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  2. Agree with Liam as many metallic like finishes (platinum, bronze, gold) are achieved with manganese and I believe they are generally not listed as food safe. The luster idea is in my opinion more goof proof as having used the palladium it is dependent on thickness and tends to pinhole. I did get a nice looking trophy out of it years ago though. As I recall it took a lot of effort to get it just right. Family bragging rights trophy that gets inscribed yearly but it still fools folks as to whether it is truly metal until they pick it up.
  3. Today
  4. Some people like to throw the two sections with bottoms, as this makes it easier to lift off the wheel without warping. Myself, if throwing the pedestal section throw it on a bat without a bottom. Another option here is to throw the pedestal with a thicker (slightly) rim, as the piece will be resting on it, makes for a nice base line. Other options are to cut the pedestal with four parabola/hyperbola shapes. I use a thin walled brass pipe, I keep many diameters as hole cutters for all sorts of pieces, often cutting the foot rings for nicer dishwasher drainage. best, Pres
  5. Edit: it looks like it's a copper and manganese glaze that may use MEA to reduce the outer layer and make it shiny? I can't really tell from the composition on its MSDS, because they haven't submitted one. It's interesting that they're required to reveal there's manganese dioxide on the German SDS, but the American one they leave it out. Either way, looks like some kind of strong reduction effect on manganese and copper. You could use platinum lustre for an actual mirror finish, but it is expensive since it contains platinum salts. As far as eosin style glazes, you can use colored lustre overglazes for that. They are extremely toxic but give that beautiful colored iridescence when applied to any glossy glaze.
  6. @oldlady yours is probably the better method. I don’t have enough kiln posts, but I bet I could rig something equivalent.
  7. Hi! I'm a long time lurker, first time poster and new to glaze making but I figure its time to dive in now that I can't find a commercial glaze to do exactly what I want. I've mixed slips before so am familiar-ish with the processes and am ready to experiment and learn. Does anyone know what chemicals cause the mirrored effect in Palladium? Are there any glaze books where I might find a recipe for it and then could possibly tweak to get the colors I want? Essentially I want a mirror like sheen, could just be high high gloss, but the look of the Amaco Palladium or elusive Eosin glazes would be lovely- and ideally in 6 colors- red, blue, yellow, black, gold and white. Thanks in advance.
  8. I'm not seeing that model anywhere on their web site. Post some pics, or at least let us know what the info on the serial plate says regarding voltage, watts, max temp, etc.
  9. A salt kiln is simply a regular downdraft with extra ports for introducing the salt. You'll want to make the interior of the kiln all hard brick, and as much as the exterior as possible from soft brick. It's the best combination of durability and insulation. I personally prefer power burners for salt and soda kilns since they help move around the fumes, but you can do it with venturi burners. You'll need to figure out the BTU output of the burners depending on the total interior volume of the kiln, not just the stacking space. The basic design of a downdraft isn't all that difficult. You start with whatever size shelves you plan to use and go from there. You need 2-3" of clearance around the shelves, then the bag walls, then the burner ports. It's just a big rectangle with a door and a chimney. You leave opening for the burner ports, peep holes, and salting ports. The door can be as simple as something you brick up each time you use it, to something more complicated like a hinged door that swings open. HERE is a basic plan that's pretty standard. Also check out The Kiln Book by Fred Olsen.
  10. I’m looking to build a new downdraft salt kiln, around 20 cu ft, but was hoping to find some detailed plans so that I can feel confident in the design. Anyone know where I might get some standardized (not custom designed for me) plans?
  11. Yesterday
  12. I got a brand new Shimpo VL Whisper from the US a couple years ago, and directly on the circuitboard there is an option to change voltage from 110 to 240 by unsoldering a connection and resoldering it into another connection nearby. Then you don’t need a voltage adapter of your own. I did this and it worked fine. Just need the physical plug adapter, but make sure it is grounded! For a while mine was not and I can tell you that is not good. Shimpo had instructions on how to do the soldering change which were able to be downloaded from their website if I recall. Not sure if your wheel would have this option but worth investigating while you are figuring this out.
  13. K10 is an unfamiliar model to me. I believe Cress kilns usually begin with FX, E or A,B,C. It might be a great value but I would suggest you post size, type control, pictures and operating voltage / amperage requirements, to get some informed opinions here. It might be the best deal ever, but hard to compare without knowing what to compare it to.
