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  2. I finally got around to trying this and I'm pretty happy with the result. I have to admit that I basically used a pot that I didn't care too much about so that it wouldn't be a big loss. I would like to maybe create a shape that would allow for even more contact between shells and pot so that there is more of an effect? The shells I used were scallops, and I would like to try this with some other shell shapes....
  3. Today
  4. I don't know about all that... But the hive mind that is the Ceramics Daily Forum has plenty of knowledgeable posters many of which who were/ are also teachers. To me, this place is invaluable.
  5. One more thing that should be brought up is the clay you are using. Just to confirm, it's Continental Buff Stoneware? For non functional things like the flag you posted it will be fine but if your students will be making functional work like tumblers, mugs, bowls etc and you are glaze firing to cone 6 the clay will still be somewhat porous. This means items that can soak up moisture from being used, dishwasher and hand washing. This leads to problems such as ware getting very hot in the microwave, rancidity from oils getting into the clay body, weeping pots and crazed glazes. If you are firin
  6. I am in Colorado. Unfortunately, because of coronavirus I can't have anyone from outside of the school come in. Everyone's movements are tracked so if we have an outbreak (we've already had two) only certain groups have to be quarantined. For the venting the outside grate is about the size of a box fan. I can just set one up right there. Hopefully that will help.
  7. Hey Jerry, Just wanted to echo Mark on setting cone packs - then you will see just what heat work was achieved; I put cones on each level*. Here are a few resources (of many) I've found helpful: first of all, this forum; The Art and Craft of Clay by Susan Peterson; Tony Hansen's website https://digitalfire.com/ (amazing collection of articles, recipes, descriptions, etc). This thread has some suggestions: https://community.ceramicartsdaily.org/topic/22858-a-beginner-looking-for-good-learning-resources ...including this link: https://community.ceramicartsdaily.org/topic/21849-fre
  8. The vent attached to the kiln is a downdraft vent, and it only vents fumes from the space, which is a good thing, but it does nothing to pull heat out of the room. You need to figure out a way to cool the space, or you'll keep getting error codes when the control board gets too hot. I would also be concerned with setting off the sprinklers. It looks like the previous test firing was to bisque temps, whereas the recent firing was much hotter, closer to cone 6 as you said. That would account for the differences in heat output and getting the error code. Talk to the school about installing a prop
  9. Where are you? If I was close I would come by and help you get organized. I would hope you could get a local Potter to come get you on a good path. Anyone who cares about themselves should care about the children. Especially when it comes to Art. Sorce
  10. @neilstrick - There is a vent directly attached to the kiln. And there is basically another old school vent/shutter outside no fan just an open area. I had done a practice fire before school started with old work left over from the spring and the kiln ran the entire time without issue and now that I think about it the pieces look very different. The bamboo is from the before school fire. The Flag is from this latest fire. I am pretty sure it's the same clay, but I am not 100% sure. If it wasn't then the previous teacher got rid of all traces of the old clay. Ther
  11. Yes, if fired to C 6 will be awful to glaze with any success. Glazing dependant on porous pots. Imperative you are around for end of firing.. Glazed on bottom of pots in cupboard...get a shallow tray, put old carpet or towel i n bottom thoroughlt wet. Place bottom of glazed ware on wet carpet and twist aroun d a couple of times. Will remove glaze from bottom pretty efficiently. Can do lots of hand construction with students. Wheelwork can be frustrating if you havent got it yourself. You will love claywork. @Benzine would have oceans of tips.
  12. Put the test tile on a plate, this glaze is going to be runny.
  13. Thanks Peter, I can now see how this works. The image that prompted this question had no indication of the effect that the addition would make. All the best
  14. Pots are way over fired and glazing will be tough at best. Especially as you cannot scratch them and no the the piece does not absorb much water Best to put a few cones in to see what the controller is really firing to. automatic kilns still need cone to saee whats going on or in your case what went on?
