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  2. Last add: Cone ten is a thing because the earth melts at cone ten. Cone six is a thing because ...... nobody seems to know exactly, maybe one of the wars or energy but to get cone ten stuff to melt at cone six, boron is an easy to use glass former that helps everything melt. Under UMF (unity molecular formula, circa 1910) 0.15 Boron gets you cone six, 0.42 Boron gets you cone 04. Cone 04, no idea why that is a thing either! Many cone 6 and 04 glazes are simply cone ten with the proper amount of Boron added. Gerstley is mined, gillespie is produced. Many newer glaze recipes use Boron frit instead. Frits are manufactured materials, not directly mined and generally produce very consistent results but often less variegation than gerstley.
  3. Only in that we understand them better, and are more focused than before on making glazes that are durable and safe, rather than glazes that just look good and are easy to make.
  4. No, we just understand more about the chemistry involved now. The minerals were just as fussy back then. A good example is your Kingman feldspar. It is no longer available and people have had to come up with a substitute or change their glaze chemistry. We just know now what changes to make now without guessing too much. Back in the past you'd probably just drop any glazes using Kingsman and call it a day. The situation with gerstley and gillepsie is the same. They stopped mining gerstley, but now instead of dropping the glazes that use it, people have an analysis of it's make-up and can recreate something quite similar. PROGRESS! But yes, cone 10 glazes are still quite simple, we just know the science and durability better and can be more picky about what we create.
  5. I am really starting to get the impression that these "modern" glazes are far more fussy than the one we used in the past.
  6. If I'm understanding the direction of the hole, it won't show when the bricks are used for a kiln wall, correct? I wouldn't even worry about the hole. At 5/8" it's likely not going to affect the insulating properties of the bricks enough to matter. If the hole will show and allow heat to escape, then fiber is probably the best way to go. Wear a respirator when using the fiber.
  7. It is virtually identical to Gerstley of a specific year. It was different every few years as they moved through the deposit. Which year they chose to use as their baseline I do not know. I've been using Gillespie for about 15 years, and it's always been stronger than Gerstley during that period, and I've had several customers says the same thing. Typically you'll need 3-4% less Gillespie than Gerstley.
  8. I had not thought to do that. Guess I was thinking that something "sticky" would help stabilize any weakness caused by the hole being there. Maybe the simple solution is the best? Thanks for responding!
  9. My basics list is the same as everyone else's basics list, pretty much. In addition, my essentials include a variety of wood sticks (chopsticks, skewers, round/square/triangular rods, pieces of thin decorative molding etc.); also scalpels, dental tools, and, mostly, my fingers.
  10. Hi Delwyn and welcome to the forum. Could you post a picture of the cracks? It would help narrow down the cause.
  11. One of my favourite glazing tools are staple removers, they just leave 2 tiny snakebite marks on the surface. I would use one staple remover to hold the pot nearly vertical over a catch basin then with your other hand pour the glaze over the pot. I would do each side right after the other to minimize glaze overlaps showing. If you have someone to help it would help if they held the pot while you poured. (and practice with a tray or something to get the rhythm right before doing the pots) Where the glaze goes around the staple remover I just rub the snakebite marks over when the glaze is dry. If you do decide to make the dipping glaze up as a brushing glaze then I would just add the CMC (or brushing medium or Magma) to the small amount of glaze needed to glaze these pots and save the rest to use for a dipping glaze. Would save making up 5lbs of brushing glaze when you don't need that much.
  12. Yesterday
  13. There are a lot of reasons that may not seem logical, some described in previous posts. One of the most common reasons, at least for me, is cooling the kiln too fast. This usually from opening too soon, or from a kiln that cools quickly because of the kiln itself or the fact that it is not a full load. At any rate, fast cooling causes either cooling dunts or crazing, and sometimes both! best, Pres
  14. Newbie here! I'm struggling with setting up my first booth! Ugh! I make small sculptures that look best if seen at or about eye level. Folks have suggested pedestals or risers on tables. I've created some rough ones from foam core, but need to make sturdier ones from wood. Because my 'guys' are small I need some ideas to make them pop. Any suggestions are greatly appreciated. I would like my booth to look more like a gallery than a craft booth and I'm starting out with black fabric covered metal panels (better design for framed artwork). These are not sturdy enough for me to hang shelves from without worrying about things being knocked off. Any and all suggestions and recommendations!
  15. If the glaze in question doesn’t show drips on application, Liam’s suggestion of just touching up the marks with a fingertip or a brush is your best bet.
