Hulk
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Posts posted by Hulk
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Have been daydreaming a round robin workshop - where each participant shares some of their techniques - of folk from this forum; how interesting it would (very likely) be to meet you all!
- Bill Kielb and Denice
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Jerry Marshall, the guy turning out lids offa mound in the You Tube vid.
Bill Van Gilder, because his book, articles, vids and that ancient (1986) cbs interview were (still are) helpful and inspiring - it'd be worth the trip just to thank him;
Hsin-Chuen Lin, also because - his vids so helpful and inspiring and I'd like to just say thank you;
Bunzy Sherman, err, I'm happy to wait a very long time for that ...when I get to meet alla people I miss or never met;
ditto Warren, Ruth, Ziesel, and others.
Someone who is an expert thrower who (somehow, amazing, right?) also clearly recalls the learning process and has the incredible knack of teaching and communicating, oh, and toss in a biting and insightful sense of humor please. ...and I hope the presenter is both small and a woman, just to turn gender bias on its ear, and the big strong thing at the same time.
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Hi Pir!
Agreed that checking sg is just for repeatability - do a thorough stir, getting all/any gel on the sides and bottom. The value would be significant if one were sharing results with others (who may use the different equipment, eh?), I suppose. Are you able to get repeatable sg using same equipment? Watch the level, and any drips stuck on thar. I use a cheap plastic graduated cylinder, looking to get within a gram on repeated measurements o' same glaze...
I'm trying for same sg, very nearly same thixotropy as "last time," unless I didn't like how the glaze went on - if going on thick, lower sg; if running and dripping, more gel! Each glaze is a bit different, that's where the notes help somewhat...
I go wetter on account of it gives me more control of the thickness of the layer, and it also wets the nooks and crannies, any carving, etc much better - it covers better. I say more control because the same dip time as a "dryer" glaze yields a thinner layer; I don't have to be precise with the dip or pour time - the time window of success is bigger. Also, wetter on account of a "dryer" glaze that doesn't gel well - low thixotropy - will be unmanageable goop when jelled, won't it?
The Epsom salt or vinegar increases the thixotropy (gel); the glaze sheets off the ware, then stops moving. The glaze behaves as a liquid when moving; when not moving, it gels.
It Just Stops. That's the revelation in my glazing - the glaze doesn't just run and drip ...and drip and drip.
Staying suspended better is a side benefit for me - I want help with applying the glaze in an even well behaved layer. I don't mind that it takes a bit longer to fully dry.
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Hi Jamie,
Try a .pdf reader? If you are running windows, Sumatra is free, simple, easy
Free PDF Reader - Sumatra PDF (sumatrapdfreader.org)
I can read the file ok.
Likely you will be looking at disassembling the pedal and troubleshooting from there; good luck!
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I've gone wetter and jellier.
My post, copied from
Uneven dipped glaze application - Clay and Glaze Chemistry - Ceramic Arts Daily Community
I'm having better dipping results after employing Tony Hansen's suggestions, here https://digitalfire.com/4sight/library/thixotropy_and_how_to_gel_a_ceramic_glaze_73.html
I'm thinning my glazes (I have some white and light blue premix powders, the rest are mixed from raw ingredients in my studio) to ~1.41 to 1.47 specific gravity (I'm keeping notes on each glaze), then adjusting thixotropy with Epsom salts ...then, much easier to apply glaze in even layer, not too thick, and they "gel" (that is, not run and drip!) better.
When piece is lifted out of the glaze bucket, a good grip helps, for a few sharp shakes helps to lose any drips, then wait for the glaze to mostly gel, and finally, smooth any drips with a wet finger before they set up, where the trick is to not smooth too soon, else the glaze will be thin there, and not too late, for the drip won't smooth. Viola! Hope that helps.
and from
White glaze problems - Studio Operations and Making Work - Ceramic Arts Daily Community
How "wet" the glaze is - ratio of water to solid matter - can be expressed in terms of specific gravity:
Specific gravity (digitalfire.com)
I'm running between 1.39 to 1.47 (per my notes - keep notes!!) for the several glazes I use, mostly mixed from raw materials (I don't plan to buy any more premix, but do plan to use the premix I do have until gone - a powder blue, bad clear, and a matte white). A wetter glaze allows a wider (longer) "window" of dip time to achieve desired thickness, but will take longer to dry. A wetter glaze may also be more prone to running/dripping, however, the undesirable movement can be ameliorated! A less wet glaze typically goes on too thickly.
