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docweathers

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Everything posted by docweathers

  1. What is your theory of the "correct length" and how does that make a difference in what?
  2. You are right. I was misinformed. Olympic is the only one making such a kiln. Thanks for the correction
  3. There are many companies that make kilns that look very similar to the Olympic torchbearers. Is the large temperature variation from top to bottom unique to some design issue with the Olympic or is it common to all similar kilns? If this is unique to the torchbearers, what is the critical difference between it and the look-alikes
  4. What is your theory about this " I did was adjust each of the gas pipes so that their top edge was 1/2" below the bottom of the base." Does this mean that you sawed-off each pipe? I too have no training in the arts. As the Beatles said "I get by with a little help from my (pottery) friends" I do appreciate your sharing your experiences and experiments with the torchbearer. larry
  5. Have you ever tried having alternate layers of shelves touching alternate outside walls so that the flame is forced to travel back and forth between shelf layers? Or maybe having alternate layers of shelves touching the outside walls with a large gap between the shelves then the next layer touching in the center with a larger space between the outside of the shelves and the inside wall of the kiln? I have not tried these ideas , but before I do I wanted to see if such ideas were part of your experiments. Does anyone else have any idea what would happen with such strategies? Also, what specifically is it about updraft kilns that cause greater temperature differences.
  6. As a result of the above discussions, I have just decided to mix some clone7 glazes for the top of my 2728G.
  7. Thanks Mark I will buy in larger quantities as soon as I'm clear on what glazes I'm going to be using most often. At this point I'm such a beginner that I'm just sorting through dozens of cone six glazes on test tiles to see what looks good in my situation and would be worth keeping. Larry
  8. How much difference in composition is are likely to be between US suppliers for: Ferro Frit - 3134 Nickle Oxide, Black Manganese Dioxide 325 Mesh (Morrocan) Iron Oxide - Red NR-4284 Thanks Larry
  9. Sometime ago I found these two YouTube videos of the guy doing great chattering on soft clay. http://www.youtube.com/watch?v=5UNse35898A When I could not make it work very well I wrote him. below I've inserted the essence of our email exchange. The common wisdom is that you do chattering someplace beyond leather hard. Obviously, from your YouTube videos "Chattering Surface Texture Technique on Tall Forms - Potter's Wheel Demo" and "Chattering technique on flat form - pottery surface texture ". You make it work quite spectacularly with freshly thrown soft clay. I have tried to emulate your chattering of soft clay, with no luck. What's the secret to making chattering work on soft clay. --------- The "knobs" are: 1) Wheel speed 2) Pressure of spring metal on clay 3) Resistance of clay (how soft or hard) 4) Length of vibrating spring metal measured from point of contact with the clay to where it is held. With he above variables, the frequency or wave length is set and the most difficult part is to start the vibration. Play with all variables until you feel slight vibration. When you sense the first tiny vibration, release the pressure a bit until the vibrations is amplified and the sound gets louder and louder. --------- I think the key is in his last sentence. I still can't get it to work all the time but occasionally I have had some pretty good luck. Larry
  10. Yes, I would like to see what others have made for their Giffen grip
  11. Here is a picture of a splash pan I made for my Giffen Grip out of the bottom of a 32 gallon trash can. It works great on my Shimpo M400 Larry
  12. I found a MFA thesis on cone 10 glazes that has some interesting information on wood ash glazes that I thought others might be interested in. I may try using insight to convert them to cone 6 glazes. If anyone else tries this please let me know what happens. Wood Ash Masters Thesis.pdf Wood Ash Masters Thesis.pdf
  13. I'm looking forward to your next post on glaze chemistry.
  14. Make sure you follow the link could this guy's website. There is an amazing amount of useful information there.
  15. Thank you for the correction in spelling. That's the reason I couldn't find it anywhere. I now have it on , thanks to your clarification.
