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Bob Coyle

Member Since 06 Jun 2013
Offline Last Active Yesterday, 10:16 AM

Posts I've Made

In Topic: Wiring For An Outlet For A Kiln

19 July 2014 - 07:53 PM


I definitely understand the "better safe than sorry" route, but I'm not a total noob to electrical work

Then make sure all of your wiring is to code, your breaker is at the correct amperage, and your outlet is correct for the kiln. Then if all goes well the worse that can happen is your room mate trips the breaker when the stove gets turned on and you have to fire your pots over.


A dedicated circuit is really the only good way to go.

In Topic: Would Olivine If Added To A Glaze Produce Green Flakes?

19 July 2014 - 01:33 PM

My guess is that it might work at maybe cone 05 but maybe would melt at cone 6 or 10. the mica in micacious clay fluxes out if you fire to cone 6.  Let us know how it comes out... and post a picture.

In Topic: Wiring For An Outlet For A Kiln

19 July 2014 - 01:26 PM

What you are planning g-bus, doesn't sound like a good idea. High amperage 220 installations require the right wiring, breakers, connectors, etc. and some basic familiarity with working with these loads. Either you can spend some time and get really familiar with what it takes, or get an electrician to do it. Don't try to just wing it and end up with a mess that needs correcting or worse.

In Topic: Glaze Making Issue

17 July 2014 - 01:52 PM

The glaze might not have fluxed, or it may have a lot of un-dissolved material left in it which would also cause roughness.


For small batches of test glaze, I sieve the finished glaze through a standard 10 cup coffee filter basket. I use a 1 inch paint brush and swirl it around inside the filter basket to help force the glaze through the fine mesh. This way even the most stubborn lumps get blended in.  Any crud in the raw materials gets left in the basket.

In Topic: Practical Difference Between Mason Stains And Oxide Washes?

16 July 2014 - 01:37 PM

Mason stains are just finely ground colored frits. There is nothing superior to them as compared with raw pigments like cobalt carb or iron oxide. They are used to get colors that you cannot get easily with just oxides. That is why they are more expensive. It is true that the color of the frit is closer to what you will see on the finished piece, but the colors in the pictures you posted  could all be gotten from  common oxides used in washes.... red iron oxide, manganes dioxide, yellow ocher, either alone or in combination.


Play around a little by combining oxide washes. You might get something beautiful.