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Found 17 results

  1. Week 32 The term “kiln atmosphere” is used to define the character of the heat distribution and the amount of _________________ inside the firing chamber during the course of a firing. sulfides carbon oxygen nitrogen Stained surface are __________________ . What you see before firing looks very much like the final product. This is important to those who don't like the transformation that glazes undergo during firing. Glossy in surface Hide clay/making imperfections WYSIWYG excellent sealants for functional ware ________________is crucial to the look of the glaze. Crystals seem to form at temperatures between 1800-1500F in a kiln that is ________________properly. Cooling Heating Water smoking Candling When firing opalescent glazes, a ________________firing recommended to achieve the opalescent character. It is recommended that opalescent glazes be applied in multiple coatings over a dark clay body. slow fast reduction incremental This weeks questions come from Electric Kiln Ceramics A Guide to Clays and Glazes, by Richard Zakin, c.2004 Third Edition, krause Publications. Note from Pres:The first edition of this book(which I have) was one of a tide of firsts entering into electric kiln ceramics and mid-fire clay bodies and glazes. Much of the information is available elsewhere, but Richard Zakin was much a pioneer here with his first edition. The 3rd edition is even better. Answers: 3. oxygen-The term “kiln atmosphere” is used to define the character of the heat distribution and the amount of oxygen inside the firing chamber during the course of a firing. The kiln atmosphere has a very strong influence on the look of the Work. The design of the electric kiln encourages very consistent heat conditions throughout the firing chamber and allows an ample flow of oxygen into the chamber at all times. 3. WYSIWYG-Stained surfaces have a number of significant advantages: They are very simple to use. These surfaces are WYSIWYG (What you see is What you get). What you see before firing looks very much like the final product. This is important to those who don’t like the transformation glazes undergo during firing. They Work well alone or in combination with slips and glazes. The color is excellent when fired in the electric kiln. Because they don’t cover or obscure the clay body, relief and engraved or impressed imagery is shown to good advantage. They are more consistent and reliable than most ceramic surfaces. 1. Cooling- Extend the cooling cycle of your firings. Cooling is crucial to the look of the glaze. Crystals seem to form most at temperatures between 1800F. To 1500F. In a kiln that is cooling slowly. Even at lower temperatures, however, color and texture respond to slow cooling. 2. Fast-Opalescent glazes have a high gloss and a strong metallic and opalescent character. A fast firing is recommended to encourage the opalescent effect. It is recommended that opalescent glazes be applied in multiple coatings over a dark clay body. They flow a good deal and their color can vary due to this glaze flow, from thin in such areas as the edges of the form, to thick where they have had a chance to pool. These color changes have appeal because they create an interesting play of light and dark.
  2. I have been having a strange issue with my Cone 6 Black Stoneware Clay from Standard (266). It gets these big cracking bubbles upon glaze firing. I bought this clay to marble with Porcelain (Standard 365) because it had a similar shrink rate. The marbled pieces came out SUPER bubbly, really horrible. I thought it was just poor clay preparation on my part because of the mixing of the two. However it has been happening with pots I make solely out of the Black Stoneware. I prepare this clay the same way I do all my other clay bodies and never really have this issue otherwise. Has anyone else had this problem with this clay? Any advice?
  3. I have been having an issue with the bottoms of my pots getting big chips out of them during a glaze firing. The chipped parts are not really stuck the the kiln shelf, they brush off easily, so I don't think it's a glazing issue. Normally I dip glaze pots with clear and wipe off the bottom with a sponge. I wonder if a little residual glaze is still there and sticking? This is happening with my cone 6 porcelain (standard 365) and a black stoneware clay. Both have a high shrink rate. I do use kiln wash. Do I need to apply kiln wash for every firing? It seems like that must be the issue but on some shelves the wash is getting so thick that it flakes off. Should I be removing the excess and re applying fresh kiln wash?
  4. The facility in which I am working is currently awaiting the prolonged install of a replacement gas reduction kiln. In the meantime they have been firing cone 10 oxidation in a Paragon Viking 28, single phase, with a max temp of 2350F. It is hard wired to what I've been told is the appropriate amperage. When I was brought on board the kiln was failing to reach cone 10 and giving the FTL (Fired Too Long) code. At that juncture when we opened up the switch box the top segment of elements were slightly brown, we tightened the brass bits and the pigtails, all the elements were testing okay, as well as the relays. We fired the kiln with a load of only furniture and it reached temperature. So we fired it again, it didn't reach temperature and displayed the FAIL code. Replaced the thermocouple, and opted for a Type S model because it is rated for porcelain and stoneware temperatures. Reset the controller to the Type S model. Fired the kiln twice and FTL'd on the second firing, then replaced all the elements. The kiln fired perfectly to cone 10 for the next 7 firings. The alarm sounded at around 2100F on the 8th firing even though the alarm was maxed out and set to 9999. We hit enter on the kiln, stopped the alarm, the firing continued but did not reach temperature according the guard cones, but didn't give an error message. After it was unloaded the temperature was giving sporadic readings. Checked the wire connections, then tested the controller with a paper clip and it gave a room temperature reading. Opened the switch box and discovered that a fuse had blown. Replaced the fuse and the kiln fired perfectly for another 4 firings. On the 5th firing the alarm sounded around 2100F again, pressed enter, continued to fire and it failed to reach temperature. Turned the kiln off to run tests and check wire connections which everything appeared to be okay. Turned the power back on and now is showing TC2- (code for a failed thermocouple in the center two terminals of a multi-zone kiln, although can appear in a single zone kiln apparently) . The thermocouple is only 6 months old and has been through less than 15 firings. I have personally loaded and unloaded 90% of the firings since the thermocouple was replaced and I am highly cautious about staying clear of the thermocouple. I know that it is a very fragile thermocouple. It ultimately could be broken. Replacement has been ordered and its on its way. We are in the midst of an extremely busy term, with high volume, glaze ware is stacking up and I have a deep seated fear that the thermocouple may not fix the ongoing problems. If a mercury relay goes out can the kiln still run? Is there another major component of this model of kiln that could be perpetuating the alarm sounding, under-firing, causing a fuse to blow, ruining a fairly new thermocouple? What could have caused the wires connecting to the elements to brown? Could their be a connection between the browning of those wires and a bigger issue? I'm at a complete loss, and would like to get some preemptive feedback in case the thermocouple does not fix the issue, or the errors persist even once the thermocouple is in place. ~Worried Clay Worker -M. Williams
  5. Brush-On Stoneware Glazes

