Hulk

If you are allowing the handle to set up (dry) some before attaching to the leather hard mug, do you pre-shape it? Setting the arc(s) earlier may help. I pull handles and hang them off the edge of the splash pan, hence, part of the curve is learned from the start.

Bein' curious (and up early this a.m.): Andy Ward's website Learn How to Make Pottery Like the Ancients - AncientPottery.how Andy Ward's utube channel: (163) Andy Ward's Ancient Pottery - YouTube

Good question! ...idk, as almost always applying underglaze to bisque ware. I do use sieved slip just after trimming, but not right on joined areas.

Pop gave me an Optivisor, years ago, which I'd used for tying flies (fishing lures); now I use it for close pot examination. The ground glass lens I'm using is 2x, handy for seein' crazing, small defects, etc. A dear friend gave me a shoebox assortment of clay tools, some of which I use, particularly the mini loop tools - for carving brushed on slip. The potter I'd bought a (very well) used kiln from gave me a few pounds of red iron oxide, some extra shelves, and several boxes of old cones - all being put to use.

Didn't find the og post right away. Here's from a thread that had it copied though: "This is from GlazeNerd's comments on this forum awhile back... Additive for Reclaim Clay How do you determine the level of ball clay the recipe had to begin with? The Slip Test When you throw the original clay: how much slip comes up and on your hands? Coats just the inside of your palms and oozes through your fingers over time.... lower levels. Coats your palms, and oozes; have to clean a few time while throwing.... mid levels Oozes quickly and constantly cleaning off hands....... high levels. Most of the reclaimed scraps is from trimming; which has been stripped of the fines; which includes ball clay, silica, and feldspar. That would alter the properties of recycled clay: because it is the ball clay primarily that holds moisture in a clay body. The fix: blend 80% ball clay (Om4 or FHC), 10% silica, and 10% feldspar. Add 1 cup (dry) per gallon of slurry. The testing comes when you throw it after it has been reclaimed: how much slip comes up when you throw? Adjust to suit your taste. Normally within 30 days there is a marked difference, which improves over the next 90-120 days. After about 6-8 months, the process begins to reverse because the clay is actually starting to loose water: dehydration."

Wonder if Nerd's fixit would help? I'll add maybe a quarter cup to three gallons of reclaim slop at mix/blend with the grout mixer stage. It doesn't take much to make a noticeable difference. If I remember correct, it's eight parts OM4, one part silica, one part feldspar. A bit more plastic, more slip-pery, takes longer to dry, feels nicer. I'm sure it can be overdone, heh.

I'm sometimes feeling familiar twinges* in a few fingers, so warm water in the throwing bucket, warm clay - bring tomorrow's inside the night afore, and: hat, for the body gets it when th' brain ain't warm; warm lower legs and feet, for the body will let the hands go next when the feet get cold; sleeves, down to about the point where clay splashes to - I have long arms, so just raising my arms up straight pulls back the sleeves enough. Sleeves really help, a lot. I want to clarify how important that sleeves stay well away from wrapping up in any machinery, d'ya hear me there? - tight, secure? ok then. Bats seem to help, keeps hands off the cold alloy wheel head. My spash pan is cast alloy, which also spirits the heat away; those sleeves help! *Have had some "angry toe" spells over the last several years. An extra layer at the ankle really helps with the Raynaud's syndrome (toe, finger, part of hand and/or foot that starts reddish, sensitive, can progress to blue/black - pain), try cutting off the foot of heavy sock, hence, still wear the same shoes, slippers, etc., with extra covering where the leg is so thin, at the ankle. During our "winter" I'll do a heavy wool knee sock, like the leg warmers of a few decades ago. Once th' end of a toe or digit turns almost black, it'll be painful, might take a while to ease off, and the damage can take days to heal. Even with crepe sole work boots and wool socks, the cement slab floor (left foot) and light alloy foot pedal (right foot) just suck the heat out of me feet. I use a piece of scrap lumber for the left and have taped some bubble wrap on the foot pedal - enoooormously better. This time of year, however, can do shorts and tshirts.

On the geology point, I started down that road yesterday, at what temperature(s) does the earth's crust melt? From there, at what temperatures do rocks melt? There are many factors and wide range of temperatures, it seems - I didn't pursue the topic very far. I'm watching the pyrometer on my fully manual kiln, peaking at 2212F, where it's a toss up if the number hits before the sitter trips (fitted with cone 6 small cone). From there, I'm allowing the temperature reading to drop to 2112F, with middle switch off, bottom on low, top on medium or high, then twiddling the switches to hold there for a half hour or more afore setting all to low for a slow drop to 1850F, then off. All that will typically: partially drop the cone 5 witness on the top shelf, partially drop cone 6 the middle shelves, and close to full cone 5 on the bottom. Back to topic, four of the clays I'm using now indicate %absorption at cone 5, the fourth is listed as cone 5/6, and absorption % at cone 6. I put the 1.2% absorption at cone 5 on the top shelf. Absorption testing indicates all good.

