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Red Rocks

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Everything posted by Red Rocks

  1. Bought The Square

    Mark C Can you please expand upon the Amazon reader that you are using at 1.6%? I did not know they had one. Thanks
  2. Taxes - Business Or Hobby?

    I spent a lot of years working in the high tech field, most for venture backed start-ups that did not make money for years! So I would agree with the comments in this thread that say, run it like a business and as long as your losses are documented, the IRS can not demand that you be profitable, otherwise a third of Silicon Valley would be put out of business!
  3. I have always done cone 10/11 in gas or wood. About a year ago I took a workshop on Cone 5/6 glazes and have been experimenting ever since. I have developed a number of mid-range glazes along with slips and washes that are really awesome. I also bought two electric kilns to support my new passion. However I still have a large Cone 10 gas kiln that I still periodically fire to cone 10 reduction. I want to test firing the gas kiln in oxidation to cone 6, so I can utilize the kiln more often and fire more pieces for less money. Do you have any idea how close I can come to creating the same glaze results in the gas kiln as to what I am getting in the electric kilns? I have done some research on this but have not been able to find any definitive answers and hate to risk a whole kiln load without having a better understanding of the likely results.
  4. Holding Temp

    Ok to leave the peep open the entire time it is cooling?
  5. Hot Wax For Bottoms Of Pots?

    One other thing that has not been really covered on this topic is the dreaded 'burp" from putting smaller pieces directly in the wax at the wrong angle or too fast, I tend to put the piece in at a slight angle with one side going in first and slowly easing the rest of the piece in and then quickly removing it. If you leave it in just a little too long, it actually burns off some of the wax. I let those cool off and do them again. Would love to hear about tricks people have learned over the years on this technique.
  6. Hot Wax For Bottoms Of Pots?

    I want to go back and reinforce my earlier post. I use hot wax with paraffin based lamp oil in an electric skillet set on warm. This setting is around 150 degrees, so it is not really very hot. `The paraffin lamp oil lowers the melting point and is what allows me to brush the wax on the entire circumference of a 20" platter spinning on a banding wheel in one or two passes. You get a nice clean line and little to no clean up.
  7. Repeat Customers

    Hi Dianna Would be most interested in hearing more about you social media strategy? Most importantly, how do you track your results? I am a big believer in Facebook advertising, so I am always interested in hearing about how other people use it. Thanks
  8. Hot Wax For Bottoms Of Pots?

    There are a couple of waxes mentioned on this thread I am not familiar with - what is bulk prill form and what is soy wax? Where are these found? Thanks
  9. Hot Wax For Bottoms Of Pots?

    I have used both methods ans find latex wax resist a huge waste of time especially for large bowls and platters. You have to let it dry for several hours, better overnight and you still have to clean a lot of glaze off. We now use hot wax with an electric skillet on the "warm" setting. I never have a problem with fumes or smoking and the glaze comes off very quickly. We also add about 1/3 paraffin lamp oil to the mix. This makes the wax stay fluid longer and easier to apply to a large platter spinning on a banding wheel. I also break up a crayon to add color to the wax if am applying to white clay. Makes it much easier to see where your wax line is.
  10. Have you tried using slips on your green ware or washes/stains over the top of your glazes? You can get very dramatic results with washes and can make one glaze look like 4 or 5 different glazes by using slips. Simple, cost-effective and it definitely widens your palette.
  11. I just finished reading the old thread on potter's who influenced your life, started by Marcia. How about an off-shoot? "The top 5 books on pottery that influenced you the most. I would list mine as: - Marguerite Wildenhain - The Invisible Core: A Potter's Life and Thoughts - Bernard Leach - The Potter's Challenge - Michael Cardew - A Pioneer Potter - Charles Counts - Pottery Workshop - Frederick Olsen - The Kiln Book I am always looking out for new books (or old ones for that matter) on pottery and the philosophy of pottery – so hopefully this will start a thread of us sharing books that have inspired us.
  12. Super-Old Glaze: Hardpanned?

    Old Lady: A good question but it was not a new batch of chemicals. I actually glazed 4 or 5 pieces with the new 20,000 gram bucket and they came out perfect. I went back to glazing several days later and the glaze was hard-panned. That is when I added the bentonite and epsom salts. Next firing in a month or so, I will pour out half of the bucket into a a separate bucket and add the Mason Stain #6600 and see how it turns out.
  13. Super-Old Glaze: Hardpanned?

