Hulk

Hi Gillespie, welcome to the Forum! My first kiln was fully manual*. I used cones. At first, I watched the cones through the peep holes (wearing kiln glasses against harmful rays and flying bits). Later, I relied on the pyrometer, and checked cone packs afterward. Keeping detailed notes really helps - time, temp, observations, results. I'd run up to about 200°F the night before, all peeps left open. The next day, all three switches on high, then toggle the switches to hold at 1500°F for an hour**, then full speed to cone 04, then off. I'd fitted the kiln with a downdraft vent; for bisque, I just leave the fan on until it's cooled to 1400... That's what worked for me, ymmv The portable pyrometer has been very worthwhile, imo. *three high/medium/low switches and a sitter. I see the sitter as a safety backup, never depended on it. **holding at 1500 seems to help, particularly for buff, red, and black clays...

Good questions. I don't have answers, will share an observation: the tin-chrome red glaze I'm using* picks up blue flecks, I'm guessing from neighboring pots, however, some of the flecking could have been from the kiln**. Sometimes there's more blue flecks on surfaces facing upward-ish, sometimes more on one side than the others... My glaze loads typically have a lot of blue in thar, a semi-transparent blue, a variegated blue (with rutile), and a light blue; all use cobalt carbonate. *got the recipe from local JC ceramic lab (matches "Chrome Red" from John Britt's book) **my guess is that the same will happen in my brand-new kiln, tbd. The old kiln had seen almost thirty years of service before it came to me! The prior owner definitely used blue glazes...

More reading: Very paranoid about Silicosis - Studio Operations and Making Work - Ceramic Arts Daily Community Silica Dust Exposure - Studio Operations and Making Work - Ceramic Arts Daily Community Can air purifiers remove silica dust from my Ceramic Studio - Studio Operations and Making Work - Ceramic Arts Daily Community| Dust Collection For Small Studio - Clay and Glaze Chemistry - Ceramic Arts Daily Community Toxicity (digitalfire.com) Dedicated Studio shoes/sandals, no tracking clay into the house! For if/when clay gets on clothes, have a few clean sets handy in the Studio. Change rags when there's any dry clay on thar, bag or drown in water, along with dusty clothing! ...else, wet that rag. Wipe down clay smear/bits inside the clay bags with a big ol' sponge, then spray a mist of water in thar before closing up the bag. Dry clay on plastic sheeting/bags -> instant dust! Handle the dried out empty clay bags outside, away from the Studio (clean inside and out, save for reclaim!). Some forum regulars are using air filtration systems, also centralized vacuums (where the exhaust is routed outside/away). My overhead kiln vent doubles as a glaze mixing station fan. I'm handling the glaze material outside, away from the Studio door - repacking from the sacks and bags into lidded containers - then hosing the area down later. Find a P100 (or equivalent) dust mask/respirator that fits you well and wear it when doing dust things. Check/clean surfaces regularly. Note where dust accumulates, and how much - that's why I believe wedging and trimming are what generates dust in my Studio. How else can one assess the dusty-ness of the working space? Heh, I've posed this question several times over the last five years or so...

Hi Pot, Welcome to the Forum! Good question. I'll circle back and post links to further reading later... Meanwhile, I work in a single car garage space (previous Studio was also a single garage space!), which does have ventilation options, however, much of the year is rather hot, else chilly. I try to keep after the floor with a wet mop - an actual commercial bucket, wringer and mop. Having the floor accessible helps there. The mop is handy for cleaning off shoes/sandals as well - don't track it around! In general, any dry clay - bits, pieces, splatter, slip - can easily become dust. Hence, I'm looking to keep dry clay to a minimum, wipe off the work surfaces, tools, wheel. No waving cloth about that has dry clay embedded in (rags, clothing, the dreaded canvas, ugh). The only dry clay I want to see is greenware awaiting first fire (on shelves, out of the way and protected), and clay to be reclaimed (stored away). I'm seeing the wedging station being a dust source, also trimming at the wheel. There are strategies for minimizing those dusts, tbc. The typical dust generators I see are: stepping on clay that's on the floor dry clay, slip, glaze, etc. that's disturbed and flies into the air airborne dust that's settled, then re-launched, repeat, repeat... It's nice to have ventilation, however, I try not to roll up the door or open the window if there's any dust to be kicked up by moving air - clean up time. Best case, my Studio is relatively dust free when I start a session, then I've cleaned up at the end for next time.

