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  2. Actually Mark, your email convinced me to make one more post. The reason I am disconnecting is at the bottom. I cut and pasted this from the Crystalline Glaze forum- to where I just posted it under my user name there. ------------- Actually Gordon, I have been reading about the effects of PH on ionic exchange; in part the theory behind a terra Sig. Horton (M.I.T.) and Lawrence & Buttons (Alfred) did the original studies on slip starting in 1948-1974. Norton actually started the whole sodium silicate/terra sig when he was studying the effects of PH on the water hull. He wrote the "stretched membrane" theory in 1948: the basis of modern slip chemistry. Norton describes the measured effects of sodium silicate in solution: resulting in a particle range from 0.14 to 0.57 microns..or in pottery terms 30,000 mesh. If you are a big terra sig person: first buy Taylor ball clay from a Old Hickory Clay Co. In Kentucky. OM4 has a median particle size of 0.67, and Taylor 0.31. Which means you will get over twice the payload for your efforts. With freight, Taylor will cost you 0.50 cents a lb- but they sell 50lb bags only. Second is an ionic charge trick I will teach you. Lawrence and a Buttons also wrote on the effects of temperature on ionic charge. At 60F, the ionic charge that suspends those fine particles potters want in terra sig drops by 1/3, which directly effects the amount produced. However, at 140F, the ionic charge is at its peak: which means the quality of fine particles held in suspension is much higher- resulting in more yield. The trick: heat the water to 135-140F ( but no higher), add your sodium silicate first- then your Taylor ( or OM4). In 1-2 hours when it cools back to room temp 75 or so. Siphon off the goodies as usual. You now have more sig in two hours than in 24 hours. So remember folks- you heard it here first. As other potters hack the info from this site and add it to theirs and claim a great discovery- you heard it hear first. Enjoy Gordon tom. - was going to make a CM article out of this... But hey
  3. Today
  4. Looks like a burry box design? sort of. aches need support as they want to blow outward,Catanary arches are self supporting .
  5. welcome, andy. "tonne" tells me you are probably not in the USA. i am inferring that you have tested this particular clay by mixing, making and firing it to your satisfaction. there are several books that i have read that talk about this process. one written by an englishman in the 1970-80 period. i cannot remember the name of the book or the author but i know someone here mentioned it last year. the green cover shows a teapot and the theme of the book is that you can build a lot of your own tools and save money by firing with cooking grease from local restaurants. i knew a potter who slaked his clay down a series of wooden troughs that had wire screening starting with large openings at the top and working down to small square wire we call ratwire. it is used in places like under a porch to prevent animals from getting in. will look for the title and author. edit found it The self-reliant potter by Andrew Holden, 1986. maybe you can find it in your local libray.
  6. sadly, art teacher has only entered the question then disappeared.
  7. The top two switches appear to be the elements that heat up the extension ring. Is there a separate plug on the top that plugs into the electrical box on the main kiln body?
  8. Hi Forum, I am looking for pointers to good systems for processing dug clay. The clay I have looks good but to prepare any reasonable quantity takes time and effort. So before I move to preparing larger quantities I'd like to see how people do it. It will be a low-tech approach. I have read that people use tanks containing water and raw, unwashed clay which is soaked and agitated to put the clay in suspension. This clay bearing water is then run through a system of troughs and settlement pools. I am hoping that there are some books/photos/diagrams/detailed descriptions showing what an array of of this type might look like. How and where is organic material filtered out? If there is any way of getting gravity to help move the materials that would be good. Ways of agitating the clay which don't consume all your energy? I have heard it said that it is better to weather and dry the clay and then crush the clay before rehydrating. But I have no idea why. And drying and crushing takes time and energy. Any cheap mechanical aids? I expect to be processing about a tonne of raw clay in one pass. Thanks in advance Andy K
  9. thanks for replies @oldlady yes, we use metric system, the dimentions on the drawings are in cm. @terrim8 Unfortunately I have not read that book, but I will buy it now. It is a bit late for fundamental changes because I'm going to continue my work on Monday. My main source of knowledge was the reading of Ian Gregory "Kiln building", but it is not too much detailed.unfrotunatelly @Rae Reich My arch is going to follow regular circle (180 degrees). What kind of bracing, which you mention, would be needed? Should I rather turn again into more tall and narrow catenary curve? I do not plan to cut the bricks into wedges, just fill the upper gaps with clay in regular distances. Will it work?
