[Help with cleaning trinkit kiln]

Not sure if room but could you prop a shelf above this surface to put your stuff on?

[Throwing teacups with deep foot off the Hump: how to compress to avoid S cracks]

Thanks,  @Callie Beller Diesel, and @Rae ReichI did put these outside as wanted to " get on with it, flipped asap but I feel that out in the sun would have stressed everything, then sitting on hardiplank woulf have sucked the foot extrriors also, oh well will see what the bisque fire did tomorrow a.m.

[Have a new kiln and today I hit a new milestone]

Always inspiring!

[Throwing teacups with deep foot off the Hump: how to compress to avoid S cracks]

Haven't had this for a while but last batch of teacups thrown off the hump, cut with generous base to enable trimming a deep foot  developed cracks on drying. Would like someone to run through how clay is compressed enough on the hump to lessen this fault. I know in some I trimmed not enough so base was a bit thick.

[Positive about failing elements.]

3 hours ago, PeterH said:

I expect you are right that it doesn't contain any "smarts" for minimising the effect of failing elements.

PS What information I found (but haven't read in detail)

I think that the CE is just an indication is passes European community standards
CE marking for Electronic equipment - EMC testing
So your controller is probably a Stafford ST316B.



 

Data sheet, installation guide and user guide at https://staffordinstruments.co.uk/st316b-controller/
Site https://staffordinstruments.co.uk/
Contact https://staffordinstruments.co.uk/contact-us/

@PeterH Yes that is the model I have, thanks Peter, for the links and explanation.

[Positive about failing elements.]

Thanks all, now where is my "Little book of calm"!

My controller, sounds a bit spooky, is a a Brit, Stafford ST316B CE,  and doesnt have some of the magic written about, or I haven't discovered it.

I have had to send pics of wiring etc to the kiln manufacturers as...computer crash, lost all info :-//, hmmm and no longer make the kiln in single phase mode.

I LOVE all of this!!!

Makes throwing pots oh so much more enjoyable 

And I got rid of my gas kiln because of inability to handle the gas cylinders anymore, tears in my morning cuppa, nah

[Positive about failing elements.]

My elements are failing, oy about half an hour to an hour longer. I have ordered new ones, over $1000 Aus. , an increase of over 60%

My least favourite job is element replacing followed closely by shelf grinding, more confident shelf grinder... Anyway , rising in the night to e there when kiln shuts down, I remembered reading sthing that @Dick White wrote re glazes maturing in a failing element situation. SO, sorry @oldlady, starting with a So, and plus I wanted to return to bed, I switched off about 1180 instead of going through to end.

I already ramp 80°C for final hour but on opening kiln, perfect, glazes loved it and no shelf drips from usual customers!!! Now toying with new elements, less electricity used with the present setting, albeit for just a while.

[Replace lid or buy new kiln]

6 hours ago, Vonzini said:

I bought a used Skutt 231-18 cone 6 kiln in MN, before I knew I’d love to TX.  The kiln got damaged in the move.  I’m trying to decide if replacing the (utterly destroyed) lid is worth it.

The kiln walls are generally ok though a bit of crushing at the top when the lid was broken.  The floor has some cracks and I’m not certain if the kiln will get to temperature as a result.  I checked the elements, and they all heat up, though again not sure if it will get to temperature.

anyone have experience with this? The lid will cost 300-400 I think, plus shipping. A new kiln would obviously be much more.  

If you poat pics, the folk here will be able to give a better assessment of way to go

[Glaze firing with drilled holes]

Could try plugging each end of the hole with...blue tack?, soap?, wax? Match stick? Pre glazing

[Body color question: om4 and talc containing body]

You could coat your ware with a white slip if yoy cant get a white body

[How does she do this?]

6 hours ago, Callie Beller Diesel said:

If I was going to try to get a similar effect and I was using moulds, there’s a couple of ways to go about it.

You could start with thin layers of the light coloured slips to line the mould, possibly  brushed or airbrushed on unevenly, or even just very thin pours (2-3 minutes each). Next, there’d be a layer of black slip, and then do the full cast with the unpigmented casting slip. Once the piece is removed from the mould, it looks like some kind of abrasion happens, whether through using a trimming tool or a metal rib to scrape off some layers, or sanding as others have mentioned. I’d be more inclined to do that work when the piece is firm leather hard to reduce dust creation than to sand, but I hate wearing a respirator more than strictly necessary. 

Because it looks like she’s slipcasting a textured cup and then layering other colours on top, it looks like she’s putting a black slip or underglaze layer over the whole piece, and using 2 other layered complimentary colours (yellow and orange, blue and green, pink and red) over the black. After that, again some form of uneven abrasion. 

There’s a few artists that layer coloured slips in the mould and do different things to reveal the layers. 

Yes , folk get that haloed effect when carving layered coloured slips in the sgraffitti technique.

[Aldo Londi's Rimini Blue Glaze?]

Could always take a clear which contains either Lithium, petalite or Barium Carb and test tile them with varying abmounts of Copper Carb.  What cone are you firing to?

Ceramic Arts had a Wrights water blue of similar colour in its free midfire glaze download at one point. If you have a buff or dark clay body you can coat with a white slip to get the bright colour.

 

[irregular cracks on fired cone 10 pots]

Hamer suggests the gaze layer inside isthick, even thicker than base of pot.

Smash the pot to see if the turned base is thinner tgan rest of pot.

