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About Min

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  1. @lytruong don't know how tall you are but when I had a front loader I had the stand built so the hearth was 6" lower than the specs. It was still too tall to load so I put a plywood covered pallet in front of it to stand on. Hearth height is 40" for the L&L one, don't know if this might be an issue? If you do have to put something in front of it to stand on then that bottom shelf on the stand would be covered.
  2. Still gotta go back to thinking the 23% zinc or zinc compounds as listed in the MSDS is contributing to the glaze crawling. Also, it's my understanding that zinc in reduction firings is useful at the lower end but goes up the chimney for the most part, don't think this glaze was made for reduction firings. If there is spodumene in the glaze it can quite often have soap residue on it, it literally can make bubbles in the glaze slurry.
  3. The old racks from the dishwasher make good holders for wood or plaster batts too.
  4. If you look at the MSDS for that glaze it lists 3% (maximum) of lithium carbonate. Lithium carb is slightly soluble in water plus it can form crystals in the glaze slurry. If you leave the glaze sit for extended periods and get these glaze slurry chunks and then toss them when re-sieving or don’t melt them down and add back to the bucket you are going to alter the glaze. The MSDS also shows zinc (or zinc compounds) at 23% (max). If it is zinc oxide that seems like a heck of a lot for a non macro crystalline glaze. re:When left sitting overnight after the water has been added, it is our experience they will 'jell up'. If water is added after 24 hours to correct the thickness, the glaze tends to crawl. “... I would measure the specific gravity of the glaze when just mixed and when it’s working how it’s supposed to then go by that when using this glaze, not by how it looks when it gels up. re crawling over your gloss black, that might be an application timing issue. If the base glaze is dry then when you put the second glaze on top of it then the water in the top glaze will rehydrate the base and cause it to lift. Have you tried putting the top layer of glaze on as soon as you can handle the pots? Not all glazes are incompatible like this but since it's a commercial glaze we don't really know what's in it so can't change clay content etc Have all firings been done in oxidation? Any chance the pots that "didn't gloss up" were fired in reduction? +1 for what Mark said about using a ^10 clay at ^6
  5. glad you are back! congrats on the new house and studio!
  6. I think I got it bassackwards in my other post, I think if you cut the foam into squares and glued them onto a backing piece it would make more sense. Could you design it so a wedge of clay went under the grid so the whole thing was on a slight slope? Kiln wash the wedges and make them of raku type clay so you could reuse them? Just throwing out ideas, might all be utter garbage.
  7. Was thinking about this when I was out this morning, how about cutting craft foam into an open grid, as the walls are on the grid, hot glue gun it onto a full sheet of foam. Maybe stack 3 or 4 grids to make a deep enough impression. Some plastic film or a piece of pantyhose on top of it, then your slab on top of it and run it through the slab roller? dunno, might work? This stuff.
  8. Don't make the base and the lid separately, make one box the total height of the finished box then cut the top off and inch or whatever down from the top. That way the lid and base will flow together smoothly. I would add the base and top to the square "tube", round the corners then make a registration (key) mark then cut it. Make sense?
  9. I would make them with the 90 degree corners to start with, bevel the joining edges so there is more surface area to make a strong joint then add a very thick coil on the inside of the corners, when leather hard rasp down the 90 degrees to round them off the way you like. I would make the entire box as one piece so the lid will fit well then cut off the top section and add a flange to the lid or the base. I would also make some sort of decorative mark as a key on the outside so you know which way round the lid fits.
  10. In addition to knowing the hot and cold spots in your kiln (mostly if you have a single controller) I find cones are really beneficial when using a new kiln, changing firing program, after changing thermocouples or changing controllers. Once everything is calibrated then I find they are useful to use to verify firings, I don't put them in every load. I also use them when doing a lot of glaze tests in a firing, I want to know fairly accurately what cone the glaze tests got to.
  11. Dipping Pots into glaze

    Yeah, if the dry glaze cracked it will crawl when fired. If they were mine I would wash them off and redo them for the next load when they have dried out. Or if you really have to do them now rub down the cracked areas so the glaze is thinner.
  12. Thanks, I always get their names mixed around, I went back and corrected it in my post.
  13. Thank you for the link to the pen Mea! I just ordered one. Amazon US was 9.99 plus 5 for shipping to Canada, Amazon Canada price is 28.56 plus shipping ( ships from the US). Crazy but typical!
  14. Just in case you haven't read it yet the Tom Turner article on Chemically Reduced Copper Reds in Oxidation has all sorts of tantalizing clues, like "Chemicals such as tin, zinc, magnesium, iron, phosphorous, sulphates and of course any material containing carbon are hungry for oxygen and will help reduce the glaze colourants as they melt" Also, "I found that as the silicon carbide size became smaller, there was more glaze melt, less surface texture from the glaze bubbling while giving off oxygen during the chemical processes and weaker reduction." BTW in oxidation firings I've found cobalt, copper and manganese act as fluxes.