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misc: too big platter; small cones; prints; gritty outside

updated sun 28 nov 04


Lili Krakowski on sat 27 nov 04

Two suggestions: Keep a piece of yardstick handy near your wheel. It =
must be the exact diameter of the maximum width pot that goes into your =
kiln. Check when you are throwng or building. Saves a lot of tears. =
However. I one made a huge bowl which I knew would not go in the kiln. =
Once it was dry my cat slept in it and never broke it--it was broken =
intentionally when we moved.

The junior cones are NOT the same as the Standard cones. A cone chart =
will show you that. Nor are cones the final word. Your glaze results =
will be affected by the density of shelves and stacking, voltage drops =
in your electricity supply, and, in my opinion, what glazes are near =
each other. Fire for a while--I assume you have an electric kiln about =
27x27x30 or so--with at least 9 cone pads with 3 cones each: one below, =
one the firing cone, one above your firing cone. When they come out of =
the kiln, mark each with where it was, and keep them....They are a good =
reference. For now keep a record of how many shelves and posts, how =
dense the stacking. I think it is Cooper who tells us half the heat in =
a kiln goes into the furniture. Just because on has gadgets does not =
mean one can trust them to do the thinking...or to benefit from =

I agree fully that words are used carelessly. But when I go to the =
drugstore to get film developed, they call those pictures, prints. And =
when a raccoon tramps over a board of plates, them there is prints. And =
when I buy fabric I can buy plain, stripes, polka dots, and =
prints.....It is not just a case of caveat emptor--it is a case of =
educating the public....

I repeat what I have suggested before. When one goes for surgery =
nowadays they make you watch a video in which an MD selected for his =
awful looks and smarmy smile shows you in brilliant color what they plan =
to do....I have seen a bunch of these; not reassuring. However. With =
all this equipment running round why why why don't more craftsmen have =
one of those eternally running videos in their booths, shops and so on, =
to SHOW customers the process?

All the suggestions about the smooth inside and the gritty outside are =
probable causes. Not mentioned was how often potters work and work and =
work and work on the outside, but leave the inside alone. Everytime one =
wipes or handles the clay esp if one throws very wet one is likely to =
remove very fine particles. So: Look at your pots with a magnifying =
glass when they are finished. Are they grainier outside than in? Do so =
before and after trimming and adjust work technique accordingly. If it =
is in trimming the slip method is good, also try smoothing with a wooden =
tool. Don't over do.

As suggested allow the pot to dry more between glazing inside and =
outside. The outside should be barely damp if that when you glaze.

Lili Krakowski

Be of good courage