Likely "Search Engine Optimization"

Pulled handles came up in t'other thread. Much as I'd like to practice pulling several from a large handful, I've a hard time supporting much in my left where the right can do the other part, and reversed hands is worse! I'll roll between sixty to ninety grams of clay (for the usual wares - more for a big pitcher, teapot, etc.) around on my wedging board to dry it a bit, then roll it into a tapered carrot shape before pulling it. It's rather cheating? I'm going for a tapered roll that's close to the final I want, with a flare at the big end to hold on to, then hang it from whilst it firms up. It works for me! ...starting out, I'd make/pull two or three for each ware, and pick the "best" one. Hmm, that went away a while ago...

A small amount of Nerd's reclaim mix makes a noticeable difference in four to five gallons of reclaim slurry, in my experience. I'd tried between a quarter to third cup of the recommended mixture, eight parts of silica, one part OM4 ball clay, one part feldspar. Now I'll use it if the reclaim contains significant amounts of re-reclaim and/or re-re-claim...

We had some big scraps of material, half inch and three quarter inch thick* that I made bats out of. Not sure what brand/type of material - it's a particle board, or fiberboard of some sort, but the bits/particles are very small. Any road, so averse am I to $pending on bats, I cut and drilled the material into rounds same size as the wheel head, also squares (with rounded corners) big enough to catch the bat pins in diagonal corners, then treated them with oil based stain, several times, allowed for thorough drying (a few weeks in the sun), and a final coat of polyurethane. add: might've been oil bourne varnish, idk If there's a next time, I'll skip the poly - it's great until it starts to fail. Where the poly has completely worn away, the bats are just starting to absorb moisture and swell a bit - time to dry thoroughly and re-treat with oil stain. ...or just start using the other side! Over five years later, they are holding up fairly well. I have two black plastic bats that are ok, however, they do flex a tiny bit, which is enough to distort ware (easily fixed, yes - still a bit annoying tho'). The Speedball bat is rigid but expensive. I didn't like the blind holes (easily remedied). The HardiPlank bats may answer! add: I want to try coating them, then comparing to sanded/polished ones left uncoated ...not decided on what to try, something that sticks and wears really well, maybe two part epoxy paint. *I really like the thick ones. Although it looks like water/slip would sling over the lip of the splash pan, as the surface is that much higher, it doesn't, miracle!

I still want gas! Fire, flame, fun, go! However, not practically possible at our previous home, same here at our new/current home. The electric gets the job done. I love opening the kiln after a firing! One of the "important" things was either existing solar or suitable for solar. We sized the system with electric car, seven cubic foot electric kiln, 3/4 ton mini-split (Studio) and second EV (down the line) in mind. That help$. I'm liking the Quad elements.

,) Try "benchtop buffer" or somewhat like for a search string, e.g. There are several sizes, powers, options "out there!" The unit should be securely fastened (unlike the image above!), and, And, careful be, against any wrap up scenarios, also pinch points...

Interesting! My guess, bisqued to a higher cone may (almost certainly) have some influence on the final product*, however, I'm not seeing how it would influence the glaze firing's heat work. My second guess, that twenty minute hold once 2200°F is achieved would push to the next cone; what I don't get is why it hadn't previously... *glaze thickness comes to mind, however, likely you'd already adjusted for that!

A bench unit with a large and wide buffer on one side, a narrow and small on t'other might serve - and swapping out the buffing wheels may offer more options, e.g. try searching "v edge buffing wheel" or something like...

