Jump to content

Mark C.

Members
  • Posts

    10,678
  • Joined

  • Last visited

Everything posted by Mark C.

  1. I would first Call Amaco/Brent technical ask them-the controller and motor are wired for 220 and you wnat to know how to convert it to 110v Other thoughts are most homes have 220 you could wire an outlet just for this wheel you could buy an quality step up transformer 110-220v The best option is call Brent and ask how to make it run on 110V
  2. Not salt pots for sure Just add some colbalt carb to a little water mix it up in air tight container. Use a brush to apply This is cone 10 porcelain with a clear glaze over on these baby bowls I made for family members and friends (I do not do this for the public ) Cobalt is hard to remove so be carefull applying .Use a small brush witha good tip. I turn the bowls on a wheel at slow speed to band them .
  3. I use a glaze eraser to rub finished bottoms of finished pots(sold thru kilnshelve.com ) . As well as a rubbing stone (white fine grit 2x3 stone) sold thru most ceramic outlets
  4. wet sponge the pots no sanding-no dust
  5. You have to do the absorbsion test to anything about the end results. Underfired leaking clay is good for nobody no matter what the cost.
  6. You either do the absorption test to see what your clay is doing (on the test bars)-but knowing that you are shortening the element life. I as Neil said just drive the 3 hours and get the right clay Using cone 10 clay at cone 8 is not a good idea . The absorbtion test will tell the whole story-except the shortened life of elements One note in ceramics a 10,000 things can go wrong (and you will find some do no matter what)and you are starting out with a few of them right off the bat. This can be issues with glaze and body issues righ tout of the gate. Take the drive and start right. The savings is not worth it my mind.
  7. ITC also made an element coating in fact I think regular ITC is ok on elements-but I would not bet on it as my memory is a bit fuzzy on that.They did make a special element coating for sure at ITC.Back in the day I bought amny many gallons of that stuff. The whole deal went sideways for me when Fritz sold it after his wife passed away. The price tripled and the product variety went away
  8. For me electric kiln firing was a stepping stone in my progression. I leaned to use them and bought one in collage (used) and have always had one around working in some form. Out of school I used to bisque in mine now and again and would do luster and decal fires in one. I made my own beer bottle labels for a spell and fired them on in my electric as a 20 something . When I was starting I wanted to leartn about all kilns and electrics wherte in the mix. Now in my area electricity is very high price and tahst be a constant here a swell for my life. But the heart of ceramics in the long run and what keeps me today in ceramics is the unknown or the reveal if you will. In electric firing the results are (or where back then at least) very dependable.This was cone 06 back in my day not cone 6. I never heard of cone 6 in the 70s. Cone 6 was and is a temp I go thru to get somewhere else.The unknown is the results of glazes in reduction fires and the challage to make them spectacular. Thats the hook that got me and the same is true with my salt kiln. I like working with glazes and those on the edge are the best when they work. This unknown factor has kept me in production all these years. I love the unknown about every glaze fire -no knowing that all my effort is paying off or crap its a disaster (which by the way was a small kiln load last friday I overfired ) lost 1./3 of it but man the keepers are over the top. Now I;m a glaze and fire potter-thats the thrill not the making. Sure I did raku,pit and wood firings as well as salt in school but reduction hooked me in the long run and I could build the kilns at home which I did during school as well. Sure the making is fine but I like the glazing and firing better. I feel the electric is more like paint -you open the jar and thats that-now I know since cone 6 and making your own glazes (I mentored a few in this field) its more an unknown now but back in the day it was not. So I have put a few pieces in a friends cone 10 electric oxidation (he got the super duper high fire crystalline model to do that) and they looked like stock colors to me. I feel the electric is more easy to use and for sure to get permitted especailly these days. For me its gas reduction or die and its carried me for 45 years now. I'm sure if it was only my electric back then I'd be an electrician or Plumber full time now instead of a potter. I like the challage of the fire and in an electric you progarm it and once you find it thats that .Each and every fire for me is an unknown to some degree-thats the past I live for.
  9. It will add a bit of protection to electric kiln soft bricks. The one I sprayed I sold before much firing so its a toss up. I think 3 protection tubes are a better investment. If you do use it on soft bricks a few things to do first spray the soft brick with a mist of water first and only apply a very very thin coat so it does not get heavy and spall off the brick. This is best practice . If you fire constantly it may be worth it. It does add bit of strength to soft brick surface-keep it thin and wet the bricks 1st.
  10. Tell me more about what you plan on coating? Hard Brick? soft Brick? How hot are you firing to? I have coated electric kilns-salt kilns ,reduction cone 10 kilns soft brick ,hard brick.kiln shelves. advancers,dry pressed high alumina shelves ,mullite shelves. I need a bit more info. ITC has gone to the moon price wise . I can address the pros and cons but need to know ,more on what your are thinking of coating and how hot you fire
