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Everything posted by bciskepottery

  1. Given the rate of temperature rise, you may not have hit cone 10 -- maybe more like 6 plus, if my calculations are not in error: (221F)12am warm kiln with door open, close door at 12:45am (414F)1:05 seal door damper on 2/3 and gas is at 1/8 open (615F)3:05 Turn gas up to 3/8 (1440F)6:15 Turn up 5/8 -- 825F rise in about 3 hours, or 275F per hour (1884F)8:15 Turn up 6/8 -- 444F rise in about 2 hours, or 222F per hour (2155F)11:30 Turn up 7/8 -- 271F rise in about 3 hours, or 90F per hour (2222F or near)12:30 -- 67F rise in one hour Heat work is most important the last 180 degrees of the firing (see Mark's comment above re slowing down). Per Orton's charts, hitting 2222F at somewhere between 67F and 90F per hour would get you to cone 6 (2232 at 107F rate of climb).
  2. Blue is applied by brush as a cobalt stain (with some frit so it adheres during bisque), then a clear glaze over. The blue is not a glaze by itself. For white, use porcelain or a porcelain slip over stoneware. Stonewares tend toward ivory, not white.
  3. https://www.lowes.com/pd/Hitachi-4-1-2-in-7-4-Amp-Paddle-Switch-Corded-Angle-Grinder/50406474?cm_mmc=SCE_PLA-_-ToolsAndHardware-_-HandheldCuttingAndGrinding-_-50406474:Hitachi&CAWELAID=&kpid=50406474&CAGPSPN=pla&store_code=1602&k_clickID=23cd5b71-da0a-4fa1-bf78-b6f41a77e1ba https://www.lowes.com/pd/DEWALT-Diamond-Grit-4-in-Grinding-Wheel/50191371?cm_mmc=SCE_PLA-_-ToolsAndHardware-_-PowerToolAccessories-_-50191371:DEWALT&CAWELAID=&kpid=50191371&CAGPSPN=pla&store_code=1602&k_clickID=23cd5b71-da0a-4fa1-bf78-b6f41a77e1ba Use these on my electric kiln shelves and my friend's salt kiln shelves.
  4. From an instructional standpoint -- both youtube and workshop -- Bill Van Gilder. He can teach. And he makes great functional ware. Robin Hopper is another teaching potter or potter teacher -- not much youtube but good DVDs.
  5. "Just wanted to share my experience with Cassius Basaltic. Most glazes end up with pin holing, bloating, or just ugly on the surface on anything Cassius I do. " Try firing Cassius to cone 5, not cone 6. Also, avoid stacking during bisque so all of the surface areas have room to outgas. You can also reduce Cassius to a slip, then apply it to white or other clays. You get the black to work glazes with, but not the clay body issues.
  6. Unfortunately, no independent reviews out there that I've ever found. When I was looking to buy, I went with my experience firing kilns at the community studio and looking at classified ads for folks selling kilns. Our community studio used mostly L&Ls, with a couple Skutts; I preferred firing the L&Ls. Looking at what folks were selling in the classifieds, I found lots of Skutt and Olympia kilns, but rarely an L&L or Cone Art. That told me L&L and Cone Art were either very reliable, well made, and kept by owners or they were mostly used by serious potters who believed a few more dollars up front were the better investment long-term. I bought an L&L from a local distributor (vs on-line) so I could have a local person for maintenance, etc. and to keep the "pottery" dollars local. Well worth the investment. Looked long and hard at the Cone Arts. I've heard good testimonials from potters regarding Cone Art -- especially after Tucker's bought the line back from Shimpo. Am sure you'll get lots of responses here . . . with pros/cons for every brand out there. Good luck on the selection.
  7. Lid closed when firing. I have vent that moves air, so no need to keep open or cracked open.
  8. The clay was over-fired. Pugging it had nothing to do with the result. Your shelves might be salvaged . . . depends on how deep the clay melted into the shelf. Wearing appropriate safety gear, remove the items and grind down the shelf -- use an angle grinder if the clay did not melt into the shelf. If nothing else, remove/grind away all the melted clay and kiln wash to get the shelf completely clean, then flip it over an use the other side instead. But you won't know until the charred remains are removed. Is it possible you programmed the kiln to cone 6 instead of 06? Did the kiln turn off properly at peak temperature? How long was the firing?
  9. Sure its possible . . . it just will not vitrify at lower cones, etc. It's not what they are saying, it's what they are not saying. I've fired Standard's red earthenware to cone 6 -- just to see. And the test tile came out fine.
