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  1. Like
    kristinanoel got a reaction from Rae Reich in Tips for using a throwing gauge?   
    @liambesaw A million gold stars for the lazy susan idea - works PHENOMENALLY well!
    That and moving the gauge from 11:00 to 1:00 has solved my issue. 
    I may play around with fixing it to the wheel platform somehow, but it's winning idea. 
  2. Like
    kristinanoel reacted to liambesaw in Studio Tools, Sponge on a Stick   
    I do the ole champagne cork trick with my chamois.  
    My little tip and trick for us shed and garage throwers coming up, get yourself a little crock pot from the second hand store and use it for your throwing water.  I put mine on low and use an interval timer to turn it off after 4 hours.
  3. Like
    kristinanoel got a reaction from liambesaw in Tips for using a throwing gauge?   
    @liambesaw A million gold stars for the lazy susan idea - works PHENOMENALLY well!
    That and moving the gauge from 11:00 to 1:00 has solved my issue. 
    I may play around with fixing it to the wheel platform somehow, but it's winning idea. 
  4. Like
    kristinanoel reacted to liambesaw in Tips for using a throwing gauge?   
    I put mine so it's at about 11 o clock usually, or anywhere from 11-1.  I don't use this space while throwing. 
    Just figure out where you don't use the space, or put the gauge on a lazy susan so you can move it out of the way when you throw.
  5. Like
    kristinanoel reacted to Pres in Tips for using a throwing gauge?   
    I position my gauge on the left side of the wheel in the front. This is out of the way for most things. At the same time, when throwing plates I really don't use a gauge instead I use the bat edges  and then pull my rim up appropriately. Alternatively, you could rig a tray to slide your gauge into. Anchor the tray some way, and slide the gauge in and out when needed.
  6. Like
    kristinanoel reacted to Mark C. in Loaning Out College Equipment   
    Hey Marko I heard they are still looking for you for that Paper coffee cup you took. The late  fees are really piling up-over 1k now and compounding daily. They are willing to forgive the coffee.
  7. Like
    kristinanoel reacted to liambesaw in Help with centering   
    Try wedging your clay first and then not coning at all if you're having issues with your coning.  Coning is not a requirement for centering, it's just one way of accomplishing a goal.
  8. Like
    kristinanoel reacted to Nancy S. in Glaze Is Grainy, Rough At Lip Of Mugs   
    You can also try using a very soft rubber rib, like the red ones from Sherrill, to do a final smooth-over on the rim.
    Or, after bisque firing, use a stilt stone to grind down any rough areas...though this is tedious and makes a rather annoying noise...
  9. Like
    kristinanoel reacted to Denice in Clockwise or Anticlockwise   
    I like to throw clockwise and trim counter clockwise.   I switched a couple of years ago from a kick wheel to electric,  I really miss trimming in reverse.     Denice
  10. Like
    kristinanoel reacted to Joseph Fireborn in Complete newbie with an absurd project   
    If you want to make them yourself then this is exactly what I would do:
    1. Call around local pottery places that have lessons/teaching.
    2. Tell them you only want to learn to throw a mug and nothing else in the most kind way possible as not to insult them, and that you have a final project in mind for your wedding. I would just have the handle extruded, this is plenty good and will make them match a lot better than learning to pull a handle on top of this project.
    3. After learning to throw a mug well enough to make you happy, show them this picture and then move into glazing.
    4. Make like 5 sets of these and then keep only the best one, hammer the rest and thank the teacher profusely. 
  11. Like
    kristinanoel reacted to GEP in Complete newbie with an absurd project   
    @IHaveToKeepThisQuiet, luckily for you, Minnesota is loaded with potters. Please be willing to pay a generous asking price. Also, please do not express anything to the potter like “I think I could do this myself ... “
  12. Like
    kristinanoel reacted to liambesaw in Complete newbie with an absurd project   
    As a complete newbie your biggest challenge will be everything.  Unfortunately this isn't a project that will be simple to do, even if the handles weren't connected.  
