Hulk
-
Posts
2,219 -
Joined
-
Last visited
Content Type
Profiles
Forums
Gallery
Posts posted by Hulk
-
-
Hi Karen,
Welcome to the Forum!
I'm not finding any electrical or assembly diagrams, no part lists.
Vevor's website does have a Contact/Support page.There are many Vevor wheel models!
Perhaps you can find someone with a working knowledge of electrics that could do some basic troubleshooting?Check back for more ideas - the Forum is slow today, will likely pick up with the new week.
-
My guesses are:
a) the port wide open during early bisque, then open enough throughout such that there's a small stream of outside air displacing kiln atmosphere, and
b) about the same for glaze fire - open early, allow a small stream throughout, but maybe close when the kiln is shut off, if it is cooling too quickly, or there's a cool spot due to air flow.My kiln was fitted with a fan powered downdraft exhaust.
The fan system pulled a small stream of kiln atmosphere through small holes (two .25 inch holes, if I remember)* in the bottom of the kiln.I ran the fan throughout bisque fire, on the way up and on the way down (burnout could still be happening on the ramp down from peak, yes?).
For glaze fire, I ran the fan throughout the climb to peak, drop and hold, and controlled cool, turning off when the elements are turned off.
I plan to do the same with my new kiln.The make-up air, some came through a small hole drilled in the lid, and to be honest, mostly through spaces here and there between bricks and such.
The idea (mostly from reading, also talking with potters) being the outside air helps
i) burn out stuff in the clay
ii) the elements last longer
iii) brighten glazes
iv) remove some of the fumes from the areaNote the word "some" - there were still fumes, just not as bad.
*Per Bill's suggestion, I could tell the fan system was working, as the wax burnoff smell was plenty strong downwind from the fan exhaust (outside).
Also, the fan exhaust was clearly warm due to the tiny stream of superheated air, even when mixed with mostly ambient! -
Nice setup!
-
Hi Rebekah,
Good question!
There may have been some movement as a result of recent Forum software upgrades?Any road, look at the top right for the letter icon, between the Bell (Notifications) and your avatar.
From there, select the "Go to Inbox" to see a full inbox pane with tools, etc.
Give a shout if you've any trouble!
Note, the Triangle icon (reported content) may only be visible to Moderators....confirmed, the Triangle icon is not visible in normal accounts.
-
Interesting!
In swimming, the ball of spinning water tells a tale - skilled swimmers generate smaller/tight fast spinning ones that don't move quickly; less skilled swimmers leave large/loose slowly spinning ones that are moving more. -
My Pop was a multiple year singles Regional champ (in his age group) back in the 2000s
I'd guess the optimal force could be somewhat involved, for (like swimming) the early part of the stroke, where we're weaker, is still important - setting up the vortex/vorteces for later, where we're stronger. Also, entering cleanly, minimum loss of momentum via splashing, and shedding bubbles quickly matters. Slipping out of the vortex with minimal hang up at the end of the stroke and getting out cleanly matters...
-
Mr. Hansen's articles on crazing, crazy helpful!
In short, that crazing a) is a defect, b) has clear cause(s), and c) can (and should) be corrected isn't universally known.His takes on liner glaze also stands against the tide - tide of brightly colored liner glazes, "functional" ware.
Liner glazes (digitalfire.com)- Kelly in AK and Rae Reich
-
2
-
-
Hi Fiona,
Welcome to the Forum!
For colours, there may be some choices that are less expensive?
If making up your own slip from clays*, red, brown/buff and white are common colors.
Underglazes provide a somewhat inexpensive way to get a lot of color; they don't go on the same way slips do, but they do have their uses...
Stains may provide a way to add a few colors to your slip palette.
The per pound prices I'm seeing are $12-18 (US dollars).At ceramic temperatures, metals persist and provide coloring.
Blue/Cobalt is expensive (but it's come down a lot).
Green/Copper is more reasonable.Maybe start with just a few colours?
Paints typically have some titanium dioxide powder, which provide most of the paints' covering/hiding ability, and perhaps some metal oxide(s) for color.
It's all the other stuff, a lot of which will burn away in the kiln, likely including some of the dies that provide color that I'd hesitate over.
