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  1. Thanks, that's what I thought. When I get a chance l'll check for a loose connection just in case.
  2. Thanks Neil, the top and bottom elements glow and the two middle ones glow less but seem to be on as well...
  3. Not when I plug it in, but when I turn on the switch. Late last night and again just now I tried again and it worked correctly. Then again I've just kept it on for less than an hour. Don't know if unplugging the kiln when not in use makes any difference.
  4. Thanks for all the replies… No the kiln can’t be manually controlled… no l/m/h settings… The way I found to work around the single segment ramping is to programs one segment for the first 500 degrees and the enter another for the rest of the firing. Pretty easy and straight forward, like Min suggested, but the kiln doesn’t have a fast setting so you have to manually enter the number. The problem I have now is that the kiln is acting up again. When I turn it on it starts ramping the heat, not responding to the controller and making a buzzing sound that gets louder and louder until scared I throw the switch off. The turning it on while pressing the select button trick is not working any longer… Any ventures to guess what might be causing this? Anyone has any experience converting a digital kiln to a switch/sitter or exchanging the controller for a different one? Or know of any links with info on how to go about doing it?
  5. Hi, a friend of mine gave me an Evenheat kiln with a Perfect Fire digital controller. It hasn’t being used in many years. When I turned it on, the kiln started heating like it was on high and it wouldn’t respond to anything I pressed on the controller’s interface. I called Evenheat and was told by the person who answers the phone (not sure if a tech) that it was the relays. Replacing the controller, if also damaged, with a new one would cost $450+/- plus the cost of shipping the panel. When I opened the kiln the relays didn’t look burned out. I looked around the web and found this post: http://www.potters.org/subject44399.htm . The trick bellow seemed to get the controller working again. >>>Hold down the "SELECT" key, while turning the power switch on. The controller enters the programming mode, indicated by the top lamp flashing. <<<< I have a few questions and will also be thankful for any other information on how to use/repair the kiln. This controller doesn’t offer a multi segment ramping. Does anybody know how get around this limitation? I don’t need anything fancy; just want to be able to slow down the first 2 or 3 hours of the firing and then rocket fire the rest of the way. Also how do I check/ calibrate the thermocouple? I still plan on using a small cone on the shelf. Are there any other alternatives (specially cheaper ones) to sending the panel to the manufacturer? I have other kilns, so I don’t really need it. Still, it’ll be cool if I can make it work without spending much, because its 3.3cf is perfect for experimenting… Thanks,
  6. HI, some points to consider… -The bended cone you are seeing doesn’t necessarily mean the rest of the kiln reached the same temperature. I’m not sure what you mean when you say until I see my cone start to slump. You could check Orton’s website if you’d like to see a diagram of what a properly bended cone looks like. Maybe your kiln is not reaching cone 06. - Is the firing time equal in both kilns? - If the kiln you have at home is smaller or less insulated, you might need to fire a cone higher, do a soak at max temp or slow cool the kiln so the glaze gets to melt fully. Some glazes start melting way before the cone drops, others melt fast near the end of the firing, and others bubble and need time to heal. I never fire glazes to cone 06 anymore. I fire with a 04 or 03 cone in the sitter and Speedball glazes rarely give me any troubles. Speedball glazes I think use a different kind of gum and brush differently. I made test tiles big enough so I could brush the whole tile with one coat, ¾ with two coats, ½ with three coats, and ¼ with 4 coats to see the difference in terms of opacity and glossiness…
  7. Thanks Mark and TJR. I might just try the om#4 version then. It seems to be what I'm looking for. I try to order everything, all at once, several months in advance of high seasons. Thanks Niel for the recipe. Other cone 04 industry recipes are highly welcomed.
  8. Thanks to all, I'll try both... One of the reasons I'm considering om#4 is because I thought it might help solve the powdery unfired surface typical of high % frit glazes... Why would a ball clay help with raw glazing?
  9. Hi, my local store is out of epk. I rather wait until I run out of other materials before placing an order. I have a few #s of tile 6 and plenty om#4... The recipe I want to try is the one Niel posted a few days ago... cone 04-03 siglefire. I'm ok with cloudiness and will also try 10% zircopax Ferro 3124 90% EPK 10% + veegumt/bentonite Anyone knows which would be a better sub or have any advice? thanks,
  10. Lowfire Glaze Depression.

    Thanks, I thought the "In" in the pics was referring to Duncan Envision line. What kind of glazes are you using? I like the depth achieved. Maybe is just the white clay underneath... very cool. I started reclaiming my white clay scraps! One glaze I like a lot is Laguna's California Dreaming. It layers well but it's VERY runny, one needs to be careful with it.
  11. Lowfire Glaze Depression.

    English is my second language... Layering translucent glazes on a light background is an interesting concept. I'm going to give it a try... Thanks,
  12. Lowfire Glaze Depression.

    Benzine I just checked the pics, they are really interesting. I tend to layer opaque glazes on red clay... What kind of logic for layering are you using?
  13. Lowfire Glaze Depression.

    Hi Harold, I'm interested in trying some of the recipes you have had sucess with. Also will appreciate any tips on how to make high frit glazes easier to apply. Thanks,
  14. Lowfire Glaze Depression.

    Hi, Lowfiring is not that much cheaper. I did the math some years ago. The kiln firing was about 2/3 $ more (going from cone 03 to cone 6), the elements would need to be changed every couple of years. Everything else was about the same. I actually found out that the most expensive part of my work is the time I spend brushing the glazes, which I still do. All of this can be factored into the pricing... a business savy friend can help you build a model that fits your vision and the market you want to reach. I agree with Benzine, layering can be a good friend... Texture is another... Spectrum, Mayco, Amaco, Laguna, and Duncan all have a stoneware immitation line of glazes... if you want more control or a different look try mixing your own. Also, comercial glazes can quickly eat whatever you are saving on the electricity bill. There's a potters called Trevor Youngberg that achieved something similar to stoneware glazes by layering and slow firing... In the June 2002 issue Ceramic Monthly printed his recipes. Claytimes also published an article which has the firing schedule. On the other hand there's no reason why earthenware should look like something else... There are quite a few lowfire potter and artists doing very interesting work. Have you seen Steven Colby's low fire work? There's a video on youtube of Colby and Michael Kline where he explains how he layers the glazes. It's amazing... I saw the pic of the mug you posted on the other thread and is a really handsome gal... nothing trashy about her. Maybe all you need is a little soul searching... ask yourself: what do I want my work to say?
  15. Tinkering With Commercial Glazes

    Thanks! The link list other interesting options too...
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