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CactusPots

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  1. This thread has brought up another interesting comparison that I don't doubt has been covered before. The teaching/shared workspace environment and the solo studio. Whether the solo studio is a production potter or someone like me who is something else, the focus and requirements just are not the same. I can confidently say I've never needed to tap center and others can cry heresy. I guess both are true. The GG is the simplest, most durable, effective tool for the job. IMO (as always)
  2. I have a collection like that from the starting the time CDs came out. My player of choice is an old school Ipod. I think it's like 120G. Music only. I play the songs in alphabetical order. The style jumps around quite a bit. Occasionally I'll play an album start to finish. Playing songs in order means I never run out.
  3. Respectfully Couldn't disagree more. In our age, probably hundreds of skills are discarded every year in technology. I don't know how many people drive a stick shift (as an example) or learned this year, but fewer all the time. I guess all firing in your studio is not some kind of wood fire kiln, cause that's a skill probably none of have from start to finish. Skills are only retained as long as they are useful, and then forgotten. It takes me a lot longer to tap on center, because it's not a useful skill for me. Otherwise it can only become an object of affection for anachronistic purposes.
  4. I agree, the grip should be directly on the wheel head and tight. It should run true. If you put your finger on the rim and rotate the wheel, it should run true all the way around. With the pot centered and tightened up, it should run true. There should be no play between the 2 main pieces of the grip. The choice of grabbers should be close to the top of the pot. This is a bitchen tool, something is wrong that can be corrected.
  5. I got quite a few firings from the used busted up kiln shelf that I just broke. In excess of 30 for sure. It had a hard life before I got my hands on it and probably would have gone on for a while if I hadn't knocked it over. I'll probably have to cut one of my 18 x 18 3/8" silicon carbide shelf to fit this time. I'm a little concerned about leaving a 8" piece of the shelf outside the damper. Which is what I'd be doing using a standard 12 x 24" shelf without cutting it. That would give a heat differential from one end to the other. 16" is all I need to close completely and leave enough to pull the shelf out the next morning. I think the next cheap silicon carbide shelf will work fine as a damper. Thanks for all the other suggestions.
  6. I don't think the clay would pick up the sand at leather hard. Maybe softer than that. I'd rather not go that route just for the mess. I only have one wheel and I already use it for Throwing Grinding glaze drips with a diamond head Pour glazing large pieces Trimming
  7. I believe it. I got some diamond Dremel burs from a company in Barstow that eat glaze drips. 40 grit.
  8. I built the kiln with basically the only knowledge from books and having fired 2 different up draft kilns at the UCSD Craft Center. The usual books, Olsen, Gregory and others. I saw a Geil once. There are definitely things I would do different. The flue and damper are right on though, damper opening being the exception. If you've never built a kiln from scratch, I recommend it. Learning assignment: Your kiln design must include at least one original feature.
  9. I was thinking along the lines of modifying the slot myself. Lifting the chimney off looks like a engineering job I'd rather avoid. Awkward and heavy. I castigated myself already for making the slot too narrow.
  10. Second effort. I tried dipping the pots in the same slip as the thrown pot. I did both bisqued and bone dry. Then covered in sand. The big problem was that the slip and sand did not stay on the pot well. Needs some kind of flux to continue with the slip approach. Looked good going into the kiln. I like the sand mix of white sand blast sand, red sand and black grog. What I need now is something that will adhere the sand to the pot and not add any color. It would be a plus if I could glaze and add sand bone dry, but most of the kiln load will be bisque, so adding a line of work that is once fire does add a complication. Next fire, I'll try some different liner type glazes, I think. Shino worked great but adds a red base color I don't need. I do have a super white shino from Coleman that I'll try as well.
  11. Is there any other shelf besides the SC in less than 1/2"? A 3/8" shelf is the best fit, but I don't think cordierite or high alumina comes in those sizes, right?
  12. When I built the kiln, the flue box is a set of cast inter locking pieces that have a 1/2" slot for a damper. I should have allowed for the slot to be larger, it would have been easier to fit a damper. I had been using a broken SC shelf for a long time. Basically worked fine, probably was cracked. I knocked it over onto the wood floor and it broke. I've got some time to look into this, maybe cutting a shelf isn't the best way to go. If I rent a wet saw, I'll have to buy a blade for that I'm sure. If anyone was interested in building a fiber downdraft, I'd suggest checking out my flue design. It's original and works really well.