The resultant smoke and fumes from burning paints/inks are enough to advise against; how the materials influence the slips' behaviors could be of concern as well.*I blend bits of clay with water using a blender.
It takes a while, but it works to get a smooth consistency.
Then I run the slip through a sieve to remove sand/grog.
I sometimes use red slip to decorate white and brown ware.
I brush, dab, et cetera the slip on when the ware is still damp - right after trimming.
The moisture softens the ware - timing and care can be important!
After the ware dries some, carving is an option.Hope that helps!
-
Good question!
Does the sitter include a countdown timer?
If so, imo it's a good backup - in case I fell asleep or somewhat - the kiln would shut down when the time's up. I used to set it to about half hour longer than projected firing time, and then adjust from there.The button on mine, I could push it to the "on" position whether the drop weight was set or not (as long as the timer was set to greater than zero minutes).
Are you able to set the on button?
I'd do that if the cone/bar melted and the drop switch actuated when I wanted a little more heat, a drop and hold, and/or a controlled cool. -
FreeVee via Amazon
I'm not remembering if that's how we watched it... -
Article from yesterday's NYTimes:
Doyle Layne’s Dazzling ‘Weed Pots’ at Kordansky Gallery - The New York Times (nytimes.com)
I'm curious why the Times hasn't enabled commenting on this article?There's an article in one of year afore last's Ceramic Monthly mags (JAN-21):
Doyle Lane: Weed Pots (ceramicartsnetwork.org)The Times ran a different article a few years ago...
Adding a New Name to the Canon in Clay: Doyle Lane - The New York Times (nytimes.com)
This one has comments, which can be interesting... -
Glaze calc software may be helpful*!
There are Forum regulars using Insight, and also Hyperglaze.
I'm using Hesselberth's GlazeMaster.
Glazy's interface has some interesting features.Any road, in GlazeMaster I can tweak the ingredient percentages, then note the oxide percentages/ratios in Unity, Weight, and Mole, and compare against several "limit" sets.
To start, I added twelve percent Petalite, then adjusted the other ingredients to get close to the original Unity amounts of the other oxides...Just .133 (Unity) of lithium cleared up my liner glaze crazing problem; to get that .133 takes 18.9% Petalite!
I also reduced the Sodium and Potassium, upped Magnesium Oxide (talc), and added some Zircopax...My guess, it would be difficult to balance a glaze recipe that requires a much higher amount of lithium (over a percent, by weight), using Petalite as a source.
Looks like I could bump the lithium up quite a bit in my liner glaze, as the current recipe has almost 25% Silica and 19% EPK, however, I don't need to.Any road II, Petalite works for me.
At the time, the cost per unit Lithium was less than using Spodumene as a source, and I very much wanted to avoid any soapy bubbling problems.
Also at the time, I'd read up on Lithium toxicity, solubility, et cetera.A very small amount of Lithium can make a big difference, my experience.
*..of course, afore there were software options, glaze calc was done longhand; it's certainly doable!
I gave it a try when trying to understand Unity, then, having been through a few calcs, was happy to then leave the maths details to the software. -
-
Interesting, thanks for the detail.
Check back, you may get more input!
-
Interesting questions!
To try for +/- twenty thousandths (a fiftieth of an inch), perhaps taking off the last little bit after the final fire - for unglazed ware - would be an option?
Then the additional shrinkage wouldn't be a factor.I'm curious what you're making.
Where two (or more) parts have to fit together, one can get fairly close by measuring the pieces when they are in the same state, where it helps that the pieces are about the same thickness, have similar curves, were worked similarly, there's more than one each to pick from, and there's experience, specific trials, and notes to draw upon.
Fitting together may be a simpler problem that meeting your dimension spec.As for thickness, too thick can happen quickly. Getting the ware to dry well - evenly - without cracking, distortion, and then firing so the thick bits are bisqued all the way through, again, without defect, may be challenging. I'd suggest adding only the amount necessary to allow for grinding to spec.
Any road, given everything is repeatable, you might be able to get close.
-
Hi Max,
Welcome to the Forum!
Had the same question, a few years ago; my recollection is the pottery plaster is stronger, less prone to chipping/breakdown, and absorbs water better.