  10. If it is a Skutt kiln, they have great tutorials on their website. You also have to have the correct wiring for your kiln. Hopefully you checked with your school maintanence people before getting the kiln. If not, the voltage amp info should be listed on the outside of the kiln. Are there other art teachers in the area that might be able to help you? good luck
  11. Hi Dianen - Neophyte here myself - been throwing less than a year and have only posted once before! Although the focus has been on equipment, I wonder how much you're paying attention to your own physical health and constraints. As we get - ahem - older, we tend to lose flexibility and muscle strength. Doing close work and sitting for long periods of time in restricted positions also tends to do its damage by shortening muscles and reducing range of motion. It's highly captivating and we often find ourselves having sitting in a particular position for an hour or more. I sometimes find myself bent over a wheel for 45 minutes or more and then having trouble standing up straight! I'm not a physician but I have my own share of upper back and neck problems so try to stay aware of what might be causing them. Getting up from your work every half hour or so and doing some stretching exercises is not a bad idea. I did a quick search and there's even a video devoted to stretching exercises for artists that focuses on hands, arms, and neck: https://www.youtube.com/watch?v=DEf5AGef4yI There are others out there even by this particular physician. We all know the benefits of exercise, ie stretching and load bearing (lifting weights). Good equipment - the ones we buy and the ones we're born with - need some good care and attention. Just some thoughts from an aspiring and aging potter... - Jeff
  12. aye, that th' trade off - I'd rather have the cast covers
  13. LT: there are 100 plus references to journals, thesis, books, and other resources on the effects of temp on clay bodies. https://books.google.com/books?id=pQpCDCPqlS4C&pg=PA58&lpg=PA58&dq=W.H.+Sutton;+factors+influencing+the+strength+of+clay+bodies&source=bl&ots=AfkxuypAxo&sig=ACfU3U2W_Zh8NTluxpwvcnIN4zVOWBV3vw&hl=en&sa=X&ved=2ahUKEwjB-_rwj7jiAhUPnq0KHaUpC_YQ6AEwAXoECAQQAQ#v=onepage&q=W.H. Sutton%3B factors influencing the strength of clay bodies&f=false you need to hire a research assistant: I am a little busy. as I have told you in PM before- W.G. Lawrence " Ceramic Science for the Potter." F.H. Norton " Fine Ceramics, Technology and Application". And the book referenced above are the best encapsulated information resources. For the record: I have journal references lying all over the place in my various threads. Feel free to go find them. Long past tired of having post proof every time I make technical posts. Tom
  14. Yes indeed! You'll only make the mistake of touching them once though I just use the end of a post or anything that's handy to swing them aside.
  15. (Sorry Bill, I broke my two cup rule. Never answer questions until I finish the second cup.) if that coffee where stronger (fresh ground beans) only one cup would be nessacary.
  16. In 1979, I paid $1000 for a catenary 12 cu ft hardbrick kiln and assorted shelves and glazes. 'Course, it had to be mapped, disassembled, hauled across town in an ancient pickup (stop loading when tires distort), bricks cleaned and reassembled. Oh, we were an energetic crew of potters and friends!
  17. Yesterday
  18. you probably already have this book but just in case.....https://www.amazon.com/Kiln-Book-Frederick-L-Olsen/dp/0812221869 prob lots of answers in there I used to have a gas burner ca ternary arch brick kiln and i had to reduce the size of the flue opening - a friend helped me - I probably should have read the book!
  19. congratulations on summoning up the courage to get started! i assume that the numbers are measurements, do you use metric in Poland?
  20. Interesting layout. A catenary arch will hold itself up, other arches need bracing but will be a bit roomier in the curve.
  21. ”If anyone ran measured effects of heat work, it would be Orton Sr. He wrote several abstracts for American Ceramic Society, I will nose around and see what I can find. The other source would be Ougland and Brindley from the British Ceramic Society: "Effects of a High Temperature on Kaolinite". Tom, please post the complete citation information (author name, article title, journal official name, volume, issue, page, and publication date). LT
  22. I read the emailed version of this project. Sounds like it will be as perfect as you can make it! Heated closets!!!
  23. I'd vote for this query to be a new Qotw -it has a beat, you can dance to it.
  24. Both my Cone Art and Pottery Supply House (Euclids) kilns use peephole covers not plugs. They swing open or closed, don't stick out or get lost since they're attached to the kiln jacket. I prefer the stainless ones on the Cone Art Kiln, PSH kiln ones are stoneware. (would be easy to make some) I do like having them to check cone packs once in a while.
  25. I gave up on trying to look in to see the cones, but I think it helps to remove them to cool that last 200 degrees, other than that I have no use for them since I use a vent. I have a solid one that came with the kiln, only sticks out 1 inch or so, they could all be like that as far as I'm concerned.
  26. So obviously we need peep holes from time to time, but why are there so many, and when I'm doing brick repair, can I just get rid of some of them. I leave my top peep open, I like to see a cone drop. But the rest are kind of a waste, and when I break one with my shin, I'm wondering A. Why don't I be alittle more careful B. Why can't I plug that hole with something that doesn't protrude into the path of a shin, thigh, hip. Please avail me of thy kiln wisdom.
  27. Bill Van Gilder talked about this in one of his videos, said the foot ring acts as a fulcrum, pulls the rim down and the base up. He makes the base slightly concave to compensate.
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