Thanks for the links Lee! Your posts reminded me of my Milk Carton Kids phase. I still listen to them occasionally (vs. every day). Here's a YouTube mix: (126) The Milk Carton Kids - Michigan - YouTube

Elderly MacBook connected to Studio's surround sound makes selecting locally produced KCBX* shows simple/easy; when not listening to "live" radio, I'll pick a favorite to stream. Sometimes I'll play music from my library, but not often - I listened to familiar music in my working life and have stopped collecting music since retiring. When the weather's nice, I'll roll up the door halfway or so and listen to the birds, breezes, waves... *Evening Blues, The Road Home, Across the Tracks, Morning Cup, The Club McKenzie, the Saturday afternoon folk music show (I like everything about it, except the Name - negative associations with broken spokes, see?), and several others. The nationally syndicated shows can be streamed as well, however, I'll usually catch them when broadcast, else skip it, e.g. Democracy Now, TED Radio, Fresh Air, Bioneers, Latino USA, Counterspin, Hidden Brain...

Hi ShanRums! I'm finding manuals for that controller e.g.: Ipco Studio 3000 Controller Manual - · PDF fileIpco Studio 3000 Controller Manual Multi Program Multi-stage Degrees Per Hour Ramp Rate Controller with Soak NOTE: Please read instructions (pdfslide.net) From there, Keramikos model, or better, wiring diagram? Any road, welcome, and bumping the thread.

Skutt phone support has been excellent (in my experience); have your serial and model numbers ready. The wheel head should be solid (zero play) and run absolutely vertically true (less than a .001" of run out). If you've already tried removing the wheel head and reseating it, maybe try that again in the other position (180 degree turn). Carefully clean and inspect the shaft - the tapered contact portion and the pin; inspect the wheel head's tapered contact and slots; relube with anti-sieze; mount in the direction opposite (per the directions in the manual, "...opposite direction the wheel will be spinning..." ); compare how much the wheel head rotates until lock against the slot (the manual indicates "...about a quarter turn...") is achieved. Likely you've already done all that. Please do post back an update 'bus! My Skutt wheel does run a bit louder than some others, but not by much. I bought it "used," however, it hadn't actually been used; it quieted down a bit after logging some hours.

I'd though a case would be made for fresh/clean air source and not so much cleaning, having seen many studios/workspaces in video clips (and a few in person) where layers of dried clay splash are ...ubiquitous. The air currents in my studio are capricious, I'm not choosing to spend for and install a suitable hepa system, keeping the floor and work surfaces wiped down is straightforward and simple, I'm at a hobby level, etc., so. I'm still curious how others (attempt to) measure or somehow quantify dust in the air? Per (many) prior, I'm watching accumulation on horizontal surfaces. It takes a few months to build up a layer on the shelf just above my wedging area that compares with two days' accumulation at local studio X (where canvas covered tabletops and crunch underfoot is norm).

I'd like to suggest that you identify the clay(s) you're looking to use in the studio, then look at glazes to fit them*. I'm also using several of the recipes from van Gilder's book, a few from local JC recipe book, and a few others ...however, have tried many others and then abandoned them, due to problems, including crazing, pitting, foaming, yucky, expensive, etc., hence: Test carefully, particularly clear and liner glazes for fit and performance. Test carefully for fit and performance! Midrange (cone 5/6) clays exhibit a wide variety of behaviours! In my search for a well-fitting clear (or slightly white) liner glaze for white stoneware, I've abandoned three white stoneware clays and five glazes, well four - the fourth one started out as a recipe with promise that could be easily reformulated. The fourth reformulation of the fourth glaze is in production in my studio. If you're considering IMCO DC 3-5, Clay Planet Venus White clays (and/or have crazing) I've a glaze for you! That said, I'd like to suggest that you identify the clays you're looking to use in the studio, then look at glazes to fit them. ...and now I'm copying that last sentence to the top! *Thanks to several of the regulars here for support, analysis, suggestions and a recipe.

Several vendors list the Bluebird 12 as current/available, however, not finding any support... Ah, try calling the number listed here: Pugmills Clay Mixers Potters Wheels Extruders Pottery wheel Bailey's BigCeramicStore Aardvark Clay and Supplies Axner (bluebird-mfg.com) ...have your model and serial numbers ready. My guess would be the unit is designed to be maintained.

