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About Min

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    full time potter / moderator

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  1. Min

    Carbon Trap Shino

    Jacobson article on Black Shino here and some photos of very black shinos.
  2. I use wet paper on quite dry leatherhard but not bone dry clay. This pot was done with strips of copy paper, wetted then stuck to the pot and then sponged (or ribbed) over the paper to get it really stuck down. These are underglazes not slips but it's the same idea. I do occasionally get a bleed but it's easy to remove with a sharp tool once the underglaze is dry.
  3. Min


    It's was actually a couple from Stoke-on-Trent England, James Mason and Mary Skerratt Mason who founded Mason Stains in the 1840's. She was a colour chemist. The company originally supplied stains to the whiteware industry. They moved to East Liverpool Ohio in 1902 and since then the company has expanded into the ceramic gas log industry, pool and spa pigments, coatings and plastics colourants plus they developed a cobalt nucleating agent that is used in medical devices and turbine blades for jet engines. Lot of history behind this company.
  4. Need to start with the bisque firing, for this test I wouldn't use test tiles. If you've already spent nearly a year with this problem start from scratch to rule out all changes. Load the bisque loosely, don't stack anything, could even put some thin coils under the tiles for the bisque firing to raise them up off the shelf so the clay can off gas from all sides. As others have said, check the venting. Could be there is more to burn off now than in previous batches of the clay. Yes, that is black / carbon coring in your photo above. Slow down the bisque between 1300 and 1650F, if there is still black coring then add an hour soak at 1650F.
  5. When I have something shipped from the US to Canada I NEVER use a courier company. If it can't go by USPS then I don't order it. On top of any applicable duties and taxes the courier companies ding you a brokerage fee far higher than what Canada Post collects.
  6. I believe they are made from soot and some have binders added. I'm wondering about tattoo ink.
  7. I think it would be interesting too. Let us know how it turns out.
  8. What makes a mature glaze matt is a microcrystalline structure to the glaze. Many matt and satin glazes are just gloss glazes that are underfired and therefore not durable for functional work. Mature satin glazes are more of a translucent than a transparent as the microcrystalline structure refracts light. Glazy has quite a few recipes. I don't know if you are looking for a glaze for functional or not but either way the Glazy recipes come with the glaze plotted on an UMF chart to give a prediction of it's behaviour. I plunked in lowfire and clear for the search parameters for these ones.
  9. Min

    Drippy Cake Plate.jpg

    Love it!
  10. Min

    Pinholes in glazing on B3 Brown clay

    +1 for what liambesaw said. Especially slow the firing down between 1300F - 1650F, holding at 1650F for an hour will help also and ventilate the kiln well during the firing. Don't stack or nest the pots together, need lots of oxygen to cleanly burn the organics off. If cone 5 is the recommended cone to fire to I wouldn't go higher than this as these type of claybodies tend to bloat if overfired.
  11. Just adding a bit to what Stephen and Pres have said. Cones are super important to measure the heatwork in the kiln. With a new kiln it's especially a good idea to use cones to see if the thermocouples need calibrating and or firing schedule needs adjusting. They are also good for seeing if there are cold areas in the kiln. A dipping glaze will seem "thin" compared to a brushing glaze. I would suggest making up some large test tiles and dipping one coat on the top 2/3 of the tile then double dipping the top half of that then a third dip on just one top corner of the test tile. Leave lots of room at the bottom of the test tile for the glaze to run. Do you have an accurate set of scales? I would measure the specific gravity of the glaze when mixed according to the directions that came with it. If no instructions then how Stephen describes the consistancy as whole milk is a fairly common way of describing what it should look like. In the future when you use that glaze check the specific gravity again. If the number goes higher then you need to add water to the glaze, if the number is lower then water needs to come off the glaze slurry. If you don't want to weigh and measure it you can use a glazing hydrometer to measure it. Info on measuring specific gravity here if you need it.
  12. Don't worry about it. That amount of cobalt is infinitesimal and the iron isn't an issue at all. I'm not sure what you mean by:
  13. Shawn, would the studio let you put some cones in their kilns along with test tiles of the same glazes that you both use? Your glazes plus theirs. I can't remember if they told you how long their firings took but I'ld get that info too. Not just the speed the firing is programmed for.
  14. I wonder what the publics perception is regarding woodfiring? Have times changed so much that customers now frown on wood fired pots? Is a customer going to have a discussion weighing the merits of gas/electric/wood before making a purchase? Don't think so. There is a good article here discussing various firing methods and their CO2 emissions and how to calculate them.
  15. Min

    how to make slip

    @^5 clay, what kind of slip are you making? Casting slip, thick slip for texture, or .....?

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