  16. Hello, We have had some ceramics form cracks after we have applied the glaze. The works were fine after the bisque firing, but after the glazing, formed cracks, not crazing. Does anyone know why this might be happening?
  17. Hi, I just bought a used SNO Industries Model P11. The interior is 11 x 11". It didn't come with a manual, did yours come with it or did you find it online? I am totally new to firing by myself and would love some tips for getting started. Thanks!
  18. Well, I stuffed the extra holes in my kiln brick with ceramic fiber, seems to work well
  19. I have 150 K26 soft bricks that have been drilled through with about a 5/8-inch hole on the broad side of the brick. I want to fill the holes and then reuse these bricks. Does anyone have a recommendation on what type of material/product to use? I have looked online and see that there are fillers intended for repairing small kilns, but these products are packaged in small amounts - too small - and by the time I'd buy it I'd have spent more than I'd be saving by salvaging the bricks I have. The bricks are to be used for a lid for a wood fire train kiln. The first design is failing and has to be rebuilt.
  20. Thanks for the info....I suspected as much
  21. Gillespe is not. Similar but if they told you virtually the same that is false.
  22. I get a little glaze on my finger and touch up any finger marks. If you are really worried about marks and you have a sprayer you can just spray the front and wait for it to dry, then spray the back as well.
  23. Neil also uses 365 if I remember right? @neilestrick ? I am pretty sure he was the one who recommended it and I tried it based off his recommendation. It is probably the best porcelain I have ever used to be honest. I tried many different glazes on it and translucent glazes needing that faint white hue underneath never disappointed. I made several slabs out of it when I was doing Currie grid tiles and it didn't warp bad at all, considering I took zero precautions against warping. The blue faux celadon glazes I was doing a while back were also on 365 is that helps any. Here is a pot my son and I did together for reference of the look of a transparent glaze? I hope you figure it out! Supply problems are a disaster. Good luck to you!
  24. My husband brought that idea up. How do you get around having finger smudges on your wet glaze? I have tongs, but they don’t seem like they’d fit the bill here.
  25. Use a dishwashing pan and just pour it on. If you have a wide enough pan to fit the entire piece in, you can just lay it down in there and pour glaze over it, flip it over and pour the back. I use a large Kimchi mixing pan because they are very cheap large round containers that work awesome. If you have an h-mart around you they sell the large plastic kimchi tubs for 15 bucks.
  26. I have a commission for 12 slab built platters. I am using a new GR pottery form I have, and the two I have as greenware right now look awesome. They are roughly 8x13 rectangles. They do have feet, but not all the way around the plate. Just enough to keep them off the ground, and one to support the middle. I plan to wax these feet and glaze the rest of the piece one color. My client (my cousin, hence why I’m probably doing more for her than I would another client I don’t know from Adam) wants 3 different glazes (4 of each). One of them we have in my communal studio, and two others we don’t. I planned to buy 25# dry mix of one of the glazes (because it’s cheap, and I like it enough to use in my personal studio), but only 5# of the other because I just don’t like the color and don’t plan to use it afterwards except for commission pieces (watch this be my most popular color!). I plan to dip 8 of them in the 5 gallon pails, half and half if there’s not enough glaze to cover all 13” of the plate. But on the other color, how should I go about glazing with only 5# dry mix? I have considered pouring onto the piece, catching the excess in a pan. And then there’s brushing on the glazes with some CMC gum mixed in, but I’m way out of my element there. Any brush on glazes I’ve bought have been pre-mixed with gum (ie Amaco pints). Plus, I would then render that small pail of glaze forever a brush-on glaze. How would you all handle this larger, more awkward piece for those remaining 4 pieces?
  27. thanks for the concern you have shown. yes, i have been having glazenerd examine the clay and compare it to pieces i had not fired from before the problem began. his results strongly suggest the ballclay ingredient is tainted with smectite. it is possible the mine it comes from just ran into the stuff. i waited for 2 years to see if it gets better but it has not. i wrote to highwater and explained his result and have had no answer for 20 days. each time i try someone's new little loafers it is the same way. cannot cut it cleanly from the bag, it sticks to the cut surface and lifting it results in deep fingeremarks and a tiny amount removed. i still have several boxes and will use it for throwing. but my income depends on the slabwork. if the things i used to make in one afternoon now take 3 days, i cannot continue to use it. thanks, joseph for the affirmative on 365. i know someone who uses it but she is out of the country for another week, thought i would ask here for second, third, etc opinions. you use such lovely glazes that i think it might be just what i want. a transparent green is paramount. i will look for laguna, john, thank you.
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