I'm holding at ~1500F for half an hour to forty-five minutes, which seems to help drive off gassy/bubbly stuff in the red and black clays, particularly. My kiln is set up with a downdraft vent, which, in theory, helps extend the life of the elements (less caustic gasses) and burn off the organic stuff (supply oxygen).

Boiling point of pure water should go up as concentration of solutes increase. ...I've no idea how salty the moisture in clay is... Another variable may be the amount, size and type of grog bits. I believe that bits of grog allow clay to (a) get wetter, faster, when exposed to water, and also (b) dry out faster once exposure to water stops.

Good question! Tools: Big sponges; buckets for yucky, cloudy, and clear water; commercial mop bucket, wringer, and mop; shop vac; mask; supply of clothing and rags. Practices: Keep it clean; clear the floor to make cleaning it easy. I'm trying to keep the dust under control because I a) don't want to breathe it, and b) don't want to track it into the house Generally, dry clay is "bad," on account of how easily it becomes airborne dust (wet clay is, therefore, good); clay on the floor gets stepped on - bad! Clean floors and studio shoes, that's a great start. Dedicated (slip on) studio shoes, good idea. Clean clothes and rags - change'm out when there's any clay on them. Tips*: Keep it clean - a few minutes before and after each session - becomes a habit. Hit the work areas and the floor each time, and cycle through the shelves, and et cetera that collect dust as necessary - weekly, monthly, ?ly. Wipe down all the dry clay (excepting, of course, the actual wares) - better yet, wipe it down afore it dries. Use big sponges (big! e.g. grout sponge, car cleaning sponge) and big buckets. I use one and two gallon buckets for throwing and clean up water. Wipe down the work surfaces, routinely. You'll see where the dust is coming from - at the clay prep/wedging area, where the clay bags are opened and closed, where the clay is being worked, particularly trimming. Get and use a commercial roll around mop bucket, ringer, and mop. I pour off clear water and re-use it for cleanup. The cloudy portion goes in the yard; the heartier plants can take it. The wrung-out mop head makes a great foot wiper**. Keep it ready and use it often. Consider getting and using and use a shop vac, particularly if you have spiders, heh. The vac exhaust will blow dust around, so put on your mask, open the doors and windows, run the vac, then wait on everything settling down afore breathing***. Move storage off the floor, less things to move about for cleaning. This may be challenging! I have wall mounted shelves almost everywhere now. Rags are bad, on account of they puff dust clouds, however, how else is one to dry their hands? Hold the rag up next to a bright light; squeeze it - see the dust cloud? Put that in the wash and get a clean one, pronto. Use the rag on rinsed clean hands only. I do use towel rags in some of my processes - they get clay on them, so I start with a clean one and cycle them out afore they become dust spewers. *Many of my (evolving) ideas and practices I came up with on my own, however, all my ideas (and more!) are not unique - see archived threads... **Any time a job can be done without bending at the waist, let alone getting down on hands and knees, go with it! The wet mop is a super tool, sees lots of use in my studio. Wring it out, lay in on the floor, wipe feet, go. Run it around the wheel area, boom, done. Take a pass around the counter area when glazing, done. ...etc. etc. ***Dust and air movement = airborne dust. Be aware of air movement and plan accordingly. Note: I looked, the "k" very likely represents Kathy, hence her post.

Raleigh "Sports" model, circa 1971 Not seeing anything near Harper's Ferry See "Stevenjess63" Etsy shop; they have an early 60s step through model, asking $250, not baad. added: Although the listing indicates "...five people have it in their carts..." it's still available (search string: "Stevenjess63") Looks like the tires are rotted. The seat and saddle bag may be serviceable, but well worn. Likely a new chain, cables, grips, brake blocks, pedals and perhaps some bearings will be required. I'd check it over carefully for corrosion, cracks, etc.

Please add kiln glasses safeguarding against harmful rays and any superheated flying bits, anytime when facing a hot kiln, particularly when looking into the peep(s). Excepting the rare occasions when I load pieces that are still wet, I run the kiln up to about 200F the night before, leaving out one peep plug, then go full gas (all three switches on high) the next morning, as the kiln is typically ~140-160F, hence was very warm all night and everything is bone dry. When I do load wet or damp ware, I run up to 180F or so, leave a few peeps out and run the kiln fan, then double back after several hours and run up to 200F, and leave the fan on all night. I'd fully avoid the fumes coming from any kiln, particularly an old/used kiln.

