Hulk

Underglaze colours can be influenced by the clay as well.

Aye I liked Florian Gadsby's video clip on tap centering, mainly because he's tapping the whole time, which gets across the idea to practice practice practice How to Tap Centre Pots on the Potter's Wheel - YouTube It does work for me! ...part of the time, like throwing a ball, serving in tennis or racquetball, et cetera, there's the too frequent exception, heh, I just can't reliably do some things, at some angles, anymore. When I turn sideways so I'm tapping with my body and head lined up with the wheel head (horizontal) I can tap center like a boss ...not practical, however.

There's room for the truck in the garage as of late yesterday afternoon! Both cars in the garage!! My reward was to prepare some clay and throw some. This afternoon I trimmed and handled a few wares, first ever in the new house. I throw and trim clockwise. I use a small loop tool to start - trimming away the "rind" and some of the bulk near the bottom - then go to a pointer tool to establish the roundness of the foot ring and also the level base*; from there, it's all an L shaped trimming tool fashioned from a hack saw blade, where the end and both sides are sharpened all the way through the bend to the handle portion. All three** tools I'm holding with my right hand in what I'll call a "pen" grip, where the thumb and forefinger tips meet over one side, and the other side rests against the middle finger***. This grip is used when: working on the vertical/wall portion - along the portion of the pot between facing me and just left of there; defining the foot ring, again working the portion facing me and to the left of there; shaping the arc of the bottom, within the foot ring, on a diagonal from near the center toward my left shoulder, mostly; where the angles of presentation changes via bend at the wrist and rotation of the lower arm. I sit right up close to the wheel, where the lip of my low-slung chair seat is almost touching the wheel's leg/post. My right arm rests on my right leg, hardly ever on the pan edge. What I wasn't sure of - had to get to work to see - I support the right hand with my left, where my left thumb and forefinger are supporting the right thumb, or are supporting the tool, or both. Left arm rests on the left leg, but also the edge of the splash pan (it's a heavy cast built in pan). Hence, the left hand steadying the spinning pot, I'm not doing that. I do the clay wads and chucks. *The pointer helps me get a good start; it does not follow the counter of the pot. I don't see many potters using a point tool to trim. Try it, let me know. **I'll use a larger loop, but not very often. ***For most of my life, I'd held a pen/pencil where my middle finger, pointer finger and thumb tips all meet over the top, and the other side supported against my ring finger. No doubt I stopped doing that when I lost sensation on the little finger side of the last middle finger segment. I mostly forget there's no feeling there, as compensation is well established...

Hmm, good question; I don't exactly remember! We're all unpacked, partly put away and organized; the house part is looking homey, but the garage/studio is somewhat disaster. The wheel is set up, throwing and trimming tools are handy; day afore yesterday I wiped out the wheel, rinsed off the buckets, sponges, and tools - ready to go! Now I have a good reason to sit down and throw!

If scumming where solubles in the clay are driven to the surface of bare clay - say the inside of a ware is glazed, hence the bisque is soaked with water, some of which migrates to the other side, bringing with it solubles, which are left as "scum" when the moisture evaporates (aka efflorescence, I guess?). See Sulfate Scum (digitalfire.com) and related links, e.g. the soluble salts one... From there, maybe the unmarred ware were glazed just enough thicker that the solubles were melted in, or maybe the unmarred ware dried faster after glazing, hence less solubles were dissolved, or maybe the unmarred ware were dried faster at the green stage, or maybe the unmarred ware were glazed when the glaze bucket had been adequately stirred up (or opposite?), or maybe the unmarred ware was from a different bag of clay - or from the edge of a block of clay that had migrating solubles, or idk!

Aye! Best launch for paper airplanes since our third-floor apartment in Vercelli, Italy (oh dear, almost sixty years ago), where we were kitty corner to a large plaza/roundabout! The warming air maybe provides some lift, and it's all downhill to the fairway... ...oh, well, we were a half block or so away. When one's paper plane got out around the corner on a warm still day, it could make it all the way to school - the two story in the background there. I'd had almost a year of school in England, then, when we returned to the States, "they" said I was too young for 1st grade, to kindergarten with 'ya; well, Mom was having none of that. I stayed home, then we moved to Bella Italia, where I entered 1st grade mid-term. A bit off topic, but a balcony is involved.

