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Stephen

Member Since 28 Jan 2013
Offline Last Active Apr 23 2015 05:56 PM
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In Topic: Firing Work For Somebody At Higher Cone

22 April 2015 - 04:04 PM

Also, Cone 10 can be any method. Oxidation, gas, reduction, salt or soda ... just a temp. :D

UR right Chris I did just assume that the 1027 was being fired oxidation and that the other potter needing cone10 would be used to a reduction atmosphere for their cone 10 work, hence the suggested test for glaze. I was under the impression that electric kilns really didn't handle anything but Oxidation very well and its rare for anyone to try???  

 

I had no idea though that old bisque pieces would have issues related to sitting around for too long. Not meaning to hijack the thread, how long is too long? 


In Topic: Firing Work For Somebody At Higher Cone

22 April 2015 - 11:09 AM

Our electric kiln is rated for 10 but without some optional heavy duty elements they would wear at about twice the rate of cone 6 firings, certainly not a big issue for a couple of cone 10 firings here and there. I think it was also recommended to go with thicker bricks as well if intending to fire at cone 10 regularly.

 

Since cone 10 work is not usually oxidation I would do a test firing of a piece with the intended glaze to make sure it suit his/her purposes though. 


In Topic: Some Restrictions On Posting To Stop Spam?

15 April 2015 - 02:00 PM

gee I have never ever noticed even one spam posting and I am on here way too much albeit during the day, early evening.  


In Topic: Low Fire Pottery

14 April 2015 - 11:10 AM

Yeah it is frustrating getting the glazes right but it can be done. I do wonder if moving to low fire might be a 'grass is greener' reaction on your part though. Whatever issues you are having with mid fire they can certainly be worked through and low fire is going to have it's own issues and likely some of the same ones you are dealing with now as well.

Are you running lots of test firings on test level pieces?

If not you might try halting your making cycles and just run tons of test on quickly thrown test cylinders or some other fast throw until you have each glaze, glaze combination and decorating process exactly like you want. Some under glazes also may be fussy with your clears so you may need to work through that to find one that interacts like you want with your drawings.

There's no avoiding glazes that need work but there's no reason to ever use them on anything but test pieces. For the most part once a glaze has properly test out we are not having anymore problems. I don't know this is the case for you but when I read you thinking out loud about quitting out of frustration I get the impression that you have had some experiences with putting a lot of time in a nice pot only to have it trashed during the glaze process and man that just takes the fun right out of pottery.

In Topic: Pottery Add

10 April 2015 - 11:04 AM

Ha Ha, everyone's showing up for this thread, U mentioned messy studio and boy can we all relate to that.

I started mixing glazes in 09 and progressed through scores (if not hundreds) of recipes and after several years had a pretty disjointed group of glazes with lots of glaring voids. Last year I filled these glaring omissions with a really nice pre-mixed palette of 20 dry mixes from a local supplier that has been in the area forever and the glazes are beautiful.

I buy 25lbs (about the same as my 10k batches) and each makes about 4 gallons. The average cost is $15-$20 a gallon so it's perfectly reasonable for us to use financially. No shipping as I pick them up when I buy clay. I am slowly tackling each purchased glaze with a replacement house glaze with the goal of slowly transitioning back to mostly house glazes over time. It's not the expense that pushes me to do this since glaze is cheap on a per piece basis no matter how you get it but rather its the need to eventually have all the glazes we are building our business on to be both always available and consistent. But I like doing it and I find it enjoyable to learn this part of pottery.

If you are thinking you are tired of doing this and it really isn't your thing anymore then I would recommend checking out the offerings that your local supplier has that the other potter was choosing from. If they have been around for a while this line might be really something special and since you already have all the buckets and tools to deal with dry glaze mix the transition would be a snap and then you can thin out some of the bulk materials and associated clutter and reduce your glaze making to just some of the more special ones that you cannot seem to find.