The small cones "...bend about 9 F hotter than the big ones." Orton has corrected the online doc that contradicted this - there's detailed reference archived in this forum somewhere*... My experience has been to place a small cone six in the sitter to get cone five witness cone to bend. That said, witness cones are the way to go, and a pyrometer is super helpful - once the relationship between pyrometer readings and witness cone results are established, it gets easier, but stay on top of it as your pyrometer may drift with time and wear. I would not want to rely on the kiln sitter for accurate heat work; I'm sure it can be done, but why? If starting over, I'd place cone packs where they can be seen (eye protection vitally important, against harmful rays and Any Flying Bits) and stop firing once target has been achieved, noting pyrometer readings. Once repeatability has been established, viewing the cone packs during firing not as important. The sitter/timer mechanism is a failsafe, imho, in case I fall asleep or somewhat, the kiln will eventually shut down on its own. Within the next several years, I do expect/hope to start over, with a new kiln, numerically controlled. The new kiln will come with its own thermocouples, and so, since I would not want to ruin several loads whilst learning, I'll go back to watching cone packs and taking notes during firing, eh? *aha! Kiln Sitter cone for witness cone - Studio Operations and Making Work - Ceramic Arts Daily Community Maybe start at the bottom and read up...

Ooh yeah, forgot to add this: The layer of clay right up against the bat (or wheel head) can't move the same as the clay above it, hence, if there's inconsistent bits in that layer, no amount of coning up/down will sort it, start over. While I believe "wedging on the wheel" (aka coning up and down) is very important, it can't be a complete replacement for preparing the clay afore putting it on the bat.

Hi Finn! Hope your centering gets sorted to the point where you are so focused on next/new challenges that you're able to almost forget centering*. Some thoughts: i) Consistent Any inconsistency in the clay, whether bubbles, bits, chunks, drier spots, wetter spots, sticks, lumps, anything that causes the flow of the clay to speed up or slow down will make centering more difficult! When worked on the wheel, the clay is flowing/moving in the opposite direction of the wheel. The clay flows, in a circle. The clay accumulates where it slows down and thins where it speeds up - both throw centering off, boom. Give yourself a good chance at the start, where clay is totally mixed/wedged/homogenous with no contaminants. From there, try putting your well-prepared clay balls in a container to slow down any drying that may occur whilst waiting turn on the wheel, for a bit dry on one side or the top can "throw" you off. Inconsistent clay can be forced into center, or close, but the problems will just present as you throw, with inconsistent wall thickness, varying wall heights, or both, leading to arrrg! ...tearing, lumpy, wobbly Consistent clay leads to easy centering, round and even walls, amazingly round, even, easy. Really. ii) Attach well to the bat or wheel head. When the clay moves, that definitely throws centering off!! Might as well explore and discover this. When your clay ball is getting close to center, then apply centering force to the point where the clay moves - disengages from the bat. Learn that boundry, then stay away from it. They type of surface makes a difference - rough, smooth, how damp, etc. Some clays stick better than others as well. Softer clay is more responsive to centering force. Firmer clay requires more patience, A Lot more patience!! iii) clay Are you using the same exact clay as available at school? Each clay is a bit different, and how soft/firm** makes a difference as well. Perhaps like riding a bike - when you've only ridden One bike, every other bike is like, wow, totally different. When you've ridden many different bikes, you can adapt right away to a different bike. :| *Almost, for the same problems can and will rush right back, difference being you might recognize the cause right away vs. struggle. **Softer clay centers quicker and easier, imo, and throws faster and easier as well. On the other hand, the amount of working time (wetted time) afore it gets too wet is less. Harder clay requires more patience, time, and force to center and throw, however, one might get taller and thinner. :) Harder clay seems less forgiving.

Both. Am using GlazeMaster for glazes I want to compare/analyze/test/use, then I print out the recipe, note the scale values, and keep the printouts in a folder that I keep in the studio, along with a notebook for firing notes, another notebook for glaze notes. I prefer keeping my notes in handwritten notebooks, nice change from years in ticketing systems, code, online documentation, email, etc., literally tens of thousands of hours at the keyboard an' screens. I haven't had any need to search, copy&paste or otherwise manipulate my notes, so, meh. The software is particularly helpful for adjustments and substitutions, on account o' it has material analysis and maths built in, I love it for that.

Big, seems easier with gas. Energy choice, local electric grid may be clean and low impact, or not. Burning wood can be dirty- particulates, particularly - even with secondary combustion flame path design, which I don't see kilns having; I can see it being a choice, just not where I live now. We heated with cordwood for decades, so. Now it's a switch, on the wall, forced air gas furnace. Copying files should be simple. The Pi uses a Linux variant, so cp command (copy), or mv (move). Try the copy first. Command line takes some getting used to. Just try a few commands a day, it won't take long to get the hang of it...