It's a steep lot; the "crawl space" is big enough to build an apartment in! Someday we might cut a door in, put in a raised floor, wall, et cetera - even so, getting to it would be by a switchback path from the front side, same as a shed. We're in an HOA, which has some benefit, and there's also costs and rules - any shed would have to look like the house. Building in the crawl space would be less expensive, even so, where a deck and party space, or a deck, slider, and in-law apartment space might see some return on investment, there's still getting to and from it, which looks like a staired pathway, or switchback pathway...

Being curious, was looking at my album... At the right, under the "Image Tools" menu, select "Add note" to launch the editor, which allows you to post notes, which pop up when you hover over it. I've posted a note on each of my three images - hover your pointer over the image to see the note. Perhaps of more interest, Hyn Patty, check out "Edit Details" under "Manage Image" menu. I've edited the fields that were blank associated with the teal bowl (it's in my one album), check it out? I'm not clearly recalling if I'd posted anything other than the Caption (small bowl), seems to me I did. Any road, looks like there's two ways to associate text with each image. Added: I've logged out and logged back in under the non-moderator account I'd created for testing - all the text I'd added is visible! Added II: I've added an image to a new album under the non-moderator account; the Add Note and Edit Details menus are visible and functional. See user "New Bee" album!

Hi Marie-Michelle, Welcome to the Forum! Sorry there's no reply to your inquiry just yet. Please feel free to post a new thread, and include any particulars, measurements, and images (if possible). I've not used a cup head; how are the bats attached? When I use plaster bats, I stick them to a clay pad. I've seen where potters throw their clay pad on the wheel head. I also use composite, plastic, and powder bats, hence I have bat pins, so I throw my clay pad on a plastic bat, then the bat pins don't need to be moved, and I can switch back and forth easily. The link that Pye included in the post before yours - Pure & Simple offers a ten inch bat mold. If your cup head does not have pins, my guess would be that plaster bats without any holes in them would be handier to use?

Thanks for the feedback! I'll mull it over for a while yet. Local hardware has an injection molded three level cart that I liked, will post a pic when. It does get hot here in the Summer.

Looking for feedback on my idea to setup new kiln on the balcony instead of in the Studio. Is the location protected enough from weather? The kiln would go near the niche on the right - note the gas line and electric outlet, as near the wall as the specs allow, a seven cubic foot electric. I'd pull the 220 to a box on the adjacent wall. Of course, the patio furniture would have to be moved a bit. It's about eight feet from the corner by the outlet to the far railing (behind the post), twelve feet from the backset wall to the near railing. There's a wall behind the camera's point of view, like the one in the background. The drop from the floor to the ground on the left is just over fifteen feet. So, the location is well inset, sheltered on three sides and overhead. I'd cover the kiln when not being used with a customized oiled canvas tarp that hangs almost but not quite to the ground. So, is the location protected from the weather enough? When it's not raining or foggy here (Sacramento River valley, East side, at about 460 feet above sea level), the weather on the dry side, not as humid as near the ocean, certainly not as humid as where my brother lives, near Chattanooga, Tennessee! Upsides, shorter wire run, more room in the Studio, no heat and fumes in the Studio. Downsides, moving pots from the Studio to the balcony and back. I have a wheeled cart picked out!

