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fergusonjeff

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  1. Bill, That is helpful. I'll be doing my last wood firing of the spring in a couple weeks and will limp by with my fiberboards, but that gives me all summer to find some shelves before the fall firings. I am pretty sure they were not referring to core-lite or the nitrile bonded stuff, just newer (according to them, non-mullite) shelves. The thought was no one made "mullite" shelves any more and the newer shelves cannot handle the temperature differential of a damper in a wood kiln.
  2. I was told "new" shelves don't work like the old ones and will crack as dampers. That is why I was trying all kinds of other options. Would something like this work? https://www.sheffield-pottery.com/KILN-SHELF-p/spha08.htm
  3. Mark, I tried to find mullite shelves for dampers but was not able to . Not sure they are made any more. Do you know anywhere I could get them? The fiber boards mostly hold up, but warp a lot. I am on my 6th firing with the first set. They hold up better than my previous attempt which was 1/2 thick steel plates.
  4. Thiamant, A cheap grinder is fine. I have about 5 and most were under $20. The wheel you show is for cutting bricks, not grinding surfaces. Look for one more like this: https://www.ediamondtools.com/products/premium-turbo-diamond-cup-wheels?variant=11941428932&gclid=CjwKCAjw9MuCBhBUEiwAbDZ-7qLxkyvo0l-3rMlytTa0pH5Vy9oOgZCtsJfOoLImBx47F3tZP_-VlhoC4SMQAvD_BwE
  5. I second the diamond cup wheel. They are much more expensive than a masonry disk, but will remove glaze that masonry disks just seem to heat up. I found a diamond cup wheel at harbor freight for under $30 and eventually replaced it with another cheap one from menards.
  6. The push from underneath just goes through the lid into the knob, but not all the way through.
  7. I used to have this problem on small knobs of clay I would add to lids (at leather hard) and carefully throw. The lid and knob are at too different stages of drying. Another potter showed me a simple trick once that has worked every time. I take the blunt end of a needle tool (1/4" round) and push up through the lid into the newly added handle. I don't mind the small hole on the inside of the lid and have not had a single handle/knob detach since.
  8. This is the same clay I use for most of my cone 6 work. I usually mix it about 50/50 with other cone 6 porcelain or stoneware. Laguna makes another speckled clay you might try, but it is sometimes harder to get. I thin the number is 608. I think it trows much better than 403 but if anything it has even more speckle. I think 608 is more brown compared to 403 being more yellow.
  9. I agree with Neil. My standard cone 6 mix is 1/3 each of speckled stoneware, red stoneware, and porcelain. My cone 10 wood fire mix is 1/2 course stoneware (Rods Bod) and 1/2 various porcelains (some commercial, some home-made). The mixes all throw and fire better than any of the individual clays. I did have a light colored cone 5 stoneware once that bloated a lot at cone 6, even when mixed with other clays. I am still thinking the mixture was bad. Took a while to get all that bad cone 5 clay through my mixes.
  10. I am currently using fiber boards as dampers on my wood kiln. I got them along with some kind of liquid (I think a silica) that I painted on the boards heavily. After drying they are pretty strong. I have used the first set about 4 times and they do warp a little but have remained intact after 12-hour cone 11-12 firings. I would prefer to use kiln shelves but not sure any can handle the temperature differential across the shelf. I have used 1/2" thick steel plates, but these warp and degrade quickly.
  11. I use that same clay for Cone 10 wood firing. You are basically just talking about bisque temps. It is definitely not waterproof at those low temps. I doubt the low-fire glazes would fit well enough to provide any good protective layer. The speckles in Rods Bod are mainly from iron, and they take the high temperatures (like cone 10) to develop. My bisque fired rods-bod (what you are planning) is just an off-white color and very absorbent.
  12. The analysis we do just provides a compositional profile - usually about 33 elements. Determining the origin is where it gets complicated. You would need lots of known samples from potential sources and hope that the recipes are internally consistent (from the same source) and there is clear distinction between sources. Ceramics do not work like obsidian. I do a lot of work with obsidian (stone tool) sourcing as well, and in that case we can usually directly match an artifact to a specific geologic source. Clays are way more complicated. As a side project, we recently completed a d
  13. If you are really interested in a large-scale study, and have lots of money to throw at the analysis, then you could always conduct neutron activation analysis through my lab. In reality, this would be a pretty expensive proposition, but you might like to look at the lab website just to get an idea of what a study like this could entail. My day job is as an archaeologist with a partial appointment in the lab. archaeometry.missouri.edu There are some other analytical options (such as XRF or ICP-MS), but they have generally lower precision and accuracy.
  14. I have had a SS Peter Pugger for about 5 years and used almost daily. Not a speck of rust or corrosion. I use some porcelain in my mix also. I am interested in hearing how your situation turns out.
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