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Hulk

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Everything posted by Hulk

  1. Hi Moh! I haven't yet (and may never get around to it) tried working with porcelain, but have been through a bag of black (cone 5) clay. The black clay I tried fired to a very nice colour, smooth finish, and strong; it took several of my glazes well, if not so much my liner glazes. It was prone to bloating and fizzing/bubbling. In short, it can be finicky to work with. For unglazed work, well, that solves some of the problems! Still, watch for the bloat - bisque thoroughly and careful not to over fire. The reasons I'm replying (aside from Welcome!): a) an inch thick may be problematic. When you get to design and execution, maybe look into thinner sections, particularly when working with black clays. b) you might get brilliant white by glazing white stoneware, and/or applying slip or engobe to your white stoneware... c) some once fire aficionados/experts may chime in here - I'm not seeing any cons to once fire for unglazed ware. Be advised that dark/black clays typically require an extensive/thorough bisque to drive off all the bloaty stuff.
  2. Looks like bloating - here's a clip from the image you posted earlier, so others may easily see: Looks like a black clay, which can be especially prone to bloating. I found that extra long/thorough bisque fire - I just parked it at 1500F for an hour on the way up to cone 04, and more time on the way down as well - helped, also careful to glaze fire to cone 5 (only, no more), and keep the ware on the thin side, for the thick-ish parts were where I found the dreaded bloats. Air/oxygen flow would be important for the bisque; my kiln has a powered vent that pulls a small stream of air out of the kiln, hence ambient air is pulled in through the various cracks. Bloat, what is it? Bloating (digitalfire.com) Could be the slab ware is more prone to the dreaded bloat on account of the clay's exposure to air is limited on the shelf side. Could also be that the slab ware is a bit thicker? My limited black clay experience indicates that thicker is way more bloat prone. Bisque it thoroughly!
  3. Hi M! Close enough would be my opinion, however, if the clay(s) in question are red, brown, black, enough time and oxygen to burn out the organics may be at issue - even buff or light brown clay may come out better with extra time and air. Also, if your pieces are thick/heavy, more time and air can help. Back to close enough, your 04 has a bit o' bend, that is close! For your glaze run, +1 in the sitter matches my (limited) experience. Early on, I watched cones through the peeps, watched the pyrometer read out (worthwhile investment, that), and kept notes. I didn't trust the sitter, and still don't, however, I still set it up each time and dial the timer as well, just in case somewhat happens and I'm not right there "on it" during the last hour of firing. Watch the cones would be my advice. Be sure to wear good and proper (against the harmful rays and any flying bits) kiln glasses.
  4. Perhaps the saggar experienced will weigh in later; meanwhile: Building, Packing and Firing Saggars (ceramicartsnetwork.org)
  5. Well fitted glaze inside and out will make it stronger!
  6. ,) Try searching "hardwood taper" "hardwood round taper bun foot" "waddell bun foot" e.g. $12, below Less than eight dollars, below 4x2.6 inches The top one is 4x2.5 inches
  7. Hi Bas! Item in question: Pate Woodworks (Brooklyn, New York, USA) has somewhat like it. ...found several wood hammers "for clay" in Netherlands, however, with round/cylindrical striking end. Perhaps paddle would be a better search string... Then found Xiem clay paddle Xiem Clay Paddle L - slaghout | De pottenbakster (keramiekenglazuur.nl) Ya, that'd be my choice, if in the market for a pre-made paddle-ish striking tool. However, a I'd also consider making one (else, having one made), where starting with a tapered cylinder gets one most o' the way, as cutting off part of the cylinder to make the flat side would be much easier than forming the rounded part, then drilling and fitting a handle, complete with sanding and sealing, voila.
  8. Right handed, eyed, an' footed for most things, clockwise potters' wheel hugely better fit for me - if that's alternative, then aye. Working clockwise, visual focus seems a bit left of center - facing the wheel, where center is closest edge of the wheel - that's much more natural for me, perhaps partly due to condition of my vision, set of my skeleton, condition of my elbows and shoulders, and oooohaaaa, et cetera. I use the thumb on my inside hand on the outside for the initial pull; my left thumb can't do that. The last segment of my right middle finger has nerve damage on the down (little finger) side, which seems a bit more turned away from the clay when working inside. I have tried throwing counter clock, it's ok; methinks I could do it if I had to, however, holding a tool in my right hand for outside tooling, heh, that ain' working, and trimming counter clock is difficult for me. Clock in. I'm not seeing much (any) chatter marking 'round here, perhaps that's somewhat alternative as well. I chatter almost everything at least a lil' bit (clockwise). Chatter notes: I'm filling marks with glaze (or underglaze) before glazing, as sometimes the bottom of the marks isn't fully wetted, hence the glaze pulls away and leaves a dry spot. For opaque glazes, particularly those that level well, some glaze combinations provide more accent that others; for translucent/transparent glazes, chatter marks stand out, even when filled same glaze as used for covering coat.
