george koller on thu 6 dec 01
Jeff,
We would see specks in light glazes from any dark so I bought
several and used one for light, and one for all dark. Yes, and once
or week or so I'd take it apart but a good flush was all that we seemed
to need from day to day, batch to batch.
Hope somebody will try that powered model and report. I hated
our compressor. Real potters can't have compressors! Would
turns my studio into a machine shop when it would come on. Can't
be far enough away from them....
One more thing about the true HVLP in the wood finish world: it
is supposed to give less over spray - a major health / environmental
factor. These quasi faux HVLP were only a "cheap" substitute then, and
the "real" HVLP costs seemed very high to me ($800?), so that $100
gizmo looks interesting to me.
Just read Mel's posting about spraying. Fits my "dimensionally challenged"
2D world experience closely. In the world of tiles I would use that neat
"tare weight" feature on our electronic scale to measure how many grams
I was adding to at least one tile per batch. I'm sure it helped me learn by
verifying the usual visual clues - light on dark was easy, light on light was
trickier.
george koller
sturgeon bay, wi - door county
Jean Cochran on fri 7 dec 01
Dear Fellow Clay Arters,
I'm on my way to my glazing wheel, spray gun and compressor. For my
blues, I dip the pot in the blue glaze, place it on the kick wheel, and
spray the pot while the wheel spins. For my teals, I dip the pot in the
same blue glaze, and spray it with a green glaze. The subtle variations
in the tone of the finished skin are what I find desirable. There is a
rhythm to this, as in all phases of pots.
Hi Ho, Hi Ho, it's off to spray I go.
Jean Wadsworth Cochran
Fox Hollow Pottery
New Haven, Kentucky (where it is so foggy I can't see the road about 1/4
mile away)
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