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docweathers

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Everything posted by docweathers

  1. John In your picture you don't look older than God, but maybe you're well preserved:rolleyes:. I'll go ahead and buy Insight level II. thanks for your insight Larry
  2. I don't really need Insight right now, but they're having a 40% off sale. So, I'm tempted. Does anyone know if Digitalfire offers these sales from time to time or is this a one time deal? Thanks Larry
  3. I found a friend of mine, who turns wooden bowls and burns the waste. I have an almost unlimited supply from him. I build a nifty sifter out of 2 2 gallon plastic pails stuck one inside the other. I cut a large hole in the bottom of the top one and plastic welded some 100 mesh screen over the whole in the bottom. I stuck the two of them on my wheel, locked in my Giffen Gripper. I also built an arm, attached to a nearby shelf, that holds a stationary plastic paddle in the top bucket to stir the ash over the screen. The thing works great. I just dump some ash in the top bucket, let it turn for a while, then empty clumps out of the top bucket and the sifted ash out of the bottom one... repeat.
  4. I thought burn wood might be the answer, but sometimes you fancy potter chemists have something fancier in mind. Thanks for the suggestions.
  5. I see a number of glaze recipes calling for wood ash. What is the proper (easy) way to make this stuff for glazes? Thanks Larry
  6. My throwing area is a mess. Where can I find a picture of "Dennis Davis who built a frame around his wheel where tools could hang and slips used on thrown pots could be stored at hand." I need some tested ideas of how to organize my mess. Thanks Larry
  7. On YouTube I've seen some demonstrations of chattering on freshly thrown soft clay. It is still soft enough that they can expand the body of the pot to stretch the pattern. I've tried this with no luck. Any suggestions on how to get chattering to work on soft clay would be appreciated. Larry
  8. There also is reported to be a problem with the paper acting as a flux in the clay. Has anyone noticed this and dealt with it?
  9. I haven't tried paper play yet but I've been reading a lot about it. It sounds like it is the wonder clay that solves many common problems. So my question is, why doesn't most clay have a certain amount of paper pulp in it as standard practice? What is the downside of having a little paper fiber in all of your clay? I generally use Georgie's G mix 6 with grog.
  10. For what it is worth, I am experimenting with Axner Kiln Patch to mend cracks on bisqueware. Has anyone else tried this stuff?
  11. I like the definitive responses of yes both sand and grog, whatever you like that works for you;), it all depends on whether it's a sunny day or your foot itches:o. I too use a heat gun and have built a centering device that will let me quickly and easily center 20+ pounds of stiff clay. (I also do welded art, which also allows me to build strange tools for my pottery) I'm having to ask these strange questions because up until now the University always provided the clay, glazes, kilns and the "night trolls" to put it all together out of my sight and knowledge. Let me rephrase my original question. Why would a clay manufacture choose to use grog versus sand? thanks Larry
  12. I want to get a white cone 6 clay that is good for throwing tall stuff. I understand that it needs to be fortified with sand or grog. I how what these materials are but what difference does it make which the clay contains. My fuzzy understanding it that grog is better and less abrasive on your hands. Is this true and what else is different between the effect of these two additives to add "tooth"? I am concerned that some clay manufacturers use sand instead of grog because it is cheaper. Is this an issue in buying moist clay?
  13. I am looking for an internship with a senior Potter or an educational program in the southern US that can help me can learn more about cone 6 glazes and advanced throwing techniques. It would be from December through early March 20012-13. I can bring my M 400 Shimpo wheel and hand tools if that would be useful. I am also into welded art. I am a semi-retired child psychologist who has spent his last winter in cold, gloomy winter in Spokane Washington. As I fade out of child psychology, I want to revive my 40-year-old skills in pottery. I have a small, self-contained motorhome that I can in live comfortably. Recreationally, I have pursued hiking, climbing and bicycling. I am a liberal. If you are interested in knowing more about my life as a child psychologist, you might look at my website www.ADHDtreatment.org. Tell me what you can offer me and what you need to know Thanks Larry
  14. My cone 6 reductions glazes (glazes I used in Montana for 20 years) are the only cone 6 glazes in Bailey's book on Oriental Glazes. Marcia Do you find that cone 6 is like cone 10 in that some of the best color and texture happens in a reduction as opposed to oxidation environment? Larry
  15. I just did a workshop on firing cone 6 reduction at Corpus Christi Art Center.I think there is a lot of information on line in Ceramics Art Daily , most notably Articles by John Britt, Rick Malgram and Diana Pancioli. I fired cone six. Reduction beginning in the 1980 where I was teaching in Montana. You need less metal oxides in Reduction than Oxidation for coloring. The base glazes can be the same with a soaking of the high temperature to smooth the surface. Marcia Thanks for the leads. .. Maybe I can do one of your workshops some day. Keep me on your list for something happening in the warmer parts of the US, Dec-Feb 2012-13. I am done freezing my butt off during gloomy Spokane winters. When is you book on Cone 6 glazes coming out? Thanks Larry
  16. Can someone recommend books on Cone 6 glaze chemistry book for both reduction and oxidation. I am willing to wade through a chemistry "tome" if it spells out the cone 6 reduction dance. "Mastering Cone 6 Glazes" seems to focus on oxidation in electric kilns. Since I am using a cone 10 capable gas kiln, I can experiment with both oxidation and reduction. I am used to thinking of cone 10 reduction as where the really cool glazes are found, but I am moving to cone 6. However, I find little about cone 6 reduction. Am I an old curmudgeon who is perseverating on reduction when that is no longer where the gold is found? Thanks Larry
  17. Why not Glaze Master by John Hesselbreth, author of Masterin Cone 6 Glazes? Marcia Why do you like Glaze Master?
  18. Wow. A lot of great advice which I will follow. I guess I have never been known to do things half way. I am a bit of a techie, so maybe over inclined to jump into software as a way to keep track of stuff and learn faster. I have been doing some reading on glaze chemistry. (Any recommendations here would be appreciated.) As John indicated, may be Insight level 1 would be a good free entry level option for me to start with. Of course, once I am familiar with it, it will seem like home base and the standard by which others will be compared... Ah! such clever marketing:rolleyes: Two other options I had not though of were mentioned above.... Glaze Master and Hyperglaze. What are their merits? Thanks for the help. Larry
  19. I am thinking about buying either MatrixV6 or Insight 2011-3 for windows7. They both look great, but previously I have always worked where the glazes were provided. I have just set up my own studio and this will be my first adventure into mixing my own soup. Thus, I don't have the hands on experience to really know what is important in comparing the two software packages. For a superior outcome, I am willing and able to spend more time learning. I will be doing cone 6 glazes in a gas kiln. Any advice would be much appreciated. Thanks Larry
  20. docweathers

    DSC00021.JPG

    Very clever and attractive. It looks like it should have religious significance. does it?
  21. How did you create the cracking on IMG_2198_crop.jpg IMG_2127.JPG
  22. Unfortunately, Cooper changed the glaze numbers from the first edition of his book "the Pottter's book of glaze recipes" to the second edition. This is causing me great confusion when I discuss glazes with friends that have a different edition of Cooper. Does anyone know of a cross-reference between the first edition glaze numbering and the second edition?
  23. Which of the glazes in this book is on this pot?
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