    Have you made mugs before? Do you have access to a kiln?  These are the bigger questions!  I would find a local ceramic studio and see if you can take a course to make these.  That way you don't have to worry about buying a bunch of equipment and glazes and such, or worry about firing.
  13. Like
    kristinanoel reacted to GEP in Accidental Clear Spearmint   
    If you had skipped the rutile but not the copper, you would have gotten a transparent green. I think you skipped them both.
    If you have only glazed a few pots with the new batch, you can still add the rutile and copper. Then re-sieve the whole batch.
    I love listening to audiobooks or baseball games in the studio, but I will turn everything off when measuring glaze materials, so that my brain is not distracted at all. Don't do it when sleepy!
  14. Like
    kristinanoel got a reaction from Bill Kielb in Bisque 04 and Glaze 5 Firing Schedule Feedback   
    "you can go as fast as you like as long as your claybody doesn’t suffer any issues from incomplete burnout. " ha! 
    Makes sense - also makes sense that the ranges to watch are between 300 - 600F for organics, ~1200F - 1750F for sulfides and inorganic carbons. I find it more helpful to think about what each segment is trying to do, less helpful to identify the "magic number", as you so cleverly put it! 
    Thank you for your story. Sounds like you made some really good memories and a lot of good friends. 
  15. Like
    kristinanoel reacted to Bill Kielb in Bisque 04 and Glaze 5 Firing Schedule Feedback   
    I take it as: you can go as fast as you like as long as your claybody doesn’t suffer any issues from incomplete burnout. Most bisque schedules take from 9- 12 hours so the math says you generally won’t see faster than About 300 per hour. Is that the number that keeps things all good? I wouldn’t speculate other than there are so many things going on early in a bisque firings that some relative slow speed is likely cautious. When I look at schedules and do the math as well, approximately 300 degrees per hour is probably the  fastest I see.
    During the development of a gas firing digital aid which told you what speed you were going I now found myself needing this answer! I spent over two years  asking folks how fast should we gas fire? In the beginning I got answers from 5- 150. degrees per hour. It was like those questions around thanksgiving where young kids are asked how long to cook the turkey. 30 hours at 5 degrees! I saw lots of published material presented citing quartz inversion, cristobalite squeeze, chemically combined water ......... on and on.
    Finally I found some interesting  info about production firing going 1000 degrees per hour or more and what I would call a very sensible ceramics / material science professor that just flat out said ...... yeah Quartz inversion it happens all the time. Most of the time the piece is going through it unevenly as the inside of the pot is degrees different than the outside or from top to bottom often there is a significant temperature gradient.............And then he said something that made my head spin ........... cristobalite! ........ You likely just ain’t gonna have it with any significance with typical pottery. I said hah, what about refires? He laughed and said how often did I fire something to above cone for significant time and then refire  it again? I said ok I get the point, I will stop worrying about cristobalite For the most part I am not gonna have it.

    Now back to our two year long experiment with a gas fired kiln that fired early, 300 degrees hotter on top than the bottom. Later it flipped after reduction (About 1700 degrees) and fired 50-100 degrees hotter on the bottom than the top. So each and every firing we started slowwwwwww and by the end everyone was clamoring to go 500 degrees per hour because we never ever cracked a typical pot over many, many firings. So what speed is good?  Frustrated, I stated my dilemma with wanting the official number, what was it? The only comment I got back is quartz inversion happens, generally clay can take it ........ room temperature to cone ten to room temperature in hours. I said thanks, I got it now.
    The point  I think he was trying to make is there are likely limits, claybody dependent, thickness dependent, the possibility of crystobalite .... but in the end he told me generally it's not the kilns fault, make better pots and use reasonable caution in your schedule. Or in my case don’t be so fixated by a single number, the processes are proportional or analog if you will. Still If we could have gotten that old gas kiln up to 600 degrees per hour During midfire we would have done it though.
