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  1. LinR

    is this glaze food safe?

    Thanks Min. This gives me an idea of what to look for. Lin
  2. I'm going to have pots in a once/year wood firing. Ben Bates Oribe Green Cone 9-13 was given in a CM this past year and looks very interesting but I am wondering with 6% Copper carbonate if it would be food safe fired between cone 10 - 12? recipe is: Bone ash 2% Talc 9% Whiting 23% Custer feldspar 31% EPK 11% Silica 24% add: Copper Carb 6% Thanks for any help you can offer.
  3. An egg next to your piece gives a very good idea of size and looks nice too. Lin
  4. LinR

    Seeing Cones

    Blowing into the kiln can also mean that you might blow the crumbs of soft brick in the peep hole all over your glazed pieces. If you do blow in be careful to intake your breath turned away from the peep hole. Lin
  5. LinR

    Seeing Cones

    I'd love to know that secret too. I've had all sorts of suggestions none of which worked. The only thing that does work for me is having a clear space from my peephole to the cones and clear behind those to the back of the kiln. But then I have a small kiln. Good luck. I'll be watching to see what other people do. Lin
  6. Do you have hot air heating in that room? If so close the vent and tape it over so that dust is not blown around. L
  7. Apologies for not thanking you for your input. Cyberspace ate my password and I've been trying to get access back in between workshops and preparing for a sale. All seems well now thanks to Jennifer. I assumed that the bowls had a glaze on them because the inside surface was so juicy and there were drips on the edges of the bowls, facing up of course. Would a shino glaze release the wadding more easily than others? Thanks again for your comments. Lin
  8. The Blackfish Gallery in Portland in conjunction with NCECA had an excellent exhibit of wood and soda fired pots. There was a series of small bowls which had been fired upside down, one on top of the other with the lovely wadding mark in the centre of the bowl. The wadding roughness had been ground off. As a learning soda/wood fire student I thought the inside of the bowl seemed to be glazed rather than coated with flashing slip. The surface was smooth and juicy. I would have thought that putting wadding on a glaze would have left it well and truly stuck and that it would be difficult to sand it down sufficiently to be functional on the inside of a bowl. Can someone explain what might have been done? Lin
  9. LinR

    How Do You Make A Bird Bath?

    I had a problem with a shallow bird bath dish placed on a round hollow stand. There are raccoons in the area. They like to drink the water too. So two paws up on the edge of the dish and BAM! One smashed dish on the ground as the critter brought it right over. I solved the problem by adding a very deep foot to the dish so it could not be tipped off it's pillar. L
  10. Brown clay foot ring on a white clay slab bowl. I guess that'll have a tenmouku glaze on the outside. Glaze lids going back on the wrong bucket = glaze surprise.
  11. A great tool to remix a glaze that has hard panned is a heavy duty loop tool. L
  12. I like scalpel blades- so thin they don't pull the clay as much as exacto knives.
  13. Try burnishing any piece of leather dry clay with a polished stone or an old spoon. You'll see that if it is too wet it doesn't burnish and if too dry it scratches. There is a sweet spot where it takes and keeps the burnish and you often need to burnish over and over again till the burnish stays. Some clays never seem to keep a high shine while other do. L
  14. I think it might also depend on what kind of work you make. My understanding is that if you are making casseroles or other functional ware which goes in the oven it is better to have a slightly underfired clay. If you are making vases you want the clay to be as mature as possible to prevent leaking. Outdoor sculpture won't survive freezing if it is absorbing water. L

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