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Tomccv

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    Wrench_tech@hotmail.com

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  • Location
    Courtenay,BC, Canada
  • Interests
    Back country camping, paddle sports.

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  1. Thanks Min I have read about this technique and did do something similar when I first embarked on this course. I usually have to work it like a sketch, though and remove, reshape and retry until I get it right. I do this just like I I would in my sketchbook and then go over it with the underglaze. Works very well except for the problem I already posted. I guess, if my drawing skills were up to it I might try your suggestion again. But my skills, although they are always improving aren’t up there yet. Thanks for your reply. T
  2. Bill, your photos show beautiful work but that’s not what I’m doing. I need finer lines than that and your assertion that I could use a brush and “with practice” is ....well, insulting. Do you think I didn’t try a brush? A brush is only a tool and all tools have their limitations.
  3. I hope I got the gist of this thread correctly or my question might seem off topic. I like to sketch images on my white bisque ware with underglaze, refine to set the UG and fire a transparent glaze over the top in the next glaze firing. It requires three firings to get the job done but results in a very pretty pot. And very popular... It requires me to have the ability to put some very fine and precise lines on the pot and I am getting this done with some small squeeze bottles that have a syringe tip. I am getting the result I like but with difficulty. Sometimes the underglaze comes forth too freely. If I’m quick I move quickly and don’t get a blotch. Other times things are going just fine when the underglaze quits feeding. I squeeze and get nothing until suddenly... Well you get the idea. If it would feed reliably it would work perfectly. But it doesn’t. I can’t be the only potter that’s doing this. I love the result. The images really pop. If you went through a phase like this and was successful, what did you use? Im not really frustrated but I’d like this to be easier. Any suggestions welcome. Thanks Tom
  4. Sorry, I never do things right the first time. yes that is a transmission part. Ports and passages for oil.
  5. Thank you for the good straight forward information and for taking the time to share it. Much appreciated! T
  6. Thank you, everyone for your input. I can see that my only proper course is to have a spare set of elements on hand for the day when the kiln controller can’t compensate for the degraded elements. Should I also have a couple of new thermocouples sensors on hand also? I guess I am asking if it is SOP to change them out also with an element change. I dread this day. I don’t look forward to the lost time and ruined ware getting things dialed in again. But that’s the way things go..... T
  7. Well, so far so good. I do keep firing times in my log book and notice no change in the last 10 firings. Will continue to watch this closely. Thanks again for the look down the road.
  8. Sorry, the spell checker got me again. I meant to type ...Bill, are you saying that firing times will change, firing by firing, or will I someday open the kiln find a load of under fired ware. Geez.......sorry.
  9. Thanks for your replies. bill, are you saying that firing times will change firing by firing until the end or William someday open the kiln and find a load of under fired water? I’m in a really sweet spot right now and seem to have things dialed in quite nicely.
  10. I have just finished up my 61st firing. About half and half bisque at cone 04 and glaze at cone 6. Can anyone give me an educated guess about how many more firings I can expect before I have to change out the elements? Thanks in advance for any help.
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