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  2. I don't like the texture to B-Mix it has a cream cheese feel to it. I use Laguna clay- Speckled buff, Red Standard, and Calico red and yellow. I tried a off white with a light Manganese speckle but it didn't have enough texture or character for me. I am doing coil work and the clay color and texture is part of the design. If you want a clay that works well with any glaze the off white with the light speckle would probably work well for you. The speckled buff changes white glaze to a cream color, if I could only work with one clay it would be the speckled buff. If you have a ceramic supplier near by you should learn how to work with the brand of clay they carry, it will save you a lot of money in freight. You need to look up the vitrification test in a book or on-line somewhere. I have been firing to cone 5/6 electric fire for 45 years. Denice
  3. Do you fire to 6? Is Speckled Turtle more speckly than 112? I don't mind that it might be darker, just how it works with the way I glaze. I have an electric kiln. Can I ask you how you determine it doesn't seem vitrified enough? Thanks!
  4. I think it's me that doesn't use it well. I rolled a slab yesterday and let it get to almost leather and cut out some flat pieces and sandwiched them in dry wall. They seem to be very flat but I won't know till I bisque them. I think I need to let the slabs harden like that more often, but usually I forge ahead and give myself problems. I think my bag of clay is very fresh and moist too, nice for throwing but a little soft for slabs.
  5. Why don't you like the B Mix with grog? What do you use to handbuild? It's ok if it's not white. Thanks for the input.
  6. I do think that spraying might be the easiest way to get close to this affect. To me, it looks like a dip method of some type was used. I'd have to post more pictures to show why. If it was a spray method they would have had to use a conical spray vs flat spray I think. But I'm no ceramics artist. The glaze is so pretty I thought it may be a known and well used technique. However, it could be lost to time. I'm going to keep hunting and if I figure it out I'll let y'all know. Bill, The brick arch under the hearth has settled. The plan is to reinforce it with framing and bracing. We were discussing about taking the bed down a half inch or so and installing a semi floating concrete board panel as a decoupling layer as well. Thanks everyone for your input!
  7. I think if I we’re doing it I would spray the base glaze and use a touch up gun (Maybe 1.5 mm tip) to spray the dark glaze by hand semi randomly. If I got real creative I would layout all the tiles (numbered) as they would be final installed and connect the semi random pattern from tile to tile a bit to drive the next guy bonkers as to how it was done. The Ombré to me looks more like a gentle feather not so much ombré. From what I see the tile did not fail, the bed did. You might be able to bridge it with an uncoupled membrane if you can’t stop the movement and deflection or it’s just too hard to fix the old bed reliably. I think I would bridge the new tiles regardless. For these areas not to reflect the crack underneath we would try to limit the deflection on the order of 1/360 th of the span which is a pretty small movement.
  8. Thanks everyone, and I've found the problem and solution! When I glaze smaller pieces I've usually done a single dip to cover both inside and out. This worked when my pots were thicker. But I've since thinned my walls, and the issue was being caused by too much water and too thin a wall for the water from the glaze to go. What I do now is -- glaze the interior, let it sit for a few minutes and then dip the outside separately. Haven't had a problem since changing to this method. I usually work in batches so the timing works out well.
  9. Folk art guild white with behrens satin matte on top Here it is with just folk art guild white
  10. Mine is any VOM I have handy so either grey or red or yellow. They all auto shutoff though so a bit annoying. I am addicted to the PLC graphic monitor now and am also addicted to the digital temp module displays which are cheap now as well and as plug in to the wall, stay on permanently. When I venture to other kilns I miss the graphics. Oddly after I created the software and graphics, one of the most useful pieces of info among many others Is knowing the firing rate. Unexpected benefit for sure. Now everyone is used to dialing up 200 - 500 degrees per hour or whatever they like. More toys the better I guess.. Turns out full blown controller is 39.00 bucks and panel meter is 70.00. Controller makes for nice always on display.
  11. Mine's greenish-yellow, also shuts down after some minutes; timed shutoff can be overridden, however, does extend battery life...
  12. If it is a glaze with chrome in it I don't think you would want to try making, applying or firing. These tiles were probably fired with wood or gas almost impossible to replicate in a electric kiln. I notice a seller on Ebay that seemed to specialize Victorian fireplace mantle tile. He had sets listed but he might have some small tile groupings. If you contacted him he might look for the tile you need, he would need a photo and the different size and shapes of the tiles. Good luck Denice
  13. Love them. They would need a lot of looking!
  14. So I've been doing glaze combo tests on glazes that I use but didn't think would be any good together. Got a few surprisers anyway. But what I've been doing for a bit is making carafes. Lots of them. I'm sending my first shipment of 10 with matching mugs next week. That is, weather permitting... It's been 50 degrees at 98% humidity here for a week, so things are NOT drying. Very frustrating, even when I have them on the tables next to the kiln, it's very slow drying.
  15. My pyrometer is the same. Lemme guess, the red one
  16. They shouldn't flatten, but I doubt you will get translucency.
  17. Well thank you! Yes, it is wood fired w/a celedon glaze. The brush is one of those Mack automobile detailer brushes.
  18. i finally got the kiln back up and going.. did a break in on the coils and shes ready for tomorrows bisque.. installed the Pyrometer and made sure it was working properly.. the only thing i do not like about it is, it shuts itself off after about 10 minutes and i have to turn it back on ...
  19. Looks sprayed to me, a d in 1920 they didn't have automated machines to spray uniformly, so you'd definitely be getting variation like that. The only other thing I can think of is that maybe they were fired with their faces towards the fuel source and some of the chrome (if that was used, looks like a chrome glaze to me) vaporized leaving an area lighter than the rest.
  20. Hi Cleachim! Good question, curious if the effect is related to temperature and/or atmosphere gradient in the kiln? If it's done via the glaze (or underglaze) only, why not by spraying? ...did some looking https://community.ceramicartsdaily.org/topic/4866-underglaze-ombregradient-effect/ ...didn't find anything on commercial set up for glazing tiles.
  21. I've been trying to find reproductions of the ombre tile on my 1920 home's fireplace with no luck. I've been toying with the idea of getting some unfinished tile and whipping up a batch since I have access to a kiln. All the ombre under glaze instructions I've found either have you painting and doing a bunch blending or doing a spray/airbrush to achieve the gradient. Looking at the examples attached how do you think they did this at production scale? The randomness of the gradient from tile to tile to me says a spray technique wasn't used. And I'm sure they didn't do a "paint and blend' on a production line. How do you think the gradient effect was achieved? Image attached. Thanks in advance!
  22. Naming and coding looks like Mayco... Can you test fire them? Or donate them as you write of and the community will test them
  23. Seems consistent with the science. It’s popular to mix woods in other uses as well to take advantage of the natural characteristics of each. So nice workout!
  24. Yesterday
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