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Mark C.

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Everything posted by Mark C.

  1. Yes as Nerd said 5% -10% can help. Are you stacking plates in bisque fire?
  2. My wife had a new hip two years ago at UCSF in San Francisco. Had her walking within day. Had a walker a few days than a cane for a week or so-real speedy recovery. All good very soon. 1st few days are thw worst then all good.
  3. About 30 years ago I bisqued a wildlife scence sculpture that a fellow spent two full months making-two months in the greatest detail of many critters-all realistic. I mentioned the exploding/cracking options that could take place in my manual kiln (no computer controlled kilns back then ) it was all seat of your pants as I still do it today. I dried it in my shop with heat for a week than I slowly took that kiln up over two days to get to 06. No cracks and all was well but it could have gone sideways in a heart beat. This person had never worked in clay before. I decided after that to never fire work done by others.I should add I fired some clay for another potter to cone 10 and it was cone 5 and slumped all over the place as well as a cone 10 plate drawing -I made the plate, someone did thier drawing on it than I glazed it so I know the stuff was right. since thoes days it a no I do not do that. To much pain and suffering possible .
  4. I would continue the same line up and not flare out myself-then cut the edge-maybe a slight dimple so you know where to cut exactly
  5. I'm still doing Pt daliy at home on hand myself-I found throwing small sponge holders helped seed up PT recovery for me and I then worked up size wize to 2# forms and then tried to center using other parts of left hand on 6# bowls. My Pt pl;ace cut me loose last Tuesday and now my only restrictions is not to pug on thumb palm and I cannot pinch for 12 more days with thumb.Turns out I can make pots without pinching at all.Clay work really brought my hand back around fast.The hand will not be 100% until late July than zero restrictions
  6. I clean the studio and ware boards with water once a year-after Christmas -usually during my break .I tend to wash kiln shelves in spring when its getting sunny and warm out to dry them outside.Summer is gas kiln repair usually-bag walss etc . every 10 years or so in summer I grind flat any wonky palster bats outside on a wheel with a mask on.60-80 grit stuck to a bat does nthat fast-really dusty job. I vacuum the shop on Sunday afternoon weekly with central vac system that also our trash out and recycling day so I deal with cardboard in recycle tub and trimmings collected in buckets If its warm and sunny I empty my two tub clay waste system early in week to dry out in clay boxes for Sundays trash as well. I have been on this schedule a long time now but its noit fixed in stone. same is true with glazing and firing certain days.
  7. Porcelain is less prone to chipping vs stonewares in a general sense. The compression factor cannot be overstated for helping make clay even stronger . Slip cast can be strong but its very dependent on the form as well as the right body/firing temp. You can knock out jiggered plates fast on molds and they are strong.-If you are a great thrower you can knock them out nearly a fast as well.
  8. Call laguna and talk to a technician  on adjustment

  9. I suggest steering clear of thios as its can of worms if it goes sideways
  10. My guess is the b-mix with Neph syn is mid range B mix you are talking about as its there as a flux. Like talc in low fire bodies does the same thing to aluminum. My VPM30 Peter pugger was used by high school with low fire body and is pitted -not terrible. I use high fire porcealain in it now and never clean it. Some day maybe I'll need a new barrel. I recencly bought a VPM 20 stainless machine used and will use another porcealain body in thatsmaller machine (high fire) I think the pitting issue is worse with low fire and some mid range clays. I have never seen or fely any aluminum in my clay.
  11. Being rejected I feel is a strengthening process. I got rejected a lot from art shows for decades. Just part of the whole process. Never took it personally. Nowadays I do not jury in much as I'm either invited to shows or they always let me (through the jury process) in as I never sweat it. Of course i have not done a New show in over 20 years. could be more like 30 years now If I thought about it.I have the degree but thats never done anything for me other than the knowledge I gained getting it. My focus was 110% ceramics for my 5 collage years and the paper was meaningless.. The knowledge was everything
  12. Would you also support the bottom with a metal plate ?--I would and always add one to all my electrics as they make for a better stander floor. The hang it into space floor on small stands never made sense to me. The walls are also better supported as in any foundation. You do not cantilever your house foundation so why do that with a kiln (my pet peeve-yes it costs more to build it right) that same thing is true with homes cars and just about every item in life!
  13. Bryan clay has memory so it you push it out with a sponge or knife it can remember this and will later return to that form. When we added 15% EPK it never dd a thing to our 4 glazes we used in terms of pinholing in reduction fires that where slow long fires (10-12hr) and slow cooling . sponging bone dry will not affect any deformation unless its rewetted and moved shape . Remember not to cut on plaster with anything other than a plastic tool and even that can cut into the plaster.. Does your mold have a longer top spew at the top? or are you cutting the top right at mold level?
  14. Glaze day again-two kiln loads to glaze and load today-spring is here as well

    1. JohnnyK


      Good to see you're keeping busy. How is the hand rehab going?

    2. Mark C.

      Mark C.

