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mregecko

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  1. Like
    mregecko got a reaction from Rae Reich in I put a penny in the kiln- but what in the world happened?   
    Umm... It looks like one or two of those tubes went into your element's groove. That's really not good, and could potentially damage the element depending on what the substance is made of. Just be careful with this experimentation.
  2. Like
    mregecko got a reaction from yappystudent in Drip Plate?   
    Use the same clay that you're using for your pieces.
     
    Roll out a slab and just bring up the edges (curl, roll, pinch, whatever) so that any overflow will pool and not run off the dish.
     
    Bisque them, then use the drip plate under your ware.
     
    I agree with the kiln wash application -- if you do have drips, it will make it much easier to separate.
     
    If you plan on doing this a lot, there are some specific formulas for kiln-furniture style clay that can be repeat-fired many times.
     
    But if you put a terracotta tray from a hardware store in the kiln and fire it too high, it will definitely melt. 
  3. Like
    mregecko got a reaction from yopi in Cone 5/6 alternative to gloss clear glaze   
    Try a regular clear gloss, but thin it down a lot. You don't want a coating that is opaque when dry, but mostly transparent.
     
    For most clear glosses at ^5/6 I've seen, this leaves a nice satin finish.
     
    I usually do 1:2 glaze:water, and brush it on very thin.
     
    If you have a sprayer, that's even easier.
  4. Like
    mregecko got a reaction from SydneyGee in Black Mountain Clay And Matt Glaze   
    Time for photos!
     
    I've got more at higher resolutions up in a Picasa album here: Shino Test Tiles
     
     

     


     

     
    The small cups in front of some of the tiles are the same glaze as the tile behind it, but fired flat. 
     
    A lot of these are slight variations from John Britt's high-fire glaze book. One or two I think came from these boards. 
     
    But, if anyone has questions about method / recipes / whatnot, definitely let me know. I really love this clay, it's my favorite I've ever worked with...
     
    Too bad I don't have my own ^10rx kiln to work with it all the time!   Womp womp.
     
  5. Like
    mregecko got a reaction from Roberta12 in Materials For ^6 Copper Red Oxidation   
    Looks like I have even more reason to grab that book now!
  6. Like
    mregecko reacted to bciskepottery in Materials For ^6 Copper Red Oxidation   
    John Britt lists a handful of copper red oxidation recipes in his The Complete Guide to Mid-Range Glazes.  page 103.  Frits are of the common variety . . . 3110, 3124, 3134; silicon carbide mesh is 600.
  7. Like
    mregecko reacted to Dick White in Materials For ^6 Copper Red Oxidation   
    I think you are on a wild goose chase for those frits. General Color doesn't make ceramic frits anymore, been out of that business for a long time. I don't see the 210R in the Ferro catalog at all. Even it it is still made, it is probably a specialty or industrial item that is only available by the carload. You are probably better off getting some glaze calculation software and reformulating the Pearson glazes using currently available products. You also might try any conventional copper red recipe intended for reduction and just add the silicon carbide for localized chemical reduction.
  8. Like
    mregecko got a reaction from Joseph Fireborn in Materials For ^6 Copper Red Oxidation   
    Hi Folks -- I'm looking to play around with some ^6 Copper Reds in Oxidation using chemical reduction. I've read the classic Pearsons article, as well as Tom Turner's great research on doing the same at ^9.
     
    The problem I'm having is finding some of the listed ingredients.
     
    I've reached out to General Color & Chemical, but my standard suppliers don't have any of the General Color Frits or even their Ferro equivalents (GF-146 / Ferro 210R for example). I'm also having a hard time finding anything other than chunky 400-mesh Silicon Carbide.
     
    Any recommendations for suppliers here?
     
    Thanks in advance!
    -- M
  9. Like
    mregecko reacted to perkolator in Materials For ^6 Copper Red Oxidation   
    I second trying a non-ceramics supplier for their silicon carbide.  Lapidary supply, glasswork suppliers, maybe sandblasting, etc should all carry it.  I want to say our print lab gets their SiC for grinding/polishing lithography stones from a print/litho supplier.  
     
    The only issue I see with buying from a non-ceramics source is they might categorize the SiC based on GRIT size vs MESH size. I'm not sure on the conversion, there should be info online about this.  I know our print lab has as fine as 800 grit I think, which is pretty fine.
  10. Like
    mregecko reacted to Dick White in Materials For ^6 Copper Red Oxidation   
    For the silicon carbide, consider purchasing from a lapidary abrasives supplier (for polishing gemstones).
  11. Like
    mregecko reacted to Mark C. in Firing Glazed Plates   
    Sometimes the customer is not right.