Hi Caleb, welcome to the Forum! My experience so far has been with a manual kiln fitted with three switches, each with four positions (Off Low Medium High) and a sitter mechanism. I'd bought the kiln from the original owner, who was moving and had decided to get a new and smaller kiln after completing their move. They kept their pyrometer, but passed along an almost new shelf set, the original shelves that weren't completely ruined, an assortment of shelf supports, several boxes of cones, and a container of red iron oxide. I ordered up a pyrometer and more cones right away. Any road, for holds, drop and holds, et cetera, I watched the pyrometer and operated the switches. I kept detailed notes, which are helpful*. Q1 When the sitter drops and pops the button when I'm wanting to fire more, I just push in the button back in and go. Q2 I soak at about 1500F during bisque firing, on the way up and down - the idea being extended time (with oxygen, via fan powered kiln vent) helps to burn away more of the stuff that causes problems, especially in black, red, and buff clays. The day afore firing I heat up to about 200F then shut all down, idea being drive off residual moisture; the next day, I'm starting off full bore. For glaze fires (I'm doing a solid cone 5), I'm heating up to 2112F, then dropping (all three switches to low) to 2012F and holding there for twenty to thirty minutes, the idea there being to allow some time for little pinholes to heal over, for the glaze is still soft enough to do so, while the clay cools a bit and stops off-gassing ...or somewhat, any road, it seems to help. I read about drop and hold here and on Tony Hansen's website digitalfire.com I toggle the switches and watch the pyrometer. From there, all switches to low while the temperature falls; when 1850F is reached, all off and the kiln vent off for the long cool down, looking forward to opening the next afternoon when ~200F is reached. I do the slow cool to 1850 because it seems to ameliorate some glaze defects. Also, for the first part of the drop from peak, I'll leave the top set of elements on high while the middle and bottom are on low, idea there being to get a bit more heat work on the top level, which always seems to run cool. Q3 A control box that plugs into your power, which your kiln then plugs into is likely the simplest automation choice, where the box relies on a pyrometer and turns off/on the kiln. I didn't mind being "the controller" when firing my first kiln, which I did for over four years. Taking detailed notes to refer to later helps. Hanging around the kiln may be bad for one's health, the fumes! I rigged a 400 CFM fan up to an overhead hood to whisk away most of the heat and also the fumes - that really helps! *Cone packs on each level, compared against the time and temperature notes, voila! - with some little experience, putting the kiln glasses on to check the cones becomes less important, however, I still set kiln packs to check out afterward... When, and how long you may choose to hold particular temperatures, and/or at what temperature ranges you choose to move slowly, is purely up to you and what you're trying to accomplish! I'm looking forward to operating a numerically controlled kiln with zone control (more than one pyrometer).

I'd got to the point* where I thought the amount of material (weight) on each level and the overall/total matter, and how much element is shining on each level matters for the cooler levels at top and bottom. Shelves being heavy, another shelf makes a big difference. I was staggering shelves so there'd be a tall half level at the top across from most of a medium height level AND a short half level, if that makes sense, where there's less also lighter wares and more space at the top. Any road, where how much element is shining on each level I believe makes a difference, but as for air movement, it's just a trickle out the bottom and leaking in mostly at the top, I'd imagine swirling about a lot, I'd not thought of blocking the path at all, but leaving the vent on as the kiln cools makes the top shelf cool faster, where the glaze effects are noticeable some times. I'm shutting down the vent when the elements are turned off - after controlled cool to 1850F is completed to prevent that. *on the old kiln, which I'd given away afore our move. The next kiln will almost certainly be numerically controlled, new learning experience!

Hi B.H., welcome to the Forum! My first reaction, seek medical attention for your symptoms. Second, keep the dust under control, starting with no sanding inside, no mixing plasters inside, then add reasonable practices* from there. Handling powders - plaster, glaze materials, et cetera - best done outside, or under a hood (where a fan driven current of air pulls the dust out and away), or in some other dedicated area that is not in the living space! Same for sanding. How much dust, for how long leads to significant damage? Good question. Search silicosis and read up to get an idea... The immediate signals that one is getting way too much dust, uncomfortable eyes, accumulation of dust at the corner of one's eyes (buggers, aka bogeys), coughing, and more accumulation in one's nose, especially when the colour matches up. Please keep in mind, however, that very light exposure, over a very long period of time, can be significant. *I see it's raining in Southhampton this week, so under an overhang outside? When I'm sanding wares, I sit outside with my P100 mask on. I wash the dust off the ware (one bucket to rinse, second bucket to re-rinse), and use a shop vacuum to get most of the dust off my clothing before heading back inside. I'm hosing down the dust into the flower bed, else it just blows inside when I open the doors... I'm changing out of dusty shop clothes soon as I'm done making dust. There are several Forum threads where dust control is discussed, here are a few: QOTW: What tips do you have to make cleaning up your studio easier or more time efficient? - Int'l Ceramic Artists Network (ICAN) Operations and Benefits - Ceramic Arts Daily Community Is silicosis inevitable?? - Studio Operations and Making Work - Ceramic Arts Daily Community Very paranoid about Silicosis - Studio Operations and Making Work - Ceramic Arts Daily Community QoTW: How much air movement do you have in your studio, do you use fans, is cleaning to reduce blown dust part of your process? - Int'l Ceramic Artists Network (ICAN) Operations and Benefits - Ceramic Arts Daily Community dealing with a studio that has bad practices - Studio Operations and Making Work - Ceramic Arts Daily Community

Hi Chloe, welcome to the Forum! Good question. My suggestion would be to try contacting a dealer and/or antique shop that carries similar items, e.g. Mitchell Sotka's store in Rocky River, Ohio has an item very similar, also Eron Johnson in Denver, Colorado. Take a look at Sotka's FAQ page. Looks like your piece is in very good condition.