    Not sure  that helps, but a true story And a fun two years without ever finding the magic number.
  16. Like
    kristinanoel reacted to Min in Bisque 04 and Glaze 5 Firing Schedule Feedback   
    @kristinanoel, there is a very good article and schedule for bisque firing black and dark brown high manganese bodies here. I do think the firing needs to slow down during the periods that the carbons are burning off. That would be between 300F- 600F for the organic carbons and between aprox 1300F and 1650F for the inorganic carbons. For bisque firing I don't think slowing down in the 1000F - 1100F range is necessary.
  17. Like
    kristinanoel reacted to Bill Kielb in Bisque 04 and Glaze 5 Firing Schedule Feedback   
    I’ll just give what might be a controversial opinion here. Slow bisque wherever you put the speed is a good idea as initially we want to dry out the physical water slowly, then carbon burnout, but we forgot to include removing chemically bound water and of course there is quartz inversion. So lots of change happening and some contaminants take time and temperature to burnout,  not just temperature alone. As far as quartz inversion it does exist and happens during bisque and glaze firings. Up and down.
    It’s interesting that production  tile goes from room temp to cone ten and back again in hours. Too fast? Clay is pretty tough stuff so worrying about quartz inversion is great, but likely not as deadly as many believe.
    generally bisque schedules don’t exceed 300 degrees per hour. If your clay is exceptionally dirty then I would expect to fire slower and longer. The cone fire schedules used by Bartlett have proven pretty reliable for many years and many claybodies. Unless I had a particular body requirement it seems their slow bisque has been very reliable. Quartz inversion? It exists but then again clay has proven tough..
  18. Like
    kristinanoel reacted to Min in Bisque 04 and Glaze 5 Firing Schedule Feedback   
    I think there are at least a couple things being talked about here. When we are talking about the (sometimes) problems with fast heating or cooling through the 1000F - 1100F temperature range, quartz inversion, we are bringing up a discussion on cristobalite. 
    If we are talking about cristobalite then we need to look at the 3 main sources of silica found in clay bodies. There is the ground silica/quartz, the free silica which is inherent in any clay plus silica that forms when kaolinite breaks down into mullet plus free silica. Silica glass forms as the fluxes melt and incorporate silica, this form of silica has a very low thermal expansion. However crystalline silica has the opposite characteristic; it has a very high rate of thermal expansion.  Lastly cristobalite inversion has an even higher rate of expansion/contraction which happens in the 400F range.
    Mesh size of the quartz is super important plus the type of silica present. It has been shown that cristobalite can form between 2012 - 2102F if there are fine particles of silica present plus some sodium carbonate then cristobalite can form within 2 hours. This could mean an extremely slow firing or prolonged soaks in this temperature range has the possibility of cristobalite formation in bodies favouring it. I remember being taught that cristobalite wasn’t an issue with cone 6 clay but that doesn’t seem to be the case. Also, if you refire these type bodies it will increase the amount of cristobalite present. Once present it can’t be removed.
    Well vitrified, well blended bodies can avoid cristobalite development as can the speed of firing. You’re not going to find cristobalite in a porcelain but it could be present in high iron non vitreous stoneware. If there is cristobalite present then slowing down the rate of firing/cooling of the glaze firing during the 1000 - 1100F range could be prudent. More so with the cooling as the clay has reached maturity. On bisque firings  the quartz inversion happens at the same time as the shrinkage of the body occurs therefore I think there is a counteracting mechanism at play. I don't think it's much of an issue for most pots, larger pieces and sculpture would probably be safer to slow down the firing during this range for. However for re-fires, going slow through this range would be prudent. If there is cristobalite present in the body the 400 - 450F range should be slowed down also, both with heating and cooling. Only way to measure cristobalite is with a diameter. More mechanisms at plays to avoid thermal shock than just cristobalite though.
