[QOTW: What tips do you have to make cleaning up your studio easier or more time efficient?]

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.

[hand-building and throwing with arthritis, suggestions]

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.

[Firing Schedule - no program, no kiln sitter]

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.

[witness and sitter cone under/over firing; danbury, NH]

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...

[Help! Always getting air bubbles at the base of my clay when centering.]

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.

[Help! Always getting air bubbles at the base of my clay when centering.]

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.

 

[QotW: Do you keep your glazes in a notebook, or some other paper depository, or have you gone digital with your glaze and materials recipes?]

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.

[Kiln build from scratch]

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...

[After Glaze Application Bubbles/Blisters]

I'm also washing bisque before glazing, two buckets, one sponge, the second, rinse, but I'm allowing a full dry sun and maybe overnight afore glazing - less dust, ashy bits, salty junk, and I do sand a bit*, by feel, so, there's dust. It's a bit of bother, but chatter marking seems to fill much better when washed.
If ever getting pinholes from glaze moisture displacing air in the clay as it penetrates, will definitely try your damp glaze Pres.
I am bisque firing to a high temp, with a hold, 
I do sometimes a fast dip, then plunge quickly again, but withdraw slowly, when the gelling action is a bit greater at slower speed - if that closes the glaze layer up, I'm happy. I prefer upside down, where there's more glaze at the top of the ware, being first in and last out.

*away outside, with ppe, dust control protocol, etc.

[Looking for help on kiln repair]

Hi LilClayLady!

Is that kiln max temp rating cone 6?
Here's the documentation I found:
Item # B23HT-240 On Cress Mfg. Co.

If so, it might be more serviceable for low fire. Likely it will struggle to reach cone 5 once new elements have started to wear/degrade.
Likely it wouldn't take many firings to lower the actual max.

As for being worthwhile, the condition of the unit* and how it matches up with your expectations could matter more than its age.

*bricks, casing, wiring, stand, everything, including the control mechanism.
My kiln is over thirty years old, it's a cone 10 though, so suitable for cone 5/6 work. Its bricks and lid are going, so I'll likely upgrade when the elements wear out. It might take another fifty firings to wear'm out. The seller included a full set of posts, brand new shelves, boxes of cones, and some glaze materials - so far, it's been a fair deal.

[After Glaze Application Bubbles/Blisters]

My guess, likely the results will be interesting, maybe very cool, maybe a bubbly breaking pattern, streaking if the glaze moves moderately; chance of yuck, maybe scabby, crawly where the glaze is too thin.

Good oh you stopped the dust.

[QotW: Have you have opted for digital scales, or anything digital of late because of the convenience or because you grew up with digital?]

Hi Betty,
I'm using this US Balance, which has a small platform, and maxes out at 2000g (not pounds, heh).

I have a few different aluminum pie plates for when I need more space, like glaze materials. Seems like as long as the load is squared up/stable and not moving, the weights are repeatable ok.

 

[QotW: Have you have opted for digital scales, or anything digital of late because of the convenience or because you grew up with digital?]

Have logged many hours on a triple beam, but didn't own one when fitting the studio - inexpensive 2000g digital works fine for me, for glaze batches and up to 4.4 pound clay balls.

I've an analog multimeter; it shows variation better than a digi, and although there's an argument for accuracy, at the range I'm working in (cheap instrument and basic electrical stuff), it's more than fine and what I'm used to. I have my Dad's Simpson, but never use it.

We have digital bath scales, inexpensive and easy to read, just remember to calibrate Every Time it's moved, and replace batteries, hmm, that it's quiet puts it over a spring scale, just.

What we have that's still analog likely a shorter list!
Floor pump for bike tires, integrated analog pressure gauge. Repeatability is what matters, meh.
Car tire pressure gauges, all analog.
Everyday calipers, analog/vernier over cheap dial indicator types, whether mech or digi. I have a large vernier, very high quality, and a few small quality dial indicator types, also analog micrometer set. I don't mind vernier or mech dial indicators for thousandths o' inch, nor analog micrometers, having worked with all for hours countless.
Thermometers, all we have are liquid bulb and capillary type, excepting the cars' displays are numeric.

No doubt there's more, not remembering just now.
Digital doesn't always mean better, nor necessarily mean the sensing strategy is any different, more accurate, or better.
That said, some new stuff is cool.
Some old stuff is still cool too.

[I’ll tell you exactly how I did it.]

Thank you for sharing Gep!

It's one thing to gain experience and knowledge through experience, another to systematically apply same and improve, and yet another to clearly, concisely and successfully communicate how you are doing it. Nice work!

[Hardie backer board]

Isn't backerboard a bit rough for throwing?

I've used plastic, homemade particle board, and homemade plaster bats; all have smooth surfaces*.
Although I've managed to learn to keep my fingernails away from both the clay and the surface of the bat, my throwing requires some finger/skin contact, smooth is better imo.

