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  2. We will be getting more traffic here as that site shuts down
  3. Thank you. This is the best sight I have ever found for getting responses to questions.
  4. Today
  5. 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!
  6. 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.
  7. Yesterday
  8. 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.
  9. 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.
  10. 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.
  11. 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.
  12. Mahavir potash is the closest spar to Custer. Of course testing is required.
  13. 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.
  14. 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.
  15. 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
  16. 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.
  17. 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.
  18. 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?
  19. You do not have to have 3 inch bricks to get to cone 10. It's a little easier with 3 inch, but not necessary. Most any kiln that's rated for cone 10 will be the same rating in both the 2.5 and 3 inch models.
  20. I cant think of a single reason, any savings in material would be offset in energy cost
  21. There's very little reason to fire to cone 10 in an electric kiln. Your glazes won't look the same as pots fired in a gas kiln to cone 10, because you can't do reduction in an electric. You might as well fire to cone 6 and save the wear and tear on your kiln. There are really nice vitrified, translucent, cone 6 porcelain bodies available from most clay suppliers.
  22. Cone 10 kilns are built to fire to cone 10
  23. You'll need to provide a location, they're not easily shipped
  24. Looking for a good used electric pottery wheel.
  25. Hulk, I misspoke a bit. Actually, my glasses are progressive, but they're useless for really close work. They work for a couple weeks after a new prescription and then my eyes rebel or something and I can only use them for objects at least 2 feet away. Shrug. The Optivisors are exactly what I use sans glasses. I can get REALLY close that way and it gives me the most control. Rae, you're so lucky to found your perfect chair, and I giggled at the thought of protecting it from large ploppers. This morning, I tried every chair/board/foam combination in the house and it seemed they all required neck bending. So, next I tried working on a slab of foam on top of my microwave which is on top of a table, and voila, it was the perfect height for working standing up without neck craning. So, throwing caution to the wind, I placed an order for a sculpture trestle. The work surface is only 13" x 13", which has put me off the idea before. However, I'm thinking it should be possible to clamp a sturdy board to it and lay some foam on top of that. Maaaybeee it will work? Hope so, anyway. It's supposed to be healthier to stand rather than sit, too. I'll report the results.
  26. Just stack them in there, I think that's fine. I've seen YouTube videos of Japanese kiln openings and stuff is stacked on the floors all the way from front to back. You won't be getting any natural ash glazing at lowfire so you don't even need to worry at all. I think they normally stack with wadding between items that are stacked.
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