Jump to content

Crooked Lawyer Potter

Members
  • Posts

    22
  • Joined

  • Last visited

Profile Information

  • Location
    Mississippi

Recent Profile Visitors

412 profile views

Crooked Lawyer Potter's Achievements

Member

Member (2/3)

4

Reputation

  1. I've tried that before. She aint buying. She knows what I'm really worth.
  2. Can one of you come explain all this to my wife. She is going to be very upset when she sees what this Peter Pugger costs. :0
  3. Does the pugging eliminate the need to wedge? Do you run your new bagged clay thru the pugger as a matter of routine?
  4. I'm just a "hobbyist" potter but I get so much enjoyment out it that I don't deny myself any pottery related equipment I fancy. And so, I have decided to buy a Peter Pugger. But I 'm not entirely sure what to expect in terms of its use. I assume its basic value to me will be in: 1. allowing easy recycling of clay, and 2. easier throwing with less wrist strain in that I can pug the hard, dry clay I so often get from the supplier. What do you "pugger" owners like and dislike about your puggers and how do they help or alter your studio routines?
  5. I'm looking to stimulate some conversation about the amount of clay one starts with as opposed to the weight of the finished pot. For example, I usually make a standard sized mug out of a 15 ounce ball of clay but after trimming it weighs only about 9.5 to 10 oz. This seems like a lot of waste even though when I throw it seems that I have stretched the clay to its limits. Invariably however, when I trim I find a lot of extra clay at the bottom (actually at the heel where bottom and side meet) and that the sides can be significantly "shaved" thinner. Is that normal or is this just the mark of a beginner potter?
  6. Thanks. I usually do not like the big speckling but sometimes the plain white is a little drab. So I have been using something I read about once: steel wool, bisqued, then crumbled to dust and used as an additive to my glazes. It produces a very nice -- and subtle -- effect that gives some depth and interest to otherwise plain jane surfaces.
  7. Here is the difference -- left is standard recipe, right is added zircopax.
  8. After posting the question I had occasion to ask the PeterPugger People themselves. Here is their reply: "To answer your question about extruding through dies, we do recommend extruding through all the shapes to alleviate any back pressure being generated by the machine. We have had other customers say they have put something thin such as a credit card in between the die and the clay, but again, you run the risk of extruding bananas instead of nice straight handles or coils. The good thing is, you’ll have a reclaim machine, so you’d just take the extra extrusions and throw them back in with your next batch."
  9. I have a dumb question: When using a die on a Peter Pugger, do you somehow close off the shapes you do not want? By this I mean, each die seems to have a variety of related shapes cut into it so that it appears using it would result in multiple "streams" having various shapes. I have a hand extruder and each of its dies have 4 different shapes. It has a partial blank that closes off 3 of the 4 shapes, allowing only the one you choose to emerge. Is there some similar system for these Peter Pugger dies?
  10. The glaze below is a nice satin pearl finish at cone 6 oxidation but its color is a rather drab beige. Any suggestions on how to make it whiter without altering its basic non-color characteristics? VC Matte Base Custer feldspar. 40 Whiting. 16 Silica. 16 EPK. 10 Frit 3124. 9 Talc. 9
  11. (Cant seem to get missing photos to post. Will keep trying)
  12. Below is a glaze recipe i have been using lately and which i like very much. Its very stable, has a nice semi matte finish, and the pretty green/blue color is “varigated”(?).. (see below) i would like to understand the recipe better with an eye towards changing the color but retaining the other characteristics. Toward that end i have mixed up a new batch but have omitted the copper carb and the titanium dioxide (which i understand to be a pure form of rutile?).. i hope to add some different colorants my questions: 1. Am i correct that it gets its color from the copper carb AND the titanium dioxide? 2. if i want to change colors but retain the “varigation” quality do i need to change out the copper carb but keep the titanium dioxide? In other words, is the titanium dioxide contributing color? Varigation? Both? 3. any suggestions for alternate colors? (cobalt blue of course) as always — thanks for any advice you can offer
  13. Missy i too am experimenting with this. Try 2 parts oxide and 1 part gertsley borate. Mixed with enough water (5-10 parts?) to make it the consistency of ink. ( i suspect you will get better advice but if not .... )
×
×
  • Create New...

Important Information

By using this site, you agree to our Terms of Use.