    Mark
  12. Like
    mregecko reacted to GEP in How Common Are Exclusivity Clauses? (Long)   
    Honestly, I've never heard of such a thing. And to spring this on the exhibitors after they've made a deposit is really shady.
  13. Like
    mregecko got a reaction from Evelyne Schoenmann in Do You Touch Things In Museums?   
    I had a very long response typed up, but just deleted it because I cannot think of how to say my honest feelings without coming off aggressive or offensive. So I'll retreat from this discussion, and just say we have two points of view on this.
     
    My point of view on "handling" museum work causes no potential danger to priceless works of art when you apply it to the millions of people through museums every year.
     
    Can you say the same about your point of view?
  14. Like
    mregecko got a reaction from Judith B in Black Mountain Clay And Matt Glaze   
    Dark dark brown, almost black. I'll take some photos today when I pop by the studio.
  15. Like
    mregecko reacted to Tyler Miller in Ceramics In Mexico   
    The Maya were/are in the Yucatan peninsula in southern Mexico.   Are you thinking of the Inca/Quechua people?
     
    Veronika, I don't have any specific suggestions for you.  But plan your trip regionally.  Mexico is a very diverse and highly regionalized country.  The Aztecs were centred in the Mexico city area and the Maya peoples are in the Yucatan.  If you are looking at the southern end of Mexico, I would check out the Mixtec, Zapotec, and Trique cultures of Oaxaca, Puebla, and Guerrero.  Much the artwork of these peoples made during the period of Aztec empire actually made it north to the Aztecs as tribute.
     
    The only other piece of advice I have is to know the visiting hours of the museums you want to visit.  A really frustrating part of my trips to Latin America has been that museums were generally closed.  I spent 2 weeks in northern Peru and the museum in Chiclayo (a really big deal, nationally recognized museum the people I was staying with were desperate for me to see) and the local one in Piura (were I was staying) were both closed for the entire two weeks I was there.  Peru's an extreme example of this, but it's a problem I've experienced in most places I've visited in Latin America.
  16. Like
    mregecko got a reaction from Tenyoh in White Spots On Bisque-Fired Brown Clay   
    I have this happen sometimes with darker clay bodies. As was said above, it's usually scumming; but it can also be dust / detritus loose in the kiln from pieces from a white body, or even kiln wash if you're unlucky.
     
    I'd say about 80% of the time, I can fix it with some vigorous sanding in the bisque stage. Obviously take proper precautions to not breath the dust from sanding.
     
    If this doesn't work, then your best bet is to cover it up. It can absolutely show in the final firing.
  17. Like
    mregecko reacted to neilestrick in Anyone Know Of Us Kiln Manufacturers That Do Anything Like This?   
    And yet those kilns have little to no chimney height to actually create the draw needed to provide that secondary air. Power burners are perfect for kilns with no chimney! For the price of the 2 to 4 venturi burners they typically use on the little round kilns, they could build a single power burner with the same or greater output. The real cost of burner systems is in the safety equipment- solenoids, flame sensors, etc.- not the burner itself.
     
    The other great thing about power burners is that you can drastically change the orifice size without messing up the burner. So if you don't have enough power, you can fix it by increasing the orifice size (as long as you have enough gas volume coming in, of course). And if you find you need more air, you can put on a larger blower.
     
    I think that many of the folks who convert the round electrics into gas think that because the round raku gas kilns work well, it should also work for a cone 10 reduction kiln. But the truth is that any crappy burner setup can get a raku kiln to temperature. 1850F degrees is easy. But as you get into higher temperatures the lack of insulation in those kilns becomes a real issue, as does the uneven temperature and atmosphere.
  18. Like
    mregecko reacted to neilestrick in Anyone Know Of Us Kiln Manufacturers That Do Anything Like This?   
    Kiln shelves do warp from gravity and weight, but they also warp from uneven heating. The hot side expands more than the cold side, causing a warp in the shelf. Over time they don't go back to totally straight when they cool.
  19. Like
    mregecko reacted to neilestrick in Anyone Know Of Us Kiln Manufacturers That Do Anything Like This?   
    You could build a much larger kiln yourself for $6700US, and I wouldn't trust those rubber wheels to last very long being that close to the kiln. One potential problem is the kiln shelf they're using to separate the flue from the kiln. It's going to warp over time, and when it does it will crack the bricks that it's mortised into. Used to happen all the time on the old Alpine kilns that used kiln shelves as bag walls. They warped and cracked the door jam they were set into. I switched them to a brick bag wall when I was manager there.
  20. Like
    mregecko reacted to High Bridge Pottery in Anyone Know Of Us Kiln Manufacturers That Do Anything Like This?   
    Wow, £4000. That seems a lot of money but it does look like a great kiln. Probably worth it.
  21. Like
    mregecko got a reaction from Babs in Maybe We Have Been Missing A Trick.   
    I take all of my medical advice from African taxi drivers, don't you?
     