  10. Unfortunately, the emperors (e.g., clay manufacturers) likely know this and continue to do so regardless for whatever reasons, including the one we continue to buy what they produce. If they see a benefit to standards, they would have done so years ago.
  11. Have you considered black underglaze in the impressed letters?
  12. http://www.potters.org/subject15435.htm http://www.biokeram.com/Application-areas/Refractory/Additive-A Seems to be used more often in brick production and extruded work . . . likely commercial extrusions of tiles, pipes, etc.
  13. The trees pictured seem to be a fairly common and popular item in "paint your pottery" shops; I believe the form can be either slip cast at the shop or bought premade/bisque-fired. The white is a glitter-type add-on after the glaze firing and the twinkle lights are installed. http://www.clay-king.com/bisquepages/holiday.htm And, just because there is not a recent log on doesn't mean the member has not come back to view threads as a guest.
  14. I've seen no difference in my glazes.
  15. Now, you really don't want me to answer that . . . or do you? : )
  16. Talc is coming from a differing source . . . the old white was discontinued due to asbestos concerns. The gray -- which I believe comes from a Texas source -- fires to white. http://www.highwaterclays.com/files/%20Talc%20in%20the%20News.pdf
  17. With dark clays, a good, hot bisque is needed . . . with a hold at top temperature to help burn off gases and impurities that can lead to bloating. Avoid dense stacking of the items in bisque -- give them breathing room. You did not mention what cone you are firing to. Assuming it is cone 6, when glaze firing, try firing to cone 5 and add a 20 minute hold rather than firing up to cone 6 -- you might reduce the likelihood of bloating. The hold will bring your kiln heat work up to cone 6.
  18. Some excellent advice can be found at these links from forum members. The first is Chris Campbell's advice on marketing, including selling wholesale. The second is Mea Rhee's writings on selling, pottery as a business, and her hourly earnings project. http://www.ccpottery.com/marketing_your_work_to_gall.html http://www.goodelephant.com/
  19. Wow!!!! Love his work and his colors!!!!! I die!! Does he fire at cone 10? Looks like it. If i could make pottery like that, with thise colors, I would be happy to do nothing else! David fires to cone 10 in his wood kiln. His clay and slips are made from local clays that he digs and preps.
  20. Which is what Raku is: depositing a thin film onto a glazed piece. The crystal structure is refracting light back through the thin film; creating the optics of iridescence. I have much to learn; I thought 'raku' (in this context) focused on reduction.. I dont see how vapor deposition has any relation to the reduction environment/oxygen depletion.. again my apologies if I'm confusing something, I thought these were two very distinct, very different processes (reduction vs vapor) to obtain luster.. I am rather confused . . . the process of CCVD described in Wikipedia -- where the vapor is part of the flame -- in unlike any raku process I've heard of, either traditional Japanese or American. My understanding is in American you can add combustibles to the reduction container (e.g., miracle gro) to get flashing etc., or you can do it with saggar firings, but that is not the same as described in the CCVD excerpt.
  21. Are you using Krakowski's Albany Substitute as a glaze by itself or as a substitute for Albany Slip in another glaze? Her intent was to formulate a substitute for glazes calling for Albany Slip -- which is no longer mined. There are several recipes out there for Albany Substitutes. You can shift the color of Albany Substitute towards black by adding up to 2% cobalt carbonate. Xavier's Warm Jade seems to be sensitive to thickness from the times I've used it.
  22. The extruder allows you to achieve an articulation or animation in the form that is hard to replicate with slabs. Not saying it can't be done, but the joined edges of the slabs will be a weak point as you twist the form to get articulation and movement.
  23. Many books on making glazes, e.g., John Britt's high and mid firing books, Robin Hopper's books, often denote which materials are toxic or require special handing. Ceramics supplies may also note that information on their websites.
  24. https://books.google.com/books?id=wEOjXDfq5G8C&pg=PA309&lpg=PA309&dq=achieving+iridescent+glazes&source=bl&ots=sUTuWbS6cR&sig=3eOX2wPEl_mbVH0R6JmoglkE3FI&hl=en&sa=X&ved=0ahUKEwiw-uia2p7RAhUEQSYKHWbACAUQ6AEITzAM#v=onepage&q=achieving%20iridescent%20glazes&f=false https://mattfiske.wordpress.com/2014/04/29/iridescent-glaze-research/
  25. Sounds fishy to me -- perhaps a scam. Is the requestor valid and legitimate?
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