rates of glass and pottery are more similar than glass and steel. How could you put glass on pottery to get it to melt like enamel on steel versus cracking? There must be something special about the way the enamel glass is compounded since I have played with welding glass to steel with my TIG welder and you don't get anything that looks like enamel.
  8. Put a little water in the bucket until clay become slightly flexible. put the bucket on its side and roll it back and forth so that the bucket flexes into an oval. this will release the clay from the sides of the bucket. put the bucket upside down and pound on the bottom with your fist. usually this will cause the clay to release from the bottom of the bucket and form a sloppy sticky mass on the floor of your studio.
  9. I don't doubt that this procedure works. I just have a compulsion to know why things work. Essentially my question is, How is the shelf different from restricting the exhaust port slightly with a brick?
  10. Given some of the feedback that I got on my swirl flush potters wheel, I've abandoned my prototype and moved on to some more practical ways of getting my throwing area organized. I found that I was spending a lot of time looking through plastic containers and lumps of clay for the right tool. I decided to glue 6 mm X 3 mm Neodymium Grade N42 magnets to my tools so that they would stick to the edges of the steel shelves that are on three sides of my wheel. I just bored a shallow hole, slightly smaller than the diameter of the magnet, in each tool. I filled the whole with epoxy and pressed the magnet in place. I got 40 of these magnets on eBay for eight dollars.
  11. I will try boring a hole at the end of crack and only use it as a baffle at the top of my kiln. Thanks for all the good advice. Larry
  12. One of my kiln shelves is developing a crack. is there any way to patch it? Thanks Larry
  13. I understand that some people place an extra shelf about 5 cm below the exhaust port on updraft kiln such as my Olympic 2827G. Can someone explain to me if, how and why this works? Why would this be any different than putting a brick partially over the exhaust port? Thanks Larry
  14. I appreciate the deep insight and understanding reflected in your responses. I will take heed.
  15. In prior posts, I've sought advice on how to keep my throwing area clean. It usually looks like something exploded. Oldlady was kind enough to send me a portfolio of Pictures of well arranged throwing areas. I think I may have been able to take that inspiration a step further. Your opinion please
  16. In prior posts, I've sought advice on how to keep my throwing area clean. It usually looks like something exploded. Oldlady was kind enough to send me a portfolio of Pictures of well arranged throwing areas. I think I may have been able to take that inspiration a step further. Your opinion please
  17. That's really nice. Thanks for sharing it
  18. This is essentially what I've been doing without problems, but being very new at this I was wanting to head off any problems before they occur. I think you're saying I'm making a problem with there isn't one. thanks Larry
  19. Though I understand what a flux is, I don't understand what the problem would be having it in a slip. At this point in my pottery, my knowledge is mostly reading and little but rapidly accumulating experience. :rolleyes:src="http://ceramicartsdaily.org/community/public/style_emoticons/default/rolleyes.gif">
  20. So far I'm trying a simpleminded approach to slip... the slip from the clay body I am using. as I read about this, it sounds as if in this approach there is some potential for cracking if the pot has gotten very dry before application of the slip. would adding 5% 3134 frit to the clay slip be helpful?
  21. It's my understanding that I would have to do a major overhaul of the manifold to accommodate these burners. Is that true?
  22. That's a good idea. I'm not familiar with fluke pyrometer's. What model numbers are the old style box that you recommend?
  23. For however helpful in might be to someone else, I want to report back in on what appears to be the final solution to my burner problem. Jon Pacini of Laguna technical support suggested that I continue to reduce the orifice size down to a number 58 drill, which is a little smaller than 3/64ths. . Though I haven't done a full firing yet, with the lid open and at 7 inches of water pressure the flames are now about 10 inches high above the floor of the kiln. The top 1/5 th is yellow and the bottom 4/5 is blue. This seems about right to me. I want to thank all of the people on this forum, as well as Mark Ward and Jon Pacini, who offered much good advice. The least helpful people were Olympic Kilns Co. In fact, they were the real source of my difficulty given that the repeatedly asserted that 5/64 jet size was appropriate for propane on my kiln . Thanks to all Larry
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