Hulk

Thanks for the follow up Brandon B, and good work!

NVS-07 VPM-20 VPM-7 ...and all PP, it seems. I wouldn't consider any others, hence ah'm done.

me hungry now

All glass aren't same, methinks; frits are glass, but may not behave same as bits of a soda bottle, as not made of same stuff. Our glazes may be called glass as well, and we see they are formulated to melt at various cones, etc. - different.

There's at least one young full timer here in the neighborhood - standalone dedicated shop/studio in their back yard; her friend, also young, is a serious part timer. Met several young folk at the local JC Ceramic lab (a few years ago) on the road to full time potter (wouldn't expect them to all make it there, however), and a few building their portfolio for graduate applications...

A wiring diagram might help - am not finding one with any specifics other than "Petal Pot .7M" not sure if that's helpful. For future reference: Brent part number 22143G for "Replacement speed control and cord for foot pedals that connect to silver face plate control boxes made before 2000..." ($123); Brent part number 22858R depicted above right, "A replacement sub assembly for Brent Potters Wheels. This part replaces the speed control sub assembly in Brent foot pedals." ($81). Bill wrote (in an earlier thread): "Probably best just to measure them. The schematic above may not apply to your version and the trim pots are unlabeled in the diagram. The pedal pot says .7 meg but I would measure to be sure. Measure across the two non wiper leads. Often they will be stamped with a value on them as well. The problem with measuring is you might have to disconnect them from the circuit else risk getting a false reading."

Soon, a new year, that after one we'll likely remember for a very long time, err, perhaps forever, hence, perhaps a New Year related question? Some, perhaps, are looking to ramp down after decades of process refinement, market research and targeting, thousands of pots, adjusting for wear, and so on; others may be looking to ramp up in the same (and other) areas. What do you think 2021 may bring to your potting life? I'd like to: explore a few more forms, particularly the teapot (have initial trial and first design adjustment under me belt a'ready), sets of lidded forms, and "smalls"; fill the kiln more efficiently; throw a lot more pots, hence more time at the wheel, and more efficient use of time; get out and see/feel others' pots, and interact in person with other potters - missing this, big time; improve culling (am getting better at it); participate in another show or two - first ever closes today (great experience). And more...

Cool sculpture Lee! All the other joins survived ok? fwiw (I don't do much joining - handles, knobs, sprigs), I wet the clay on the receiving end a bit before scoring - just a wet fingertip, damp brush, or sponge; the sheen dissipates as the water is absorbed into the clay, then I'll score. Typically, I'm not joining bits that are exactly the same wetness. I'll also wet the piece to be applied if it's a bit dry, depending. I apply slip to the piece to be applied after scoring, and that only so that it will squeeze out to then be smoothed into the crease, for if both pieces are dampened just right, they'll join without slip. Uhm, I said without slip, however, others may point out that it depends on the clay. The older gentleman in the Ingleton videos points out in his teapot making clip that scoring isn't necessary (for his process), which I misremembered as slip isn't necessary (about 8:40): Throwing / Making a Pottery Teapot on the Wheel - YouTube There are variables, to be sure. Van Gilder, in some of his vids, wets, but doesn't score or use slip. That your scoring is so clear (with a few exceptions, where the breaks are) - tells us somethin. Will you post back with more pics of your cool sculptures?

Ah went there in my response to the drawing line against technology QOW - lots of tech in my studio already that I don't want to work without; of the items listed there, media (radio, streaming audio, archived sound files) would be first tech to axe, however, I'd miss it. ...headin' out there now, for it's Morning Cup time (local public radio)! I'm sidin' with the no. P.S. technology advanced -> technologically advanced

liner glazin'

