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  2. The other issue is that most copper matte glazes aren't good glazes- many aren't really a glaze at all but rather slightly fluxed out copper- and may not behave well with another glaze on top of it. It'll take some testing for sure, and I wouldn't trust any result to be food safe.
  3. Looks like kiln wash on the floor, not cement. The welds that hold the clamps have popped off, so you can either replace the whole strap or use rivets or sheet metal screws to reattach them. If the floor is holding together okay, then just leave it as is. If the pieces are loose, then put a piece of sheet metal under it to support it.
  4. If you love all of the combinations, start out by selling all of them. See which ones sell better. Start narrowing down based on sales. There’s no way to know in advance, so you have to try it and see. The advice “test test test” applies to selling too!
  5. Just checked and mine was turned on.....shady af! Thank you Callie!!!!
  6. Today
  7. @KatyCustard this strand is from March of 2020 so good chance it’s forgotten. I looked at the Ipco manual and for me it only shows as a single ramp and single soak controller so just not a bunch of flexibility there. If you have a schedule that works my thought is keep it.
  8. Hi, This was a helpful string until the bottom! I hope you have found a solution? Have you dared change the configuration? The instructions say it should only be modified by an experienced personnel… not sure with those instructions how you get to that point :/ if you’ve managed to get to that second ramp, would you mind updating this string? I may try to sit down and work out the instructions but I too don’t want to spoil my work!! thanks ;)
  9. Main issue with this idea is the raku glaze is a lowfire glaze and you will be firing it up to cone 6. The lowfire raku glaze is going too in all likelihood way overfire at cone 6. I know there are some lowfire glazes that are okay being fired hotter but the majority aren't, they blister and / or run etc. If you are really keen to try it I'ld try a test tile with the lowfire raku glaze on it, doesn't need to be raku fired, and put it in a little saucer of clay and fire it up to cone 6 and see what it does. If that test comes out okay then I'ld consider a very light application of your cone 6 glaze on the raku pot but would fire it on a waster slab to catch possible (probable) glaze runs. This is assuming your claybody can go to cone 6, most commercial raku bodies can. Welcome to the forum.
  10. I use the protected porch year round, except the wheel must be moved inside in deep winter if I want to use it then- -tho I mostly hand build. I think Callie notes the best solution-build an insulated enclosure outside against one wall of the pool house, for the kiln
  11. After many years of focusing on teaching and raising kids I am now able to focus my attention in becoming a professional ceramic artist. I know the chemistry, the clay body all that technical info. Im having trouble narrowing down how many glazes I want in my line. I have settled that I will change things up every season, keeping a few signature glaze combinations, but I want my work to look cohesive and collective. This is how my brain needs to function as I have a tendency to ADHD all over the place but I know if I can create some parameters for myself then I can focus in and really create beautiful work. That being said...is there a magic number of glaze options you offer when selling your work? Part of my work is done with underglaze and I already planned those glazes out, but the other items that I plan on NOT using underglaze with I have way too many combinations I love and I really need to pare it down so I don't waste too much money as I am starting over again...its been about 15 years since I sold my pottery. I feel like an amateur all over again! Any ideas or suggestions on how YOU decide how many glazes to offer?
  12. Yesterday
  13. look at my studio in florida. it is in a shed 10x16 feet and has almost everything i would like to have. my shelves are really sheets of drywall and they fit into supports used for closet baskets. very versatile. never needed water when firing except to make sure the wax on the bottom is really cleaned off. a flat bowl with a wet sponge does it fine. click on my avatar and look for my albums.
  14. Yup, another kiln room thread. So if you had no constraints, what would your ideal kiln room footprint look like? Have read the threads on firewall material, vents etc, so this is more about what you overlooked with footprint\construction design you wished you had accounted for. Basing my interest on (1) 7 cu ft (with over head and down draft venting) and coming up with a 10 x 12' type size with ceiling height probably on a pitch ranging from 10' -12'. Ceiling heights never seemed to be discussed. overall room size and ceiling height for environmental control, air replenishment, accommodation for shelving, shop vac etc. Is a larger room & high head room necessarily better? exterior wall material & insulation regarding inside condensation Would you have your wheel in the same or adjacent space (assuming a non-production studio). Do you wish you had water available in the room? Space dedicated to shelving overhead lighting in regards to heat additional things that get overlooked
  15. No truer statement has ever been said..but it also the difference of doing for yourself as opposed to others. Owning both your successes and mistakes is the reason your statement is so true.
