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Pres

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Everything posted by Pres

  1. I own all of them, and often look through them when they are available. Right now the largest part of my Ceramics library is packed away in the attic. The library is being built this Summer/Fall. best. Pres
  2. @OlgaBiff the image looks like the pot may have had some paper in the slip, give it some body in application, and firing will lighten the area. Just a thought. bestr, Pres
  3. When repairing the old L&L over the years I walk down to Ace hardware to peruse the screw and nut bins. Often found SS screws for the housing mounts, electrical poles, nuts, and washers. Some parts like the power blocks I would order in from L&L when available, but this last year much of that was not available. Local hardwares are a blessing, and a great place to explore in the spare time as you will often remember seeing exactly what you need in the studio. best, Pres
  4. Last bisque looked to have fired to ^04 with a ^06 setting and no cone adjustment. Yes, I agree with the adjustment being excessive, but don't have any other alternatives. I have looked over everything, and believe I am on the right track, but time will tell. best, Pres
  5. Set the cone setting to -20 before the last glaze firing. Cone 7 was down, but less than the previous firing. I believe my next step will be another 20 for -40. I am closing in on the firing, and will start setting up my own schedule as soon as I graph out my present factors and figure in a slow cooling cycle. All in all, getting better, even though I know I am overfiring even though to look at the pieces it is hard to discern anything in the clay or glaze. best, Pres
  6. . . . but we must stress that paint is not as durable as ceramic glazing and should only be used for decorative purposes as a sculptural art piece. A benefit to painting instead of glazing is the control that can be had of line, mark or image. There is always an element of surprise when a piece is removed from the kiln after a glaze firing. Due to the nature of the ceramic glaze becoming liquid in the high temperature of a kiln, most glazes tend to move, flow, run, or change color and details and hard edges can be difficult to achieve. I studied Art Ed, at a smaller school. We did not have much in the way of a BA or BFA, more of BS in Art ED. We had a Ceramics professor, Sculpture and Metals professor, two Painting professors, a Printmaking professor, an Art History professor, and others that came and went. Most of these would cross teach classes as needed especially art history and appreciation. Students from the general population had to take art electives, and there were also some older adults taking enrichment classes. It was the Turn of the 70's, art was still big, and art ed was a good place to be. There were arrogant teachers, and lechers, and good ones and bad ones. I had them all, and saw a lot of what we understand today as prejudices, much between disciplines as if they were political parties of today. However, because it was a small school, with focus on education, much of what is mentioned here did not occur. I was always encouraged to search out solutions and alternatives. We did quite a bit of that, and at the same time had some guidance to keep us from making unexperienced or uneducated mistakes. Rifles would be fired through blocks of clay, and the pieces fired to low temp, ant hills turned into metallic sculptures by poured metal into the hole, and many other things that I can remember. However, much of what we did was often edged with the idea that in clay there were 3 basics. . . .functional, decorative, and sculptural. These 3 would have different rules and understanding based on their use. Functional ware needed to be able to used without exposing the user to harm of any sort. Decorative pieces were free game, and could be a variety of finishes, as could sculpture that was considered to be decorative taken to high art(whatever that means). When I taught high school, I often would have students wanting to finish something with paint. Most only had access to tempera, some to acrylic, or oils. I fired the pots in the early days, and allowed them to finish them cold. Explaining to them that once done it was done. I found out often later that they regretted their decisions when they saw pieces come out of the kiln with the "kiss of heat surprise". The secret, and it is just that to good pottery is to use the surprise to your advantage and to control the results. However, if it is out of the range of Functional, anything goes. IMHO, best, Pres
  7. i have used the old screw on cap Brent extruder in the early days. The screw on cap was a DUD! One of the reasons I purchased a Bailey with a 5" barrel I think, and the larger barrel with the plywood die set. I had a band saw at the school, and a drill press, along with a scroll saw and belt sander. These allowed me to make dies for both, usually out of 1/4 to 3/8 plastic, or plywood. @neilestrickI know what you mean about the clevis and handle. I was dangerous for someone that did not know what they were doing. That is why my demonstration for the extruder had the first 10 minutes stressing that it could bite you if you didn't handle if with respect. I pointed out the web of the hand getting pinched by someone holding the clevis, and the possibility of getting rapped by the handle overhead. I should mention however, that all of my demos of equipment included the "what coulds". Especially the slab roller, and potters wheel. In cases with the extruder and the slab roller I encouraged students to pair up with another student. I have never used a Scott Creek extruder, but have seen them in catalogues and such. best, Pres
  8. Bam2015 posted a question in the QotW pool this morning around 9am. She asks: To wedge or not to wedge? Do you wedge clay when it comes straight from a bag or pug mill? If you do wedge, why? Maybe you wedge for the following? a) It's what I was taught and I can't get my instructor's voice out of your head? b) I'm a little OCD, I can't sit down at the wheel until I've repeated my wedging "x" number of times. c) There is scientific proof that one must wedge! d) Nope, don't wedge, waste of time and my pots turn out beautifully! e) Other...please enlighten us. Ha, I suppose I should point out that there is one other possibility here, which is . . . because I have to! All of you by now have heard that I order clay once every few years, and store it under my sea kayaks. This means in central PA that it freezes often for months in the winter. That means that the freezing turns the "mechanical water" or water of plasticity to ice. This causes large rifts in the bagged clay, and as it thaws, the water is to the outside of the clay. Wedging or pugging is the only way to get the outside and inside areas of the clay to become homogeneous again. So I wedge, first by cut and slash (tip here: a wiggle wire works really well if having to add water by spraying) then by cone wedging that I learned in my first Ceramics class in college. Without wedging the clay first as I do not have a deairing pug mill or any pug mill my clay would not throw well at all. So I will ask for @Bam2015, and myself: QotW: To wedge or not to wedge? best, Pres