  9. Bein' curious, did some looking CCT Indice - CCT (cctgroup.es) Ferro has a presence in Spain, search "Ferro Spain S.A." Mason has a distributor in India Olucha Colores olucha You might start with ANFFECC, "... an association of companies that joins the majority of the Spanish ceramic frits, glazes and ceramic pigments producers." Asociación Nacional de Fabricantes de Fritas, Esmaltes y Colores Cerámicos (anffecc.com)
  10. GreatClay has a listing: WSPDR8RG RK8 Drive ring 37.20 _055-074.qxd (greatclay.com) The Ceramic Shop lists a small and large ring for RK wheels: Shimpo RK Large Drive Ring - The Ceramic Shop There might be one out there, good luck Richard! A Reddit poster suggested 3d printing a facsimile to then make a mold from, hrrm Added: I'd look more if'n you'd post the dimensions and an image...
  11. I start with liner glaze, and wait on full dry afore the next step, and full dry between the subsequent steps as well. When I'm rocking it, there are ware boards out on the driveway, in full sun; wax that has been warmed by said sun is allowed to cool a bit when brought inside, however, for warm wax is sticky. I like getting a start on some liners the day afore, so there's a batch out ahead a step the next day, hence I've no slack/gap time (get to work!). :|
  12. I'm stuck in on mid range (5/6) stoneware - may never get around to trying porcelain. This thrower is getting some height on a bowl - perhaps a rather thick bowl - still: (1) Watch | Facebook This thrower is getting some good height (not particularly great height) from just under 600 grams o' clay: BLACK PORCELAIN! Making Ceramic Cups & Glazing - Hobby Potter - YouTube There's a five year old thread in this forum where Mr. Fireborn described liking the Black Ice, at first, then liked it less later on.
  13. Hi Terry! Should you double back on uploading images, note the file types accepted and file size limitation. I use the Snipping Tool to select desired image, then save as type .jpg to get under the size limit; there are other strategies. I like cropping the image and reducing file size (resolution suffers, meh) at same time.
  14. Open Studio Art Tour last weekend and next in SLO County. Every single visitor was masked by the time they got within twenty feet of the rollup door - many appeared to be ready to match the situation, and masked when they saw others in the Studio were masked, else saw me masked or masking up. I like your separator table idea Mark, thank you for sharin't.
  15. Good question! Books and magazines/periodicals are still very much in the frame for me. Earlier on, watching others work was more important to me than now; I watched - really studied - the other students, guests, and instructors during my two semesters at the local JC ceramic lab, and spent some hours watching video clips every week. Some - several dozen - of my favourite clips, I've returned to again and again, for I'll often "see" differently after some time has passed. Now, well, perhaps I'm well into that long stretch where time at task is the main thing. This forum has been (err, is) a great source, and offers a sense of community. There are other forums/groups, aye, however, this one's best, imo. "What a fascinating modern age we live in."* - Captain Jack Aubrey Yep. Exactly where is the block drain on my Toyota truck - found it. How to set up our son's wellhouse to run off his generator - found it, use a "transfer switch," aye. Where to find a simple transfer switch - found it, arrived at front door three days later. How to wire the transfer switch, how to work on the main panel safely when the sun's shining (solar array, heh) - found it. How to change out the headsets on my road bikes - found it. Where to find a pump for a twelve year old dishwasher - found it. How to replace said pump - found it. ...and so on; "the internet" is remarkable. That said, learning with/from others, there's nothing else like it; same for opportunity to help others learn - there's nothing else like it, and no matter how much one may try to fully appreciate the opportunity when it's happening, I believe we take those opportunities somewhat for granted.
  16. Looks like the kiln is fitted with a "blank ring" - which increases the available space, but reduces the top temperature quite a bit - if you plan to work mid fire (cone 5 or 6), might have to remove that blank ring. ...ah, you did post an image of the info, yep that's a low fire kiln with the blank ring in place. The lid looks a bit rough, but not any worse than mine; suggest you open and shut it very carefully, and allow the kiln to cool way down afore opening as well. That hole was likely added so a downdraft kiln vent could pull; did the vent system come with? I added a downdraft to my ancient Skutt, seems well worthwhile. Looks like the elements are in very good shape.
