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  1. Thank you all so much for your input!! I am definitely going with digital, maybe two as some of you advised. Bonus that it's cheaper than the triple beam!
  2. I am just beginning down the road to mixing my own glazes. To that end I bought a whole bunch of chemicals & now realized I need a scale! Which is better in the ceramics studio, the old triple beam scales or a digital scale? And does price point matter? This seems like a really basic question & so I did a search but nothing came up - maybe it's too basic :-/ thank you!
  3. Thank you so much for all this information and your supportive words! (and apologies for my delayed response). I am finally doing my first single firing tonight and will try the slow glaze setting (to cone 6) this time. Next time I'll try dhPotter's schedule to compare.
  4. Hi Min, What are the proportions of gum to water when mixing up a gum solution? And is this (adding gum either dry or wet) the best way to make a glaze easier to brush on? I'm not so concerned with it adhering to the surface as brushing on a smooth-ish layer. thank you.
  5. Thank you everyone, for your replies. Chad - making holes in the cleats is a good idea! JohnnyK, I can't turn the pieces over between boards because they aren't really flat and the edges are curled up. They're also too big for me to do this without another set of hands. A fabricator I know suggested using large metal hangers with D-rings which I found online. They're 1" wide x 6" long (by 1/8" thick) so plenty of space to spread the epoxy. It's probably overkill but better safe than sorry!
  6. I was wondering about this very thing - how to ventilate the room while the kiln vent fan is on. I'm in a basement with small windows so there's a limit to the amount of naturally occurring air flow, especially in the summer. If I put a box fan in one of the windows away from the kiln, would that "fight" with the positive/negative air flow of the kiln fan?
  7. Sigh.. i was afraid of that. Maybe there is another solution, like attaching some sort of clay hanger on the back with slip - before it's fired of course. My problem is that I make large, very thin slab pieces that are impossible (at least for me) to turn over while it's green. The edges are slightly curved like a platter though, so maybe I could slip something behind it without turning the piece over? Has anyone come up with a solution to this problem?
  8. I have some large-ish (around 18 x 20") tile pieces that I want to hang on the wall. I would like to attach a french cleat to the back. Has anyone tried this with either metal or wood cleats? What kind of adhesive did you use? Or do you have another method (invisible) for hanging pieces on a wall? thank you!
  9. Ok, thank you glazenerd. I did a search on quartz inversion as you suggested and fell deep down that rabbit hole -- it's a miracle that anything I made ever survived! I have a lot of questions but I think I should start another thread on the topic...
  10. Thanks, glazenerd. I fear this is a stupid question, but if I program a 100F ramp from 1000 to 1100F, this means it will take an hour to go from 1000 to 1100F, right? So, if I were to do dhPotter's schedule, which is 400/hr to 2050, I would slow it down to 100/hr between 1000 and 1100F, then resume 400/hr?
  11. I've seen someone add Epsom salts (dissolved in water) to slip to thicken it. I've never tried it myself...
  12. dhPotter & others, is there any reason that this single firing schedule might put too much stress on larger flat pieces? My pieces are essentially like a cross between a tile & a platter. I've been putting sand and/or coils underneath when bisque firing to cone 6 with good results. i guess I'm wondering whether a two step firing is "gentler" on large fragile items than a single firing?
  13. So is it necessary to set the cooling rate at 9999 rather than letting the kiln cool naturally at that point (basically having no more segments) because of the holds at segment 5 & 7? I just unloaded a cone 6 slow firing (I have a skutt). I included some green test tiles with washes and various commercial glazes brushed on, & they all came out pretty identical to a 06/6 two step firing. The ones that pinholed with the 2 fires also pinholed with the single fire, the ones I deemed successful with the 2 fires were also successful. I'm using mostly matte glazes though - maybe they're more forgiving? I'm using standard clays 420 & 710 which are both high grog. I was surprised how easy the green test tiles were to handle & brush glaze on. Now if I can only manage to not break the larger pieces... i plan to try dhPotter's schedule in a week or two when I'll have pieces I can afford to experiment with & I'll report back then. Thank you again for everyone's input! This forum is the best thing that's happened to me since buying my kiln!
  14. Thanks for the link, dhPotter. Am I understanding correctly that segment 5 begins the cool down? I'm confused by the "9999". Sorry, this is all new to me.
  15. Thank you so much, dhPotter, I will try it. If I'm reading this correctly, the target temperature is 2185, right? Is that lower than the usual cone 6 firing? I read Steven Hill's articles which were helpful but couldn't find an actual schedule.
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