Proved recipes for the particular metal likely required. Enjoyed reading a bit about enameling here: Industrial porcelain enamel - Wikipedia which introduces some of the particular details involved in mild steel enameling. Here's an article on stainless steel enameling: Enamel Coating on Stainless Steel (nolifrit.com)

Hi Morgan, Welcome to the Forum! I'm not seeing the attachment either. This link might get you started; there's es/dk 820* wiring and parts diagrams, Appendix B, starting on page 15.6 Note the revision history, last updated April 1985 Duncan_Kiln_Service_Manual.pdf (aakilns.com.au) See also Links To Kiln Manuals, Wiring Diagrams, Repair Parts, Elements, Etc. - Equipment Use and Repair - Ceramic Arts Daily Communit ...scroll down to the Duncan entry; on the Paragon site, select the "Duncan Kiln Instructions" filter ...where you may then get the .pdf that Dick White references, below

Found a small, but heavy roll around stand in storage when we were packing to move, hmmm; its single vertical pole ends in a screw down collet for something 17 mm round. My ancient articulated desk lamp thingy could fit in there? Just need a piece of tubing with outside diameter 17 mm and thin enough to fit the lamp. Starting in plumbing, calipers in hand (the cheap plastic one, not the expensive one...), I measured everything round at local A** Hardware. Down the aisle from the wooden dowels and small/tiny lumber bits, a rack of various metal bits, there's some lengths of 21/32" tubing, aha! Some thirty-three years ago, this lamp was headed for giveaway pile, unless I wanted it for the garage; the base was missing. I drilled a hole in the workbench, voilà! ...but it got much to hot, hence the aftermarket cooling holes. These last several years it is running with an LED floodlamp, much nicer light, very efficient, and cool as well. Recent eye exam reveals onset of dreaded cataracts, which explains, in part, why I put so much lights on... I can roll this just where it's needed, then roll it outta the way as well!

This page has a decent table for density variation by temperature: Water Density | U.S. Geological Survey (usgs.gov) Other variables to consider might include dissolved material, thermal expansion/contraction of measuring device? I'm thinking there's another major variable, but can't put my finger on it just now...

There's discussion on operating the FireRight in this thread (frequent Forum contributor Mark C.) https://community.ceramicartsdaily.org/topic/25431-help-with-aim-automatic-kiln-switch/ and a link to another FireRight doc (which Bill posted) http://www.fireright.com/docs/frx/Frx2SystemsBooklet.pdf

Hi V, Congratulations on big life event! My guess, for jewelry, a strong, fine, and dense clay that fires to near zero porosity, hence, mid fire (or high)? Even 04 is nearly 2000°F, which might be too hot to be in a microwave. I don't know, never gone much beyond cooking in the microwave, where the moisture in food flashing to steam helps keep temperatures down. There are several clay components that burn away in the firing process, which become superheated gasses. Here's a thread where clay/porcelain jewelry is discussed: Porcelain jewelry?? - Studio Operations and Making Work - Ceramic Arts Daily Community

Hi Adam, Welcome to the Forum, and thanks for sharing that! Would you mind editing the title to "Kiln Sitter button will not lock in place" or somewhat like it?

"... silica and alumina kind of act the opposite to boron?" This is a good question! It's been almost five years since I first started reading about glazes ...I'll circle back with recommendations for reading in a day or three. Silica is a main glass former, and the main glaze ingredient, but it doesn't melt at typical pottery kiln temperatures, hence "fluxes" are required to lower the melting point. Boron is both a flux and a glass former. Most of us working in mid fire (cone 5/6) depend on Boron; those working at lower temperatures depend on Boron more! Alumina is important for glasses/glazes (glaze is, essentially, glass) for toughness/strength and, as you point out, to stiffen the melt. Here's an article on fluxes Flux (digitalfire.com) Edited to add ("a day or three" slipped to two weeks): I like Susan Petersen's book The Craft and Art of Clay, particularly the glaze section, which includes an entry on each important ingredient (including colorants) and clear discussion of unity.

Aye, and the more it slips, the slicker it gets!

Hi Llama, Welcome to the Forum! I'm curious if the Artista has a brushed motor, and if so, are the commutator and brushes clean and in good condition? ...I like Neil's idea better tho'.