    ......
     
    Also, a negative charge would repel a negative isotope.
     
    She doesn't strike me as the brightest penny in the jar.
  22. Like
    mregecko reacted to neilestrick in Frustration Finding A City Workspace!   
    Make sure you're on the same page about the cubic footage. When potters say 20 cubic feet, they mean stacking space, and the actual interior volume is  more like double that. When the city says 20 cubic feet, they may mean total volume, not stacking space.
     
    I went through all this 6 years ago when I moved my shop. The problem was not the village building codes, it was the fire codes. My first shop was in a free standing building, which makes it much easier to get things done. They don't care so much if you burn down your own place. When I moved, every space I looked at was a multi-tenant structure (light industrial/office park). Suddenly there were all sorts of fire code rules that didn't apply before. In order to put a gas kiln in my current space I would have had to add 2, possibly 3, layers of drywall to the wall separating my space from the neighbor in order to meet fire code. The other big issue was that the gas meters are clustered in the middle of a 24 unit building, and I'm at the end. I would have had to upgrade 200+ feet of gas pipe i order to deliver the volume needed for the kiln. The cost: $12,000. More than I spent on the kiln. My HVAC guy also wanted $6,000 to move the vent I originally paid $6,000 to have built and installed.
     
    All of this was what made me do something I had been considering doing anyway- I switched to cone 6 electric. And I must say I don't miss firing the gas kiln one bit.
     
    Regarding John's comment about electric kilns: Most all safety issues with electric kilns come from user errors/laziness that are simple to avoid. Usually they come from bad wires, either in the wall or in the kiln, or form the plug/outlet. They wear out and short and cause sparks and possibly fires. Regular maintenance checks can prevent most of those from happening. The other danger is form people setting combustible things on or near the kiln. This happens most often in community studios and schools, where many people who are not familiar with the kiln are working near it. I've seen all sorts of fun stuff melted to the sides of kilns. 
  23. Like
    mregecko got a reaction from Pres in Help! Miss Clay.. Hands Developing Scales, Allergy Eczema ?   
    I hate to state the obvious, but I don't think many people on here are medical doctors. Your best bet would be to see a dermatologist or your family physician.
     
    It could be something as simple as irritated skin from grog / clay / constant moisture / etc... but it could also be an allergic reaction, or if your clay or glazes have specific materials that you're sensitive to. Who knows?
     
    I, personally, would see my doctor.
  24. Like
    mregecko got a reaction from Lorraine76 in Slip Casting Big Vases. Is It Possible?   
    I have seen large slipcasting molds like this, but remember that much plaster is HEAVY... There's usually rigs for holding / pouring out slip, large catch buckets, etc. It's definitely a process.
     
    I've also seen people do large pieces like this with slipcast sections. Split the vases into two halves and join them (slip & score), blend the line, and you won't be able to tell much of a difference.
     
    Either way, it's a good bit of work. But definitely do-able.
  25. Like
    mregecko reacted to bciskepottery in How Big Of A Bucket Do I Need?   
    Mixing instructions from Mid-South:
     
    "Opulence Glaze sold in powder form will need to be mixed with the correct amount of water and sieved through an 80 mesh screen. Basic Ratio of powder glaze to water by weight is 1 lb of powder glaze to 0.9 lbs of water. 5lb example: In One Gallon container, add 5lb of dry glaze to 4.5 lbs of water (9 cups). 25lb example: In Five Gallon container, add 25lb of dry glaze to 22.5 lb of water (45 cups). *Always add dry glaze to water. * Avoid breathing dust of any dry glaze. Wear appropriate respirator when mixing glaze and work in a well-ventilated area."
     
    Each glaze will be a bit different, so you'll need to adjust water portion accordingly. You really need a container larger than 1 gallon to allow for stirring with drill/mixer. I prefer adding half water, then glaze, then rest of water. Keeps dust down and allows for slaking of glaze.
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