Hulk
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Posts posted by Hulk
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I prefer some IR Comp - where it's helping but some throttle is required to hold rpm - so I tweaked it up a smidgle.
That said, I felt comfortable with feathering the pedal without it; I just like it.The persons I bought my wheel from had bought it from Clay King ...I see they have green Classic and green Professional available today.
If I were shopping new, I'd be looking for what beats that 1/3 hp Classic.
I like, uhm, really like the cast splash pan.
I like the ssx drive, but the standard is fine for me. If upgrading, I'd choose it over the horsepower bump though. -
Good question.
The larger motors may be louder - or they may be quieter under the same load?
Someone with direct experience may yet weigh in...From what I've read, Skutt wheels are noisier than similarly rated competitor's wheels; I don't know that to be a fact...
I like my Skutt, a lot! It was much louder in clockwise than counter clockwise, at first; it's quieted down with use.
Previous experience limited to Brent A,B,C and CXC models at the Junior College ceramic lab.
I liked them all just fine, but didn't give the A model much of a test...
The noise level varied quite a bit; all had been used a lot, for a long time.
Added: Skutt support has a good reputation; you might ring them during business hours and ask them! -
Hi Dot,
Welcome to the Forum!
Crazed wares, almost certainly weaker*, and liquids can be a concern, particularly where the fired clay's absorption rate is "high"...
For sculpture (and other non-food ware), however, crazing may be ok?Reversing crazing, that may not be possible.
My understanding is that crazing occurs when the clay and glaze COE** are different enough, and that can only be corrected by changing the glaze and/or clay.
If the clay matures at a higher cone (than 04, in your case), the fit may change when fired higher, but not necessarily a better fit!Check back for more responses...
*A well fitted glaze makes for stronger ware
**Coefficient Of Expansion
Co-efficient of Thermal Expansion (digitalfire.com)
see also Mr. Hansen's articles on glaze crazing, glaze fit, glaze compression -
!
That was my choice as well, excepting the vent, as I retained the vent from prior kiln setup...
Moving from fully manual to three zone numeric control ...oh, how I like the sound of clicking relays! -
Wheel vendor hp ratings may not be equal.
The Skutt hp ratings are "continuous duty"...The "pounds of centered clay" ratings also may not be equal.
Last sentence on Skutt's "Motor" webpage*: "Most people will be fine with a 1/3 HP motor, but, if you are throwing big stuff you might want to step up to the 1/2 HP or 1HP motor."
I'd agree with that, err, with edit to "...lots of big stuff for a long time, you might want to step up..."
My 1/2 hp model, maybe it's "broken in" by now, after six years?Both are good wheels!
*The Motor - Kilns | Ceramic Pottery Kiln, Glass Kiln, Pottery Wheels | Skutt
Added: Looks like Skutt has changed their product line; I'm not seeing which models have the 1/2 or 1 HP motor.
My Stephen Hill (~2016) is fitted with a 1/2 hp motor; its twist is something to respect, for sure... -
"...Is it ok to test glazes both on the front and the back of standing tiles?"
Good question!
My first thought was - it makes for the tests to mimic the intended applications - then, huh! ...ok, I'm going to think about that a while*...You might try side by side comparisons, set of tiles with glaze on one side only, another set with different glazes on both sides?
It's possible that glazes that have dissolved materials could influence the other side...I liner glaze almost everything but have never set up test tiles with liner on one side and "outside" glaze on the other side; just dipping about halfway in at a forty-five degree angle, where second dip overlaps in the middle as Bill alluded to.
My test tiles check a new glaze against clays I'm using, else glazes I'm using against new clay, looking for:
fit - no crazing or shivering
coverage - no crawling
color
fizzing/bubbles
pinholes
how it works applied thinly, thickly
...*I pour in and out the ware interiors, and dip the exterior, with a full dry in between.
So, my test tiles don't reflect how I'm glazing wares, with liner on one side and color on the other.
When I do a set of test tiles, almost always I'll also fire a small ware or two of the test case(s) that are liner glazed.- Bill Kielb, PeterH and s6x
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When I've used Nerd's reclaim mix, a very small amount (a quarter cup to about three gallons of reclaim slurry; OM4 is the ball clay I'm using...) makes a discernable difference.
Verticals cracks shortly after throwing - Studio Operations and Making Work - Ceramic Arts Daily Community -
7 hours ago, B.H said:
Hello- Thank you for that!
Excepting very small kilns, adding a separate/dedicated circuit for your kiln is typical.
The wire must be large enough*, and the breaker sized appropriately...
Given there is room in your main panel to add a circuit, the existing wiring remains untouched...Ventilation
Kiln: There's both passive and powered exchange of kiln atmosphere (the air IN the kiln), which helps extend the life of your kiln (particularly the elements) and can be beneficial for your glazes/colors. Schemes that move kiln atmosphere outside are also healthy for the potter.