  16. Interesting, and you're probably right I don't remember it doing this before but maybe I just didn't pay attention to such a silly little thing. I'm on high alert now!! OK, I will assume that aside from the undefiring issue, which may not even have been real, we actually did fix this kiln!
  17. Thats good news! It looks like the pervious owner put a layer of what I hope is kiln cement on the bottom to cover the cracks. When moving it all the cracks where exposed again. As far as those busted bands I'm going to replace them, it will make me feel more at ease. Its an old manual Skutt Model-k 1027-240.
  18. That is normal behavior. In this situation, the power failure is from being unplugged, and it will immediately report the failure upon receiving power again, i.e, you plugging it back in. Press #1 and the error code will clear.
  19. One more update. After sitting unplugged for a while, the PF code shows up by default when I plug the kiln back in. I'm able to clear it and enter the program and start the firing cycle. Not sure what's up with this though...
  20. those cracks do not look as serious as you think they are. if you put a piece of sheet metal underneath the kiln to prevent anything falling out of the cracks and use a full shelf on half inch posts inside the kiln, you should have no major problems. the full shelf, covered with a good kiln wash will take the punishment that a new user might inadvertently cause by using runny glazes. shelves are expensive but not anything compared to a new bottom. always protect the bottom from glaze spills and running. they can eat real holes in the brick. someone else will tell you what to do about the metal bands. never saw a bottom brick pattern like that one, what brand and size is your kiln?
  21. Here is a photo of the bottom and the busted band clamps. The lid and everything else looks to be in good shape that I can tell.
  22. I haven't been able to get in touch with the manufacturer so far. I know the thermocouple is 12" in length and have found something I believe is similar online: https://www.bathpotters.co.uk/type-r-thermocouple-with-cable-and-plug What difference do the various types (K, R, S etc.) make? Sorry, I really am new to this kiln business Here is the damaged thermocouple: Thank you!
  23. demeter, the photo shows plates that, to me, look very rough at the rims. uncomfortable to handle and scratchy. i used that kind of clay years ago and found it was not practical to sell something that might scratch a tabletop. if you want to see what kind of damage, look at the glass coffee table in my living room. long, deep scratches from speckled clay items on its top.
  24. I have a raku-fired copper matte reduction pot that I’m not happy with. I’d like to reglaze it and fire it to Cone 6. Do I need to bisque fire it again before reglazing and firing or can I just glaze right over the copper matte finish? I’d appreciate advice. Thanks
  25. A mica clay would fit the bill. Its been used here for centuries for cooking
  26. Traditionally they would be made with terra cotta, fired a bit lower than we would normally fire it. I think a groggy terra cotta fired to cone 08 or lower would work if you want a red clay. As Mark said, raku clay would also be good, but it won't have the red color.
  27. Selling a working Ohaus Heavy Duty Solution Balance scale for measuring larger quantities of glazes. It's has some rust on the chrome parts, but all else functions well. The scale has a locking tare weight so that you can use a plastic bucket or stainless steel pail and accommodate for its weight. The scale comes with an additional 2 kilo and 5 kilo weights. I am asking $245 fob Columbus, Ohio.
  28. I feel like any diagram or 2D representation of my career path should involve crayons, lol! To say it was indirect for a good long time is an understatement.I did start off being pretty focused, and got a whole BFA in ceramics, but when I graduated, I had what I know now to be the crash that every gifted kid with case of undiagnosed ADHD seems to wind up with. So I worked a bunch of wildly unrelated retail or reception jobs for the next 14 years, and made pots on the side while Life Happened and Was Not-pretty (TM). After having a couple of kids and coming to the conclusions that 1)I make a terrible employee but an awesome boss, 2) since I can predictably earn a couple hundred bucks every time I resupplied the one gallery I was in, maybe I just needed to consistently get my work in front of people to earn some adult money. Once I had relaxed and begun to see opportunities and possibilities again, my work did some pretty rapid growth and development. I built a TON of new forms, I went from cone 10 reduction to cone 6 ox, and went from using a white porcelaneous stoneware to a red stoneware with white slip deco. I challenged myself to keep the qualities of the cone 10 work that I really enjoyed while incorporating some of the easy turnover and colourful elements that cone 6 offers. I don’t think I know of an artist that has had direct, linear path. We all seem to incorporate bits of our lives and our loves and our experiences into the work we make.
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