  16. Does anyone know where you can buy pentalite in the USA.
  17. What do you think of the Marxist philosophy rolled into this document?
  18. I just found this very nice MFA thesis on Cone six oil spot glazes. I thought others might find it useful. It is attached. Cone_6-Oil_Spot.pdf Cone_6-Oil_Spot.pdf
  19. I don't have a great deal of experience to compare gravity feed spray guns, but some time ago I bought a cheapie ($9.28 with shipping) on eBay. It seems well constructed and works pretty well. I just ordered two more so that I can switch glazes without cleaning the gun. The vendor's store is HitTime Store
  20. The whole lurking business is a bit strange. I have actually had to edit their proposed posts before they would actually post. Have no doubt that I'm jumping in, having fun and making lots of mistakes that I can learn from.
  21. Since I thought it might be provocative, I contemplated starting this thread for quite a while before taking the step. I decided to go ahead with the thread because I think the pottery world looks different to those on opposites ends of the experience spectrum. I noticed that all of the responses were from the highly experienced sector, so I wanted to wait a while to respond hoping that one of us from the other end of the experience spectrum, maybe less than 100 posts, would comment. First, there were many very valid points in the responses. I think Chris is right. It's very hard to judge the skill level of your audience. It is too easy to assume your audience is more like you are than is the case. Editor's can easily fall into this trap too. Mark resonates well with this point when he says "I asked Mel about where the professionals where (other than the demonstrators) and he said that its very rare for someone like me to be at these gigs. I ... also realized who was the market and why." Mark goes on to say "you still would not be able to make it look the same as my 40 years of working with these glazing and years of reduction firing make it almost impossible for the beginner to recreate this look". This may be true, but I need a shortcut. If it takes 40 years to create beautiful pots like Mark does, at 68, I think I'm out of luck. The research says it is really focused practice that develops virtuoso performances. When I read articles, I'm looking for that focus. I have read many of Marcia's articles and they wealth of accurate information. TRJ- your directing me to Josh de Weese, Robert Barron and Oribe pottery was a useful starting point. I just want to learn how to do that in less than 40 years. You resonate with my concern when you say, "I don't think either would give you a step by step how to to produce their work." I am not looking for step-by-step but the conceptual structure to create these beautiful things. Pres- I have spent endless hours watching potters on YouTube and it has been very useful. I just discovered the utility of Clay Times and Pottery Making Illustrated. Lucille- I have gotten myself a good supply of pottery books that have been helpful. My weak area is Cone 6 glazes. I would appreciate recommendations for books that cover this well. Part of my struggle at this point is that most of my experience has been in the university setting. In some ways that is great and others is not. They provide the clay, the glazes and firing. All you have to do is the throwing and carving. I'm pretty decent at these latter two skills, but this is the first time I've have had my own studio and thus have to take care of everything. OffCenter- I had missed Stephen Hill's CD. I will check it out. Give me one concession in this discussion. Add three or four sentences to your article explaining the general steps that were taken to create the pot at the beginning of the article. Finally, if I offended anyone, I apologize. Larry
  22. Repeatedly, I read articles on Ceramics Arts Daily that show some fantastic pot at the top of the article. The implication is that the article is going to explain how that pot was made. As I read, it becomes clear that I'm going to learn something about some principles and techniques used to create that pot, but they're not going to disclose exactly how they integrated those techniques to create the fantastic pot. In the end, the article is disappointing, at least in that regard. In another thread on layering of glazes, participants pointed to guys like Stephen Hill, Josh de Weese, and Robert Barron who do fantastic multilayer glazes. Of course, this only makes one envious because there is no explanation of how these were actually created. One thinks of artists, potters included, as cool, laid-back, share with the world, re-treaded hippies. But in the very competitive world of professional potters, they are as possessive of their knowledge as most entrepreneurs. As the holder of two patents, I certainly understand the motivation and am in no way above it. It is just sad that everyone has to reinvent the wheel themselves. I guess that is what's the legal battle over sites like the Pirate Bay is about. We need some way to compensate innovation that does not restrict the flow of ideas. I can't say as I know the answer, but I am concerned and thinking about it.
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