Kiln Room: There's both passive and powered schemes for moving heat and fumes out of the room the kiln is in. Even a small to medium kiln will heat a room, a lot, and the fumes are not good. At minimum, isolate the kiln room from other living space and then stay (mostly) out of that room.
Better, powered schemes to move heat and fumes out of the kiln room.I'd set up a powered kiln vent and an overhead hood for my first kiln.
My second kiln uses the same powered kiln vent; it is set up in a place where heat and fumes are not a concern**, so the overhead vent has been converted to dust extraction - a glaze mixing station in the Studio.*You might consider using wire large enough to accommodate your "dream" kiln - then you won't be re-wiring in future?
**Away from the Studio. The downside being moving pots back and forth between the Studio and the kiln... -
Trimming feet for almost everything, hence I leave clay for that at the bottom, also, wiring off, quite often, leaves a step.
I'll wire off when the top portion is stiff enough to handle, then set the pot on a plaster bat to dry out the bottom.So, once set up to trim, after the first pass, I'm using the needle tool to establish level (height) and round (width) foot ring.
The needle tool goes right in - it doesn't follow the contour of the work. -
Hi Kalyssa, welcome to the Forum!
A few of my bats clunk; the fit on the pins isn't tight. The clunking goes away once the clay is closer to being centered - that's been my experience; once the force on the clay is constant and even, the bats don't move.
You might need a few more bats? Compare/contrast your problem bat against one that fits snugly to confirm?
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Hi tman!
Can you elaborate on what you are aiming for?
I'm not clear on the bottom - are you leaving it bare?
Are the glazes you are using fluid - do they sag and run? Are you aiming for a thinner glaze application at the bottom to "catch" running glaze?Almost all my work is functional and rests on a bare clay foot ring.
I use masking tape for a clean sharp line. Pulling the tape while the glaze layer is still moist minimizes dust...
Dipping upside down, the glaze is thickest at the rim, thinnest near the foot.Wiping away glaze - seems easier when the glaze is still moist, especially if the point is to wipe some, but not all of the glaze layer away.
When the glaze if fully dry, wetting it, then waiting a few moments for the moisture to penetrate is almost same...
Added: most often, I'll buy 3M "Contractor Grade" (#2020) masking tape; it's buff colored.
For small wares, bargain tape can work for straight lines - small wares are light!
I've used the blue tape when we have some left over from somewhat else.
I'm putting the tape on and taking it off the same day; at most, the next day.
For curvy lines, quality tape is more important; it cuts cleaner, has better stick, and curves better. -
Hi B.H., Welcome to the Forum!
Good questions.
Excepting small/test kilns, expect your kiln to be rated for 240v, single phase*.
Also expect to run a dedicated circuit for your kiln.Firing clays and glazes produces fumes. Adequate ventilation is a must, in my opinion.
To fire cone 8, a kiln rated to at least cone 10 will last better than a lower rated kiln.
There are several archived threads here where some of your questions are discussed at length; I'll look later today, have to run just now!
*Not sure what the electric standard/convention is in Southampton.
Here in California (USA) we have 240v single phase at our home. Three phase is typically only found in commercial buildings... -
The clays I like from "nearby" vendor (about a hundred miles) have been reformulated.
The whitish stoneware seems about the same, the red behaves a bit differently.My intent was (still is!) to look into alternatives this year; I've enough Gerstley, Custer, and Texas Talc to last a few years, however, years go quickly...
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Totally take the 5 to 805, then East on the 8, 94 or surface street, like the Imperial, but toootally go Lisbon to Skyline dude, check out the Encanto Open Space.
...aye, San Diego, CA
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When looking for glaze recipes (cone 5/6), I chose from sources that included notes (results, application, and test results an extra plus!).
If starting over, would definitely consider refining a (one, just one!) base glaze first, then coloring it.
For example,This Forum
digitalfire.com
John Hesselberth's FrogpondPottery.com* (There are three low fire glaze recipes, with notes).
Susan Peterson's book The Craft and Art of Clay
Lakeside Pottery's website includes some glaze recipes**
Another book I'm not remembering just now, will look for it ...not finding it, will try again later
Bill van Gilder's book (I use two or three from his book) Wheel-Thrown PotteryI was looking for recipes from a known source, where there are usage and/or testing notes included (pictures are nice too)
A well behaved clear liner (there's enough white in mine to show over dark clays) glaze took some time, testing, trial, start-overs, some help, and then aaah.
It has significant MgO, small amounts of Sodium and Potassium, a dose of Lithium (a little bit makes a difference!), and there's Boron - it melts well - for I work cone 5/6; there's enough Silica and Alumina to make a tough glaze that doesn't run or sag much.*archived here Tested Glazes | Frog Pond Pottery (archive.org)
**Cone 6 Glaze Recipes | Great Mid Range Pottery Glazes (lakesidepottery.com)
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An image of the piece, err, pieces could help - character of the break, how thick/thin the ware, etc.
What clay(s) are you using?
