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Mark C.

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Everything posted by Mark C.

  1. honey luster-1971 I used this as my go to liner and lip dip glaze when I made my living with cone 10 reduction stoneware-never had an issue with it I know potter who made his living for 40 years with this recipe -no issues on stoneware reduction at cone 10-he also used it as a liner and top dip glaze other cones I have no idea as you will need to adjust it to flux at lower temps. Kingman or any potash spar Modern sub would be Custar-1285 Kentucky ball clay (om4) 225 Colemanite /grestly borate 361 Dolomite 230 Talc 441 silica 599 Mag diox 250
  2. soldner is still in business making things-get the bearings from a bearing shop-axner is not the right place.They never made soldner stuff.
  3. My cure is like today-unloaded 47 cubic feet of glaze wares in two kilns-packed much of it into 6 different deliveries and now after lunch and doing all the paperwork I will drop them off over a 25 mile area at 6 drop offs. Those pots I saw for mere moments-checking for flaws in glaze etc then into boxes with my assistant . So these pots will not grow on me as now thats someone else's issue now . I do know this one as it's that way with some of my one of a kind salt wares. Just not my production line of porcelain Ocassioanlly a real gem will pop out in that line and it shows right away-I have a bowl today that jumps out at you. I'm keeping it for a show in the future.
  4. i'll post a cone 10 honey luster recipe later that may be much simpler-i need to unload a few kilns 1st
  5. Well yes they do have support kits here Shimpo is rebranded now and is called Nidec Nidec is huge company and they actually have made shimpo wheels in Japan for ages if I recall right (I forget moe than I know)-The name you know shimpo is a import name for our market They decided afew yaers back to just use one name interrnationally now Nidec All they have on them can be found here below in this link https://www1.ceramics.nidec-shimpo.com Maybe a moderator can pin this link under the Brent how to fix post as this is the best how to fix for Shimpo/Nidec. Edit it to make sense
  6. (Goes both ways, I get it from men and women. It's uncomfortable for me) yes it does I get creeped out by either sex when they bring it up.
  7. I think you missed my context-its not about the sauna its about the material-terracota is fragile and used in areas that fit that use best -planters for one for example. Sure it porous but it super fragile and unfit for that situtaion with any chance of longevity.The wooden bucket has amuch longer life span.-if water is kept in the bucket iot can gor for many years as it swells and stays swollen like a wooden water tank. If you want strength go with high fire porcelain.Tougher than terra-cotta The swedes have been at this a long time-sauna -wood-ceramics-still they use wood and buckets-its for reason Babs has a very compelling point
  8. John I have nothing against that movie (I watched that scene recently and only that scene as the move does not interest me)-a few points she did not throw that pot on the wheel-its all a set up and any potter can see that so for me thats a falsehood and thats the premise take away for me. After being a potter for (now nearly 50 years now ) when that film came out that whole scene was told to me so many times I just never wanted to hear about it again. I never liked the entire film yet along the fake scene .Now it been so long ago I only hear about every few years. I have done the on the beach love scene as well as the clay mess love scene in real life with lovers as a youngster so none of this was new to me when the film came out. I'm glad someone actually took a clay class because of it-but let me add you are the 1st person that I have heard that actually happened to. Its the romance that folks recall.