    Couldn't agree more about the low iron and lack of colbalt. However as I am learning to work with a new kiln, I first mixed a 5000 gram batch and it came out a wonderful blue green, then a 10,000 gram batch, again the beautiful blue green I expected. So not sure what causes the blue, just know that it is. It was when I went to the very large bucket and 20,000 grams plus that it did the hard pan number. I actually glazed a few pieces that came out blue green from the large batch, then I made the mistake of putting the additonal bentonite and the Epsom salts in the already mixed batch and that is when it turned light green. I think Tom Coleman's idea makes sense as Mason Stain #6600 is a strong black stain and a little should go a long ways. I will experiment with it before trying to change the 20,000 gram bucket.
  14. Super-Old Glaze: Hardpanned?

    Quick update. I did contact Tom Coleman and he responded very quickly. He said he thought that the Bentonite did indeed effect the glaze and said I should add 25 grams of Mason Stain #6600 to bring it back to blue green. He also said he no longer uses Bentonite or Epsom salts to keep a glaze in suspension. He uses a small amount of muriatic acid like one tablespoon for 20,000 grams. Says it works great. I will try both of these over the next month or so and post and update.
  15. We have a bunch of ceramic fiber blanket that we got from an old fiber kiln. I want to cover the arch of my kiln with it to seal and insulate it better. I want to cover the blanket with a layer of castable refractory or other suitable coating to create a shell over the blanket (think M&M’s). It is an updraft kiln, so part of the driver here is to keep particles/pieces of it from separating in the strong winds we get and blowing into the kiln. Also want to have the finished product to essentially be one piece. I would love to hear from anyone who has experience with this process and their recommendations for the materials that should be used. Many thanks
  16. Using Old Ceramic Fiber Blanket

    Thanks for all your comments on this. I am back in Red Rock country after two weeks on the coast. Over the next month, I will tackle this and report back on the process and the results.
  17. I am with Mark - I would choose to work at Hamada's back in the day. The other potter would without a doubt be Marguerite Wildenhain and a week at Pond Farm.
  18. Coating Soft Bricks For Soda Kiln

    What are you using to coat the kiln and what does the spec for the material say (if you have one?)
  19. Using Old Ceramic Fiber Blanket

    Mark Where do you get the Aluminum overwrap you are recommending? Thanks
  20. Using Old Ceramic Fiber Blanket

    I talked to an old friend on this today and his recommendation is to use ceramic fiber rigidizer. You basically spray this on and it creates a coating on both sides of the blanket, creating a crust that makes it very resitant to breaking into pieces, abrasion, etc. I just verifed this with technical support at Laguna Clay. I ordered a gallon for $28.75 and they said it will be more than enough to cover the arch for a blanket on a 24 cu, ft kiln. I will let you all know how it works.
  21. Super-Old Glaze: Hardpanned?

    It is a cone 10 glaze and I will try that. thanks
  22. Super-Old Glaze: Hardpanned?

    The issue is I have 20,000 grams of the now insipid green glaze that I need to bring back to the beautiful blue green. Since the only oxide in this is RIO, I really wonder if it is the small amt of iron in the Bentonite that caused this (we are talking 600 grams or so out of 20,000 plus). I want to try and bring the liquid glaze back and want to know if anyone has a good process for doing tihs? Many thanks
  23. Adding bat pins to wheel?

    I use a product like you are describing and it is called a “Bat Grabber†and is available from Bailey Ceramics. I have seen other suppliers who have similar products. However, I use it with bat pins and did not realize you could use it standalone. The beauty of the product is that it holds bats in place that would otherwise wobble, click, move around, etc. because the holes were worn or not drilled exactly right. They cost around $12 and I would call them a magical product because they really work. If I were a teacher or running a lab where there were a lot of old bats with worn holes and wobbles, I would encourage my serious students to buy them - would save a lot of frustration.
  24. Adding bat pins to wheel?

    I use a product like you are describing and it is called a “Bat Grabber†and is available from Bailey Ceramics. I have seen other suppliers who have similar products. However, I use it with bat pins and did not realize you could use it standalone. The beauty of the product is that it holds bats in place that would otherwise wobble, click, move around, etc. because the holes were worn or not drilled exactly right. They cost around $12 and I would call them a magical product because they really work.
  25. Super-Old Glaze: Hardpanned?

    I have a blue green celadon that I mixed a large batch (20,000 plus grams) and it worked beautifully. It sat for a month and settled to a hard brick on the bottom as others have described here. After reading a bunch of info on this issue I added about 1.5% (it already had 1%) Bentonite to the glaze and re-strained it. The glaze no longer settles but it seriously changed the color of the glaze – from a beautiful blue green to a weak light green. Here is the recipe: F4 Spar 36.5% Silica 32.3 Whiting 14.6 Zinc OX 11.5 EPK 5.2 Bentonite 2.5 (total with additions) RIO 1 Hard to believe that the small amount of iron in Bentonite would change the glaze this dramatically. Any ideas on how to systematically bring it back would be most appreciated. Thanks

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