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  2. Maybe someone here could restart the group.Seems a shame to let it disappear . I have never used it but do look at it weekly.
  3. I do not use or have a damp box (never did) I use plastic sheets-some are dry cleaner bags from friends but most are plastic just a little thicker(tougher) from items we have recieved.I keep a tub full of them and use them about every day.I think I was in a dry cleaners in 1963 with my mother? but am unsure .
  4. I've never actually owned a garment that required dry cleaning. I just went into the shop and asked if they could give me a handful of bags. I've held work for 2 weeks under dry cleaner plastic, and my climate is classified as semi arid. You have to make sure you have plastic under your ware board if you need it to last that long. Eg, lay one piece of plastic on the shelf, place bats or boards with pieces on shelf, curve excess bottom plastic inwards and gently lay bag over top of ware.
  5. Welcome to the forum sieve the glaze thru an 80 mesh vacuum the kiln roof and loading edge-sweep the shelves-top and bottoms photos would help
  6. Hi April and welcome to the forum. Are you using commercial glaze or mixing up your own? Also, is it happening on all the pots or ones from a certain location in the kiln? What shape is the kiln jacket in, specifically the band around the lid (if it's an electric top loader). Are the specks visible on bisque? Post a closeup picture of the black specks and it might give us a clue as to what the cause is.
  7. I'm looking for help with a recent glaze issue. I've been using the same clay and white glaze for a couple of years. Now, all of a sudden, I'm getting tiny black specks in the glaze, and it's ruining the clean look I'm trying to achieve. I've used different batches of my perfered clay and glaze, installed new elements, throughly vacuumed the kiln, kept my bisqueware clean. I don't know what else to do to, and don't know what's causing the black specks. Does anyone have any insight on this issue?
  8. Today
  9. I didn't see marks post. I would certainly listen to him over me. He builds large gas kilns. I might be exaggerating the cool down a bit but it does seem to take longer or at least as long as the 50% larger one with smaller brick. They both ramp down to 1200 and shut off. The smaller space inside though I think is a serious thing to consider as the Skutt 1027 already is small at 7.5cf and becomes a 7 with bigger brick. One issue with trying to fire at different temps is that your studio is all one thing and it gets tricky to have other stuff. The clay and glaze can't get mixed up with each other and that includes scrap. Have never tried it though so don't know if its worth the effort. We always do the same things that have settled in as working to avoid pissing off the kiln gods. Paid 75 cents a pound to have a pallet of porcelain shipped from the PNW to Texas to avoid changing clay after using other one now for almost 10 years. We have a kitchen full of pottery we use daily that marks years of use without issues and have never had anything returned by a customer and we want to keep it that way. .
  10. Controlling the rate of drying has been on my agenda for a few years now. Couple of years back I was mixing a wetting agent into porcelain in an attempt to control it: those who got samples know how badly that flopped. so I have been working on a spritz made mostly of organic/food safe materials. To date, I have extended drying time by roughly 30%. When I get up to 50% or so, I will unveil it. However, I have no laboratory rats to test toxicity on, so PM me if you want to volunteer to drink a cup or two. ( that was Westerner joke by the way). T
  11. Been following this topic, but I know just enough about Japenese/Chinese/Korean culture to say something wrong. One of the many times I wish Baymore was around: these cultures were his speciality. Being a Westerner, I will add a twist to it. Modern technology has managed to put most of the worlds population onto a single stage/platform. The assimilation of culture that once took centuries, now only requires a mouse click. Marco Polo bought back porcelain pieces from China: and Europe spent 500 years trying to replicate them. Any potter can click Sung/Ming dynasty and start throwing in an attempt to duplicate it. The unfortunate side effect of instant knowledge, is the loss of culture and application. The old saying goes "imitation is the sincerest form of flattery." Should the blog writer be offended or flattered that others are trying to imitate her culture? Obviously some have hijacked strictly for ill advised sales promotions. Yet others love the work, love the culture, and are sincerely trying to imitate it. Personally I think she should educate rather than reprove. It is a futile effort to chastise those who have no respect to begin with. thats my 5 cents worth. The extra 3 cents if for shipping and handling. Tom
  12. I love dry cleaner plastic! As a potter I hardly ever set foot in a dry cleaners, but my NYC sister hooked me up with a large stash.
