Hulk

@shawnhar
I am admittedly a hypochondriac but reading through a lot of hobbyist ceramic forums talking about silicosis made it sound like a dramatically bigger issue than it actually is. 
 
I ended up reading a ton of published studies on silicosis prevalence in various populations and it seems like the occurrence rate is so exceptionally low in general, and that these cases mostly occur in much higher exposure situations (miners, stone cutters, construction) where workers are exposed to free floating dust for hours at a time, every day, for years.  Many introductory studies stated ceramicists were at risk, but these are people who spend years doing this for a living. 
 
While it freaked me out at the idea that having this in my home made my exposure constant, 24/7 for three years now I don’t work with nearly enough volume or leave enough out for it to have been a serious issue I don’t think. A lot of the comments made it sound like leaving a few crumbs on the floor that you step on was going to give you acute silicosis. 
 
I’m still going to take it seriously and keep a tidier space, cleaning up as I go and wet mopping everything down - but I think I can relax a little and keep pursuing my passion in my apartment until I can afford a studio space. 
 
Thanks for bringing me back to reality haha

Happy Valentine's Day 

UPDATE: 
Here’s my piece I made in the end. I’m still finishing a vessel with a more mosaicy feel to it. 
In the end I just had a go at it, but shrinkage has now happened on both pots pictured,, however, seen as this was just exploratory work for an art college project it’s okay! 
Thank you again for everyone’s advice!

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!

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!

Marcia Selsor

Waxed and ready to glaze
1 bottle, 1 vase, 1 bowl, 10 mugs, 11 berry bows
and 4 plates that are our 15yr anniversary/test design for shape, weight, durability since it was last week's class subject, feeling pretty firmly in the intermediary category now, gettin there. It will be so awesome when I'm not throwing "a" bowl, I'm throwing "MY" bowl, another thousand pounds or so maybe, hopefully, lol.

This will be "Primal", No. 7 in my Hidden Mask Series. The glazes are merlot, cobalt, deep yellow matte, clear & black engobe. Few more thing to glaze and then ready to fire-took me forever to get clay this time, and one 25lb block arrived as dry and solid as old  concrete. They replaced it, but still....!!!

Oddly enough: I would like to spend a day unseen in a corner, watching a newbie throw their first form, open their first kiln firing, or sell their first cup. The joy and excitement is contagious. Would have loved to spend a day with W.G. Lawrence (Phd@ Alfred) and pick his brain. Same for Orton Jr, Koppatchu, Horton, and a few others who laid the foundation on which modern pottery is built. 

two whose postcards hang in my studio for inspiration are melissa greene, of maine's deer isle and carol gellner levin at the alexandria, va torpedo factory art center.
the fabulous horses of susan greenleaf, who was at the torpedo factory and teaches through their school.
another workshop with both of the colemans, tom and elaine from nevada.  never enough, 100 times would not be enough.
glenn woods, chicago and palm harbor, fl,  shapes, not the gorgeous crystalline glazes.  i'm agog every visit.
kim kirchman, teaches at st. petersburg  college, clearwater,  maybe i can learn to paint!   though i think it is hopeless.
lots of members here whose photos of their work make me drool.  POST MORE PHOTOS, PLEASE!
BTW if anyone wants to visit bill van gilder, come here and i will take you to his gorgeous studio just across the river.    well, if we go over the bridges in a car, it is about 10 miles or so.
lots more, love workshops, love pottery. love learning something new!

@Hulk, I too would like to see a Van Gilder workshop. I would recommend if you haven't seen, Martha Glover. . . amazing demo, and excellent distortion of thrown pieces for organic original forms.
 
best,
Pres

John Baymore. I miss him and his wisdom.

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. 
 

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. 
 