About how long does it take to achieve 1240C?
From peak, how long does it take to cool to room temperature? -
Hi Brian_Ire, welcome to the Forum!
We did a pit firing in Wheel I and Wheel II classes, no ferric chloride was used - just pit fire with some smelly biscuits added to the fire*.
The wares came out interesting black, orange, yellow, and baked brown colors...This article has a long paragraph on ferric chloride safety, and another paragraph on Raku safety:
Natured Inspired Firing (ceramicartsnetwork.org)Check back, perhaps others with ferric chloride experience will respond...
*horses having passed since the last high tide!
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Still using "SE 13 1/4 Inch Stackable Classifier Gold Prospecting Pan" for sieving glazes.
I'd bought an 80 and 100 mesh. They fit a five-gallon bucket.
Looks like the price has almost doubled since 2018 (I'm seeing just over $30 each now).
I'm encouraging flow with my rubber gloved hand.
The sieve rinses clean easily.For small/test batches, I'm still using this smaller unit, which I'd put together for screening glaze at the JC Ceramic Lab (when I was taking classes there) using 100 mesh stainless steel screen (I still have a few square feet of screen!), a plumbing collar, a section of black pipe that fits in the collar, and some glue.
Almost as easy to make several, so I did, and gave the extras away...
Still using US Balance 2000g (it will go a bit over 2000g before erroring out) scale (~$26, today, about the same as six years ago).
I thought it a reasonable compromise between inexpensive and sufficient to the tasks.
The 2000 gram limit means more than one step for some glaze ingredients. -
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I used my one-gallon bucket for tools to/from Wheel I&II classes.
The throwing buckets available in the Ceramics Lab were all two gallon size (and encrusted); I prefer the smaller size, so, double duty.Full sponge, half sponge, sponge bits, pointer, metal rib, wood rib, wood knife, sandpaper, wire/cutoff, a few brushes, small glaze sieve, tape, scissors, razor knife, and somewhat I'm not remembering, surely.
For other stuff - snacks, glasses, drinks, notebooks, more snacks - I'd repurposed my "tool bag" from last ~fifteen years of work life, somewhat like this, err, exactly like this:
BUCKET BOSS 12 in. Gatemouth Tool Bag with zippered top and 16 Total Pockets 60012 - The Home Depot
...but well worn and faded.
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Didn't see anything in the news a few weeks ago; I'd missed this, "The EPA says the smells near the Reilly Tar & Chemical Co. Superfund site matched benzene, pyridines and ammonia." from Neighbors concerned over years of bad smell prompts action from EPA (wrtv.com)
The article includes a photo of Tibbs Ave/Minnesota St intersection, which is... 105 miles away, perhaps not related.
Best wishes for identifying the problem(s) asap.
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Some of the two piece pans, the join is raised up enough such that some liquid may accumulate afore the leakage begins - a pint or more.
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I'm seeing Evenheat model 1210 described thus (where the volts, amps, and watts values line up):
"The RM II 1210 is the ultimate personal ceramic studio design. The RM II 1210 is designed to fire china paints and clay materials up to 1800°F (982°C), cone 07 on a daily basis."
Note, the 2280 value stamped on the depicted plate is labelled "watts"...
...looks like the low fire model there SierraRed18!The 1210B Evenheat model, however, is 240v, 3120 watts, rated cone 10, 2350°F ("High Fire")
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"I'd like to monitor my temperature next time..."
I'd used a portable pyrometer to monitor my first kiln (fully manual); at the time, this TPI dual input unit (sold by Skutt, and others...) was on sale.
Using it, I was able to keep firing notes that included times, temperatures, observations, results, et cetera.
The notes can be handy. Over time, monitoring element decay, for example; how much longer a firing takes with two more shelves and the posts - mass matters! - and how much longer it takes to cool to opening; reference for programming ramps and holds for the new kiln, priceless? Maybe not, but useful? Yep!The new kiln has three thermocouples. I've been using the portable as well, however, to get an idea how the readings compare.
Now that I've completed a few firings, the portable may be regulated to backup...
A large 24" tall sculpture has some crazing. Is there anything I can do to save it? Sorry if this is wrong forum
in Studio Operations and Making Work
Posted · Edited by Hulk
+1 of
A glaze that is close to crazing, or crazes only a little - the crazing will be worse by putting the glaze on thickly.
That's my understanding and experience but putting on a thin layer mostly masks the problem, where the crazing will come along later, starting in the thicker parts and spreading as time marches on.
When I was re-formulating to eliminate crazing, several times I thought we had done it, but crazing began to appear ...the next day, after a few days, after a week!
With a good fit, the thick parts don't craze, the glaze withstands temperature extremes and months - years - of daily use.
Firing higher, I don't know, good question.
Would the glaze and/or clay COE change from having more heat work?
Perhaps some others have experience/knowledge and will weigh in.
Crazing can look nice! When it's not a functional flaw, isn't it "crackle" glaze?