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  2. I'd say a potential con is in firing the kiln itself. With an electric kiln there's a lot less involvement and monitoring of the firing. Also if using propane it's much more expensive to fire.
  3. I use Speedball. It's really cheap compared to Amaco and Coyote, and the colors hold up well at cone 6 for the most part. The red and royal blue have some issues with bubbling at cone 6, but I'm working on fixing that.
  4. I mostly use Amaco simply because that is what I was first introduced to. I have some Duncan underglazes and they are great as well. However, Speedball is a LOT less expensive and if you are using a lot of underglaze in your work, take a look at speedball. At this point I have my color palette dialed in with Amaco, but I am going to get some small bottles of Speedball and do a little testing. I have heard good reports on that company. And I have used both glossy clear and matte over the Amaco Underglazes without an issue. The only problem I have had is pink and maroon burned out and if I apply the Warm gray too thickly, it crawls (lesson learned) Hope that helps. Roberta
  5. Last year a chunk of glaze fell into one small section of the channel, burning out the element and messing up the channel.. We took the kiln apart and removed that brick/channel and put it all back together. Yeah, pins won't work but I think they are properly seated in the channels now. That is the beauty of the L&L. I ran a bisque load last night. When it cools I hope to find all the elements still in their channels. If not, I will work on it. Potters are handy people! And not easily discouraged! I only have occasional moments of panic now.
  6. Hi Babs! Rebekah Krieger's quotation (at the bottom of the post) attributed to Bernard Leach - I was curious, did Leach actually commit the its error*? Looks like Leach credits Soetsu Yanagi for the thought (emphasis added) in A Potter's Book: "I cannot do better than give a more or less condensed and paraphrased extract from an essay on popular, or folk, arts and crafts by Soetsu Yanagi, the intellectual leader of the Japanese craft movement of to-day: ‘I have many occasions to call at the residences of well- known art collectors, but I find too often that the articles of everyday use in their homes are far from being artistic, to say the least. They often leave me with a sad suspicion as to how much these collectors really appreciate beauty. To me the greatest thing is to live beauty in our daily life and to crowd every moment with things of beauty. It is then, and then only, that the art of the people as a whole is endowed with its richest significance. For its products are those made by a great many craftsmen for the mass; of the people, and the moment this art declines the life of the nation is removed far away from beauty. So long as beauty abides in only a few articles created by a few geniuses, the Kingdom of Beauty is nowhere near realization.' " * its error The contraction it's stands in for it is The word its means belonging to it
  7. Today
  8. Hi Margery, I'll pm you @Jennifer Harnetty's contact info and she will help you with this.
  9. With gas kilns, in general the burners either work or they don't. There's not much in the way of maintenance or parts that wear out like on electric kilns. So assuming the burner system works, I'd be most concerned with the condition of the bricks. Downdraft kilns tend to fire more easily and efficiently, but updrafts work just fine once you dial in your settings.
  10. aah, like Johnny I thought you were wanting to do this with a current load. Another option is to have more than one kiln. It works well using a couple of kilns in tandem and no surprises from rushing things. One thing that I always worry about is unseen issues that my customers may find later.
  11. I have been using Amaco's jet black velvet underglaze for a while now and would like to experiment with some others/colors. I generally use a clear glaze over but want to experiment with a matte glaze over. What are your favorite brands and why?
  12. If you need insurance be sure and check with your agent about whats insurable.
  13. If you have a melted element or a glaze spill, one section of the channel (about 4 inches long) can be removed and replaced. And to agree with Neil, if the element is tucked in correctly, the corners of the channel act like pins and hold the element in place. It’s a very smart design. The inside of my 16 yr old L&L looks new. I’ve replace maybe three sections of channel over the years. Roberta’s elements will soon lose their flexibility and will no longer be able to pop out.
  14. Hi I’m looking at buying a 2nd hand gas kiln and I’m wondering what I should look out for in terms of pros and cons. Are there any common faults or complaints?
  15. I signed up for the ClayFlicks membership - free trial then a month's paid subscription, but I've been trying to cancel now and have heard nothing back. Emailed & sent the form in from the webpage. I can't make a phone call as I'm in the UK. Has anyone else had problems with this? Any ideas? Otherwise I'm going to have to ask my bank to block further payments. Thanks!
  16. Lhs 2nd and 3rd elements down look a bit vulnerable. See what you mean by hard brick channels. How do you manage to chisel them clean....dont get them contaminated in first place I guess.
  17. You should be able to get that kiln to reduce throughout. They're great kilns once you get the setting dialed in. You need to make sure there's back pressure out both spy holes during reduction. One will have a lot, the other just a puff. If you've got back pressure out both, then you know the atmosphere is the same throughout the kiln. You have to find the balance between the damper, gas and air to create the degree of pressure and reduction. If you're not getting back pressure out the bottom spy, then you need to close the damper some or increase the air and gas.
  18. If they're seated well at the corners they shouldn't flop out.
  19. Yesterday
  20. Yep, it's a requirement, when having students use resist, if I don't want to continually buy new brushes. This is doubly true, with latex resist!
  21. Place, white triangular ceramic pins into brick above the element. Tried to post pic but not small emough.... The elements will expand and if not contained will spew out again. Experience talking here. I'll get to my comp. And shrink photo
  22. Nephysy 50 Calcite 50 Ball clay 50 Red iron oxide10 Best cone 8 ish dull at c10
  23. Way too cryptic Hulk:-) can you expand this for old woman here.
  24. I used to use Portland cement as a glaze. It mimics a runny ash glaze at c10. Ive also experimented with andesite... a rock found in our arroyos that when crushed and a minute amount of gerstly borate is added created a wonderful gold orange glaze at c10 . Its fun to experiment.
  25. I know this is an old convo, but if anyone is listening I'd like to pose a few questions about the HF 24 Alpine posted by jrgpots, and welcome input with anyone who has experience with the older model HF 24 Alpines. Firstly, how's it going with this kiln? Have you got it firing? I ask because I have the exact same kiln, in excellent working condition. Specifically, I'd love to know what size shelves you use for stacking the kiln, and what luck you've had with your firings in reduction? Are you using (2) 14" x 28" shelves, making the overall size 28 x 28 or are you using (2) 11 x 28's making the overall size 22" x 28"? I'm asking because I fire to Cone 10 myself with the exact same kiln, and prefer to reduce my work, but find that the Alpine almost always fires the bottom half or third of the load in oxidation, and the top in reduction. For years I didn't mind because I was doing a lot of temoku which oxidizes really well, but now I'm working mainly in Shino and I'm trying to think of ways to gain control of the reduction and make it even throughout the kiln, without causing a lot of carbon trapping. Any ideas?
  26. Thank you everyone!! I really appreciate your feedback! I think I'm going to change to a cone 6 situation to keep my elements happy longer, but I need to do at least one or two cone 10 firings first as all the work I have drying is cone 10 clay... but seems like it won't be too much of a problem. C. Banks, the thought of digging up your own clay sounds amazing! What an awesome experience... would love to be able to do that one day!
  27. I am about to embark on some handbuilding exercises after completing a recent workshop. One of the styles requires a white slip atop a clay of choice. I would take any advice for the best clays for handbuilding, and then also the best white slip recipe for it to match. I have some Laguna WC608 clay at the house which I will use to start. I know that matching 'shrinkage' for clay and slip is an important characteristic and the WC608 has a 10.9% percentage (http://www.lagunaclay.com/clays/northeastern/wc608.php). Can anyone offer advice or other suggestions for these combinations? Thanks in advance.
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