  19. Like
    kristinanoel reacted to Min in The problem of applying glaze to clay rich in iron/manganese   
    Your English is just fine, I was trying to avoid words that might be difficult to translate.
    You can read about body bloating here, this is an excellent website with a huge amount of information on many ceramic subjects. Page 166 from "The Ceramic Process" which is available here as a preview also mentions body bloating.  Lastly, there is a really good thread on firing high manganese clay here. 
    For the bubbles and blisters search those terms in this forum and also on the first one I linked to above.
  20. Like
    kristinanoel reacted to Min in sulfur stains on bisque   
    That isn't what I think it is in my case and for those whose water doesn't contain an appreciable amount of sulphur and have had a clean bisque firing. As I said above I think in my scenario it's soluble minerals from the glaze, and perhaps a tiny bit from the water, being carried through the clay wall from the liner glaze. If I wet my bisque before glazing with a sponge I don't get the yellow so I rule out it coming from the water itself. It only appears if I either wash a glaze off a pot or use a liner glaze and let it sit to dry then glazing the outside of the pot.
  21. Like
    kristinanoel reacted to neilestrick in Small loads in Kiln   
    The only benefit to pre-firing wash is a slight increase in durability. But as long as you're not sliding your pots across the wash it won't matter. Save the energy and just use them right after applying wash.
  22. Like
    kristinanoel reacted to JohnnyK in Damp box   
    Yes to both questions...in the short term It will maintain the moisture level of the pieces you put in it. In the long term it can actually increase the level of moisture in your pieces depending on the amount of water you saturate the plaster with. I am currently running an experiment on a couple of yunomi that I put in my damp box back in 2013. While the pieces are currently leather hard, they are showing signs of deterioration, that is, they are becoming a little brittle around the rims but are thoroughly moist. I put about a cup of water in it about every 3 months.
  23. Like
    kristinanoel got a reaction from Rae Reich in Making my own parting stones   
    Hi Rebecca - 
    I also spotted that post and am super interested in hearing about your results. Please post if/when you start experimenting. 
    And if anyone else has tried something like this (especially if you have tips about what really, really won't work) I would love to know more. 
    Seems like you could wedge some into clay and fire, especially if no glaze was required, but I'm not sure about what the best case/worst case scenarios even are. 
    Thanks for bringing up this topic!   
  24. Like
    kristinanoel reacted to RebeccaC in Making my own parting stones   
    Hello, all.   I've been a longtime lurker and faithful reader on this wonderful forum.  Have learned so much from reading, and while waiting for my husband to build my new pottery studio, I"m spending lots of time here, gathering up ideas and more info on everything.
    My question is in regards to a post I read earlier, about "parting stones", produced by a company that charges way more money than I have to spend.   The parting stones are made using cremains, and some other material (someone on here guessed dental material), resulting in a smooth stone for remembering a loved one.
    I have stoneware clay, buff and white, and ashes from each of my parents, and am interested in making my own parting stones to share with my brother.   Would I be able to mix the ashes with clay, and make my own?   I'm not at a point in my knowledge base to make any assumptions, and have read in the past that ash is a flux.   Is adding ash to some of my stoneware clay going to make a puddle in my kiln when fired to cone 5 or 6?    Is this whole idea ridiculous?   Is there a percentage of ash that I should stay below to mix into my clay to avoid any kiln disaster?     
    If all this is not feasible, I'll go back to the idea of a Black Friday type ash glaze, and make my brother and I a pair of mugs.
    Thanks in advance for any help with this.  You guys are great!
  25. Like
    kristinanoel reacted to Min in Glazing big bowls/large objects   
    Forum member @Chris Throws Pots has a video on his website where he shows how to glaze on the wheel with a brush and a squeeze bottle of glaze. I can see this being helpful if you don't want to mix up a large amount of glaze for dipping.  I think I would do the outside first and hold the pot down with clay wads (if you don't have a Giffin Grip) and glaze up to those then do the inside and glaze over the rim and down to the glaze line on the outside.
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