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Posts posted by Hulk

  1. 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.

  2. 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.


  3. Bein' curious, did some looking

       Indice - CCT (cctgroup.es)

    Ferro has a presence in Spain, search "Ferro Spain S.A."

    Mason has a distributor in India

       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)



  4. 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...

  5. 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!).


  6. 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.



  7. 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.

  8. 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

    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. 

  9. 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.

  10. 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.


  11. 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.

  12. 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?

  13. 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.

  14. 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.

  15. Bands, aah.

    A tip from Mr D Oliver, shock cord (what bungee cords are typically made with) makes for great bands, several reasons: it comes in a variety of thicknesses; the woven covering protects the rubbery bits inside, and prevents shocking total failure scenario, where the broken end whips about; the resistance goes up smoothly and progressively as it is stretched further; it can be purchased in bulk.

    I went with twenty-five foot lengths for my swimmers, hence, when fastened by the middle (typically, to the fence around the pool), ~12 foot lengths for each hand, with loops at the ends to grasp. We had excellent results with resistance training via shock cord bands (much safer than surgical tubing, and more precise resistance adjustment), which allow for natural movement and resistance at limb speed equal to or greater than the target activity, both of which are key, d'y'hear me there, key.

    The material is available through many vendors these days; forty plus years ago, I went with West Marine NEW ENGLAND ROPES White and Red Shock Cord, Sold by the Foot | West Marine
    We used several thicknesses; I still have a few.

    "Resistance Band Workout" poster - see image above.
    The typical bands are made with surgical tubing or something similar that does not offer progressive resistance and is not particularly safe either.

  16. "...or is it a waste of time?"

    Likely several factors - how well do the size and features match your needs, what condition are the bricks, casing, lid, and floor in; how worn are the elements; is the wiring in good shape - along with everything else, the sitter, the stand, peep plugs, hinge, etc.

    The elements wear out; expect to replace them every hundred firings or so, cone 5/6, less often if low firing, considerably more often if you're firing to cone 8-10.

    If the bricks and/or lid are very crumbly and/or cracked, the cash and trouble to repair could add up.

    You might post images depicting the inside, the underside of the lid, and the jacket. 

    On t'other hand, if the overall condition is fair to quite good, repairs could be very well be worthwhile, given you're up to monitoring a manually operated kiln - manual, on account of the heat being controlled by rotary switches. So far, I'm not minding hanging about to operate the switches on my (similarly ancient) Skutt - holding at 1500F for bisque loads, and holding at 2000F on the cooldown side of glaze loads. I'm using a pyrometer to watch temperatures ...and putting off adding a controller to my set up, for likely I'll upgrade to a newer model someday, which likely will include an integrated controller.

  17. Hi Elaine!

    Could you identify the source?

    ...perhaps "Robin Hopper Shows How to Paint on Porcelain Ceramic Substrates" ?

    He describes the material early in the video clip*, but doesn't explicitly identify it. One of the commenters indicated "Keraflex Porcelain," however, looks like what Robin was working with was not flexible, and likely comes pre-fired, and likely very high fired at that.

    This article provides clues: Art made for space travel – BC Local News

    This blog post provides more/direct info: PHOENIX: November 2012 (rhrising.blogspot.com), and blows up "Keraflex" as the material in question. The links, sadly, seem to dead end. Perhaps you'll have better luck finding Ceramic Art Cart...

    There's a FaceBook group on the subject, however, similarly dead end-ish.


    *Pottery Video: Robin Hopper Shows How to Paint on Porcelain Ceramic Substrates - YouTube


  18. Hi Pessy!

    I use wax on almost every piece - to get a sharp boundary/transition at the rim between liner glaze and outside/color glaze - hence a strong odor early in the firing cycle, but not enough to make clouds of smoke.

    No doubt the wax (along with glaze ingredients that burn away) is designed to fully burn away; I've not noticed any marking where the wax was, any road. Hence, my guess would be normal on question one.

    As for re-firing, I haven't (yet) had the experience of re-starting an interrupted glaze cycle, however, reading indicates yes on question two and no on three.

    I'm curious to know if the wax burns more cleanly with an air supply? I've fitted my (also somewhat ancient) Skutt with a kiln vent, which pulls a small stream of air from the bottom of the kiln, hence, small streams of air are pulled in through the various cracks, as well as the small holes drilled in the lid. Kiln venting is recommended for longer element life, more thorough bisque burnout, and nicer glaze colours.

    While the kiln vent helps quite a bit with the fumes, I did not feel comfortable being in the studio, at all, during firing, so have also set up an overhead rig to pull heat and fumes; it's noisy, but works well.

  19. Hi Nicolette!

    My recollection is the Amaco 1-101 was fitted with an AC motor; variable speed control of AC motors is possible, however, likely not practical for a pottery wheel - I believe most potters' wheels employ DC motors.

    Poster Michaela C indicated that the original motor was an AC here (which you may have a'ready read by now): Gearbox help for an old Amaco 1-101 - Equipment Use and Repair - Ceramic Arts Daily Community 

    The Ingleton potters (Ingleton Pottery - YouTube) seem to do just fine with fixed speeds.
    I really like variable speed!


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