  9. The issue that bothers me the most is ceramics breaks.The wood makes the most sense-the whole sauna is wood. Buying a new bucket now and then is part of the deal. terra-cotta is easily broken or cracked-thats the downside. You can try some sort of work around but you cannot work around that fact i
  10. I'm a production potter I started out as a potter like you.Playing with clay I suggest throwing pots-as many as you can-the more the better-do not keep them-recycle them 10 cylinders is a 1/2 drop in the bucket It took me years to get to a throwing level where I could make the same forms repeatedly-I do not want to say how long so you do nt get depressed. it does not have to be cylinders always but those are great for most forms-that teaches you the pulling and wall thickness I recall in collage one of my teachers said if you want to devolpe a good foot on a bowl throw 30 bowls and trim the feet. At the end you might have a good foot. At that time 30 cereal bowls took me some time but I did that and then trimmed the feet. In the end it was a great start to better feet and I learned a lot about bowl form. These are the lessons you need to do to get proficient at throwing There are NO SHORTCUTs. The doing is the only way and the thing about it is noit to save the forms but recycle them into throwing clay -the clay is atool at this point not a precious dog bowl that you must keep at all costs. Call can be worked over and over until your skill level improves. I started throwing at 17 -I really went at it as an 18-22 year old in school. I got out and made tons of pots to sell. I still was not that good although I thought I was. I tend to avoid these threads about throwing but you asked for production potter and thats me. I never started out thinking I would be one I just loved clay and galze and firing and without pots the glazing and firing is harder The best advice is if you love it do it all the time-throw and throw.Spend the time learning to get the walls right once thats mastered learn about form-once thats in your blood the rest will come easy. The throwing part is key. Many pass over this part way to soon and then form kicks them in the b--t. I loved all the parts and they all felt fun to me none where boring-I felt like I set a high bar but later realized It should have been higher-over time It was rasied very high. I use to make one of a kind works and slowly worked into a line to sell as money was the driver to keeping me in the studio . Now when I go to studio I always feel folks are paying me to be out here doing whjatever I want-it a great feeling as I still like throwing, glazing and firing. Good luck Welcome to the forum
  11. In California around the 3rd to 5th grade elementary school we studied the missions that dot California from Mexico to just north of the Golden gate a piece. Those missionary's spread them out to a days walk between missions. They (white men ) settled the territory 1st in a big way. Working or torturing (believe what you may) the Indians who had always lived here. From that history we made small pinch pots like the Indians did as well as cardboard missions. That pot I still have a white body low fire pieve with cobalt on it. This did not get me thinking ah ceramics thats for me. The next was seeing my older brothers ceramic two foot owl he made in high school . Still have it somewhere? That did not do it for me but later when I got the bug was high school at a place that I could with a friend make pots . We both liked it so much we took private night throwing lessons in Seal beach for some months. That was in 69 if I recall.I bought a Brent wheel from Robert Brent at that time-he was just starting out as well. I went to JC in 1971 and then I already could throw pots (not well) They where building kilns and just starting a new campus so I landed at the right time to build kilns make pots and so on. I built a catenary arch kiln at my rental where I lived and made a throwing studio lean to off the back-soon I need a bigger place.-1st kiln the inspector ever saw-he lit a match looking for leaks (wow even then I thought that was a bit off) I bought a house in 73 with a small loan from my mother and immediately turned a one car shack into a studio and built a kiln.The gas Company ran a 1,000 foot main to house for free -kinder times back then (since then they have made a small fortune selling me gas at commercial rates.) Within a few years I transfered over to Humboldt state-1973-and there some new hires from Alfreds where teaching glaze and clay making. I sponged that up. They had a salt kiln-right time for learning that as well. They where on fire with recent clay learning from the greats at Alfreds.They taught mold making ,low fire ,high fire ,hand building-I soaked it all in and then some. I got a work study job at school pot shop-made glazes-fired kilns -cleaned the place -ground shelves-built kilns. I took it all in 24/7 for 5 years straight . I lived and breathed clay while chasing an art paper degree .After graduation with said Art degree I was making pots at home . I was 22-by then I was selling them anywhere I could find in our county. 