I went with pottery plaster.
Perhaps you can find a supplier (no doubt there are many in the Chicago area), then pick up a bag - save on shipping!
There's some discussion in existing threads*:
Reclaim Tray / Pottery Plaster or Plaster of Paris? - Studio Operations and Making Work - Ceramic Arts Daily Community
Can Dead Plaster Be Revived? (Call The Paramedics!) - Studio Operations and Making Work - Ceramic Arts Daily Communitywhen will it dry off plaster bat? - Studio Operations and Making Work - Ceramic Arts Daily Community
*There's more.
Note, the integrated search only returns open threads.
Threads are auto-closed when over two years have passed without edit/addition.
To cast a wider net, use an external search engine (e.g. Google) and include community.ceramicartsdaily in your search string... -
GovDeals.com has a Brent B listed (Dayton, Ohio); same lister has a small slab roller as well.
If nothing else, GovDeals.com is something to check out periodically; the listings come and go.
See also local Craigslist, FB Marketplace, any potters' supply places nearby...
-
Depending on how one's wax resist behaves, try brushing on wax resist after the stenciled material has dried some, afore pulling the tape, voilà!
...in the case one doesn't want the next layer to cover the pattern.- Bill Kielb, PeterH and Rae Reich
-
3
-
Brushed underglaze and brushed glaze using tape mask
Transparent red glaze under transparent blue glaze, left.
Royal Blue Speedball under transparent red glaze, right.
Pulling the tape where the tape's edge makes a clean cut, as Bill mentioned, helps, also, peeling the tape when the brushed material still has some moisture in it (little bit!) can help, in case the build up is prone to cracking at all. Also much less dust when there's still some moisture in there...Here, the tape and brushed underglaze was done after bisque fire.
It helps to have a clean surface - no dust - and smooth is better; burnished clay can make for a clean line.
Put the tape down and press the edge firmly - lock it down with your fingernail*.
This was cut strips of plain masking tape (decent tape, not bargain material - 3M masking tape).
Waiting for the stenciled brushed on part to fully dry before glazing makes for a fuller coating.
The liner glaze was poured in, poured out.
The outside glazes were dipped.
I get very little "bleeding" under the tape's edge. If any, I re-cut the edge with a razor knife and then scrape away the bled under part.
I'm getting a smooth all melted together finish with this type of taped off and brushed decoration.
Where spraying is nice - the material hardly ever (ever!) runs under the tape.
Also, it can be easy to get a nice smooth even coat.
"Can be" as there's technique involved...Some underglazes will move/drift/blur with some glazes - test!
The liner glaze transition was done by Tony Hansen's method (how to liner glaze a mug).
Note the red edge is fuzzier than the blue. It does that.
*If you've fingernail to spare, else the smooth rounded part of a loop tool, edge of a rib, edge of a confectioner's spatula...
-
Hi Pres,
To hit this Forum at the top of the return, "anding" the address seems to do it, e.g.
community.ceramicartsdaily and "red clay"
where I'm limiting for only everything with the exact words "red clay" on the site, well that's what I believe happens, lots of hits!
Note that some browsers support the word and, some require the & symbol.
...there were other returns, but the Forum's was first.- Rae Reich, Pres and Kelly in AK
-
3
-
Found threads here about Wheels, was shopping at the time.
I still appreciate the welcome detailed and helpful info.
From there, started following new content, and also got hits on external and internal ceramic/pottery searches.
Helps to know that the internal search feature excludes threads that have been idle for two or more years. If I want a full search, I'll use an external search engine.- Rae Reich, Kelly in AK and Pres
-
3
-
Although I've an unopened fifty pound GB sack, am looking forward to adapting to Gillespie Borate and/or frits.
The choice may become simple, as I expect that Gillespie Borate price will (continue to) bloat; it's $90 for a fifty lb sack a'ready*!
...still a bit cheaper than frits, but not by much.
*at a "nearby" supplier that I like
-
Ideas needed for an anniversary gift (ideas, execution and glazing)
in Clay and Glaze Chemistry
Posted
Testing/proofing on test tiles, small slabs, et cetera, time permitting ...afore committing a large piece.
How many words are you looking to depict? A phrase, a stanza, the entire lyric?