Hi Amy, Welcome to the Forum! Good question. My opinion, kiln venting breaks down to i) direct, where a small stream of superheated kiln atmosphere is sucked through small holes (typically in the kiln floor), mixed with ambient air, and routed outside via a 4 or 6 inch vent, or ii) overhead, where a hood pulls air from above the kiln and routs it outside via a 6 or 8 inch vent Furthermore (my opinion, observation and experience), option i doesn't get all the fumes out of the area/room but does a better job of removing moisture and caustic fumes from the kiln. I ended up doing both for my first kiln setup - direct powered vent AND an overhead vent - then I felt comfortable being in the Studio while the kiln was firing. My current setup is on the protected porch - no connection to indoors - where I'm using the direct vent only. Either way, provision for "make up" air, that's essential (for any enclosed area)! There must be a clear path for air to enter the area, to make up for what is being expelled. More Kiln Venting - The Ceramic Shop Kiln venting system (digitalfire.com) Kiln Vent Guide: How and Why to Vent Your Kiln (ceramicartsnetwork.org)

Images from this week's glazing. I'll charge up the "real" camera for next. There's just enough light in the Studio for working at the wheel, but not so much at the workbench and glazing table*. Bowl, where liner glaze has been poured in, then (carefully, somewhat slowly, two or three turns) swirled about so there's glaze right up to the edge, then poured out, wait, wait, then, holding the bowl upside down, dip the edge. At about two o'clock, there's slight overlap ridge, which past experience says will be almost imperceptible on this white stoneware. Mug, where liner glaze has been poured in, then poured out. I try to grasp the mug the same way each time; pouring past the handle is almost last, where the angle is greater/greatest and hence the handle doesn't get tagged. The leading edge of the pour comes around, then follows the initial trailing edge, leaving a fairly uniform coating. A full "wind up" of the lower arm almost does it; I grasp with the right, steady with the left, then shuffle the grip just afore the end, where the rotation is slowEst. After outpour, wait, wait, then dip the edge, run the drip around and around, wet a finger and smooth any drips when they are still shiny wet, but the surrounding glaze layer is losing its sheen. A smoothed drip is visible here; again, past experience says it'll be fine. The top of the handle often gets a kiss of glaze when the rim is dipped - typically I'll just leave it there. Liner glazed jars have been waxed on the rim and down the inside ~3/4" From there, I run a razor knife around the rim and sponge away remaining liner glaze (credit Tony Hansen's article and video clip on liner glazing). The chattery marks are filled with glaze or underglaze, which provides some highlight/contrast and to ensure the cuts are wetted with glaze all the way to the bottom. Aiming for a thicker layer of glaze on and just below the rim, as that's where it seems to thin the most, gravity... Next, outside glazing! *Picked up a hanging LED shoplight yesterday, that should help. The pending remodel to include flush mount LED fixtures in the ceiling...

I've seen some thrown tube handles that work. ...also pulling and then cutting handles "off the hump" where the initial taper is thrown, then the wheel is stopped for the pulls... ...haven't tried either, but thrown tubes for side handled teapots is "on the list." Back to Michael's extruder, nice use of hydraulic, thanks again for sharing! Please do report back on how it's working for you, any helpful tips, et cetera...

A filament from a wire brush may serve. The tip can be sharpened/dulled as required (my guess would be dulled, against poking oneself!), the other end attached to a stick or somewhat, for finding...

I'm curious, would a stationary polishing tool - where the hands are, therefore, holding the piece to be polished - be a consideration? Perhaps a bench unit; they look like a grinder, but have more room around the driven portions... Guessing, the polishing is done using cream/liquid and a soft pad of some sort? Any road, ten cfm (cubic feet per minute) - supplying and using that much compressed air likely generates significant sound pressure - quality ear protection! added: nice work!

There are several varieties of grit, e.g. oyster shell, granite, "high magnesium" limestone... Each may have a different influence on your work.