  14. OK - have at it. I'm planning on continuing to create this form until I get it right. - Jeff
  15. Oh there's a lot of"did yous" spring to mind
  16. I have the opportunity to purchase a barely used Cress Electric K10 kiln. They are asking $700. It has been used only twice. I am a novice. Would this kiln be a good one for me?
  17. Hi Callie - That was my approach. I used a needle tool to heavily score both pieces, used some thick slip, and pressed the pieces together. I actually added some additional slip around the joint thinking I would just trim it off. The small gap may have been from me not pressing down hard enough or maybe I wasn't attentive enough when putting the final slip on. Pres raised another issued - both pieces had solid bottoms and that's how I joined them. Now to see if they survive the kiln. - Jeff
  18. Pres - that is my most honest mistake. I had just created this using a visual so there's a bottom on the bowl and on the pedestal. Seemed logical to me. When I joined them, I heavily scored and slipped. I hadn't asked my instructor about it so when he saw what I had made - this was during open studio time so he wasn't there - he asked the same question. He offered that next time, just go to the bottom of the bat when I create the pedestal and then join the two using a coil. Another member suggested that I just leave a ring on the pedestal and use that to mount to the bottom of the bowl. Will have to wait until it comes out of the kiln to see the final result. - Jeff
  19. Congratulations Marcia! Love the pot, as usual, and the books are excellent.
  20. hi , have you had any luck? my wheel has done the same thing. I plugged it in and switched it on, it went pop.
  21. callie, when i make hanging planters or birdhouses, i put them on taller posts so they are supported from the inside and hang upside down during firing. i only glaze the interior a quarter down from the rim so the post is in no danger of touching glaze.
  22. From what I remember I was introduced to wheel throwing in 3rd grade, and had ceramics class for part of the year for every year from 3rd to 7th grade, and then took 2 years (6 courses) at community college. But I pretty much forgot everything between then and when I bought my wheel 2 years ago. Been slowly reteaching myself with the help of you guys here and YouTube since. I'm fairly autodidact so when I am interested in something i am driven to learn everything about it. Doesn't always translate to skill though.
  23. I have just used coils to set round bottomed hanging planters on. I don’t glaze the bottom of them though.
  24. Thank you so much for your response! Your suggestions are very helpful.
  25. I agree with Oldlady in that you might learn more from allowing this piece to break in order to see how far you can push your clay. A trick I was taught for attaching handles that applies to attaching other solid parts is to press and wiggle the pieces together until you can feel them grab AND you should see slip oozing out from all areas of the attachment point. Use a clean, soft but firm pointed paintbrush (I like an artificial sable) to wipe away the excess slip. The brush will make the join look neat and tidy without distorting anything. As the piece dries, some of the slip will shrink back into the join, and the resulting line will fill with glaze.
  26. I took private lessonsin 1969 to learn to throw. It was in Seal Beach Ca. I was in high school and I did it as a suggestion from a friend`as wehad wheel access at scholl but no instructor . So we signed up for a nigh class and threw on 5 different wheels-3 where power and two kick wheels.I do not recall how many months we did this maybe 3-4 months. That same year I bought a wheel for home and within 6 months moved away to collage where I had more training in throwing. I guess about 4 instructors in total for throwing skills. I think it took me about 6-8 years to master it really. I thought I mastered it in 4 yrs but looking back that was not the case especially handles.
  27. Just out of curiosity and for future reference Jeff, when you attached the pedestal that you described as a bowl, did it have a bottom on it? If so, you may have a bigger problem as the two layers of clay may have an air pocket between that could cause the join to separate in the firing. If you removed the bottom of the pedestal bowl before joining you should be alright. best, Pres
  28. This book has just been released and focuses on kiln firing fir Raku, Pit, and Barrel plus high fire wood kilns. The galleries are full of beautiful work by many ceramic artists. I am excited to be included along with many others. One piece of mine is an Obvara pot with sodium silicate crackle surface and the other in an installation of terra cotta paper clay books pit fired during my residency at Archie Bray. I used the train kiln and a pit. The installation is a memorial piece for 9/11. Marcia
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