      I start pinching this week-no restrictions on the lifting with other fingers. wrist is now getting strong again. I'l doing wrist curls with weights. I cannot center much clay into upper palm yet for months so have learned to center using other hand parts and areas. Will throw some 2# pots today-still using hot wax and ice. only a week or two left with rehab.I'm almost out of greenware to its throwing time again

    3. JohnnyK


      Good to hear...hang in there and before you know it, you'll wonder why you didn't do it sooner!

  15. I use oribe in a cone 10 reduction firing every few weeks. It can pinhole but its not much of an issue as its only occasionally a problem. Now my fires are slow at the top end temps which lays bubbles down and its slow cool as well. Custar feldspar -29.3 Silica 325 mesh. -24. whiting -21.2 talc-I use serria lite -7.4 EPK -11.9 Bone ash. -1.0 Black copper oxide -5.2 This goes on just a bit thick and can run if to thick -I use white glaze as an overglaze
  16. You can buy the same thing directly from Skutt as well if you call them
  17. (Similar to a comment I made yesterday you can also minimize warping if you remove the piece from the mold and THEN cut the rim. My cup forms come out of the mold with the sprew still in place. I place the clay form on a banding wheel and cut the sprew with an exacto knife. I then place the cone form back into the cup and allow it to set up for awhile. ) This would be pretty slow for production casting . When we had hundreds of molds going we designed the spew to be longer (you must do this always anyways) and cut the top inside spew with a plastic slip knife.(which does dot injuge the plast as much. Then demolded the piece and finished the cut with a sharp metal blade many at a time. This mold was a three-piece mold. We where making thousands of aroma therapy lamps for a decade The fill hole in the front was also the spew. The top is cupped to hold the oils the bottom was flat.These where all cone 10 porcealian.Still have the masters if anyone is interested.
  18. Take the clay back in to supplier and trade for a better body-better for both of you .Clay that weeps is no good for anyone if it is a functional form
  19. Heres some sculpture I used to fire for a artist who is long gone. I fired his work to cone 10 unglazed and he later finished it. this piece is 13 inch tall 9x9 and did slump while fire as did most of his work. The other work is my ceramic sculpture from the years -been out there since the 70s The kiln sphinx is about two feet long and 14 inch tall-I like the growth on it so you have to imagine the whole piece-no glaze. I did look at our work and you come from a illustrator /painter background.Meaning paint is the medium whether its canvas-wood clay its not the base material thats important. One thing to keep in mind is this sculpture is fired to maturity and is pretty durable though its kept inside due to the unknown surface treatment-I thought of this fellow as a ceramic sculptor not a painter .I think of your work now more as a painter now that I looked close. Look like we both did our art degrees in the 70s
  20. I have noticed that my outlets are selling out inventory at rapid rates this late winter and early spring. Seems to be up in most venues. It feels like the pent up demand is taking off. I'm a bit worried about the supply side (me making more than usual). Anyone notice this in your area? Every kiln load goes away within a few weeks. Its mugs ,glasses, bowls ,soap dishes and sponge holders the most This area needs another potter or two who are willing to do production work.
  21. One way you have not tried is wet the wheel head and center the vase back onto wheel head . It will stick down with a damp surface. Then once centered (tap centering really helps )but one can do it other ways. Now its easy to trim the vase (except for very bottom). I do this on say a large pitcher with a spout as long as my bottom is not thick. The bisqued collars work as well. Maybe you are trimming to wet if they are getting marked up?
  22. One of the things that stands the test of time is being fired-I recently moved some of my art pieces made in college around in the yard where they have lived since the 70s-rain freeze-snow rain heat. They look the same today (a bit dirtier but wash right off) There is something to be said for longevity .Many of the se works are not glazed outside but are iron clay or wash. Now some works demand inside care like this raku piece my old friend Bill Foley did during his masters degree in Ceramics -Titled Marks Dream and yes that is me in background photographing his masters show work for him in 75 or 1976? Maybe a few of the old timers may recall Shimpo used this piece in a Ceramics Monthly ad in the 70s as well. Raku luster fades, paint fades-they all need to be inside and takes care of.
  23. I tend to think of your work as sculptural not ceramic. But thats my art school background tugging at my brain. I fired some work for years of a sculptor who worked in clay but all the finishes where not ceramic. I high fired them 1st .I'll add a photo in a day as I have one of the works still as this was long ago. I realize that clay is the base but to many ceramic refers to other finished mediums where as sculpture is a broad definition and has lots of freedoms of meaning. Really you are making ceramic sculpture and that can mean many things. I went to art school with a ceramic sculptor named Micheal Lucero who is my age and is pretty well known now. We are still friends after these 40 years as we are both in clay still. https://carnegiemuseums.org/magazine-archive/1998/marapr/feat6.htm For me he is a ceramic artist but works his works are art sculpture its a broader range by adding another word or two. That small local art association does not matter because its what you think that does matter. Since you do not fit everyones idea of a square peg it become irrelevant really. Heck you sculptors are higher up the art ladder than us mere potters anyway. We only make pots for people to use
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