12 years slipped by. My mother asked me at age 35 what I was going to be doing with my life in terms of work. I had never thought about it as I was paying the mortgage and eating with pottery money never thought it as a living then.-it just all worked. Never considered much else -like other work-sure i picked up some stray jobs to help along the way but clay was the way as it felt great. Later in life in my 40s I realized I was a potter and that was my path and livelyhood. Along the way I worked as an electrician as my best friend had a electrical contractin g business and needed help on big jobs where I learned on the job-same dael with a plumber friend he tought me and hired me a bit a swell all during my slower winter times with clay .Same with diving and clay I could help out doing commercial dive work with some dive contractor friends but only if it worked with show schedule. Then another 20 years slipped by again with pots. I will say those other skills really helped to make kilns and studio and homes and I suggest all the other skills for any potter these days .Runing gas pipe or wiring kilns -all good stuff to know. All my life I m the guy who wants to know HOW IT WORKS-that worked well for me. So for me I never had an ahah moment clay slowly did its magic on me and really until age 35 when my mother asked I had not considered it a job or the rest of my life. Looking backing I think I was 17 when clay got me. From that moment on it was like breathing air-I never had a chance. Today I feel like clay got me not the other way round. Clay has been very good to me and as a sit here doing exercises on my hand that just had a bone removed in thumb due to overuse clay also has been hard on me. Its a mixed bag really. Killer on the body on the scale I choose to pursue but mind and spirt its been very good indeed.. Need to check my kiln fires now
  12. Welcome to the forum . The handle added later is much easy to work well. Meaning the molds comes apart well and the handle is all in one mold often the handle is not easy to reamove or fill properly. When it comes to molds relaese (taking apart easy when full of clay is key) The handle added later is acually way easier. One you see the handles with voids in the handle and messed up handles you will see why mosty folks choose to add them later. Try one each way and learn this for yourself-I may have it all wrong and really only one way to learn and thats doing. Remember any undercuts and the mold will not work.
  13. Yes the above post shopws how to do this. You will notice at the top of the equipment page there is pinned page on Brent wheel repairs where all Brent repair videos live as well. This adjustment is easy-good luck- Thanks akalspots for posting
  14. My workbench (all of them looked like this yesterday-today the kilns are glaze firing). Today benches are empty One and half handed glazing takes time My new temporay cast can take a xxxl rubber glove over it now. Going to rain some it feels like.
  15. No in a air sealed container it should be the same (thats after a day or two of mixed up dry ingredients to saturate completly)
  16. Usually thats a foot pedal adjustment what brand of wheel is it? welcome to the forum
  17. Most cords are long enough but any cord can be replaced with a longer one. Its non issue. Just keep the wire size the same.
  18. Clay and ovens in homes are not compatable .You need to fire it in a kiln.
  19. You can also use a han d bottle spary mister to wet wares so they absorb less. I think its best to make the glaze the right thickness and leave the wares dry to glaze.
  20. Thick glaze application will make this worse. The glazes look thick as others have said-try less glaze-with that much color it may not look any different color wise but not pit.
  21. EPK is a cheap way to get alumina into your body and that will strenghten it and the clay will not affect . I used 15% in my cast body long ago which the form had a huge hole in side and it slumped. Thast why the 15%. It fixed the issue and was a easy fix. Your mug is not that warped so 5-10% may be enough .
  22. Add 5% EPK (dry mix) to a test before wet mixing and since you are testing do a 10% EPK. This will stiffen the body just a bit. Maybe enough -cast a mug with handle on each test and see if the 5% or 10% works. I assume this is cone 6 as you did not say-just a guess This will stiffen the clay body just a bit and is an easy cheap fix. I have done this with cone 10 porcelain laguna slip dry body myself years ago with great results.
  23. The glazes affected look to be high saturation colors. What is your clay body? porcelain or stoneware?
  24. Open the lid -turn on as low as ot will go. (I cannot recall if cress has seperate control of elements?) Only turn on the bottom elements if you can. Leave on low and control heat with lid The other way is dry your work with heat in studio more.(may be easier)
  25. Not at all necessary (freshen up") Just a waste of energy (Could the bricks be holding onto residual fumes from firings and could this be causing the glaze issue?). not this will not be the case More likely the clay /.glaze /firing schedule and soak /end temps Maybe speak to those details so folks can help you out on this
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