How the glaze moves can be adjusted:
This is the hot tip! A wetter glaze that has been adequately "gelled" goes on like a dream! I'm not having to rush to avoid a too thick glaze layer; a shake or two takes care of drops at the rim; any remaining drops I'll just run around the rim; any other remaining drops, I'll wait several seconds for the glaze layer to loose its sheen, then smooth the drop with a wet finger*. Glazing (almost all dip/pour - very little brushing, no spraying) is much more fun for me now.
As I typically don't glaze fire twice a month (if that), I start out with thorough mixing, sieve, then check/adjust specific gravity, leaving thixotropy check for last. Turning the glaze with a large kitchen whisk (clockwise, easier on my hand, elbow, etc.) to the meter of "Positive Vibration" (Bob Marley's 1976 album), when stirring is ceased, I expect:
the glaze to turn as a mass, with very little shear (iow, not much currents of differing speeds);
the mass to continue turning for about three to four turns;
the mass to slow and stop all together - again, very little currents of differing speed;
the mass to "bounce back" a bit when it stops.
The desired behaviour - liquid when moving, gelled when not moving - is much more conducive to successful glazing than the "liquid until it dries" extreme (imo).
Inadequately gelled glaze will exhibit currents of differing speeds as it turns in the bucket (use round buckets; square buckets are bad, heh) - a portion of the glaze will just keep on spinning for quite some time, whilst shearing against the portion of glaze moving at a slower speed.
*Some prefer to allow droplets to fully dry, after which they can be levelled by "fettling."
- Pir and Callie Beller Diesel
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Interesting, the focus that departments/institutions take on - fine art vs craft brings to mind the the long down the nose toward programming/industry vs research and academics in the grad program ...all those years ago. I went to industry, way fun.
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Just happen to remember Mark posting 'bout them/these
Bailey Thermal-Lite Kiln Shelves Cone 16 - Equipment Use and Repair - Ceramic Arts Daily Community
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Is that Michael Casson on th' cover of early edition The Potter's Dictionary of Materials and Techniques?
I'm paging through my copy of Peterson's The Craft and Art of Clay again - lots of pictures and ideas in there. Her treatment of unity is the best (my opinion).
I'm also looking at the Studio Potter magazine that Mark posted a link to (Summer/Fall 2008 - Thurston's article, in particular - will turn through alla pages tho', eventually), and since that's fun, will pick up where I left off paging through the dozen Ceramics Monthly .pdf files I've tucked away ...the oldest Oct65, newest Oct99).
Local JC Ceramic lab instructor loaned me a copy, which I damaged, hence I obtained a replacement copy (very reasonable via Buy New & Used Books Online with Free Shipping | Better World Books); it's the one of the two or three clay themed books I own that I'll keep. BWB offers an ongoing stream of percent off deals - subscribe to receive notice...
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Thanks for the follow up Brandon B, and good work!
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NVS-07
VPM-20
VPM-7
...and all PP, it seems. I wouldn't consider any others, hence ah'm done.
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me hungry now
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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.
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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...
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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."
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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...
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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?
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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
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liner glazin'
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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!
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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.
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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.
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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.
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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).
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for a while now, Alice Hoffman
rediscovered, David Gerrold
Alsager parts
in Equipment Use and Repair
Posted
Hi Nics!
Potterycrafts is carrying an Alsager (out of stock).
Try contacting Potterycrafts? They carry a few wheels that look (kinda) like a Wenger - Cowley, Alsager, Staffordshire...
Excerpted from https://www.potterycrafts.co.uk
"Potterycrafts was formed in 1983 with the merger of the craft supplies businesses of three industrial companies Podmore, Wenger and Harrison Mayer following their purchase by Cookson plc. Potterycrafts became an independent company in 1988..."