  9. I had an unglazed piece that I fired in a glaze load just to take space. Later on I decided to glaze it. Hmmm lots of thought, and doubt. In the long run, I heated the pot up in the kiln to 200F. and then sprayed the glaze onto the pot after glazing the inside with a quick pour and dump of glaze with gloves on. I continued to spray glaze colors until I thought I had a glaze thickness. After the glaze firing which was in with normal pots it came out looking a lot like a salt fired piece, a little dry, but some areas of gloss. Would never sell it, but my wife likes it as a floor vase. best, Pres
  10. Why not try it with just a piece of plastic like plastic bag just to see what happens. Seems like to me that the press removes water, and if you have plastic to keep the water from draining it may be a problem. just thinking. best, Pres
  11. The speeds for the wheel are on the motor. Electrically not possible to make the change unless you change the motor. Once you do that anything is possible. best, Pres
  12. I understand that I can do things like that. I believe that I will have to see what the present settings do, look at what I see going on, and then set up some sort of custom setting that allows me to fire up, and fire down the way I was used to doing it. I knew that there would be a learning curve, after all it took me 25 years or so to get to where I could fire the old one intuitively. Hopefully this one will not take that long! best, Pres
  13. I guess I am trying to settle my conflict between the firing of the old manual electric and this new beast. I used to fire by a schedule writing everything down for years, then about 10 years ago, just flew by the seat of my pants. Looked in the mirror, saw a color and decided if it was too soon or not soon enough. It was more of art, than science. I hit my target of hard ^6, then dropped to yellow orange quickly to hold for 30 minutes or so, then dropped to red orange to slow down below dull red. then shut off. Took notes when changing elements on resistance, then would check the resistance every 10 firings or so unless something seemed suspicious in a firing. This new thing, seems to be turn me on, let me go. You're not needed. Hmmm best, Pres
  14. So took a quick peek at 230F. ^5 is down, ^6 is probably at 35 degrees, and ^7 is not touched. Looks like on the medium speed that it would have been just about perfect ^6. Don't understand, but will try on the next glaze firing to match. This was a light load in some ways with just 9 patens and shelves in it. I need to get more shelves and furniture. best, Pres
  15. Didn't see one. I have gone through all of the material looking for a separate flier. . not. The section where I found that number says: . . This has changed over time as we have improved the tube and the offsets pre-programmed into the control to reflect the testing that we do in the factory. It is currently +18F. when it leaves the factory. best, Pres
  16. Something else to add to the update on the manual? best, Pres
  17. I helped one of my adult students taking the Saturday classes with a tile project. She wanted to make particular border tile for her bathroom with a matching color and style that she had had before. We had a Bailey, so extrusion was the best bet. I cut the first die with the scroll saw set to 90. The tiles seemed to come out well, but did warp slightly, and she was not satisfied. I thought about it for a while, and thought maybe more compression. I cut a new die with about and 8 degree angle. Using this with stiffer clay, we found that we had fewer warped tiles and were able to finish the project to her satisfaction. You might try the angle on the die. best, Pres
  18. In my reading, I found that the factory setting is +18F. ??? Why do they do that? best, Pres
  19. Actually @Bill Kielb, after posting the fast, and thinking of the newness, I changed to the medium setting as the preheat was not over. I still used the ^5 target, as I believe the kiln is overfiring by about one cone. or close to 20F. best, Pres
  20. @Bill Kielb Usually do a fast up, slow down, but this was on the old L & L.
  21. Fired a bisque to 08 hoping to drop cone 06. Could not see cone through the peep, so fired blind. When cooling at 200F. opened kiln to check cones, all witness of ^06 were darkened, but not down. Refired kiln to 06, and cones were as if it had hit 04. I figure the extra heat work confused the issue, but ware was fine. Today I loaded a fast fire glaze to ^5, even though I want ^6. Preheat for 4 hrs as they were just glazed and I had undried cone packs of ^5, 6, &7. Will see how this goes. I am hesitant to mess with TC or Cone corrections until I really know that is going on. best, Pres
  22. I think the best place to start for your replacement splash pan is Bailey, link here is for your wheel:https://www.baileypottery.com/m-600-025.html If you cannot find the splash pan, call Bailey and see what they can do to help you with your issues. I always go to the manufacturer first for help, then branch out to wide spread browser searches. best, Pres
  23. Sending out Communion sets, figuring out the new kiln. getting a full size Bailey extruder, try some extruded birdhouse designs, clean out the gunk in the shop and organize it before I hit 80, test some new glazes and finally get back to throwing some fun pieces. best, Pres
  24. Yours are worse than mine. My first 2 firings of my new L&L is in this strand: I am running a slow bisque with a preheat to ^08 to see if I come near^ 06. This may help me with firing to ^6 on Saturday after glazing the pieces. Hopefully I can get my situation figured out as will you. I am new to this hocus pocus with a controller as I have always fired full manual with an old L&L that bit the dust after 36 years. best, Pres
  25. Chilly, I had really thought until this morning that this strand was a DUD! I was seriously thinking of putting up a new question, but am relieved to know we may get some life out of this. Very interested in @Marcia Selsor reply to this, as she is doing so much experimental low fire with awesome results. The possibility of doing what she does at ^6 would be neat to see. True leader in the art. best, Pres
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