Body contracts more than glaze and so cracks.

Maybe wipe pots with indian ink when come out of kiln,may show the crack actually exists then,or it can happen later. 

[Aldo Londi's Rimini Blue Glaze?]

Lookibg further at the horse, yhe buckles of the bridle and the green medallions, could it be underglaze pver all the horse with a clear glaze? Would think the copper glaze wouls affect those colours , or those areas were painted and  covered before dipping in glaze.

[Aldo Londi's Rimini Blue Glaze?]

There was a glaze recipe, midfire giving similar finish, satin to gloss using petalite and copper carb, from memory.

If it comes to me, I'll post it.

Cone 07 to c03

Frit 3110 85%

Bentonite 2.5%

Petalite 12.5%

Copper Carb 5.8 seems high

Chrome oxide 0.2.

Note says crazes on most normal bodies. Glaze needs to be well set up with CaChloride to avoid settling.

Comes from Stan Eley's "Australian Fritted glazes" 1978

[Aldo Londi's Rimini Blue Glaze?]

Think the blue is from Copper Carbonate, maybe a smidgeon of Cobalt,  just my opinion.

[Stencil on bisque wear]

On 3/3/2023 at 6:09 AM, JasmineIC said:

I was wondering, as I am new to glazing, if anyone has a white glaze recipe which works well on cricut cut stencils - something with no run in it. 

Research majolica glazes and Linda Arbuckle, she is the best.

[QotW: If I gave you $150 to spend on a tool/tools, what would you buy?]

Oh now I have to choose mentally, ( my son gave me a gift voucher for $150 ) and with Pres's I would have 300!!! 

Prob only $150 of Callie'sCanadian 

Power drill of my own, mmm, delicious

New worktable...., well just think I need proper tool organisers and brush holder.

Put $ towards slab roller.....

Prob. My indecision shows nothing screaming at me.

 

[Why my glaze is not waterproofing?]

Wrt @neilestrick point, you can use a slate sealer or other product to seal the surface which contacts  the wall .

If seepage significant on other surfaces, i.e. dripping moisture to a floor then may have to seal inside of pots as well.

Damp clay pots can harbour molds, some folk may be sensitive to this. Sealing the inside should prevent this.

[Bisque firing issues still]

Could add a soak at end of schedule, say 20 mins and watch your cones through peep hole. Or set end temp to1020 and watch as above for cones to touch toes.

May be your thermocouple is on way out or needs an offset. Depends on controller type how you go about this.

[Firing schedule cone 5 with two segments]

If everything completely dry, for a bisque, ware is not thick, you could set it at 100°C/hr to 600°C.

A photo of controller would help others give more helpful answers.

 

[Re-creating a happy accident glaze]

Perhaps if enougb of us we could get free testing!

[Bubbles in glaze]

Have you kept a log ? Even of last firing befors controller  screen was broken?

Length of firing etc?

Are you a

aware of còlour change in kiln at various temps?

No to these questions and you really are in the dark.

Any chance of firing in a friends kiln till controller sorted?

[Re-creating a happy accident glaze]

3 hours ago, EarthToMatthew said:

Yeah after doing a little research I feel I've come to a better theory of what may have happened, because I think you're correct about it not looking right for a recipe with so much gerstley borate. I believe I may have had a bag of material wrongly labeled gerstley borate. If this is the case then I have no chance of re-creating this very easily because I have so many raw materials. I may have put too much bentonite but your right about it being fairly noticeable. I don't remember needing to add much extra water or having any problems mixing it. Thanks for your 2 cents! I'll take any I can get haha.
 

 

I figured it probably wasn't  a very strong glaze, I could tell just by the surface. When applied over other glazes it changes  quite a bit,  and becomes more of an effect glaze, I like it for the texture it takes on when coupled with glossy glazes.  I suppose it isn't too ideal for functional pieces but I wanted to experiment with it and see what would happen in other applications. 

 

It was initially an altered version of an Emerald glaze from John Britt's mid range book. I definitely messed up when I copied the recipe, as one ingredient was omitted completely.  I realized that first mistake when it came out brown instead of green and doubled checked the recipe. When I tried to recreate the accident glaze I came to the realization I made and a second mistake that's harder to identify. After a little research I'm starting to think that gerstley borate I used was in a mislabeled bag that contained a mystery ingredient.

 

Thanks for the links to those Noxema recipes! However, it's actually the brown in the first photo that I'm looking for, the second photo was just to show how it paired with other glazes. I was worried I might confuse the situation if I posted that haha.

 

 

Ah yeah I suppose that is probably out of the question then, I would definitely be biting off more than I can chew if I went that route. I'll just have to let this one go I think, maybe eventually I can find a recipe that gives a similar effect. I've been saving a lot of brown recipes I found on glazy, I'm just going to mix a bunch and start testing!

Unlikely you will find one,imo. @Min gave the reason.

Chuck that bag of Gerstley out unless someone has the knowledge to identufy the substance it contains.

Get a check sheet going when you mix glazes, double check yourself...we've all, well I've had similar brain lapses or interruptions in the midst of making batches of glaze.

Tick substance, tick weight, tick into the bucket, that substance off the table.

[Re-creating a happy accident glaze]

Wha is the number or name on Glazy, perhaps you adean error copying that. If bentonite aded in any large quantity, i would be so lumpy in the buckrt and hard to sieve