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About Rockhopper

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    Southwest Ohio

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  1. How are your canes made ? Are you using the same clay body throughout, and adding stains and/or oxides to get different colors - or are you combining different clays ?
  2. Do your pieces have holes in them, for attaching a wire ? If so, you could try put a string or piece of thread through the hole, and dip them in your glaze.
  3. By 'original coils' - do you mean the ones you were replacing, or a set of new, never-used coils made for that kiln ? Unfortunately, if your new coils have the same resistance (ohms) as the ones you replaced - you won't have any better results than you did with the old ones. To restore 'like-new' performance, you need to find out what the original factory spec is for the elements and make, or buy, new ones that match that number.
  4. As Callie said, it probably won't damage the kiln, but it will create lots of smoke. Another potential issue is: It may not burn out as completely as you would want. Paints usually use oxides as colorants and/or opacifiers. Some of the same oxides are also used as washes, and in glazes and under-glazes. Depending on the paint, and how much you apply, you may wind up adding permanent color where you don't want it - or causing the color you do want, to turn out different than expected.
  5. @irenepots 1/2" under bottom shelf is fine. I think Chilly was concerned that andryea was using (only) 1/2" posts between shelves - which would definitely be too close.
  6. Sometimes with a window A/C, there's an option to mix in some outside air - but not likely with a 'split system' central a/c. However - if your kiln exhaust is aimed directly at the a/c unit, there's a chance that chemicals in the kiln exhaust could interact with the metals in the condenser (often aluminum), and shorten its life. Also a chance that heat from the kiln would affect the cooling efficiency of the a/c. See what your hvac guy says - but might need to add some duct-work on the outside, to direct the exhaust away from the a/c.
  7. Just a personal preference, but I've never been a fan of pots with attached trays/saucers. I have some plants that I want trays under when they are indoor in cold weather - but I want them to be tray-less when they go outside in warm weather, so there's no standing water to attract mosquitos. Guess it depends on the design - but a lot of the attached trays I've seen are too small to be practical as water catchers, and they're harder to clean. Also, depending on the shape of the pot & size of tray, you can't stack/nest them as easily when empty, so they take up a lot more space on th
  8. If you're using the same batch of clay, same under-glaze and same glaze - but different kiln and/or 'kiln-master', then you almost have to look for differences in the firing... Was it over/under fired compared to previous work ? More/less densely packed kiln ? Fired next to pieces with glaze that off-gasses a lot ?
  9. Looks like you're working with a white clay, and the pieces you're trying to emulate are brown. That probably doesn't make all of the difference -but is definitely part of it. One of the biggest factors when layering is how many coats of each, and how thick each coat is. Looks like you are applying your glaze a lot thicker than the other person. Try different combinations: 1 coat of each, 1 over 2, 2 over 1, etc.
  10. You may be able to find something with a suitable texture (fabric, rubber mat, etc.) that can be pressed into the clay to create the pattern - then apply glaze.
  11. I was pretty sure it was thrown - but then I've seem some pretty impressive hand-built stuff. I like the contrast between base & top... kind-of has a bronze bowl on a bamboo stand look. Been trying to work up the nerve to try making one myself. I actually have a base that came from one of the potteries around Zanesville, OH about 30yrs ago, that I've been wanting to make a top for. Now that I have a wider kiln (E23S), I think I can fire a top that would be big enough for the old base... just have to figure out how to throw it.
  12. Looks great @liambesaw ! I'm curious - Is the base hand-built, or thrown ? (Looks like maybe thrown in three sections, but that could just be the texturing.)
  13. Your Light Sepia over Iron Lustre looks very much like the example here, which says it's two coats of each. I haven't tried the #34 - but have done a lot of combinations with # 33 - and Iron Lustre definitely needs to be thicker to get the blues to show up. Looking at the sample pic's you posted, and others on Amaco's site, it looks like the white in the Light Sepia tends to dominate whatever it is applied over. On your two pieces with #33 & #34, it looks like that white float is there - but the glaze just wasn't applied thick enough to really develop to the extent you see in th
  14. What clay are you using, and what cone are you firing to ? Sticking is usually not an issue with bisque firing, but the best way to be sure is to put a 'cookie' of un-tinted clay under each cup. Then, if anything sticks, it will stick to the cookie, rather than the shelf.
  15. This can be a factor with any glaze, especially when trying to replicate someone else's results with the same glaze. If your colors are under-developed, you may be applying too thin - even with the 'correct' number of coats. The recommendation of 3 coats brushed is based on the assumption you are applying each coat the same thickness they do. I've found that I sometimes need to apply four coats to get the total thickness needed, because some glazes flow more, and wind up going on thinner than others. Also - when brushing, make sure you apply each coat in a different direction from
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