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Min

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Posts posted by Min

  7. Argh!! Giffin grip gripe, anyone else have issues?

    in Equipment Use and Repair

    Posted

    34 minutes ago, CactusPots said:

    Neoprene like wet suit material?  How would that work say on a pot 3" wide and 10" tall?  Seems like the leverage and pressure would make the pot want to move.

    It's much denser and stiffer than wet suit material and only about 2-3 millimetres thick. For tall narrow forms I use a chuck. I don't make just one of an item at a time so setting  a chuck to center takes a couple minutes at most but then I'm good to go to trim multiple pots. Just another tool in the tool box, use whatever works for you.

    391147478_DSC_0126(2).jpeg.6e9eb212cdea4302c23f32ca314ba0cd.jpeg

     

  8. Argh!! Giffin grip gripe, anyone else have issues?

    in Equipment Use and Repair

    Posted

    1 hour ago, CactusPots said:

    I just can't get over the idea that anyone would argue against the GG.

    I re-read this thread and couldn't find anyone arguing against the Giffin Grip. Advocating learning to trim without one and then making their own decision whether to use one or not in their own studio seems sensible and was brought up a couple times.

    BTW there are alternatives to clay wads, wet wheel head or the Giffin Grip for securing the pot down. I use a neoprene disc on the wheelhead, it gets a swipe with a damp sponge and then I put the pot down. It works so well that often I have to "burp" the neoprene to get the pot to release. It costs less than $10- and I've been using the same one for about 30 years. For pots with uneven rims (like my avatar) I use a chum or chuck. What works for me might not work for you but I'm sure you could say that about many of the practices we use while making pots. I'm glad you find your Giffin Grip useful, I've never felt the need for one even though I make a lot of pots.

  11. Frit Substitution Chart + Orton Cone Charts + Kiln Wash Recipes

    in Clay and Glaze Chemistry

    Posted · Edited by Min

    Seems we are shifting between Celsius and Fahrenheit a fair bit so I'm adding Links to Orton Cone Charts in both to save people looking them up who might not be fluent in both. If anyone needs it there is some really good information regarding the behaviour of cones and how the rate of temperature increase during the final 1 1/2 - 2 hours of the firing effects the final cone, also on the links below.

    Orton Cone Chart in Fahrenheit

    Orton Cone Chart in Celsius

    edit: There seems to be an error in the information regarding small cones in the above information to the right of the charts. "Typically, small cones will deform 7-10 degrees C earlier than a self-supporting cone, so the temperature values for a self-supporting cone can be used to determine an equivalent small cone temperature by subtracting 7-10 degrees C (or 12-18 degrees F)." This contradicts what it says in the Orton Cone Firing Booklet: "While not recommended, Orton Small Cones can also be used on the kiln shelf in place of larger cones. Because they are smaller, higher temperatures and more heat are required for them to bend (see page 19). When used in this way, the Small Cones require mounting in cone holders or plaques." 

  13. QotW: What are your beliefs about the time to reopen the economy and returning to Summer craft shows?

    in Int'l Ceramic Artists Network (ICAN) Operations and Benefits

    Posted · Edited by Min
    clarity

    Just throwing out a random thing I came across the other day. There is a fellow here that runs a private teaching studio, obviously not able to teach / hold classes right now. He's renting his wheels out, 125 a month, includes a really basic selection of tools (sponge, pin tool, chamois, wood knife and a couple ribs). I don't know if this would backfire, maybe some people would go out and buy their own wheels after having one at home and he might loose students. Anyone renting one of his wheels and wanting to fire pots made while using it can pay to fire them at his studio sometime in the future but has to use his cone 6 clay. 

  14. bright blue food safe glaze

    in Clay and Glaze Chemistry

    Posted

    2 hours ago, ImogenB said:

    Yes it does have a broad firing range. I have an electric kiln, so it'd be an oxidise firing.

    I'm from the UK so using Fahrenheit isn't natural to me, so i'll use Celsius, but I usually fire to 1260oc.

    I thought that might be the case. Just a heads up about broad firing range claybodies, what is mature at the top of the firing range can't also be mature at the lower end of the range. A clay rated to go to cone 10 for example won't be mature at cone 6. I get that you want to extend the life of your elements but I'ld run some absorption tests on the clay to ensure that it won't leak at cone 7/8. If you haven't already done this there are directions on how to do this about 2/3rds the way down this page.

  15. bright blue food safe glaze

    in Clay and Glaze Chemistry

    Posted · Edited by Min

    16 minutes ago, Brandon Franks said:

    I saw it and immediately thought of your posting. Give it a whirl and let us know how it comes out.

    https://glazy.org/recipes/2467

    Would not recommend using a glaze with 40% barium carb, especially for functional work. https://digitalfire.com/4sight/hazards/ceramic_hazard_barium_in_materials_and_fired_glazes_26.html

    @ImogenB, not sure I'm following you when you say "I am firing to cone 8 to help the longevity of my kiln elements, my clay vitrifies from cone 6." I'm guessing this a clay that is advertised as having a wide firing range? 

  16. bright blue food safe glaze

    in Clay and Glaze Chemistry

    Posted

    Hi Imogen and welcome to the forum.

    Cone 7/8 is an unusual cone to fire to, is this the range in which your clay matures or are you using one that is listed as having a broad firing range or is it a cone 10 clay? For functional work you want the clay to be vitrified.

    Looks like a cobalt blue satin or semi matte glaze. Using a clear or white gloss liner glaze is a good idea if you want to avoid the possibility of the cobalt leaching and cutlery marking with a matte glaze. You can do a couple home tests to rule out leaching glazes, there is also the option of having glazes lab tested. Glazy has quite a number of recipes, fill in your search terms on the left side of the screen. Cone 7/8 might not have many though.

    Having plenty of both silica and alumina in the glaze, firing it to maturity, not overloading most colouring oxides or fluxes and testing the glazes before putting them to use on functional pots are all important. Mastering Cone 6 Glazes is a great book for a fairly basic intro to making glazes and well worth reading if you are wishing to learn more about what makes a durable glaze. 

  23. What's On Your Kitchen Table?

    in Aesthetic Approaches and Philosophy

    Posted

    12 hours ago, neilestrick said:

    Tell me how to cook tofu like that.

    Cube 1 block (about 14oz) of extra firm tofu then lightly press it with a paper towel or teacloth to remove surface water. Toss it gently in a bowl with 1 tablespoon soy sauce (I use dark but any will work) and 1 tablespoon chili or veg oil. Leave it sit for 30 minutes or so then add 2 tablespoons cornstarch and gently toss so that all cubes are coated. Bake at 400F on parchment paper for approx 20 minutes or until it's crispy. If you have a convection setting on the oven then use that and bake for slightly less time. You can flavour the tofu before cooking with Chinese 5 spice powder, garlic powder or anything that can take the heat of the oven without burning. Once it's done toss it into your stirfry with black bean, garlic ginger, curry, sweet sour or whatever you're making. 

    12 hours ago, neilestrick said:

    we had some a sushi place recently and it was awesome

    The go to at Japanese restaurants here is agadashi tofu. It's made with a soft tofu, I've found that type doesn't work so well for crisp baked tofu. 

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