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Everything posted by CactusPots

  1. My opinion is that where ever you live, you can adjust to the consistent conditions pretty well. It's where it varies wildly that it's irritating. Air movement is definitely the key, an industrial fan will move things right along.
  2. Kind of depends on what all you use the work table for. I think the assumption everyone is making is mostly wedging. If you want to pull moisture out of clay for any of several reasons, I like a poured plaster. If you use more than one color clay, 2 different canvas covers works nice. One can be mounted permanently and the other is on a removable frame. A little bit of a building project, but it certainly doesn't wear out if done well. Yeah, very heavy. My newest work table is the 6ft run off for the slab roller. Formica over plywood. Mostly for assembling handbuilt. Sometimes o
  3. Nerd's assumption seems to be that the fines are missing from the recycle. That can't be the case for me. Most of my recycle is trimming due to my throwing an extra thick bottom and trimming the feet in. That part of the clay is hardly touched. I guess there isn't much call for this product if it's not available from our regular suppliers. Industrial supply usually means industrial quantities. I am fascinated by contemporary industrial ceramic magic. I wish more of it was readily available.
  4. So after Min mentioned Additive A in the post on pugmills, I found this post. No one actually responded positively to the original question here. Since the post is 3 years old, maybe that has changed. I can't find any pottery dealer listing Additive A. I think Laguna and Bailey are the biggest. It seems to be an industry ingredient that did not make it's way into our food supply. Internet search turned it up all right. $75 for 50lb bag. Not what I had in mind. It does seem to me like it would be useful in recycling clay. I find the stoneware I use is definitely short if I don'
  5. Make it salable at least if you do decide to go to another make.
  6. I have heard somewhere that some porcelains have an organic component that aids plasticity. Do you have any knowledge of this?
  7. Mark and I both have PP VPM 30. Although, I wouldn't be surprised if he didn't have another as well. No one knows why porcelain will degrade aluminum and contaminate the clay? I guess it's just one of those "conventional wisdom" things that sells the more expensive machine. My general experience is that aluminum is not all that easily corroded. Like I said, Shimpo is feeding a line of BS when they contradict the fact that no one ever regularly cleans a clay pugging machine. I'd be willing to bet Imerys, Laguna or any other manufacturer of porcelain does not regularly empty an
  8. What exactly (theoretically) would cause porcelain to be corrosive to stainless steel? I understand there are varying qualities of stainless and that it is only stainLESS, but really, is there a PH cause or something else? Why doesn't stoneware (or earthenware) have this quality?
  9. Maybe we should just all email Shimpo this picture asking them if this could be anything other than a manufacturing defect. I'd really like to see Ipek recover his investment, partly because I'd like Shimpo to be a valid choice for future purchases. Sometimes you just have to hold their feet to the fire.
  10. Is there any corrosion on the matching part of the barrel? The picture basically shows half of the barrel, I believe. The other half should mate with the machined surface in the picture. If there's nothing more than discoloration on the matching surface, it would point even more strongly to an inclusion in the casting, I would say.
  11. If this is like my Peter Pugger, this is a one piece cast part. The #2 surface is then machined into the casting. I'm wondering if some type of rustable inclusion would have caused the initial oxidation, kind of like a flux. Since the corrosion is so localized I don't see how anything inside the machine could have caused it naturally. I also don't understand the part of our conversation about the seal. If there was an issue there, the pressure of the clay would cause either a seal or a leak. Shimpo's advice to clean and empty the machine is a joke. That would be like telling you to
  12. The arrows pointing to 1 and 2 are separate pieces of metal or machined from one piece? They should be one piece, but if you're questioning the seal across the machined surface of 2, I don't see how you're saying this problem was caused. A failure of gasket or seal across the machined surface should cause a failure on the machined surface of 2, I would think. I'm thinking an expert machinist or metallurgist opinion would point to a manufacturing flaw. That's really a localized corrosion. I'm thinking the fix is going to be either a replacement part or grinding out the corrosion and r
  13. Ok, sure, but it's only degrading in one specific place. Why is that spot different? If the lower cast part and the machined surface are 2 different pieces, is that seam where the sealant is needed? Has Shimpo seen this picture? If they are going lame on this, my suggestion would be to take it to a machine shop that does stainless and ask their opinion.