  13. Cleaning and smoothing some moldings for my outdoor project. It is so humid here I am just throwing a piece of plastic over what I am working on. Third week of rain, we found out the neighbors next door had there basement flooded. There house sits much lower than ours we are at the top of the hill. Denice
  14. Green house isn't as good as a wet box for sure. It will give you a day or so to catch up but after that gonna be to dry. I mostly like it for even drying more than anything.
  15. I usually look for a jet from the lowest port just to make sure I have sufficient reduction at all levels. So the lowest peep is our safety check that the kiln is in effect reducing everywhere and we are not inadvertently oxidizing with secondary air. The other thing I noticed is your schedule and our experience has been that our greatest reduction needs to take place between 1500 degrees and 1700 degrees. If we begin later, let’s say 1600 degrees, we find dead spots and low levels of reduction even though our oxygen probe says we are at about 0.8 or heavy reduction. For our typical schedule it is important to begin no higher than 1500 degrees else as things melt it becomes harder to reduce the oxides. I also realize now that you have atmospheric burners and you are reducing your primary air by covering your flue which hopefully slows the primary air induction enough to get a sufficient rich mixture. This is typical for atmospheric burners but folks that tune these will by experience generally pick a gas pressure, then flue covering, then fine tune their primary air shutter to a desired reduction level all while maintaining a desired firing speed. This way they actually have great control of the time they reduce which for our kilns needs to be about 1-1/2 hours in heavy reduction between 1500 and 1700 degrees. Going super fast not always the greatest thing. Going the best speed and reduction level based on your own trials will probably allow you to dial different results in. Just some food for thought though. I would be curious to see some celosia red test tiles placed throughout just to gauge your current levels. Just some more ideas actually, still thinking but there are also fire down reduction schedules to specifically get surface reduction. I have a basic reduction video below that we ask our new reduction artists watch. Pretty basic but might be worth the view. It helps them formulate the basics and from there they build their own custom schedules. Prior to this their results were super random, now they dial stuff in firing after firing.
  16. You gotta have something worth dry cleaning to use dry cleaning plastic I have painters plastic for in the studio, but it's only really helpful if I can get to what's inside of it within a few days. The wet box just keeps everything the same moisture regardless of time, so saving up a bunch of mugs for handles day works well for me. Under plastic my mugs are too dry after just 3 days.
  17. - It's tricky because I can do celadons fine so I know I'm reaching a measure of reduction.. but its nothing like the vacuum created when a reduction chamber's burning media sucks up all the oxygen.. and the disparity between the two is my primary culprit so far. I've been measuring the jet from the upper most plug, not lowest, however. I'll verify from lowest as well next firing (I have no oxygen probe). - Notes from last firing, which was just testing out some new iron/copper/cobalt blends in an untested base ^6 glaze: 6:45pm start. propane at about 15% throughput, flu open 90%, peeps in. 7:45pm 1033f 8:50pm 1140f propane bumped to 30% throughput. flu/peeps untouched. fast jump to 1500f. 10:30pm 2060f shut flu to 20% open, very strong reduction evident from top peep / flu. Peep has a solid 5" jet when open. 11:26pm 2220f 12:40am 2260f shutdown. ^6 witness cone is almost a puddle. Again this is just me dicking around with a new glaze but it demonstrates how fast this thing goes from room temp to supernova, and it's certainly generating enough reduction for celadons (attached). I just got some ff3269 so I should be able to make some glazes that mature much more quickly.. I'll whip up another few tests using coppers as well as nitrates and put half in a reduction container and leave half in the kiln for reduction. That should at least remove a few variables. Updates to come.
  18. You have any bumper stickers that say Pot Free or Die??? that would go with all my pottery bumper stickers on my van,
  19. 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.)
  20. 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.
  21. 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/
  22. 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).
  23. 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!)
  24. Are you allowing for a place to rest your elbows while working? On the board?
  25. 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.
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