    Hello! This may be a question that's a little silly, but I can't seem to find the answer anywhere. I've taken a liking to brushing on glazes on a banding wheel, as I've used earthenware clay/glazes for the majority of my time making pottery, and just recently decided to try a few different clay bodies and still intend to use brush-ons as much as I can. My question comes from the level of difficulty brushing 3 coats onto Cone 6 stoneware or porcelain (that has been fired and matured to Cone 6) brings, as It's not porous and takes a while for each coat to fully dry. As I've been looking at some different company glazes/glaze combinations and techniques (specifically Mayco), a lot of them have said to bisque fire to Cone 04, and then glaze fire to Cone 6 and it makes sense to me, but I still can't find it written anywhere definitively that that is the way to go about brushing on stoneware glazes. Is bisque firing stoneware or cone 6 porcelain to Cone 04 and then glaze firing to 6 a common practice when brushing on glazes or even dipping? Any information regarding this topic is greatly appreciated or any tips etc. about brush on stoneware glazes are also welcome! Thank you in advance!! Caden.
  6. Hello all, after a few months of lurking and dreaming about getting started, I've gotten to the point where I can finally make some things. Got the kiln wired in and it's all looking very clean and crisp - my question is, has anyone ever used commercially produced tiles as wadding? I want to keep those kiln shelves in tip top order and I am hoping to fire a bunch of flat Christmas decorations, much like the one in my avatar. They are made from stoneware, because that's what I have to hand (hoping to progress to functional ware) and will fire to cone 9 i believe. I have some commercially produced glazes to suit, and I was wondering if I could set these on top of some inexpensive tiles that I already have - the tiles appear to be unglazed quarry tiles. I'm planning on careful application to just the front of my ornaments, but just in case some of the glazes run, could I use tiles do you think? Many thanks for any replies.
  7. 24 oz green leaf mug

    From the album Favorites

    Wheel thrown and hand carved. The bottom features a leaf design created by using paper leaves as a resist to the underglaze. Sgraffito designs were added along with a pulled handle and spiral embellishments. Fired to cone 6 in an electric kiln.
  8. Rainbow vase

    From the album Favorites

    Wheel thrown vase with geometric carved design and rainbow pattern in underglaze. Commercial glazes, fired to cone 6 in an electric kiln.
  9. creamsicle butterfly bowl

    From the album Favorites

    wheel thrown bowl covered in underglaze. I used paper butterfly's to resist the white underglaze and create the butterfly design. I then carved a geometric pattern on the inside and outside of the bowl. It's finished in a commercial clear glaze and fired to cone 6 in an electric kiln.
  10. green diamond vase

