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Kakes

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  1. I can't figure out if this is an option -- is there a way to save posts so I can access them easily later? Like in a list of favorites? thank you, keiko
  2. Wow, that's impressive. I'm definitely going to start doing that. What type/brand of vacuum do you use? I need to buy a new one - the one I'm using is a dinky, old handheld type that spews everything out its rear end.
  3. I've heard that mopping is the best way to clean a studio, but what about a vacuum cleaner? I was told to vacuum out my kiln occasionally. I was wondering about the various models out there, wet/dry vacuums, heap filters, etc. Do any of you use a vacuum, and what type? Is it a terrible, dangerous idea?
  4. Thanks, Neil. Should I follow the slip recipe with the 240 or try another one? I'm looking for a basic black slip. Sorry, I've never made a colored slip before.
  5. I fire to cone 5, 5.5 or 6, usually 5.5. I use Standard 420, a sculpture clay, 710 which is 266 w/grog, or 240. these are all stoneware. I don't know the name of the slip recipe, I buy it readymade at a local studio. It contains: grolleg, redart, minspar 200, silica, bentonite, pyrophyllite, red iron oxide, black iron oxide, manganese dioxide, and cobalt oxide. I have a Skutt 1222, a year old.
  6. I was wondering how I could fire something so it has either glaze or slip on all sides without picking up bits of kiln shelf. Here's what I'm trying to do. I am making circular discs 5-7" diameter, pretty thin, like1/8", with a 2-3" long hole in it (for a wire). They'll eventually be standing upright on wire posts. I want to be able to have either glaze and/or colored slip on both sides. I'm using slip because I thought it might not stick to the kiln shelf. I tried to fire it on a nichrome wire post, with a little stand that I made, but they're too heavy and the wire bent over. That's why I'm using slip, so I can fire them laying flat. My problem is that even though they don't stick to the shelf, there are still little scars and bits of kiln wash sticking to them. I haven't tried kiln stilts because I wondered if there would be any little pricks, which happens with glazed surfaces. Would there be any pin pricks if I used slip? I really need their surface to be as flawless as possible. I've fired flat slabs on coils which works, but never with slip on the bottom. I've heard something about alumina hydrate but have no clue how I would use it. How do people fire things that need to have glaze (or slip) on all sides?? Any suggestions and advice greatly appreciated!
  7. I think handmade pottery is shockingly underpriced. (I'm not a functional potter, just a fan.) I've noticed that potters who have a strong social media presence, especially instagram, can sell out everything they make, either at a weekend studio sale or online. These potters' mugs sell for $60-80 and they sell like hotcakes. Also, just as a side note, I'm always looking for bowls; small ice cream bowls, larger pasta bowls (personal size), etc. Bowls, especially the rounded kind, are a very popular way to serve food now - think of all the restaurants serving rice bowls, açaí bowls, salad bowls, etc. I hardly ever find these kinds of bowls at craft/art fairs. I love mugs but I don't need anymore, except as gifts. Maybe try selling more bowls, less mugs?
  8. I've been adding surface texture to some pieces with some clay slurry I mixed up with the same clay, dried and slaked. No other additions. It seems to work fine for my needs, no fit issues, but I'm new to all this chemistry, so maybe I'm missing something. Have you tried that?
  9. My experience is that if you don't wait for the terra sig to dry completely before applying another layer, you can pick up patches of the first layer. When that happens (because I'm impatient), I just let it dry and dab on some more terra sig on the bald patches.
  10. Thank you all so much for your input!! I am definitely going with digital, maybe two as some of you advised. Bonus that it's cheaper than the triple beam!
  11. I am just beginning down the road to mixing my own glazes. To that end I bought a whole bunch of chemicals & now realized I need a scale! Which is better in the ceramics studio, the old triple beam scales or a digital scale? And does price point matter? This seems like a really basic question & so I did a search but nothing came up - maybe it's too basic :-/ thank you!
  12. Thank you so much for all this information and your supportive words! (and apologies for my delayed response). I am finally doing my first single firing tonight and will try the slow glaze setting (to cone 6) this time. Next time I'll try dhPotter's schedule to compare.
  13. Hi Min, What are the proportions of gum to water when mixing up a gum solution? And is this (adding gum either dry or wet) the best way to make a glaze easier to brush on? I'm not so concerned with it adhering to the surface as brushing on a smooth-ish layer. thank you.
  14. Thank you everyone, for your replies. Chad - making holes in the cleats is a good idea! JohnnyK, I can't turn the pieces over between boards because they aren't really flat and the edges are curled up. They're also too big for me to do this without another set of hands. A fabricator I know suggested using large metal hangers with D-rings which I found online. They're 1" wide x 6" long (by 1/8" thick) so plenty of space to spread the epoxy. It's probably overkill but better safe than sorry!
  15. I was wondering about this very thing - how to ventilate the room while the kiln vent fan is on. I'm in a basement with small windows so there's a limit to the amount of naturally occurring air flow, especially in the summer. If I put a box fan in one of the windows away from the kiln, would that "fight" with the positive/negative air flow of the kiln fan?
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