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  3. Good one, I should have seen that coming
  4. IDK, some basic glaze chemistry and a little bit of dialing in melts is pretty easy actually. Definitely worth learning so you can get the look you want. This tile below is from a batch of five progressions to replace rutile. Breaks nice, movement is dialed in as I wanted, no crazing and durable flux ratio. All created in about thirty minutes. Making your own definitely has advantages. Picture not so great though!
  5. That sounds like an adventure! Every time I see videos of these haggard old wood firers I think "are these bored millionaires or something?" Just because of all of the money, work and failure involved. But no, I think they're mostly just crazy i can't wait to see the results, Lee!
  6. The opening and unloading of this anagama firing will be 4/28-this Sunday, 9AM. John does commentary for the students on the firing and features as they unload. Later-at noon-the public may come and look at the wares. John sent this email (excerpted) after running into a very puzzling issue: "The issue we were contending with at that point was that the entire second step area of the kiln was lagging in temperature climb. The whole top-to-bottom area right behind the first side-stoke firebox. It is possible that the thermocouple probe in the top of that area was blocked / interfered with by a close piece of work, but the cones in the spy ports there tended to also confirm the lagging temps there. I could find no expected reason for this lagging in that section of the kiln. It has never done so before. Over the next many hours we tried everything I and others could think of to get that area to climb in temperature more quickly. We were running out of ideas. I've been wood firing since 1969....... and I was finally stumped. (In other text, he detailed the ruling out of certain variables, such as weather/lu) We finally, through very careful stoking and persistence, managed to get cone 10's down in the upper and mid part of that middle section of the kiln..... but it was a real battle to get there. The only colder part of that middle step stacking was the very bottom area. I ended up personally stoking for about 1 1/2 hour on that sidestoke firebox in order to get the cone 10's about 1/2 way down there. So we should have reached a cone 9 solidly down in that area. Front area had 13's down........ progressing to 12's as we moved back. We had cone 11's down in the final rear step of the kiln.... which traditionally was the place that the kiln has fired a little cooler. So I am expecting when we unload it is possible we may find something 'dramatic' happened somewhere in the load in that second step. At the least, I am hoping there might be clues that we can see in the unload that might explain why that second step was so hard to heat up. I am very curious... and really want to know for my continuing education in woodfire. As I talked about as we were loading, every anagama firing is a different firing, because the LOAD is different every time. Each firing is a problem solving session. We finally solved this one, but maybe just a tad not as well as I'd have liked. This probably ended up being the most difficult firing we've had in this kiln. And after a wonderful start! I think the overall results will still be good." Pics to follow after the event. I'll put them in the LeeU Anagama Fire album/lu
  7. I do actually mix my own glazes. I was just interested in these particular glazes because they break unlike any of my glazes.
  8. Not really--I am pretty careful. Once I have done what needs to be done, I'm good at leaving things alone until time to load. I brush (usually 3 x and let each layer dry between coats, applied in different directions) or drip it on thick 1-2x (a style thing) using a ladle. Best guess for breakage might be 5% or less, usually because I drop something or turn too fast and hit a shelf edge, that kind of thing. Keep in mind I do low volume and tend to make fairly small pieces!
  9. Yes, everything should be under 1/2" thick. Let things dry a few days, then do a 5 hour preheat and you should be fine. Fire slow to be safe.
  10. I am thinking 30.00 - 40.00 for a perforated bolt together solution. Of course there is the time thing, but for the diy type a savings.
  11. You can use cinder blocks, but it takes some work to get them level and flat so the floor is well supported. A new stand is only $60-70, which is well worth the money once your figure in the cost of steel and the time it would take to make one.
