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simatai33

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About simatai33

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    Advanced Member

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  • Gender
    Female
  • Location
    Hakalau, Hawaii
  1. I also use Oregon Brown and haven't had bloating issues in cone 5 or 6. I did have bloating with Electric Brown clay. I bisque to cone 06/07.
  2. simatai33

    wadding?

    You can and just re-glue old wadding, but it will not sit the same way and be a little wobbly. I tried but the effort is not worth the time for me and I think it's safer to just use fresh wadding so the piece is totally stable.
  3. Thank you! Much appreciated. Is there a name for that Shino?
  4. Thank you Mark! I will definitely do that and study up more on this. Since I like Rods bod so much, I think it's best to change to another type of Shino for soda firing.
  5. Hi Min, Actually I did make a NEW batch of RIO slip for the last two firings which had the shivering. It was a different recipe from the one that I used before. Here's the difference: Fish Sauce Grolleg Porcelain 43.8 Minspar (200) 23.5 Silica 15.6 Bentonite 9.4 Pyrax 7.8 Red Iron Oxide 15 New RIO Slip EPK 50 Silica 35 Custer Feldspar 25 Bentonite 2 Gersley Borate 10 RIO 15 However, a few pieces of mine had no RIO slip decoration on it, and they still shivered. I'm not very knowledgeable on glaze chemistry and so really appreciate your input and have always enjoyed reading your posts! Thank you!
  6. If it is the OM4 discrepancy, then I wonder why it didn't shiver before in previous firings? Only in the last two firings, and only in combination with Rods bod clay. Does anyone recommend a better Shino recipe for soda firing?
  7. That's a great analogy! It's Penn State Shino:)
  8. Thank you for your insight Callie, much appreciated. I'll run some tests with the recipe that has more OM4 in it! What is COE?
  9. Hi Min, No the shivering is happening on areas on a couple Rods bods vessels that had no slip on it.
  10. Hello everyone! I am stumped on this issue and was wondering if anyone had any insight or advice on this. We opened our soda kiln a couple weeks ago and I had a problem with my work. I fired 64 pcs, most of which was Rods Bod clay body which also had some Red Iron Oxide slip decoration on it. I used Penn State Shino that I mixed the day that I glazed. 60% of it had major shivering! The glaze was just crumbling off and some thicker areas coming off in large pieces, leaving a grey stony finish behind. Such a bummer! See video here: https://youtu.be/0cbd0eXvYII Some things to note in this firing: - No one else's work shivered, but no one else used Rods bod or PSS Shino. - Pieces from previous firing that didn't make it in kiln and fired this time were ALL okay. They had been sitting for 6 wks and were Rods Bod with RIO decoration and PSS glaze. - I fired over two dozen spoons with Takamori clay body and PSS glaze, and NONE of them shivered. There was some crazing. - All my Rods Bod pcs with SF Shino or other glazes did not shiver. - 5 sake cups that fired cold didn't shiver. - There was crazing on several pieces. - Areas that got hit with a lot of soda on Rods Bod/PSS would shiver. - I did rush the drying process of Rods bod, drying in the sun and did a 2 hour pre-heat when I bisqued. I never had a shivering problem with Rods Bod and PSS glaze until the last two firings, which make me wonder if it's a clay body issue, a combo of clay body and glaze fit, or something happened in the glaze mixture. Or could it be the soda ash? I did find a discrepancy in our PSS recipe vs. the one from Liz Willoughby when I double checked today; we use 4.9 OM4 amount instead of her 14.9 OM4 amt, and I wonder if that makes a difference in anything. SODA ASH SPRAY RECIPE 1 lb soda ash to 1/2 gal water PENN STATE SHINO RECIPE - LIZ WILLOUGHBY 14.6 Neph Synite 7.8 Soda ash (light) 9.7 EPK 4.9 OM4 34.0 F4 feldspar 29.0 Spodumene
  11. simatai33

    satin matte glazes - earthy tones

    both are wood fired pots, reduction fired for at least 48 hrs. the first image might be shino, but the second is very likely from an anagama kiln with no glaze. It would be very difficult to come close to having a cone 6, 12 hr firing look like those images. Will you fire oxidization? I think creating texture on the clay body, and layering glazes would be helpful to achieving something that might pass for your clients, but it will be a great challenge to make it feel a wood fired piece. Good luck experimenting!
  12. simatai33

    Your Variations On Leach Clear

    I'm a little confused by this topic - are we talking about Cone 6 Clear or Cone 10? I am also looking for a Cone 10 Clear recipe that will work well in soda firing and not go opaque.
  13. Thank you Neil and Potterbeth! Very valuable feedback Neil, we only fire once a month at most. And people who bring pieces here usually will use our glazes, wadding and sprayers. Two people usually rotate being the kiln masters, and both will load/unload. So it makes sense that their labor should be factored into the fees, because at this point they don't want anyone else touching/running the kiln. I think we will also charge based on our guess of what percentage of the kiln is used. But if the items fall below 25% percent of kiln space, then we will have to charge per sq inch. This is where the amt per sq inch gets tricky. We have a 14 cu ft kiln. I think once we figure out the propane costs per cu sq inch, then we will have to just tack on a percentage that will cover wear and tear, expendables, glaze and the labor that others put in for loading/unloading and firing. It will probably be 30%-50% on top of the gas.
  14. Hello everyone, Thanks for all your input, it's very interesting to hear the three different outlooks! So amazing that I can reach out there and get such nice feedback from the community. Much appreciated! Thank you for the spreadsheet, I will definitely study it and then change the variables based on our kiln! I think for our situation, membership is not something we want to do because there are only 3-4 main people who will be using the studio. Most of the outsiders have their own studios, clay and electric kilns and just want to get their pieces fired in the soda kiln. It is important that the costs be more on the accurate side so people are paying fairly. This is due to the high cost of propane in the state of Hawaii, and that soda kilns are quite costly to fire and accumulate more wear and tear than your typical gas kiln. I believe this is the only soda kiln studio on the island. Any other input would be great appreciated!
  15. We have recently started a group studio and it was easy to split costs when 2-3 main people shared the kiln space evenly. We split the propane costs for the kiln, and the electric kiln for bisque shows the amount of electricity used. Supplies and maintenance costs are split too. But we are trying to figure out a formula for the future when more people get involved and there are different quantities of work being produced. The core members of the group order the materials, mix all the glazes, grind all the shelves, load and unload the kiln, keep the studio clean, etc. If a person wants to fire some pieces in the kiln, we are not sure what to charge ON TOP of the propane price. I see that some studios charge $0.09 per cu in, but I don't know how that is broken down. But what I would like to know is there a percentage formula anyone has worked out, that factors in all the materials, labor and wear and tear of the kiln? Would 20% on top of gas cost be a fair estimate? So ultimately, we would like the core members to pay for all the costs and split accordingly, and then excess monies paid for by the contributing guests would go into a "fund" that will be used for purchasing new materials or supplies. Would appreciate your feedback on this!
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