  13. Corelite are the hollow shelves? Aren't those like 3/4"? The Advancers are big bucks, but definitely the best, don't you think? The used shelf I got for a damper for this last firing was 12 x 20 x 1/2 ". It had a full 1/4" warp. It slid into my damper opening when the kiln was cold, but when I went to close it up at the end, I had to force it in. I'm guessing it expanded with the heat.
  14. I'll check out renting a wet saw. It's an 18" cut though, there are some big floor tiles out there, so there must be a saw. I really don't care about the blade. One cut is all I want.
  15. I need a 3/8" thick damper, so I'll do what I can to cut one of these shelves. 1/2" might have worked, the used shelf I picked up for this last firing had enough warp to keep it from closing easily at top temperature. Most of the shelves I have don't have a significant warp. They sit flat when 4 posted. I only have a Skilsaw, not a wet saw, so if the diamond blade makes the one cut, that will be it for the blade. No hurry, since I don't expect to have another load any time soon. I'll try my supplier again and see if he has anything better. No one has ever had a failure with these shelves. More than the alumina shelves in electric kilns can say.
  16. Does anyone here actually use the cheap silicon carbide shelves in a gas kiln? They come in 2 flavors, one with a slit on the side and one that is solid. I'm wondering if anyone here has actually had one fail in a fire? I have 3 of the solid kind that have cracks. None of the slotted kind have ever shown a crack. I need to cut one for a damper. I also have a solid that has a significant warp. That would be my first choice to cut up. If we ever get back to business as usual, I'll be able to get a second set of Advancers and the cheapies will go to the back of the bus. The shelves appear pretty solid. I can't see any flex across the crack when I put the shelf on the edge of a bench and try to flex it. I'd like to hear if anyone has had a catastrophic failure.
  17. I have the same problem using multiple glaze layers. Usually I'm trying a dark base glaze under a crawl glaze. Sometimes the base is the same glaze with a colorant. Sometimes it works for me and sometimes the top glaze just flakes off completely. My problem, as I see it, is that the top crawl glaze needs to be pretty thick but without enough water, the bond of the top glaze won't go all the way to the bisqued pot. Glaze over glaze has a lot of variables, so sometimes, it just isn't going to work.
  18. I'm liking the hump mold approach because I can basically finish the pot in one go except for adding a rim. I can attach feet and whatever applied textures. My thinking is that working with wet clay will give me the best chance for flawless joints. The problem with hump molds is that the clay shrinks, grabbing the mold more tightly. The wet clay can't be removed from the mold wet if there is any adhesion to the mold without distorting the pot. My solution is to cover the mold with plastic wrap from the kitchen. You know, the super clingy stuff. It's really thin and doesn't add any texture to the inside of the pot even if there are folds. 2 or 3 pieces will cover the hump mold and then the slab is worked down. Pot lifts right off wet or leather hard.
  19. I'm surprised some ash glaze nut hasn't tried fish scale ash. Of course the problem would be getting enough of the right kind of fish scale. If I had a trash can of pure fish scales, I'd be scheming, for sure. The texture of really rough fish scales is appealing. Sort of a ceramic gyotaku.
  20. Electric kiln shelves seem somewhat prone to cracking. Even though I'm only firing to 06 I've had 2 shelves crack in half. On the very bottom of my kiln, on the soft brick is a layer of 2" fiber and then a 3/4" kiln shelf cracked in half. I don't really care and just keep stacking on it, Also just recently had the thinner model shelf crack in half. It didn't disintegrate, but the 2 halves can be flexed apart, so I'll never use it again. I haven't had these kind of issues in the gas kiln. (heavy knocking on wood in background)
  21. Do you finish pull with 2 ribs? Don't see any in this lineup that would work for that. I don't like to leave finger ribs, Plus The wall is stronger with a finish pull, yeah?
  22. I get the idea shino is a potter's glaze. If you're in the general public eye, you probably need a palette with blues. Yeah, I know food looks good on white/black. Blue is the anti potter color, yeah? Probably been discussed to death.
  23. What failure do you find in shinos for kitchenware? Shino is a big category. For instance Malcolm Davis Shino, if not exposed to excessive carbon is a nice shiny surface. You're using the term functional to refer to pottery used for food handling purposes, right?
  24. Sorcery, With such large drain holes, you must use some kind of screen. You must not have the kind of issues I have with hard water clogging up the screens. For me, there's an ideal size that allows the soil mix to not fall out, but no screen required. With cactus and succulents, a water logged mix is sure death.
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