  11. We hot wax in a large electric pan (I posted a thread on this old brand found on ebay once here that is teflon coated and super wide) I think you are to hot. It should never smoke . I use paraffin -buy it by the case and as oldlady said have used thrift shop candle wax as well. I use so much the case thing works well. I always have a spare case at ready-like i said we go thru the stuff. Any pot with a trimmed foot I use the other liquid wax I have written about here a lot. I can sponge the feet very fast with that turning in my hands in a few quick motions. That wax is a little slower drying and likes to stick to paper. I have a few of these new in box box for cheap as backups-we kill one every 5-10 yaers or so from use (Dazey Round-a-bout Plus Electric Skillet Wok) We can wax up many many hundreds of flat bottom forms very fast every two weeks-I like about 1/4 inch in bottom and pan is tilted a little so I roll the form to a small degree to get the same coverage Since the waxer is just outside studio door the dry time depends on the weather-but as a general statement it dries really fast. You can dip and put the pot down in seconds without the wax sticking to a surface I have zero soy was experience . I think I'll keep using the wax I know as it works so well.I do use alot of soy/low salt in the kitchen if that helps-we like Kikkoman
  12. I'm a production potter down to only-8 tons of clay a year now as I slow down (My questions: What is the difference between production potter and hobby potter? Is there a definition? If you are a production potter do you still get to play around with things that intrigue you?) Its not a grey area-I make pots to sell and that is most of the focus. I am not keeping them or attached to them-they are pigs going to market if you will. Yes I care about them and want them to be the best they can be but they will be somebodys baby not mine . Yes I still play around but not on production time-I have a salt kiln and do my fun work thru that meduim not my porcelain production line.Most of my play time comes with glazes and making new ones or tweeking old ones-that is ongoing now for 45 years as I like the glaze and fire part -I'm called a fire potter ,most or mud potters loving the throwing -I need a canvas to glaze so I throw pots.With a Hobby potter the volume of work is low and the forms all all different. If you are asking you are not a production potter-at some point you know thats what you are. I can still make whatever I want but I need to make my line of work and can add to it or subtract from it but the line is my focus.Like today mugs bowls and spoon rests about 150 pots thrown drying in the sun-unload two glaze kilns in afternoon-fun right-you know when you are not a hobbist.That was so long ago I cannot recall what it felt like. For me hobby means all for fun no making 1000 mugs or 30 of every form . The booth is a hodgepodge of whatever you like to make. You have another job for money or your partner does and you are playing around.Pottery is not for income or if it is you are just trying to offset costs (Second question: What do I do with all the pieces that are taking up space/not really all that great/flawed/overall uninspiring? ) First let me say this and belive it -there is No Acounting for taste-your worst pot (unispiring) is someones favorite-so sell it- flawed ones break and trash thats why they are flawed and should not be sold . Its very clean and simple. Hobbists worry over wares Full timers do not-hammer time or sell time -flawed =hammer. Not flawed=sell. You do not like them but they are 100% fine=sell Clean out that crap with new eyes and move on-the trash can is your friend Hope this straight talk was not a shock -today I just unloaded a overfired small kiln load about 1/3 went into the trash can(bloated). Time to make more pots-move on as I said.Just a blip in in a production potters week.
  13. Since its alreadt established-why not just add a shopping cart and go from there -weebly and all the major servers have this as an option these days. Not much to think about really if its already an established business-They just need to start telling their customers about the e-part
  14. I have friends who sell pots thru Etsy and they said last week that the platform is Not what it used to be sales wise. That market has been diffused they said. If you go it alone with your own CC I would expect 5-7% in fees thru a processor . Thats all I have on advice as I'm not a web sales guy-I only sell to existing customers mostly wilh my web page which is not a sales site.
  15. MMR I have felt this way about it as you said (The composition of the atmosphere inside a cylinder is likely to be somewhat different than the more open and connected volumes. movement of atmosphere in a combustion kiln is different in many ways from the atmosphere in an electric kiln. Composition for one; constant movement another. ) That this is more the root cause of inner pinholes say in a mug just down inside the cup near the lip-thats where I see this in reduction fires. I have a very standard application of liner glazes using a glaze jet for 99% of liners. The application is very controlled so my thought is its the atmosphere moving over the cup form. its always the same are near the top on the inside of say a bowl or cup. If I am really going slow at cone 10-11 they are far less so temp plays a part as well. This is more of a feeling for me after firing so many kiln loads over 45 years. one last not its more where two glaze join as well but not always so thats a 3rd issue as well My last fires two weeks ago had only 2 forms with pits in many many hundreds of pots in a total of 47 cubic feet of reduction wares with rutile glazes-those fires where very slow at top end-I did the same thing in yesterdays two kiln fires very slow top end movement up temp. Since my main glaze is rutile based I live or die by pits and have had 45 years of living with the why and why not of it in reduction (no experience in rutile oxidation).
