Rae Reich

That is just the prettiest little juicer I've ever seen! Ergonomically, picturing the cocked elbow/downward pressure needed for the usual juicers as opposed to the lateral arms positioned as needed for your design, it would appear that you've built a better juicer!! Congrats, hope you patent it and sell a bunch. (There's some science to getting the pour spout drip-free. That would make it perfect!)

We SoCal potters are lucky that for most of the year freshly glazed pots dry so quickly. My sympathies to all those who live in high humidity. When I worked down by the beach, glazing on foggy mornings, we put the drying glazeware into the still-warm kiln to help speed the work and, further inland, the kitchen stove on low, Rainy day ^10 firings with an outdoor manual gas kiln are sorta thrilling. Before we built the kiln shed around it, my kiln was mostly covered by a tarp between firings but inevitably got a bit wet. The damp hard brick steamed a lot as the kiln heated up, dried pretty fast and then created its own aura of heat that evaporated rain before it could reach the brick! You could stand two or three feet away from the kiln and be dry on the kiln side and wet on the away side. I have often thought that the difference in barometric pressure between dry days and rainy days would have an effect on firings. @Bill Kielb, you have any idea if this should be so? (Guess I'm mostly referring to gas firing.)

@GEP The wash supports the delicate ink work. Lovely. Good form for the table.

https://nyti.ms/2J7ni56 This Berkeley Vet gives away his cups. I admire his focus and his mission. And his cups.

I think if you put a toothpicks or pasta in a hole before glazing and then left it in for firing there is a possibility that a buildup of glaze around it could enter the hole during the firing after the toothpick or pasta burns out.

Size?

OP, why not put the running machine in the garage, since it helps you create your own heat? I think your HVAC should be sealed off enough not to be sending clay dust into the rest of the house , but you could have it inspected to be sure.

On the whole, I would rather that any breakage be done by me, rather than a friend or customer. I feel so bad for them feeling bad. I lost a whole box of finished pots consigned to a friend who didn't understand well enough how to pack ceramics. Do you know people who pack their glassware for moving by stuffing it with newspaper?

Yes, they can all go together in the same bisque, but be sure to permanently mark on the bottom by scratching an indicator of the final glaze cone number. Porcelain can look very much like earthenware after bisque, as I learned disastrously.

@liambesaw, have you considered a small dehumidifier? Leave it running overnight (cover the throwing bucket). Under $200 could save you lots of waiting time. Of course, you want those carafes to dry more slowly than cups.

Looking forward to seeing the whole series! I have saved some mask forms with the idea of masks, but have yet to find my way.

Sorry, should have said my hypothetical bottles were for food oil. Your ideas are intriguing. Agree that that process would not be recommended for lamp oil.

So you think if I heated my hypothetical oil bottles filled with oil to whatever temperature cast iron skillets are seasoned, let them cool slowly, and drained them (recycle the oil), they might be seasoned?

Good point. What're your 1% absorption clays?

@Min Agreed that is a good reason to test with water, too. Not sure I'd want to boil lamp oil, but that should work for food oils. Maybe the volatiles in lamp oil make it more prone to seepage. What do you use for a liner glaze? Cone 10?

Or cast both ends closed by having your pour hole on the bottom where it can be sealed later when you cut off the ends. You'll probably need some kind of flat area at the bottom, no?

If the bottle is used to contain oil, I don't think a refire with glaze would work, the glaze can't penetrate the clay enough to be a good coating. What's the point of testing for absorption with water when you intend to use oil? I learned from my mentor that oil lamps, even when glazed with a reliable liner glaze inside, will seep oil through the unglazed base. We brushed two coats of slightly thinned white glue on the bottoms and that sealed against the oil seepage. It dries waterproof, if it isn't soaked in water for extended periods. However, we can assume that the lamp oil still penetrated the liner glaze and remained harmlessly in the body of the piece. For food grade oil, I would not store it, even in any fully glazed ceramic piece, because of the likelihood of oils remaining in the body of the piece and becoming rancid. Possibly for short-term usage, like serving. . Put a flower in that bottle, it's a vase!

Almost sounds thixotropic. Try shaking the container without stirring and see if it liquifies.

I bought a porcelain mug with a lovely frosty blue glaze and an exposed 1 1/2" bottom area. First use with Lemon Zinger tea revealed a hairline crack going up the exposed area. I suspect that the thickness of the wall as well as the tension between glazed and unglazed both contributed to the fail, but also the relative density of porcelain Exposed porcelain will never really look pristine again after it leaves the kiln. Granite stoneware still looks fine after 20+ years. Most red stone wares also still look good with no staining.

Delicious!!

You can't put it in your Green Waste barrel, but you might be able to put in in the Trash barrel (as long as it doesn't make the barrel too heavy). Call your waste collection company and see.

This is what the Art A Fair in Laguna did with everyone the year I was there. You told them how many you needed at which prices, then they printed them for you. With a large number of participants, this would assure consistency of printing.

Ceramic pencils are made of glaze and are meant to be used directly on bisque with a transparent clear or colored glaze over the drawing. They can be fired at low and high temperatures. For "drawing" on unfired glaze, there are "scratch-through" techniques and drawing with a brush using oxides or colorants. The interesting thing about drawing on pots is learning to draw on a surface that is curved, sometimes in complex ways.

Do you know what kind of (species) wood was burned to make the ash? Where was it grown? Local soils might affect chemistry. Sounds like an interesting experiment for fabric/yarn dyes, too.