  15. @Syvanis The other issue here is that the kiln controller got too hot. What sort of venting is there in the kiln room? Is there a fan or overhead hood that pulls out heat?
  16. At Alpine we always put the thermocouples on the back wall, as far in towards the middle as possible, which is limited by the chimney, of course, but easy enough to get out of the direct flame path. Back there the wires are out of the way so you're not tripping over them.
  17. Yesterday
  18. Thanks, all! I will scrape the shelf, apply more wash to all, and fire as usual. And store them properly between firings. Really appreciate the info.
  19. The recent PBS Juror's Award for my Horsehair Raku submission and the follow up interview with a local news source has been my recent pat on the back!
  20. Pres, I will pick up that book ASAP. I am not actually using cones the kiln is automatic. It is a Skutt Automatic Kiln only a couple years old. Set the cone and it fires on its own without having to check it myself. At least that is how I have used it (I did two test fires before trying things with student work. Because of the virus there was a bunch of extra work left over from last spring.) Unfortunately, I had zero communication from the previous teacher and I am just doing guesswork on most of this. For example I can't find any wax resist in the room and the older work doesn't seem t
  21. Syvanis, Welcome to the forum.. . . .you may find much of what you need here. When searching for answers, try searches on the home page. This will search all forums for you in answering a question. Yes, your ^6 cone was too much. . . . what was the condition of the cone after firing? Did you use a full size cone, mini cone or a bar? When ordering next get bars for ^6 and ^06, easier to assure accuracy. Get yourself some books and read every night. One I would suggest, and I kept at hand every day was The Potters Dictionary of Materials and Techniques. This is a standard for understanding
  22. Yeah it was set at a cone 6. Which looking closer seems to be WAY over fired. Other than wasting energy are the other problems with over firing? I assume that is why my clay is brownish instead of pink. All of the glazes and underglazes are cone 5-6 in the supplies that were left here that is why I used that. But going forward I assume I can do a 06 for bisque and then a 6 for the glaze. My goal right now is to just be one step ahead of my students I am barely ahead. But I am enthusiastic and happy to further my own art knowledge.
  23. Hate to say it @Min, but often the demonstration is meaningful, especially to HS students. Weird is also endearing at times and the lesson learned is specific to the clay itself. best, pres
  24. What cone did you have the kiln set to bisque to? If you can't scratch the clay with something sharp and it doesn't soak up water you have over fired it. Bisque firing is done at a much lower cone than glaze firing, usually in the 08 to 04 range so it remains porous enough to take the glaze well. One more way to confirm it's overfired is to touch the tip of your tongue to the clay, it should stick a little if the clay is still porous. (maybe don't do this in front of students, looks a bit strange) Going forward I would fire the kiln when you can monitor it, especially towards the end of
  25. Really appreciate the quick responses. It was ring, no, no. So next week I am going to have them work on glazing. I am have a bunch of eager students ready to glaze. Now that is going to be the real adventure. We are all learning here and I will likely be back what some more questions regarding the finer aspects of clay use. Thanks again! Jerry
  26. Before you do anything, a few questions: When held in one hand, by the base, when rapping lightly with a screw driver handle or like object, does the piece ring, or thunk? On the underside of the piece or other unobservable area, can you scratch a groove into the clay with a hard metal point like an etching awl? Does the piece absorb much water when dipped part way into a bucket of water? If these answers to these tests are: ring, no, and no, then I believe your kiln reached more than temp, and the piece may be glazed without another firing. When glazing I would make cert
  27. Are you talking about a oxygen prope or just a thermocouple for temps? The oxegen meter is best in flue (last a lot longer) If its a temp only deal away from flame (not on sides near flame trough) front wall is best away from stack of wares or back wall -back walls usualaly have a stack of pots to near them so that usually is not a good spot.Mine are all in front door. The doior of car kiln rolls out and shelves are about 4 inches off that front wall. The upodraft is a swind door and its mounted to that front door as there is space between the door and laod. If you are stacking door
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