Hi folks, I have not seen any new topics in the QotW pool, but did receive an anonymous PM asking. . . . . 
If a workshop were offered at a reasonable distance from you (after we are loose, of course), who would you want as the presenter?
Maybe one question to ask would be do you go to workshops or demonstrations? Years ago I went to a John Glick workshop/demo at ART in Chicago. Terrible trip, wonderful demo! I was sick at the time with the flu, and broken a lens in my glasses. I rode the train to Chicago, got into the hotel late at night, and collapsed on the bed before dinner. Next morning, went to the conference feeling better. Sat through the day staying away from folks, totally enthralled doing sketches and writing down ideas, John Glick was fabulous. Next morning went to the art museum, then back on the train to home. I used ideas in my classroom the next few years, making forms of wood in the wood shop, and tried a lot of thrown variations of double plates and bowls along with extrusion ideas.
So I will ask, do you go to workshops/demonstrations, and QotW: If a workshop were offered at a reasonable distance from you (after we are loose, of course), who would you want as the presenter?
 
best,
Pres

Open up the foot pedal again and send us a couple of pix of the guts...

I do have an old creative industries wheel  its the 1st ones made-super heavt duty long before the clay boss came along.-I found the perfect use for it next to my Brent wheel CXC throwing wheel
I was cleaning my shop after xmas in my year end shop cleanup and here it is
well some of it-turns out a potter i knew moved away and gave me this table-no motor or controller or wheel head but a really solid table top and stand. I usually have it 1/2 loaded with bats and its where I put my clay to throw for the session next to me.
The thing about the CR wheel  and its really an old 1st generation wheel is its been trouble free the whole time no adjustment needed and I cannot hurt it-its got adjustable feet as wheel so you can level it.

So I took the pedal apart.  adjusted the rheostat and it still wont stop.  wondering if it just needs a new rheostat??

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!

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.

@Pir, I wouldn't add any more saturated epsom salts solution to that batch of glaze. Going forward I'ld suggest just scooping out 100mls or so of glaze and experiment with that by adding just a drop or two at a time then stirring it up and see if it's working with the glaze. Approx 1 teaspoon/ 5 ml per gallon should have done it. I made the mistake recently of using some epsom salts solution that had precipitated out enough to make it useless. Is your solution saturated? What cone is your bisque fired to? 
@oldlady, agree some clays need dipping in water, I've found it's mostly the open groggy bodies that this helps with to prevent air blowouts causing pinholes in the raw glaze.

You’re not going crazy. If you’re measuring in different containers, the different containers will give slightly different measurements due to calibration issues. Unless you’re getting really spendy lab containers (which aren’t necessary), some variation is considered acceptable.  If you keep using the same measuring device across the board, go by that device’s numbers to get repeatable and predictable results. 
 
It will be more viscous, but the SG number should stay the same. You’re affecting how the glaze flows (or rather doesn’t), not adding more dry material or water that would change that number. At least not enough liquid to be measured meaningfully, anyways.
 
If you’re adding Epsom or vinegar, you’re flocculating. If you’re adding Darvan or sodium silicate, you’re deflocculating. Flocculating will basically make the glaze more viscous in the bucket without changing the water level. It keeps particles suspended longer because they’re clustered together and allows for a fatter application that dries more slowly, which is one way of fixing your drip issue.  It also has the added benefit of preventing hardpanning. Even a flocculated glaze will settle out eventually, it just won’t turn into that hideous, cement-like substance we all know and hate. A flocculated glaze will just sort of gel at the bottom with a layer of water on top, and will stir up in a matter of a minute or two.
As much as I love Tony Hanson for everything else he does, Sue Macleod explains deflocculation and flocculation better than anyone else out there right now. Hers is an in-depth and user friendly explanation.
Only if that ratio of glaze materials to water is what will give you the application layer of your glaze that you want.  Making it too thin and then adding a flocculant can still make your glaze go on too thin.

For me, the price difference was substantial. I have been saving for Advancers for YEARS (low fixed income), ever since John Baymore told me all about his & why they are worth the investment.  Then I heard about the Thermal Lights--right here on these forums. Several of you helped me with the research & sizing for my L&L kiln.  I had just about the right amount saved up by the time I ordered them & Bailey had a discount offer as well--so that was just plain thrilling.  

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:
Thixotropy (digitalfire.com)
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."

Yep--paint scraper! Isn't this a lovely sight.  So EZ-this type of shelf is worth every penny.