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Member Since 28 Jun 2010
Offline Last Active Today, 06:39 AM

Posts I've Made

In Topic: Using Copper Sulfate Crystals

Yesterday, 07:40 PM



In Topic: What That System With The Removable Center Section Do You Like

Yesterday, 06:57 PM

Would someone post a photo or a link, I've never seen what you are talking about.


In Topic: The Electric Kiln By Harry Fraser 2006 Edition

30 April 2016 - 08:37 PM

It looks like the 2000 version is a U.S. release of Fraser's 1994 edition originally issued in England.


Have you looked at Richard Zemick's book on electric firing?

In Topic: Large Platter Broke In Half In Bisque Firing. Anything To Do With It?

30 April 2016 - 08:09 PM

OH!  Just make little balls of clay and put them underneath?!  What fun!  How far apart...I'm guessing about 1 inch apart...so 8-10 for a platter with about 4-5 inches diameter  flat area on the bottom?


( I love the interest in this, and the advanced scientific discussion some of you have brought into it!)


Not little balls of "clay"; little balls of a mixture of 50% alumina hydrate and 50% EPK.  For a platter, five -- one in each corner and one in the middle.  Roll the wad and attach to the bottom of the pot with a bit of Elmer's glue.  When attaching them, avoid touching other areas of the pot with the hands/fingers used to make/attach the wad as any transfer of the alumina could result in a white spot where you touched.  I usually keep a damp hand-towel nearby and wipe my hands between placing the wads on the pot and then putting the pot on a kiln shelf.  Left over wadding can be kept in an airtight zip-lock bag; some keep theirs in the refrigerator/freezer if the wadding includes organic materials (in salt kilns, some add sawdust, flour, and other organics to burnout of the wadding and make it easier to release from the pot; I generally use the 50/50 mix and have not had problems with sticking).

In Topic: Thickness Of Shino Glazes

29 April 2016 - 12:58 PM

Everyone's salt, soda and wood kiln fires uniquely . . . same kiln design will get different results with different people firing.  Talk with the kiln owner/firer and ask where the shino sweet spots are.  Then load accordingly.  If you are using a claybody formulated especially for a wood firing, you might want to adjust.  I think the general shino rules apply -- thin gets you orange, thick gets you crawling, bad reduction gets you snot-colors, etc.  Try Chris Gustin's recipes for shinos.