  17. One o' these days I'll submit to Question of the Week a general/open question about measurement, with some specific focus on thixotropy and clay&glaze dust. Not today though! Ahem, CL Potter, may I share how I try for uniformity in glaze behaviour (ah'll assume yes)? First off, for each glaze I'm noting the SG in my notebook. So far, I'm finding my glazes behave well between 1.39 to 1.48 - some glazes work better on the wet/low end, some on the high/dry end. Any road, I'm trying to dial each glaze in to its "ideal" SG. Second, I'll check out how the glaze responds to stirring (credit to Mr Tony Hansen's articles and video clip* on thixotropy) - I'm looking for the entire mass to rotate with togetherness. Contrast how water stirs - there are currents of several speeds whirling about, and as the liquid slows down the several speeds shear against each other - and it spins for a very long time before coming to a grinding halt. I'm looking for my behaving glaze to complete about three turns after I stop stirring**, then stop all together, exhibiting a bit of bounce back when the glaze mass comes to a stop, stretches a bit, and returns (Tony Hansen demonstrates in his video clip). A glaze that "gels" goes on better wet (lower SG), else it's rather difficult to avoid putting it on too thick. What the "gel" does for us, well, whether pouring out from the inside, or withdrawing from a dip, the glaze runs off the piece, being liquid, but then stops - no continuing to run and drip. The difference is stupendous, unbelievable, outraageous, err, "nice" may suffice. :| I'm not seeing problems getting the glaze layer thick enough - a lower SG on a less porous clay body (like the black clay I was working with) requires a few more seconds, and/or a second dip. Glaze that behaves like a nice liquid when moving, but then >snap< just stops, it's soo worth it, my opinion. Staying stirred up better, and hard panning less, these are side benefits, my opinion #2. Try mixing your glazes up well, then stir to a specific/repeatable speed, and compare the behaviours as the glazes revolve to a stop. The finger test, not helping me. I'd go with test tiles fitted up with small squares of tape, maybe; dip to a timed interval, pull, shake, wait on drying, then pull the tape to check dried film thickness, if film thickness is at issue. The clay body is a big factor, my opinion (#3), in how the glaze sticks on. Even raw clay (I'm bisque firing tho') doesn't resemble a live finger. Doesn't the clay absorb moisture, hence, there's a layer of dryer glaze against the piece? If the point is to check how well it goes on in terms of dripping and running, I'll still go with a test tile over th' finger. Given, one who's been finger checking for some time likely gleans a wealth o' information - like, perhaps, how my Grandma made pie crust, where no sense measuring, for the ingredients change, noo, she could tell just by the feel, aye, perfect. Ah'll be quiet now. *How to Gel a Ceramic Glaze - YouTube less than 12k views (11,043) on this'n, hrrm, how is that possible? ** Trying for uniformity, one must therefore endeavor to stir the same way each time, hence, I use the medium whisk and stir clockwise to match the beat of "Positive Vibration" mon.
  18. Not finding any heat ratings on Leviton's website; the heavy duty version of "20-Amp, Single Receptacle" is over twice the price of the commercial grade one.
  19. Oh dear. I can't tell by the pic if: the coating that the painting is on is cracking/crazing, or clear coating - if any - over the painting is cracking/crazing. My guess is the former, hence, putting something over the top might help, making it all one layer, however, wouldn't help that layer stay on at all. You might go display only with limited exposure to direct sunlight, temperature and humidity changes.
  20. Hi Dae! Can you post some pictures? If it heats up, that's a start. Likely six is full on, eh? From there, will it get hot enough to do the work? What heat range are you looking to work in? Will you monitor the heat with cones, pyrometer, or both?
  21. Good question! My (limited) take lines up with Mr Hansen's observation, that a runny glaze that has high SG - likely in an attempt to limit the runniness - will need to have the SG lowered afore adjusting the thixotropy.
  22. Hi Chris! Good question. The ware in question is display only? You might have some luck with spray fixative. Any chance you could post images?
  23. When moving to a new/different thermocouple, I'd planned to set marked cones where I can see them from the peeps (wearing the proper protective glasses, of course). However, during last glaze fire, wondering what to do if the thermocouple failed during the firing (I'm using the the single instrument), I've decided to go back to placing a marked cone where it can be seen, just in case. For sure, if/when I get a new kiln and/or a new thermocouple, I'll be watchin' cones... For sure II, if/when I replace the elements in my relic kiln, I'll be watchin' cones - there's a'ready too many things that can (err, will?) go awry.
  24. I'm using Scotch "Contractor Grade" for most things (although I have also gone through several rolls of cheaper tape as well); I get the inch (which is more like 15/16") rolls. It works fine for my purposes - I'm taping bisque. When I want a narrower piece o' tape, I set out lengths on a shiny cardboard box, then cut strips using a straightedge and razor knife. I'd use blue tape if I were planning to leave the tape on there for more than a week (or two days in the sun), and/or if the surface was fragile.
  25. Good question! Perhaps a few sessions of test tiles would help, and an airbrush (or atomizer powered by blowing) for adding layers of very small droplets? Perhaps #2, forum members who have had some success with colour gradients/blending will share their experiences...
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