Wikipedia entry has seven paragraphs under "Definition and Usage" subheading in their technology article, hmm. https://en.wikipedia.org/wiki/Technology How we/you/I use the term - depends on context, experience, intent ...lots o' things. Per last week's QOW, one may lean heavily on what's new in their own lifetime, or what's new just since they themselves were gettin' hooked on clay, or what's new within the arc of their nuclear family's life (ya, that was me). I'd guess that each person's use o' the term has, and will, change as time marches on and the situation warrants. Ceramics, well, that's a technology, eh? I discarded "ceramicist" for "potter" rather early on, for I'm interested in making pots, wheel thrown pots in particular. Casting, jigging, jollying (heh ...nah), industrial stuff/application, deep chemistry and physics, numeric control (excepting simple kiln controller ...someday) - mostly "uhm, not right now" for me. Is "pottery" a technology? Yes, says I. Soo, I'm not helping with the definition. Hulk try: in "... aid of a new tool or piece of equipment." the word new, I'm hesitating on that, and omission of "process" after "...aid of..." (although process is used twice). "...practical advancement that will allow a cost effective, easier or quicker way of doing with the aid of tools, equipment, material, process." Without and, nor or, suggests and/or, eh? The discussion, and the thought provoke-ness, aye, that's more than agreeable, thanks!

Automated fire control likely predates Liamb's arrival (electromechanical logic, or relay logic goes back to about my Pa's grade school days), however, low cost cute lil' logic boards makes it available to hobby potters, much later ...thanks to development o' transistors, then integrated circuits. The topic (thanks Pres!) sure generated some thinkin' for me - what is technology? bein' one o' the questions for sure.

As for controllers, I'll argue that the pyrometer is the bit o' tech that counts; the controller automates notetaking - time and temps, and switch throwing.

Wow. As for (my reading of) the question, lots of tech in my Studio already, which is absolutely dependent on electricity to power lighting, wheel, kiln, audio system (yeh, it's important!), pyrometer, and mixing tools. I'm not interested in: working by natural light only (nor by candle light); kicking or otherwise powering the wheel myself, nor using a wheel less sensitive, consistent, precise, and powerful; isolating myself from media whilst working (although shutting off the system, and rolling up the door to the sounds o' birds, wind, neighbors, ocean can be a nice change); firing ware by burning stuff (not even the available natural gas, as there's just nowhere to put a gas kiln at our house, 'cept the courtyard, which ain' happenin'); working without a pyrometer; mixing slurry - glaze, slip, reclaim - by hand. Without "the internet" my journey into clay would have been much more ...stark; books and magazines are great, sure, as is meeting, working and sharing with others interested in clay, however, the depth and breadth of info, instantly available, as well as the lifetime of vids (some of which are worthwhile!) - amazing resource. These advantages are all within the arc of my life, if one includes their parents' experience... My list of tech to add includes: new kiln, as current kiln is well worn, and when the time comes, with controller, to cut down on the back and forth to/from the kiln whilst firing. That's all that comes to mind just now, although I am interested in mixing clay, seeing how rewarding mixing glazes has been, and how "wrong" so many clay bodies seem to be... As for other machines, tech, tools, etc. exploring wheel thrown forms was (still is) the whole point - for me; very little hand building, no extrusions (yet), no molds, no nothin'! Hence, perhaps it's not "...drawing a line..." for me, rather just doing what I want.

Also mostly working small (or very small, depending non compared to whom!), half pound to two pounds, a few things three or four pounds. I use the lil' e scale to weigh out balls o' clay, common sizes 350, 450 and 500 grams for mugs and bowls, also 250 and 300 for cups and small bowls, and a few 200 gram tiny bowls, gotta have some fun. Lids and spouts may start at 200 grams as well. Enough taller pieces to fill a half shelf (stagger that load) - vases, lidded pieces, utensil holders, etc. - may run between 800 to 1500+ grams. Where an increase of weight/mass at the small end makes quite a difference, scaling up, takes a lot more clay to get bigger, eh? At a 1400 grams, to get much bigger, 1600 grams ain' gonna do much. Where an eight foot boat is roomier than a six footer, an eighteen footer is waay bigger than a sixteen, eh? ...it's bigger all way 'round, same as the six to eight, but there's more to get big. Wedging, the largest for me at one time would be reclaim off the slabs before bagging, 'bout ten to fifteen pounds, and final wedge (th' whole bag) before re-bagging clay that was too dry - where wetting was piecemeal, for sure, as a whole bag has to be ideally soft (for this old bod to wedge). As I still believe in continuing with the direction/swirl imparted in wedging, the trouble I was having with the spiral was in the "opposite" way - for clockwise throwing. Whilst clockwise wheel head is natural for me, spiral wedging for that direction - is not. That it's ram's head of part of a mass, picking up some edge as it comes around, and squeezing out some at t'other end - that's what gets me there, as well as taking care to avoid picking up bubbles; any road, for mixing, and especially for preparing an "off the hump" lump, worthwhile, but not essential (imo).

