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Hulk

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About Hulk

  • Rank
    Tom
  • Birthday October 13

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  • Location
    : Los Osos, CA - a pile o' damp sand
  • Interests
    Pizza, swimming, cycling, reading, puttering ...and ceramics

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  1. Hi Luca! Have read about washing spodumene to remove some of the "soap" that causes bubbling in the glaze. Tony Hansen discusses decrepitation and washing in the links below. Perhaps someone with direct experience will chime in. I'm using petalite to add some lithium to my lowest expansion clear glaze. It's working well for me; there are some small gray flecks here and there, which may be from the petalite (I'm also using Zircopax in that glaze) - I don't mind them at all. Colemanite Colemanite (digitalfire.com) Spodumene Spodumene (digitalfire.com) Petalite Petalite
  2. Hi Miriam! Regarding 2) throw on my plastic bats You might try wiring the piece earlier - when it is starting to stiffen up, but not yet ready for trimming. Later, when it is ready to trim, you might need to wire it again, however, it will be easier. Before taking the bat off the wheel, trimming away the skirt at the base - leaving a groove may make removing the piece easier later on. Some potters wire the piece before moving the batt off the wheel, then wire again later. I'll typically wire pieces and remove them from the batt when they are stiff enough to m
  3. Am seeing a listing on govdeals.com in North Carolina, 47 amp Olympic kiln with Bartlett, also shelves, vent fan setup, some banding wheels, a Shimpo, what looks like a Brent B, and some other stuff. Too bad it's a cone 8 kiln. I'd drive a few hours for that deal, maybe. There's a second listing, also North Carolina, for a three phase Skutt, KS-1227-3, also a cone 8 kiln, not seeing a controller, the outside is certainly clean looking (neither have interior pics). It's another listing/source to keep an eye on...
  4. Might be a cone drive - not seeing pottery wheels listed on Seven Skill website, however, there are a few images returned, search string "Seven Skill E-20"
  5. Hi Lin! I'm accenting chatter and carving with underglaze (also glaze) on bisque. I use a brush to pick up some water, then a blob of underglaze. Bisque being so thirsty, the water helps "float" the underglaze - with some practice, you may find the cuts filled with underglaze, and not much to wipe away. Any road, after brushing the chatter and/or carving full, I'm using a sponge to wipe the rest clean - wipe, turn the sponge, wipe, turn. With some practice, you may be able to minimize waste. fwiw, I'm not seeing enough stain - even on white clay - left behind on the surrounding
  6. Scribing a line through the glaze, good idea - using the wheel and a tool after glaze has been applied, aye. Agreed that cutting an edge in waxed glaze can produce a cleaner transition line between glazes. I'm still using the technique Mr. Hansen demonstrates here Liner Glazing a Stoneware Mug - YouTube for clean transition at the lip/edge - when that's the look I want. Elsewhere, I'm carving a line whilst chucked up for trimming - just a tiny groove, which I'll typically burnish with the edge of a loop tool. From there, I'll tape to that line - plain masking tape is fine, even
  7. Coffee Food and drink. I'm believing the cautions taken are sufficient. There is some dust generation - however careful I'm bein' - hence food and drink is sometimes covered, and I've a bucket of clean water just for second rinse against clay prints on things, including food. Check the handle/outside of that coffee cup/door handle/light switch - touched things. As for testing/measuring for airborne dust, still watching the horizontal surfaces for accumulation, particularly accumulation rate; interesting how it can vary, likely not all clay related, there's the usual living dust(), plus wh
  8. I'd like to suggest research and pickiness when choosing glaze recipes. Perhaps some others can chime in here on recipe sources. I have some trust in: Hesselberth's notes - see the tested glazes link from his frogpondpottery.com site (better yet, the book he and Mr. Roy wrote, Mastering Cone 6 Glazes); also Tony Hansen's site, digitalfire.com, and a few others. Glazy is a recipe repository, err, like an entire library - one that keeps any/all books, it's not the best seller list, nor the recommended reading shelf, get me?
  9. Hi Anna! Well, if'n you reached target peak temp ok, the ware should be fully bisqued and burned out (organics oxydized) as well. From there, maybe put the peeps back in, pronto, so the ware doesn't cool off too quickly, and shut down the vent when you usually do. Hope it comes out ok - probably so.
  10. You might set up a few tests - to destroy, err, check (both!) later on; try tearing apart when cheese (sharp cheddar) hard, almost dry, fully dry. Learn by doing - wrecking is part of doing; it's going to happen anyway, take control of the destruction, arrrr! If you watch vids, you'll see other potters' joining methods do vary... I typically make two lids for every opening (credit Bill Van Gilder) - the extras come in handy: one fits better than t'other; one gets oops'd; customer oops'd; lids for coffee cups - some folk like that; use as test tiles... and etc. This is where standard
  11. Hi Heetter! My guess, next step for discussion here, confirming/clarifying the temperatures? Your stoneware clay matures at cone 7/8, ~2300F ? You are bisque firing to 1472F (cone 015)? You are glaze firing to 1830F (cone 06)? For dinnerware, likely you'd want to fire the clay to full maturity, hence, change clay to match the glazes you have, else, obtain glazes that mature at about the same cone as the clay you're using.
  12. The blow in atomizers do work - the lung part is a good point, as one must breathe in at some point. One should make it a point to only blow into the atomizer, for one, stand upwind for two, and plan well in advance where the next intake of breath will be, and when - all manageable. Compressor actuated units likely generate more overspray, hence, more amelioration (and clean up) required.
  13. What do you wish to accomplish by adjusting "...degree of floc..." - exactly? Maybe. Don't know. Yes, per prior (emphasis added): *** My guess is you'll find slight adjustment of thixotropy may sometimes be necessary after some time sitting in the bucket. I'm noting each glaze's sg in my glaze notebook. After adjusting sg to a) same as last time, else b) a bit more or less, due to prior results, I'll test thixotropy by stirring clockwise (easier on my wrist, thumb, elbow, shoulder...) to match the meter of Bob Marley's "Rastaman Vibrations"; on cessation of stirring, the ma
  14. Hi Rick! Doesn't look fully stuck to me. Did you see the recent thread where potter is attaching and joining slabs? The piece depicted a building/domicile, if I recall ...any road, similar appearance where the join had failed. When joining, I'm wetting the ware - typically, the bigger piece is dryer, eh? - where the join will be, just a damp finger, then I'm watching the shine fade as the moisture is absorbed. I might dampen that spot again, depending. Then I'll score it and dampen again. Whilst that shine is fading, I'll prep the to be joined bit - which is typically wetter, eh? -
  15. We used Floetrol for cutting and rolling water borne products on hot days, dry days - for some paint, any day. It really shines for spraying, great product. Vinyl acetate, n-butyl acrylate polymer, water.
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