Jump to content

CactusPots

Members
  • Content Count

    603
  • Joined

  • Last visited

1 Follower

About CactusPots

  • Rank
    Advanced Member

Profile Information

  • Location
    Harbison Canyon

Recent Profile Visitors

The recent visitors block is disabled and is not being shown to other users.

  1. Once again, I make a comment thinking gas kiln and everyone else is talking electric kiln. How anachronistic I am.
  2. But does that get you a dead sharp line between the glazes? Or does the "play well" part mean the overlap looks ok?
  3. 2 disagreements with this statement. First, the reference to "functional ware". Kitchenware or food ware would be more accurate as (for instance) my planters are as functional as your bowls and mugs. Second, (imo) when potters use the term "liner glazed", they're assuming a different glaze on the outside that is not intended to contact food. If you glazed the entire piece with a standard food safe glaze, you wouldn't refer to it as a liner glaze. The intent of the exercise is to use a wider range of glazes than would be allowable with a single application approach. The fir
  4. I'm guessing the production potters here don't use liner glazes. The reason for my thinking is that I don't know a way to make a clean transition between the inside glaze and the outside glaze that isn't just very time consuming. I'm doing it with latex resist, 1st glaze, wax resist, then second glaze. It looks good and I don't do kitchen ware very often, so not really a big deal for me. I guess the other option would be an overlap on the outside that worked between the 2 glazes. Not going to happen with a shino or a lot of glazes.
  5. Off the website: Variable Speed Control: Optional Mine never sounds like it down shifts. Same old granny gear all the time.
  6. Shop vac takes care of the dust. Or a big ass fan outside. I did build "flaps" initially when I built the kiln. It was a tin box, maybe 6" x 6" filled with ceramic fiber, The bottom one is still in service, but the top one burned out a while ago. Hence the plug.
  7. Pretty sure mine doesn't. Just start, stop, pug and vacuum on the control. I can see where it would be useful. Maybe the doc you're looking at is a new upgrade model.
  8. I used Peter King clay. Not the easiest to throw, but they have held up well so far (maybe 60 cone 10 firings). You could maybe just use Soldate 30 or add a bunch of grog to a basic cone 10 white or light colored clay. I think if I was to do it again, I'd extrude the spy holes square and fit a square tapered soft brick plug. Making a mold form for castable would be tricky. I don't think it would be durable unless it was pretty thick. I used castable cement for my exhaust damper box. At least one piece cracked, but is still functionable.
  9. I don't think my PP VPM 30 has a speed control.
  10. What kind of pugmill has speed adjustment?
  11. Or taking a fresh bag of clay and running it through the pugmill. I've not tried this, but I suspect if it was hand building firm and not throwing soft, it would come out short(er). The process SBSOSO is talking about dries the clay significantly by the time it gets back into the pugmill. It's an interesting question why they were able to get away with immediate use after pugging scrap and now they can't. Lots of ins, lots of outs and lots of what have yous.
  12. I noticed the exact same problem with my reclaim clay. I called Laguna and asked their clay "expert" about it. Their reply was that the commercial pug mill they use has so much more powerful vacuum that my Peter Pugger. I don't know if I fully buy their explanation, but I don't have a better one. The working solution I'm using is to pug wet and age. Very nice clay that way. I think Sorce may be on to it. By the time I get around to a session with the pug mill, the scrap has been sitting in bags wet for quite a while. Sometimes even a touch of green. It's definitely not short coming o
  13. I think this is the right approach. I don't know where the math failure is here, but half a bag of clay will not give you a 30x30x 1/4" slab, just from experience estimate. I don't know why Min's calculation is off. The pug is a little smaller than 12x6x6 to actually measure it, Not by that much (half). The rough calculation of 432 cubic inches by 25 pounds is 0.05 lbs per cubic inch. I rolled out a 1/4" slab and cut it to 12"x 12" and it weighed 4 lbs almost exactly. That comes out to 0.11 lbs per cubic inch. This seems to work for my calculation and gives me a better way to
  14. I've had this problem a lot, as it's just part of my work. I think what's happening is that the outside clay layers dry and trap moisture in the slip layer. A good solid connection is the first part as everyone notes. An extended time in plastic bags equalizes the moisture between the layers. A slow dry to basic dry and and then extended dry to get the internal moisture. Easy for me in the summer time, not so much now. The bisque cycle should be slow to 200 with a soak before moving on. Even if the bisque is perfect the attachment can peel up on the edge sometimes. I think it's
  15. I'd like some tips on estimating clay needed for large slabs. I'm aware that experience will help doing a ballpark estimate, or maybe even better. My slab roller is 30", so that's the max in one dimension. Some of my forms so far require a 30 x 30 slab, My current method is to keep making slabs until I get one right, then mark on the form what it requires. I'm hand rolling to get the first dimension, then using the slab roller to get the final size and set the final thickness. The slab roller definitely doesn't like a large piece of clay more than 1 1/2" thick rolled to final thickness,
×
×
  • Create New...

Important Information

By using this site, you agree to our Terms of Use.