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1515art

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About 1515art

  • Rank
    Advanced Member
  • Birthday 02/23/1953

Profile Information

  • Gender
    Male
  • Location
    Santa Clara, California
  • Interests
    I began my journey in clay in 1970 and have never regretted getting my clothes dirty ever, in addition to ceramic art i enjoy prospecting in the mountains, collecting jade and fishing on my boat.

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  1. I see a T just after the regulator I’m not sure what you have on each end of that, the second picture shows a check valve to your pilot safety shut-off and then there is a knob I’m assuming controls the flame to the pilot? Are you running a separate line from the T at the regulator to each burner? All of my setups start with some type of gas shutoff valve, with natural gas that valve controls the rate of flow on lpg the shut off valve is followed by a gas pressure regulator some type of gauge is next in line on both systems so I can monitor pressure and consistently reproduce results maintaining the kiln optimally during the firing cycle, my kilns also have air control being a screw disk air gate or forced blower giving me control over the air to gas mixture this will provide some of the atmosphere control (oxidation/reduction) where I have a valve at the burner I usually only use that to shut off one or more burners during candling (water smoking) otherwise they are all full open, lastly is the damper on top of the kiln also controlling kiln atmosphere and pressure giving you some control over heat distribution the air control will also affect heat balance and works in combination with the damper.
  2. The cylinder valve is on/off I don’t believe you have any reasonable control over the flow, the regulator is what you should be using to control the rate of rise in temperature, if you are using a Venturi type of burner the adjustment for air control is at the burner some burners may also have a shutoff valve at the burner and this can also be adjusted to control and balance the kiln the last control you have would be the damper this is used to control pressure inside the kiln as well as the atmosphere.
  3. If you only want to know if you can open you kiln really hot, I’ve opened my 16 cu’ Alpine a couple times above red heat without any noticeable damage although I’d expect repeated thermal shock is harder on the bricks than gently cooling. One time during a cone 6 firing I opened the kiln around 2000 F cooled it a bit and then refined to cone 6 producing some interesting effects on the items without any damage to the pottery and another time I used the big alpine to raku fire a piece that would not fit in my raku kiln, the only difficulty was the heat I had to endure pulling a 36 inch tall item with the large door all the way open was quite hot.
  4. For the bottoms of my pots I’ve quit waxing and just wipe the bottom with a big tan utility sponge after I glaze holding my pot in one hand and the sponge in the other twisting my pot back and forth on the sponge until I get a clean line, clearing as little or as much as I want. If my pressure is steady and even the line is also clean, sharp and even it takes only seconds to clean the foot and I’ve never had a problem with pieces sticking due to this technique alone. It will stain white clay foot with the colorants in the glaze so resist is better if that’s a problem.
  5. Jeff, for detailed work I’ve watched the decorators in the factories in China using a latex resist I’m not sure if it was water or ammonia base or if it would make a difference duplicating detailed blue and white traditional designs. They made it look easy although I’m sure it’ll take practice brushing on green tinted latex over transfer design and then immediately tracing the transfer design with a sharp bamboo stylus through the latex removing a fine line on the still wet resist. Repeating this process small area by small area until the entire piece is covered in the latex with as fine a line cut as needed over the complete design using the stylus. After the latex dries completely they brush on oxides, peal away the latex and spray on clear glaze single fire I think. it’s a nice effect and when they do it produces clean sharp cobalt blue designs. Having not tried this it may not work as well on bisque ware, watching them work they cut the wet latex quickly and easily and the lines remained clean I’m not sure of the mix they used for the oxides. I have some photographs of them working I’d post but don’t have them handy at the moment.
  6. It probably works for me because I seldom (never) do slip cast objects and do mostly press molding with my plaster casts, I’m only interested in the quality of the mold surface and if the object releases from the mold, dryings not an issue and so far I’ve never had issues attaching parts or with the firings because of the oil. I guess I’ve used it for years because it good on the skin and was handy one time when I needed something not knowing any better, I’ll have to try the soap.
  7. When making plaster casts of things I’ve had pretty good luck using olive oil as my mold release agent, the spray cooking olive oil works well.
  8. Gone, packed and all picked up for the project sales office and model unit decorations, the project opening probably sometime in June.
  9. No, it didn’t warp when I stuck it together it was off a little depending on what angle you look, I figured I’d just go with it sometimes you have to know when to quit. The glaze is cream with speckles dusted with red/gold.
  10. You did good keeping your cool, I had a friend here in the US ask me to make some green ware for a book he was writing about his memories growing up in China, he’s a ceramic artist but was unable to make the traditional everyday life pieces that needed to be thrown. I later found out he sold the work at auction in China and took credit for the work I did as his own, I was pissed off but let it go although you can bet it won’t happen again with him.
  11. Tx, I’m having a hard time warming up to them actually these are not glazes that I picked ou and while I think they are OK my eye wants to focus on any defect. Eventually I’ll adjust, the cream colored vessel has a nice silky texture, although I’d prefer slightly more distinct iron specks.
  12. Ty, the clay has been sitting around for a few years and has become very plastic.
  13. Hi Denice, no this is the first time I’ve tried this, truth is I got distracted for a second while carving the foot and resting my hand on the side that was only a couple mm thin which instantly fractured. Thought I’d salvage some work and I sanded it down flat and threw a new rim attaching things in a way that seemed interesting, I give it a 50/50 chance of not warping catastrophically just have to cross my fingers and hope for the best
  14. 1515art

    b_wb_shca.JPG

    Dh, really beautiful glaze combination it complements your forms nicely.
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