  16. I have handled to much drywall to want to help. I like simi smooth wall. After taping and sanding then sealing with drywall sealer I like to roll a thicker than cream mud nap super light texture with a 3/8 nap roller then paint. On the cup inside pinhole topic 99% of pinhole for me is the insides of any form from cups to bowls-the lack of atmosphere as well as temps are the causes I had felt. Now I'm firing in reduction but it does not matter as lack of oxygen or atmosphere difference is what causes this and temp can play a part as well. It very complex and longer firing can help or more saturation of temp if you are a computer electric person or a slower gas fire at high temp and slow cool etc. When you think you have mastered it,it will rear its ugly head once again as this is ceramics not for the weak of heart
  17. In my mind that space is already full of clay stuff-congrats
  18. High purity iron oxides are sold thru most outlets laguna/axner-https://www.axner.com/ironoxide-red.aspx US pigments-https://uspigment.com/product/iron-oxide-red-high-purity/ I have used both with same results-I use it in same amounts Since I'm a laguna person I use them the most. I have a 50# bag of each including the old standy spanish red Iron Oxide which I still use in other iron glazes
  19. When I started out with consignment shops in the 70s I had the same situtaions that you have all written about. It took some time to find the few shops that sales and payment and stocking all worked well and trust built up. I found one in 1973 and am still there thru 4 owners but now I wholesale to them. I only have two consignment shops left and one is struggling a bit in the pandemic the other is booming. Its all because of the owners in each case and how thay run the business. It takes a long time to get all this right for us potters to find the right shop that works for both parties. Now 45 years later I would not do consighnment and turn all offers down outright but thats becuse I can afford to and am on the back end of this carreer ,and I have enough outlets.. If I was starting out again I would be taking the time to feel it all out looking for that right shop.
  20. There have been few extruders on potters attic or the southern equipment facebook site or the other ceramic facebook site in past 6 months. slab rollers not so much
  21. If you have to use glues use epoxy -JB weld works very well-the slow set is the strongest-its a bit runny until it sets up. I have had it tear the galze off the surface of a high fire pots when testing the bond strength .Apply and cure in warm temps
  22. There is no easy in ceramics is my view no matter what cone temps That said the glaze from a CM article in past decade Iron Cristaline glaze cone 11-12 synthetic bone ask tri-Calcium Phosphate 12% Talc----I use Sierra lite- 9% Whiting 9% custar feldspar 48% EPK 6% silica 325 mesh 16% synthetic red iron oxide 11.5% Total 99.5% It likes it hot I fire it to 10-11 myself for best results but it looks fine in cooler areasas well just less crystals
  23. (Not many of us firing cone 10 anymore I think.) On this forum its 99% cone 6 but thats not refective of what I see in my area of the world (western state shows) I will add out local JC just switched to a all cone 6 program as they had to move the pottery shop to a new building (standar class room) and lost their Tech funding and it was easier for one instructor to fire electric with store bought glazes than mix all the glazes and fire a gas kiln-this switch was done for ease of use for 1 instructor . It was a bit of a shame as the local high school has a cone 10 program and that JC had a 40 year cone 10 program so kids where all working in cone 10 thru high school and junior collage now they switch to cone 6 . Our State collage still is cone 10 and cone 06 I only know potters firing to cone 10 out west here making a living-even our local public clay center with classes fires to cone 10 I see only a few potters in cone 6 at shows in the west-most all are still cone 10. I'll bring the glaze formula in today from studio and post it -its glaze day for me glaze and load two kilns
  24. Ok in another thread bone ash was brought up -that was all about Oribe glaze Todays update after mixing glazes this am for me is all about bone ash So on that synthetic bone ash I just finished a full 50# bag of it today (this bag was a gif to me )as I use it only in my red/black (high Iron) saturate glaze also I use synthetic red iron only in this glaze. I have another 50# bag ready to go. The cost of this has really gone up lately. I used up 50#s in less than a decade in only one glaze -my Red-Black cone 10 glaze I still use my natural bone ash in any other glazes like Oribe -I use very little in this application Now its still avaliable in both forms at least thru Laguna Clay Co /Axner and my guess most other outlets natural bone ash for me is about 1$ per# for 50#s much cheaper than synthetic made from cow bones synthetic tri-Calcium Phosphate is 3.09 a # in a 50# bag for me Mind you my prices are lower than yours but the relationship is the same so you can see what you are using So your cost will tell you what type you have. In terms of use this double use of synthetics give my glaze a super rich color not found in most iron saturated glazes. Its more costly to make but worth it. It about the 4th or 5 iron saturate glaze I have used in my line of forms over the past 45 years . Since its so bright it jumps out. I no longer use lesser Iron saturates. I got this glaze in a issue CM about 6-10 years ago-I do not recall exactly This is cone 10 reduction fired but will pop at cone 10 oxidation as well I use it on Porcelain I can post it if there is interest
×
×
  • Create New...

Important Information

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