  14. Aren't a large percentage of these kilns hard wired? I guess you could flip it off at the breaker panel. If I expected a lightening storm, I would feel good about a procedure to prevent general damage, tv, computer, etc. Lightening is rarer than frost where I live.
  15. Have you talked to Shimpo about this? Is the upper part that is corroding so badly steel inside the clay chamber? That seems like a bad design flaw to me if so. I would think everything in the picture should be one part cast and machined aluminum. I would be important for people considering purchases from Shimpo to hear how they respond to this.
  16. In my electric kiln the shelf is on a layer of ceramic fiber. The fiber extends all the way under the side walls, making a nice tight gasket. My gas kiln the bottom shelves are on 1/2" posts. The electric kiln is only fired to 06. Seems to work fine. I was just pointing out that the work should not be directly on the soft brick, in case that isn't obvious to all.
  17. Lots of unknowns in the original post. I guess the base assumption is that the poster has an electric kiln unless stated otherwise. We also have to guess there isn't a shelf on the bottom of the kiln to protect the soft brick. Also no information about the type of clay used for the tile. If terra cota, not so bad. If porcelain, Bummer. I'm with the Rockhopper, this is a disassemble. The glaze will eat into the soft brick like soap into a sponge. The tile being much harder than the soft brick will make it difficult to remove without destroying the brick. My advice would
  18. I would say the assumption behind this statement is that future cultures will not appreciate or value imperfections. Every creator sets his own standards, so I'm not criticizing this viewpoint, only pointing out it's limitation. You don't have to be a science fiction fan (although it might help) to imagine a world where handmade is no longer possible and replicators churn out perfection after perfection. I can assure you within the lifespan of our work, the values of societies will change. What was once trash soon becomes treasure.
  19. There is such a thing as commercial black grog. I got some from my supplier, but I don't know it's ultimate source. It's similar in size to the regular grog. I've settled on applying a mix of white sand blast sand, red sand and black grog to still wet white shino. Fired to cone 10, it's a pretty good even surface of sand. It doesn't melt. If you use a shino with good percentage of soda ash, it comes back with an orange background. As for the homemade grinding, I'v tried that with glass to get an additive for my wood ash glaze drip mix. A lot of work, unless you only need a lit
  20. It took me a long time to make 6 mugs at once that I really like all 6 of them. I find mugs to be difficult because of the ergonomic issues. It must feel right to the hand, the lip, right size, right weight. Proper glaze, balanced look. Kitchen ware isn't my main thing, so I didn't work at it all that diligently, but I can tell you all my friends have bad mugs. Denise's advise is how I went about it. I have 3 mugs from the same full time pro potter that I use every day. Perfect for me, but all 3 have rim chips and discoloration inside. Plus I have mugs from a dozen or so other potters
  21. I don't think anything on the Skutt is stainless. Looks like it but it's not. Keep the outside clear of glaze splashes, they will rust there.
  22. It seems to me that the fumes from bisque firing must be highly corrosive. Don't know what happens in electric glaze since I don't do that. I did lose a lid myself by not being aware of the amount of corrosion in the band. Now is the time to deal with issues like this. It's so easy to concentrate on the fun part of studio ceramics and lose track of maintenance issues. Go through the kiln and clean up all issues before you start using it is my advice. No mickey mouse fixes. Replace with new.
  23. You want to replace the band on that lid. It's starting to eat through under the handle. The lid is only held together by compression of the band and if it fails the lid will fall apart. It's not terribly difficult but there are a few tricks. I'd take the rings apart when I took the lid off and do the bottom plug that way rather than lean over all the way to the bottom.
  24. It's just the hot water to clean a wax coated brush. I've been known to leave a wax brush overnight. Boiling water is 100% effective on wax. An electric tea kettle is a necessity in my studio. Hot water for throwing, mixing soda ash and cleaning wax brushes. Occasional cup of tea. The soap trick on the brush works ok for latex resist. Maybe 85%. Use cheap brush if possible. When I get chunks of latex that won't come out on a good brush, I use a wire brush to clean it.
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