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Everything posted by JohnnyK

  1. Welcome to the forum, Titicaca...Your idea is not a good one and not something that will work IMO. It's not something that I have done before and don't plan on trying. The problem you have (as I see it) is the temps at which each clay would vitrify, but it also depends on what you plan on making with your marbled clay. If you fire it to the earthenware clay's vitrification temp, the stoneware will remain porous. If you fire to the stoneware temp, then the earthenware will almost definitely melt. I would stick with one or the other. However, there are many others here on the forum that will provide further input. There is one member in particular, I believe it is Chris Campbell, who has worked extensively in the aspect of marbling and has had articles published, whose profile you might check out...
  2. I just checked the operating manual that I have and it is the same one @Bill Kielb notes in his response...go with that. I used those basic instructions with my B23H for a year with good outcomes for low fire work until I installed and Orton digital controller. I ultimately sold that kiln to someone who just wanted to do low-fire work and bought a used FX23 to do cone 6 work and just plugged the newer kiln into the Orton controller.
  3. While you would not get the SAME effect, you might look into horsehair Raku...similar effects, much safer process...
  4. Welcome to the forum, Mare...Was the clay a ^6 clay? If so, it will probably be vitrified and food safe but seriously, it wouldn't hurt to re-glaze the inside and refire the piece...BTW What glaze combination did you use?
  5. 10,000 Years of Pottery by Emmanuel Cooper that I got from a friend as a Christmas gift...just getting into it...
  6. Why not make the above out of clay? Throw a shallow bowl with a hollow riser in the middle and trim a foot ring in the bottom with a notch or two or three (like a berry bowl). Open the hollow shaft to the bottom and scribe a glaze level line on the inside...
  7. This was an attempt at reproducing a particular glaze style on 6 bowls for a kinda matched set. I thought they came out pretty close...
  8. I've found that a belt can also be used to reduce the need for suspenders but the ones made with clay tend to fall apart...
  9. You shouldn't have a problem using your old bats on the new wheelhead...
  10. Hi Kate...Welcome to the forum. Noisy is a relative term. Noisy with relation to what? Is it a noticeable whirring noise or does it howl like a loose fan belt on a car...or somewhere in between? There's a good possibility that it could be a loose fan belt in which case you can tighten it by moving the motor away from the centerline of the unit. If it's more of a grinding type noise, then it could be a bearing. It's been a while since I've had the undercarriage housing off and I don't remember the configuration, so I can't say how hard or easy bearing replacement would be. IMO anything that runs with a belt is going to generate a certain amount of noise...it's just a matter of what you consider noisy and whether or not you can live with it...BTW, Kate, did the wheel come with any kind of splash pan? If not, I can give you an idea of how I made mine. Just look earlier in this thread to get an idea of what I've done.
  11. Welcome to the forum RJ...I've been using and layering Amaco PC & C glazes for more than 5 years and have been pretty satisfied with the results of my endeavors particularly with my most recent layering over Obsidian. I have, however incorporated Duncan's Renaissance Shino Cream to my layering for some really outstanding results. The Shino Cream is used primarily in bands around the rim of my pots and causes some heavy duty running with a resulting "hare's fur" look when applied in 2 or 3 layers. You can see some of the results of the layering I do in my gallery. I have not tried the Amaco over other brands yet since I'm pretty satisfied with current outcomes. One thing I can suggest to get a realistic idea of outcome is to use large test tiles or reject pots (that you might normally trash because of cracks or other defects). IMO the small test tiles just don't do the job for good layering outcomes.
  12. I use a similar system for reclaiming but instead of pouring off the clear water after the clay has settled, I use a siphon hose which keeps the silt in the bottom of the bucket from being disturbed. Then I'll pour the remaining slip into another bucket, repeating the process until the collecting bucket is almost full. Then, as I did yesterday, pour that bucket of very wet slip into the bucket of dried trimmings and other reclaimed dry clay. I'll now give it a day or two to saturate the dry mix, mix that up with my drill mixer, let it settle for a week or two then dry it out to wedging consistency on plaster bats.
  13. Is there a possibility that that is a pool of crazed glass instead of glaze?
  14. JohnnyK


    Thanks, Lee...what, in particular do you like about it?
  15. I'll continue experimenting with forms and glazes and building stock for when I have the opportunity to open a booth at the local Farmers' Market... Watching more artists' kiln openings videos for suggestions on future glaze combos and getting into crystal glazes by the end of the year...
  16. Can you send pix of the old pot in place on the foot pedal. As for the resistance...I don't think it is that critical as long as the starting point is zero. Kinda like a gas pedal in a car. The more you press, the faster you go...
  17. The Latex Putty is not the same as liquid latex which you would use as a resist. What cone are you glaze firing to? Why do you feel you have to wax the bottoms of your pots?
  18. What, exactly, are you planning on using the wax for, Nehal?
  19. From what I see in the last photo, your pieces were too dry when you scored them, of uneven dryness between the pieces, and not enough slip was used between the pieces. AS @sorce says: "Those score lines shouldn't be visible at all, that clay should be homogeneous".
  20. Ancient Jasper is a rustic looking glaze at ^6, but there is no telling what will happen at ^10...with that in mind it would behoove you to run some tests. I would use something other than your usual test tiles...something larger like a failed pot or something that you would ordinarily toss because of a crack or warp and maybe something with texture since the glaze breaks beautifully over texture...Here is a photo of a pot I did last week. It's 7" tall x 4" diameter fired to ^6 oxidation (electric).
  21. Sometime ago I made a bowl using 5" crown molding to shape the profile and was asked to post the results. Please check my album or look at the images at the bottom of the page for the results with raw and finished glazes.

  22. JohnnyK


    From the album: JohnnyK's Glaze FX

    5" crown molding bowl with finished glaze
  23. JohnnyK


    From the album: JohnnyK's Glaze FX

    Bowl using 5" crown molding to build profile...Raw glaze
  24. Another option might be to use a diamond tipped core drill (Amazon or Harbor Freight) about 1/4" dia or whatever size would be necessary to get the piece out whole. Drill in about 1/4" deep, then chip out the core...shouldn't be a problem if it's just on the surface. You may be able to just chip it off with a sharp wood chisel if it's just on the surface...
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