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  2. callie, i use the plastic grocery store bags with the handles cut off. put a pot into the bottom of the bag, fold the sides over the top and if necessary, cover that bag with one over the top. just found a double bagged bowl from last fall. it was perfect to trim. (student never came back before i left for the winter.)
  3. Rae, that's what I'm hoping the board that I'll clamp to it will accomplish. It won't be delivered for a while, though. Of course, with the work near eye level, I may end up introducing new aches and pains.
  4. Hope you will post some pics of your stacking and the fired results when you do this! Just FYI, the New Hampshire Potters' Guild is open to anyone--we have members in Maine and other New England states. Many do wood firing and there is some real longevity of expertise, incluidng with kiln-building. The Guild has it's own wood kiln, also. Check it out https://www.nhpottersguild.org/
  5. Well, good for us, but sorry to hear it. It was a great service...I just encouraged a fairly new potter to check it out the other day (looking for a kiln & some supplies). He didn't want to join this group (or any other) but did want to see what might be for sale. I've always been able to sell stuff quickly there, for fair prices (no shipping -I'd get responses from locals, which was unexpected, but great).
  6. Yep...when we invite you for dinner, after you are seated we may then say, "Here, eat, then get the hell out." That's how you know we like you! (Sorry for veering off-topic!)
  7. Today
  8. Are you allowing for a place to rest your elbows while working? On the board?
  9. No, works for me. Easy Peasy! Also have an engineered recirculating chamber that evens things out in minutes to hours but plastic just fine here. That recirculating thing is really nice but a pain compared to the plastic. Jennifer McCurdy showed me a nice quick way to manage drying with plastic. She would gather it evenly and drop it into the top of her vessel then drape it over evenly on all sides and voila! Learn how to manage your drying speed she said to me.
  10. Just a few questions come to mind Do you think that you are not achieving sufficient reduction with your current setup and if yes and you do not have an oxygen probe during reduction do you have a positive jet from the lowest port plug? When you go into reduction how do you achieve it with your kiln / burner setup? What is your reduction schedule in general?
  11. We will be getting more traffic here as that site shuts down
  12. Thank you. This is the best sight I have ever found for getting responses to questions.
  13. Quick update. I stopped by Clay Planet again today and they were super helpful. They're going to test out the glacia, and they hooked me up with a bag of Pier to try out. We'll see how it goes!
  14. When the body has set up enough, that it won't deform from the pressure of attaching the handle. Usually on the softer side of leatherhard. After attaching, it is a good idea to cover the ware, so it slows drying allowing the two pieces to better join.
  15. Yesterday
  16. Excellent! Thanks to both of you for the reassurances. It sounds like I can ignore kiln shelf advice I'm reading in my particular application. It was seeming to be a blocker before since some of the kiln building books say "start designing your kiln with what sized kiln shelves you will use." The way I am understanding it at this point is that the kiln shelf usage has to do with the aesthetic requirements of the final product (neatness, consistency) and/or fusing issues at higher temps through either natural (ash) or artificial glazing. So basically, at least in my application, If I can find a way to stack works without breaking them before firing, and if I can work with any consequence of irregular patination where works touch supports or other works (which can be reduced with wadding), then there are no other mystery issues to account for. Perhaps a specific positive on the side of no-shelves is less draft blockage.
  17. THanks, Mark and Steven. You’re both using great logic here, for sure. I’m super impatient, so I want my kiln to cool faster! Lol. If I get the standard Skutt 818, that fires to ^10 but is 2.5”. So i’ll Just use it to fire to ^6, 99% of the time.
  18. ha ha, had this debate on this forum years ago. It defies logic but everyone has always been pretty adamant about this in previous threads, a cone 10 electric kiln will only fire to cone 10 when elements are brand new so it is recommended that you fire 2 full cones below max. I have no direct experience. All three of our kilns are cone 10 and all are fired to cone 5 with 20 minute hold and we use mid-range porcelain 4-6. I would think the way around that is to fire lower and use a hold for heat work or just replace the elements a lot I guess. Our largest kiln has 2.5" brick and is a 9cf oval from Seattle Pottery and we have a Skutt 1027 with 3" brick. The energy cost are about the same per cf (cheap) but the Skutt takes forever to cool down and by going with 3" brick we lost half a cf interior so I would never do a 3" again for these small kilns. I guess I just see electric as really cheap and at the end of the day it must be pennies on a per pot basis.
  19. Ok. Well I made a committment and got a electric kiln. I think I did well. It's an older model Skutt KM-1027 for $100 plus the cost of one element. SO I did start throwing and had a new question. How and when to attach a handle to a thrown piece.
  20. Mahavir potash is the closest spar to Custer. Of course testing is required.
  21. I thought about somehow reaching down under the kiln and sealing them somehow with strips of thermal blanket but even with the gas shut off, I feel like there is zero chance I dont bump into something and disfigure myself.
  22. 3 inch brick is the way to go with all firing as far as I am concerened as it s better insulated and does not use as much energy.I even no\tived this in bisquing in electrics. If I was going to cone 6 all the time it would be in a 3 inch wall with elements made for higher temps than cone 6 . You will get more life from them if they are cone 10 elements fired to cone 6.
  23. If you look them up on digitalfire you will see they are different compositions . Testing will be the only guide here G200 is long gone(not available) if I recall as well custar is still here and available
  24. I love this forum. Thanks so much, guys. I had no idea that doing ^10 porcelain needed to be done in a reduction atmosphere. I currently use ^6 Coleman porcelain and love it, but I was looking to have the capacity to do ^10. Maybe one day i’ll Get a nice ^10 gas.
  25. You can tumble stack the ware, but there's a certain look to the work that comes with that. Even at low fire temps you will probably see some markings due to the stacking arrangement. Pieces are separated with wadding, a mixture of fireclay and sand. You cannot glaze your pieces if you tumble stack, with the exception of some Shino glazes. Alternatively, you can make your own kiln shelves, but they won't perform anywhere near as well as the ones you can buy.
  26. I need to make some more Hines Shino which calls for Custer Feldspar. I only have G200 also a potash feldspar. Can I use as a substitute?
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