  12. Get a copy of Mastering ^6 Glazes or Michael bailey's Cone 6 glazes and mix your own. You can adjust a glaze fitting to your clay with an small addition of Silica like 0.5% or an adjustment of kaolin up to 2% but you have to test. Marcia
  13. I don't have any experience with cone 10 shinos as I fire my gas kiln to cone 6. In my experience with shinos at cone 6, recipes with redart will be toasty brown while recipes with only ball clay will be white. Recipes that are nominally white will turn toasty brown where thin and on a brown (i.e., iron-bearing) clay body. Recipes that have a lot of soda ash will carbon trap if reduction is started early, around cone 012, and reduction maintained all the way through. If you do all the various tricks to get streaks and patches of non-carbon-trap with a carbon trapping recipe, the same "rules" apply for the color of the streaks and patches. Yes, I have achieved a black with white streaks carbon-trap shino on white stoneware.
  14. My favorite suppliers are Brackers, Archie Bray Clay Business, Aardvark, The Ceramics Store in Philly, Bailey for larger equipment, Axner's, U.S. Pigment, Alligator Clay, and Seattle Pottery. Never have had any problems with any of the above. Excellent customer service with Bailey's tech support. Replaced a gear (my fault) on my slab roller, a controller on the rheostat on the foot pedal (has a name but I forget what it is) and the pressure gauge on my vacuum control on my pug ,mill which got broken when I moved to Texas in 2006. . Marcia
  15. Got to meet Chad of Up in Smoke pottery at our panel . And Rebecca in the bar bar at the Hilton. Sorry to miss the rest of you who went. It was a busy NCECA. Marcia
  16. Yesterday
  17. Hi all, I was thinking that I wanted to have my kindergarten and first grade students make animal sculptures for Mother's Day, but I have a few questions about firing. I am basically a beginner and know almost nothing about firing ceramics - I have used our schools kiln before for flat objects like cookie cutter ornaments. I really want to do this project because I think it will be fun, cute, and way more creative for the kids, but I am worried about the firing process. 1) From what I have gathered it is best to hollow out clay if it is thicker than 1/2 in. Is this always true? I don't think that my students will be able to do this bit for themselves and I'm not sure I want to take on hollowing out 24 clay animals by myself. 2) A lot of instructions I have read have suggested letting these things dry for 1 - 2 weeks. I have never done this with previous projects and have done a preheat in the kiln for 24 hours. Is this okay to do? Thanks for any help!
  18. Anticipating future nuclear underground testing?
  19. Some items I ordered were not in stock. Finally got situation straightened out with them, but it took a couple of emails to get them to respond. Don't plan on buying from them again.
  20. I agree, most I see are really light gauge angle. Welding, bolting, machine screws, even clip angle with self tappers grinding flush the protruding ends where the kiln sits seems fine although some decent spot or stitch welds make this flush and a snap to build. For a slight amount more in money light perforated angle and carriage bolts seems attractive and cries for as many knee braces as one would like to cut for that inevitable slide your kiln over a few feet here and there occurrence.
  21. The stand that came with my (ancient) skutt is spot welded together; carriage bolts would do - better imo; the top rail of my stand is so rusted, in pof, I've added four pieces of angle iron, bolted on low 'nough to catch unrusted metal - good for many years now. ...use flat washers + lock washer on nut side. The cut edges and corners will require some softening - file or grind; metal edges cut!
  22. Know anyone with a welder? It's just angle iron welded together
  23. Hi, I have a medium sized Paragon kiln in my studio, and from time to time use a smaller retrofit raku kiln in the yard. I have only one kiln stand, and in the past have lifted the Paragon kiln to access the stand for raku fun. I look at the costs for kiln stands and find it unreasonable. Is there a cheap stand that someone can recommend? Thanks very much Mal
  24. Do you know if this will be white if the Redart is left out? Thanks
  25. Those round gas kilns are notoriously difficult to fire evenly. Search the forum and you'll find all sorts of information, including what people have done to make them work better.
  26. Paragon kilns bought them out and manuals are online at their website your Da is here down the page a bit under Duncan https://www.paragonweb.com/Instruction_Manuals.cfm
  27. I have become the owner of a Duncan kiln. It is a Duncan automatik, the pro plus. DA 1029 - 8c. I have no manual . so , please , can anybody help me ? See pictures here: https://www.irista.com/gallery/8mis6zcep8gq
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