Wasn't particularly happy with the battery powered tools I bought some thirty years ago. However, "big" projects* drove decision to wade back into cordless, so many positives! Lightweight, powerful, long battery life, precise control at low speed, cute little light that shines on the target, easy to use on a ladder... ...also very handy for stirring up glazes - no cord knocking over coffee, wares - and that precise control, woops, heh, just kidding, no, really, check that the trigger has the feel/control you need. The chuck is awesome - just that is so worthwhile. It's no substitute for the burly half inch corded model when it comes to mixing reclaim, no. Add a hammer drill to the stable? Yep! Hammer drill makes putting holes in concrete/stone so much easier, sooo much. Add an oscillating tool? Why did we not have one of these a'ready? O M G what a handy tool. ...the batteries are all interchangeable, go. Added: The batteries on our three yellow branded tools are completely interchangeable. The three amp/hour one is heavier, but lasts longer, eh? All three have already "earned" back the costs, imo, after their first jobs. Another tool I put in that same class, pancake/portable compressor and finish nail gun; compared to setting nails in baseboard and door casing By Hand? We've since added a framing nail gun and upholstery staple gun. I'll be quiet now! *Remodeling the son's house, where we're often using every drill motor we own, each fitted with a different bit/drill, go! The aforementioned (yellow) brand markets a very short body lightweight cordless, handy for drilling wire ways through wall studs, makes a long day of hanging sheetrock a bit less onerous - light, powerful, and, And, precise control for those of us that prefer screws to nails (without investing in a drywall screw gun). Added II: Note, a "driver" hammers in the turning direction, which assists in driving screws; a "hammer" drill impacts straight ahead, which helps when drilling, particularly where the material doesn't cut into chips when drilled, e.g. cement, stone

I'm reading Seesee's problem description as: there's a thickening where the slip drains out of the mold, which causes the deformation. Any chance the mold can be rotated whilst draining the slip?

Mostly pour in/out and dip. A bit of brushing to fill chatter marks, touch up spots, and decorative marking; ear syringe for filling and then sucking out hollow knobs; squeeze bottle for glazing inside foot rings and squirt pour the outside of ware too big to dip! Planning to do some glazing this week, will circle back with images... I've done some spraying when attending Wheel I and Wheel II at the (previously) local JC Ceramic lab; not set up to spray at home just yet, and IF/when I am, it will be for effect, not main glazing procedure...

Thanks for sharing Michael! I'm noting and adjusting glaze specific gravity, then adjusting thixotropy as required, such that revolving mass of glaze in the bucket* comes to a stop and "bounces back" a bit after three to four revolutions once stirring ceases. Tony Hansen's articles and video clip on the subject changed glazing for me! Thixotropy (digitalfire.com) * I'm stirring with a kitchen whisk, at about one second per turn Added - Anderen Limited has a video clip of a torsion viscometer in action (I was curious about how they are used), try this search string: "Gallenkamp type" Torsion Viscometer

Probably need two or three sets of hands to liner glaze that pot! Maybe a) a piece of scrap carpet (or somewhat) on the floor to pad the base b) something to lean the pot on so it sits at 45° or so, and can then be tipped up and rolled along the length of, also padded with carpet or somewhat c) a long pan to catch the poured-out glaze Pour glaze in, lean the pot over on the thing, lift the base* to the point where the glaze is about to pour out, roll the pot along the something whilst pouring out! Voila? *Risk, of course, that the pot breaks on the pivot point, hence, larger and softer could be better.

Hi Michael, Thanks for sharing this, nice work!

Zombie skin, I have that! :| I've been filling the chatter marks since early on, which prevents little micro-crawls, where the glaze didn't wet all the way to the bottom of the mark, and, there's opportunity for highlight/contrast. At first I'd used underglaze only; now I almost always use a glaze. Depending on the materials, the marks can be accentuated, muted, and somewhat in-between... I'm dampening the area with a sponge bit, then floating the material on the marked area - wet brush, pick up the glaze/underglaze, flow it on - the material goes right into the marks, less so on the surrounding area. Then wipe all with a sponge bit, leaving the marks filled and the surrounding area clean. Allow to fully dry, glaze. I'm still working on technique - get the marks filled in less time with less waste... The little round sponges that come with tool kits, they are good for wiping away! However, cutting purpose shaped bits from a larger sponge works, thanks Bill Van Gilder for the tip...