    From the album Favorites

    Wheel thrown vase with underglaze and sgraffito geometric design. Hand textured and fired in an electric kiln to cone 6.
  11. I have a question on "holding" time with an electric kiln. One of the glazes I use fires matte at cone 5 and glossy at cone 6. I would like something just slightly more cone 5. If I set the kiln for cone 5 and set it hold for an hour at the peak temperature, will I get a slight temperature increase? hold it for more? less?
  12. So... I've just fired my Nabertherm electric kiln (pre-loved) for the first time, for a bisque firing. I put two cone packs in - one on the bottom shelf, one near the top, with 04, 05, 06 large cones. The program was 100oC per hour to 600oC then 250oC per hour to 1000oC. I don't regularly use cones, but thought it was a good opportunity to see what the new kiln did and how the bisque firing temperature related to the Orton Cones. I've attached a photo of one of the cones packs - there was very little difference in them. Does this look as you'd expect? I'm surprised that there's such a big difference between the 06 - completely down and the 05 which is barely bent. I thought the differences between the three would be more even. Is it telling me that this was a cone 5 1/2 firing or something else? Don't know why the photo has flipped! I edited one and flipped it myself and that one still imported upside down !
  13. Hi, I have a couple of questions if someone would be so kind. I've recently purchased a Paragon Caldera XL Kiln and I have a porcelain sculpture - tall, standing figure - that I'd like to fire. I used a wood kabob stick to keep the sculpt sanding when I made it and it is not coming out without a lot of work. I remember reading that some things can burn off in a kiln, will this? Will that cause any damage to the kiln or sculpture? And what, if any, material can I use that will burn off safely in a kiln?. I have also seen some posts about slumping and the need to support porcelain when firing - do I need to be concerned about that? The people I purchased the kiln from recommended I do a pre-heat and then fire to cone 6. I am not glazing, just firing. Thanks
  14. Help! I make slab rolled coloured porcelain forms, with uneven thicknesses. Perhaps because of this, there are a few splits which appear after the (only) firing. Cone 6, 7. Would controlling and perhaps slowing down the heating and cooling process help diminish the chance of this splitting?
  15. It looks like, at long last, I can upgrade to a Skutt electric kiln with all the digital doohickeys I've been craving for so long. (Yay, me!) I'm wondering about what kind of kiln shelves I should consider investing in. The Skutt will go up to cone 10, and though I don't anticipate going to that cone quite yet, I will be, so I want shelves that will endure that kind of heat. I've heard of silicon carbide shelves and that they're lighter and are supposed to be stronger, but I don't know anything else about their durability or performance. Pros and cons of various shelf choices are appreciated! Thanks!
  16. I am new to this forum. I'm a little intimidated because I am not currently throwing my own pottery, but work with bisque and detailed glazing, and I am also using commercial glazes (Duncan). I am probably more of painter than a potter, by discipline. Hopefully I'm not too out of place here. I recently purchased an Olympic electric kiln. I have only fired it once so far, and wanted to ask advice about my results... I have never managed my own kiln, only working in studios where that part is taken care of by the studio. I filled the kiln with all of the furniture that I had to take up space (and all of my newly kiln-washed shelves) but only one actual tester piece. I know it's not ideal to fire it empty, but I didn't want to put too much in there in case I ruined everything. It was a small bud vase that I did a simple doodle on, and then covered in a clear glaze. In all honesty, the manual for my kiln had Ramp-Hold features which I have no clue when one might use them... I imagine for more complicated glazes, perhaps one with pigments that fire off at different temps, I'm not sure. I went with simple,, manufacterer recommendations say to fire to cone 06. My kiln gave me the option of holding at temp... so i input a 10 minute hold, not knowing if that was the right thing to do or not. I used 2 Cone 06 temperature cones to monitor the kiln, and this was my result: Cone on the top of the kiln, visible through the peep hole, started to bend first. It was nearly all the way to "3 o'clock" by the time the second cone, located near the bottom of the kiln, started to lean. The kiln reached 1829F and then held for 10 minutes as programmed. Once the kiln had cooled, I saw that the top cone had arced over too far, the nose of it coiling a little onto the kiln shelf, the rest of it drooping. The bottom cone was also over too far, but not quite as bad. The tester piece - the clear glaze was perfect, but I noticed the doodle I did on it bled a little bit. I suspect one or both of these are true: I did not need to program in a 10 minute hold at max temp, that holding for the extra time caused my detail glaze to bleed. Second, it's possible that just programming in "fire to cone 06," though pre-programmed, was too hot and caused my glaze detail to bleed. Based on the 2 cones I had in the kiln, I know for certain that they were over fired... I'm just not sure which way to jump to fix my issue. I am under the impression that the glazes I have are close to idiot proof, as in 'fire to temp' and it should all go well... will removing that 10 minutes fix this issue? Or should I possibly fire to cone 07 instead because my kiln is perhaps a little hot? Picture of my tester problem - bleeding lines: https://scontent-a-sjc.xx.fbcdn.net/hphotos-prn2/q83/s720x720/1186184_326536344159869_1472765374_n.jpg Examples of other work that I do, and plan to fire in my own kiln (they range from traditional to absurd): http://imgur.com/a/DNWky#0 I am loading a new kiln later today, with two testers in it, but I wanted input on how to change how I did it so that I mimize bleed.
  17. Electric Kiln

    I am in the midst of trying to decide on a small electric kiln. It must be around 4 cu feet, fire to cone 10 and have an auto programmer. I'm in Far North Queensland, Australia. I would really appreciate any advise. Am looking at L & L Top loading, Shimpo DUA07 and Woodrow Hotbox II.
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