I like cement board and use it in the studio, per above, however, too rough for me for throwing. Try sticking a square of it down with a clay pad, only take a few minutes - watch out for the corners, go.
My guess is you'll like it if you don't touch the bat much while you're working, then knock the corners off, done. If you don't like it, didn't cost much - look for a scrap to test with. I wouldn't try for bat pin holes, instead, a clay pad.
Since I use bat pins, I just throw a clay pad on a plastic bat (does no one do this?) for unholy bats      :|

*The plastic seem to stay slick, however, they can get narfed up with metal tools, rough on skin. Some types of plastic bats I like ok, some not.
My particle board bats, some are 1/2" thick, some 3/4" thick, stained with oil base stain, then varnished. They work great.
I use the molded side of the plaster bats, which is smoother. They work great, different right next to the bat though, that clay is drying.

[Technical questions about the Skutt SSX controller]

The boards are* supplied by Minarik.
Registration is required to get the docs, here: minarikdrives.com

Mine exhibits same capacitor thing, however, within a few minutes, it's drained off.

My wheel has the pcmxp ("ssx") board; Skutt also uses the mm23001c board (as standard - it's perfectly suitable).

Minarik Drives

   XP Series
   User Manual

fifty page document has a chapter on calibration (trim pots); it's seven pages, however, several sections refer to other chapters for background info, etc. 

I bumped up the MAX SPEED and changed the IR COMP setting.

*or were; my Skutt will be coming up on five years old.
I haven't looked at their website, nor Minarik's, for several years.
...don't know why Skutt doesn't have the manual or at least some excerpts available. Oh well, their support is super, my bet is they would be helpful - I was able to find the doc myself - it was a Saturday, so.

[Flower frogs]

Museum putty holds tighter; wax, also gel, are nice for clear/translucent objects, where putty would show more.

We found the putty well suited for the tall slender opaque vase, which has leverage. 

[Shaft Seal on old slip casting pouring table]

Thanks, that is so cool!

That should be serviceable by a machine shop.

I'm curious if the collar on the tankside is removable?

If so, bring that into the shop along with the other parts, where, my guess, the pulleys, shaft and surely that propellor (!), fitted with modern seal and bearings pressed into a new collar bit (else resurface the old one) that bolts on.

That said, perhaps adding a mounting point for a mixer that reaches down from above, then just plug the hole where the original was?

 

[Shaft Seal on old slip casting pouring table]

Hi David!

The stationary portion (I'm guessing this middle portion is stationary)

may also include a bearing or bushing - something that supports the rotating shaft - as well as a seal, in which case "bearing assembly" may be as appropriate as "shaft seal," however, the forum community likely could come up with another half dozen or so phrases...

Well, I'm curious now! I'd like to see some images of the entire unit.
Looks like the lower portion is outside the tank, driven by a belt on that pulley, and the upper part is inside the slip tank? Is there an impeller or somewhat that is fixed to the top end of the shaft?

The slip tables I'm seeing don't include any belt driven bits - all direct drive.

Any road, if there is no other provision for supporting the shaft, there "must be" a bearing or bushing in there that has failed, eh?
Looks like the piece is meant to be rebuildable, note the set screw on the pulley.

[What wheel is this?]

wow, four spindles, maybe more - "..,compressor mount under housing" and attachments, belt sander, disc/lapidary wheel, pottery wheel, flex drive, bench style grinding wheel, drum sander, chuck, arbor, cup/conventional guns

[Home studio set up]

More comfort: good lighting, overhead and side light in agreeable colours; air, fresh and comfortable temperature; music/radio/podcast or whatever you like, including silence (I usually put on my favourite locally produced public radio shows streamed via old laptop connected to 5.1 surround sound), chairs.

All Min said, and more buckets, large sponges, rags, lots - once any clay has dried on a rag, grab a new one, for clay on cloth becomes airborne dust.
Stay ahead of the dust!

[Talc less casting slip recipe]

There is composition analysis, link to Cimbar datasheet, discussion on Cimbar talc, etc., here Talc shortage? New Talc - Cim Talc - Clay and Glaze Chemistry - Ceramic Arts Daily Community
Who all is using it and how is it working for you?

Axner is still carrying it.

 

[Oxides]

Hi Bam,

Tony Hansen's digitalfire.com site has entries on each oxide, including colorants.
Ceramic Oxides (digitalfire.com) and an article on colorants Colorant (digitalfire.com)

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.

I use cobalt carbonate, copper carbonate, rutile, tin oxide, chrome oxide, iron oxide, uhm, oh yeah, zircopax.

[A good Cone 5 firing schedule]

A few degrees less for the peak temp, then a controlled cool to about 1850F after your thirty minute hold might help (and then would be close to what I'm doing, which started out to clear bubbles/fizzing). I am holding at 100F below peak for longer, closer to forty-five minutes to an hour.

[Glaze Calculation Software - understanding what they are showing.]

GlazeMaster also calculates COE, which I've found handy when looking to reduce/eliminate crazing (in that one glaze, not so much for comparing different glazes*), where tweaking oxides brought the number down this much, which reduced crazing that much, hence gaining an idea how much more tweaking required, or perhaps major changes necessary, even starting over.

Any road, going through a few rounds of tweaking oxides, then starting over, bringing in a bit of lithium (via petalite) got me close, then a bit more petalite, a bit more talc, a bit more zircopax, voila!
I found the calculated COE numbers were helpful to the process.

*however, once fired and examined, then correlation/comparison can be made, where this glaze COE number appears about equal to that glaze COE number based on the craze pattern...