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neilestrick

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About neilestrick

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    Neil Estrick

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    http://www.neilestrickgallery.com

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    Grayslake, IL

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  1. what is your favorite wax resist?

    Ceramic Supply. Rinses totally clean out of brushes with just water. Never gums them up. Dries quickly and completely, not sticky. You can add food coloring to wax to make it easier to see. It takes a surprising amount to do the job.
  2. Kiln Install on Deck

    Clothes dryers are a major cause of house fires, about 3,000 per year in the US. Cleaning out the lint catch is super important to prevent fires.
  3. Absorption

    Ideally we want absorption under 2%, otherwise it can weep and it's not vitrified. Half a cone may or may or may not matter- it all depends on the clay body. If your glaze can handle it, go for a full cone 6 by adding a hold time at the end. Start with 5 minutes and increase by 5 minute increments, or put on a 30 minute hold and watch the cones to see when it's done and shut it off manually one time. But that means being there to monitor the end of the firing. Shouldn't take more than 10 minutes hold
  4. Kiln Install on Deck

    Some insurance companies won't cover them at all. Some don't care. Some charge extra. It just depends on the company. But always check it out first, and do everything by the book so there's no trouble later on.
  5. Kiln Install on Deck

    In addition to safety issues, there are liability issues with not installing the kiln according to manufacturer's recommendations. Your insurance may not cover you if there's a problem and kiln wasn't set up properly. Even greater potential issues if someone other than you is injured because of it.
  6. Absorption

    Cone 6-10 is a lie. It's under-fired at anything less than 10. Use clays that are made just for cone 6. Use Standard #630 instead of 182.
  7. Kiln Install on Deck

    I know it can hold up to water just fine, but I would expect that it would tend to spall from freeze-thaw. I don't think it would totally fall apart, since there are fibers helping hold it together.
  8. Kiln Install on Deck

    Sorry, Bruce. I think if it sat directly on the wood floor without a stand you would have a fire on the first firing. Any sort of bricks or cement board under the stand will do the job.
  9. Kiln Install on Deck

    Funny. But I stand by what I said. There are exceptions to every rule, and I'm glad your setup has not caused any problems for you, but a non-flammable floor is needed. It's not worth the risk. I have personally seen many discolored floors under kilns, and there was a kiln up in Milwaukee that started a fire because of a situation like this.
  10. Kiln Install on Deck

    Never on wood: From L&L Kilns: LOCATING THE KILN 1) Place the stand on the floor in the desired location. This should be set so that the outside stainless steel surface of the kiln will be at least 12” to 18” from any combustible wall. Floor must be nonflammable. From Paragon Kilns: Place the kiln on a concrete floor. Avoid wood floors and, of course, carpet. If you place a kiln on a concrete floor finished with linoleum tile, place a fireproof material over the tile to protect it from discoloration. From Skutt Kilns: Kilns must be placed on a non-combustible floor such as concrete or ceramic tile. It is not recommended to place the kilns on wood, carpet, or vinyl floors which may discolor or ignite. From Olympic Kilns: Because all kilns generate heat the stand or frame should be placed on a cement floor.
  11. Kiln Install on Deck

    Yep, overkill. Two layers of cement board under it would be fine and only cost you about $12. How do you plan to protect it from weather?
  12. Tyler, you are obviously able to work in ceramics in a more philosophical way than many of us, and I don't mean that to be a negative. I hope you didn't read my comments to mean that I find your method to be inferior. On the contrary, I love working with numbers, but it's just not the way I work any more. My current schedule is too busy to allow for mixing tests for fun or doing calculations by hand. I find that working with UMF on the computer is very good for time management, and can prevent me from wasting a lot of time mixing non-functional glazes. Yes, there's something to be learned from the failures, but when I'm working towards something specific, I'm usually too pressed for time to care about that. I also think that you can't rule out the UMF as part of the whole package. Yes, test tiles alone can be the path to a good glaze, but I find UMF to be the best way to tweak a glaze to make it perfect, or to fix a problematic glaze. It's not just for original formulation. It's improbable that I would take a glaze from a book and use it as is. All glazes need tweaking for your clay body and firing schedule, and the UMF is a great way to to that. These discussions are what make this forum great!
  13. I learned by hand as well, and I agree that it gives a much better understanding of the process, but I have no problem using the computer. It's no different than using a calculator- I can calculate big numbers by hand, but why waste the time and risk the mistakes? Once you understand the process, the result is what's important, not the process. Even if the UMF only provides a means of comparative notation, that defines it as data. The glaze recipe is data. UMF is data. The raw glaze is data. The fired test is data. All of it is information needed to determine the qualities of a glaze. da·ta ˈdadə,ˈdādə/ noun facts and statistics collected together for reference or analysis. synonyms: facts, figures, statistics, details, particulars, specifics; More COMPUTING the quantities, characters, or symbols on which operations are performed by a computer, being stored and transmitted in the form of electrical signals and recorded on magnetic, optical, or mechanical recording media. PHILOSOPHY things known or assumed as facts, making the basis of reasoning or calculation.
  14. Hump and Slump Molds

    Mold soap is only used as a release when making the original mold, to get the plaster to release from the original. You then have to wash it off and let the plaster dry. You don't want to use mold soap to get the clay to release from the plaster when actually making pieces. You need the plaster to be completely dry before using the mold, which may take a week or two of drying depending on the thickness of the mold ad humidity levels in your studio. Damp plaster is worthless.
  15. Hump and Slump Molds

    I think concrete molds would be mighty heavy and you won't be able to easily alter them if necessary after making them. With plaster you can easily sand out little imperfections in the molds. What was the issue with the plaster molds? The easiest way to make slump molds is to cut them out of insulating foam board, like the pink your blue stuff from the hardware store. Cut it with a box knife, then clean up the edges with some coarse sandpaper.
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