for a while now, Alice Hoffman rediscovered, David Gerrold

...very handy when formed into a sphere, then fastballed at your scheming brother as he sprints crossways, then expertly ducks such that said fastball slams into brother in law's f head. ahem, carry on.

Wanted to post questions and comments on dhPotter's fan system...

Just noticed "Edit Album" (under Manage Album) includes input selectors: Looks like the selection defaults are negative.

Perhaps not silly - oooh, I got a smirk out o't though! At the local JC ceramic lab (a few years ago), deduction indicated that person was culprit - chipped bowls, locker full of broken pieces, a few other broken pieces - and, having noticed that person didn't care for heights and couldn't reach far (bein' close t'th' ground), ah moved alla my stuff to a high cubby. "Oh, you moved your stuff up..." "Yep (smirk)" <extra crimson flush>

More from Labor Day glaze fire, Clockwise, from top left Covered dish, just over a quart. Same Rutile Green. Five of fifteen small bowls in red clay (SRF). Overall, am happy with this load! Still working on tossing pieces to reclaim that don't look and feel "right" - making progress there. Detailed notes are definitely helping! Looks like a longer bisque and a bit lower glaze fire target temp (plus slower cool to ~1850) has cleared up a few issues. Also looks like lower expansion clear is working on the cafe as well as the two white clays. Not decided yet on continuing to work in the red clay, perhaps just thin layer of slip over the better behavin' buff, and white (and somewhat behavin' cafe) clays. Can definitely see where calculated coe numbers could be deceptive - as a comparison/guide, where making limited adjustment to a glaze, helpful; for comparing glazes that have very different recipes, not as helpful.

More from Labor Day glaze fire, Clockwise, from top left Tortilla warmer in Cassius. I took a closer look (with magnification), see now that the clear glaze that "clears" the bubbles fairly well over the black clay also crazes (my vision ain' great); have finished the one bag, may not buy more... Storage jar, ~7.5 inches tall, same Rutile Green The two mugs are same Selsor Faux Celedon, same white clay - the seven o'clock one is from previous bisque and glaze firing, the five o'clock one appears similar (the colours are actually about the same - camera settings, not), but very little crazing, just a few spots! Hard to believe that firing (more thorough bisque and a bit cooler glaze with slower initial cooldown) could make that much difference!? Same clay, same glaze. ...more testing...

From Labor Day's glaze firing Clockwise, top left, Test tiles for "waste" glaze (retained, settled, sieved and adjusted cleanup, wipe off, etc. - just over 1.5 gallons; it's "free!"), crazes over these clays, may fit buff and red clays better, tbd New lower expansion liner glaze (per recent entry to https://community.ceramicartsdaily.org/topic/19922-clay-composition-and-crazing), goes on well, looking good so far - more testing required. I'm not minding the specks, which may be from petalite, as all the other ingredients have been used in previous low expansion trials... Am still liking the Lakeside Clear Blue, here over white clay; the lower part is BVG Rutile Green, which mutes the carved red slip - will be trying this again. Really liking this tin chrome red, here over Cassius. This firing, no bloating in the black clay pieces, likely due to extended bisque (longer holds at critical temps). Selsor Faux Celedon (with some minor coe adjustment) over buff clay - really like this look.