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  1. yes these are temping. do you find that the hydrobats dry out the bottoms more quickly or so you take them off the bats while drying? i just read online that you don’t have to cut pots off they release natually while drying on hydrobats. i live in a desert, things dry so fast here i’m wondering if this would work for me or not. thanks!
  2. Are you on Glazy? That’s the easiest way to recalculate and substitute recipes. A truly beautiful corner of the internet worth checking out.
  3. yeah i have one of those and it worked pretty good for awhile, but then all my bats warped, and it wasn’t enough to make up for it. i’d say worth the $15 definitely and will use again when/if i get a different type bat!
  4. Yes I often have that problem, very irregular cuts at the base of bowls. I will think about this, not sure how to replicate but I’ll think about it. Love how every potter seems to have their own hack or tool they’ve made for these sorts of things. Thanks for sharing!
  5. Good to know, mine are a particle board material that wraped write away, but could see Masonite being much more rigid. Thank you!
  6. I don’t know what pot lifters are but I will look into it. Taking off the splash pan to hydroplane off the wheel is genius. I remember hydroplaning when I first learned, and for some reason got it in my head that it’s not a good technique because it could make for a soggy bottom. But I will give this a go, I like it! Thank you!!
  7. This is such an awesome lists of solutions, most of which are completely new to me, very excited!! I love not reinventing the wheel when I don’t have to and I’m sure I can find something in here that fits for me. And yes I agree I should give bats another go, I just get overwhelmed with the number of tools and supplies needed in pottery, my instinct is to just trying to pare it down to the basics and cut out the ones that are more frustrating than helpful. That being said, the bat is pretty basic. Hope this is helpful to others out there too. This forum is great, thanks to all that make it happen!
  8. Hi all! I don’t like throwing with bats, I get frustrated with trying to keep them from wobbling and the particle board style ones I have warp so easily. I first learned to throw directly on the wheel head and I guess that’s where I’m stuck. The only problem is that it’s really hard to remove wider things. I avoid bowls for this reason, have lost too many trying to remove them. Open to any and all tricks and tips. Thanks!
  9. interesting! that’s what my shimpo vl lite sounds like. it’s not the whisper, but it does have an oscillating quality to the sound that i have wondered about. i assumed it was fine or possibly caused by the very not level patio i’m working on. very helpful thread! thanks!
  10. thank you both for info! i’m also concerned that if colorant is oversupplied from an oxide wash, that even exterior surfaces not in contact with food might color shift over time due to harsh wash cycles. sounds like i should keep washes thin and below glazes for functional wear and out of contact with food contact surfaces all together. i usually just do single liner glazes on interiors, i’ll just stick with that. thanks!
  11. Hi all! I’m interested in trying out oxide washes below and/or on top of glaze layers, but wondering in general, how much can you expect oxide wash layers to interact with glaze layers? I am familiar with the oxide colorant limits recommended for making safe and stable glazes, Hasselberth and Roy being my go-to reference for that. Obviously a wash or slip falls outside the bounds of a stable glaze because it’s something different, so are they stable when used with glazes? Will oxide washes saturate into a glaze and leach, or do glazes act as a barrier to prevent leaching? Is it possible to apply washes over glazes without there being significant leaching? If I add some frit or slip instead of using only water to the wash, would this help stabilize the colorants in the final product? Would that opacity the final product? My ultimate goal is to create glaze surfaces that are layered, non-homogenous with a lot of visual texture and depth, I thought washes might be a good technique to add to the mix. But when it comes to functional wear, I realize some of what I’m trying to cannot apply, just not sure which side oxide washes fall. Thanks!
  12. Yes it’s the testing boron against different flux / Si / Al levels that I’m curious about. Just looking for some insights before I fall down the testing rabbit hole. I think when people ask me what I make as a potter I should just say test tiles. I just can’t seem to get to the point where I’m glazing actual pots, too obsessed with asking- what happens if I fall down any one of these rabbit holes?
  13. My concern is more about the quantity of Al and Si rather than the ratio of the two. For example, what happens if you add 0.15 boron to a cone 10 glaze and fire to cone 6; does it melt? If not, can you add higher levels of boron to a cone 10 glaze to melt at cone 6? I watched the CMW cone six video series, but this point of altering boron for different chemistries was not brought up which is why I brought it here. I guess the way I’m thinking about it, the lower Si and Al recommendations for cone 6 compared to 10 mean that there’s more flux in the mix to lower the melting temp, and 0.15 boron is also added. But as you increase or decrease the quantity of flux in the mix, shouldn’t you have to also decrease or increase boron to compensate if you want to melt at cone 6? And if so, why is 0.15 a golden standard for cone 6 if it’s variable? I’m gearing up for tri-axle blend tests, just trying to pick the three variables to alter with each test. I guess the answer is to just alter boron levels and find out!
  14. I see references to recommended stable UMF levels for cone 6 glazes, usually around 2-3 Si / 0.2-0.3 Al with 0.15 B to get the chemistry to melt. But, could one use melt higher levels of Si and Al at cone 6 so long as more B was also used? And if that works, is there a reason why lower Si & Al levels are recommended, other than the cost of frit? And if that doesn’t work, why not? At the other end, I am also curious to hear what people have to say about the stability of a glaze with a 3:7 R2O:RO ratio with Si and Al levels low enough to melt at cone 6 without adding boron. I am under the impression that that’s a bad idea because there aren’t enough glass formers to make it stable, but it really seems like a good idea in my head. Thinking about ash glazes in particular. I’m not using toxic colorants that I’m concerned will leach, but I want to avoid making beautiful glazes that degrade rapidly. Just want to poke at the rules a bit and see what sticks. And yes I will test for myself, just looking for guidance first. Thanks all!!
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