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Everything posted by Wyndham

  1. The gas kiln I have now is homemade down draft with 6 raku style burners, 3 on a side of a kiln that is about 45 cu ft stacking area. This works fine but I'm looking at making a smaller size kiln that is similar in design as a Geil, where the burners come in from the floor and has no bag wall. I have looked at a burner from from summit kiln conversions that has 4 pipe style burners(50k btu/burner) that attach to a manifold but do not have primary air ports(PAPS) or butterfly air intake adjustments. This system relies on the damper to create a reduction atmosphere. I believe the gas orifice is drilled into the manifold and the primary air is drawn in around the manifold into the pipe burner. Since I have used a different system with PAPS and damper, I'm wondering how responsive this type of burner is in giving overall reduction. Most folks that have this system have converted an electric to gas but I was thinking of building a small downdraft with this burner setup. My main concern is controlling reduction as I start at about 1550 and adjust on the way up to cone 10. Hope to hear from some folks that have used this type of burner setup. Thanks Wyndham
  2. On my salad plates I've used 2 lbs , where I center and open to 9 in then pull a wall for the rim, lay it over so the rim is at the edge of a 10 in bat pin hole but this seems to be too light to me, sorta what "Pres" said about mugs. I'm thinking It should be 2 1/4- 2 1/2 lbs to give more substance. I went up to 3 1/2 on my plates and that seems about right Do others here like a thin or more robust plates. Wyndham
  3. The thermocouple may have gone bad.They can have issues at higher temps as they age and keep the kiln from reaching temp.This is one of several possible problem areas as well as a bad element/elements. Have you ever changed the T/C and how old are the elements. As elements age they lose the ability to get as hot as when they were new. Just a few thouights Wyndham
  4. I started with an Aim updraft 10 cu ft kiln with 3 burners in the center bottom with a bottom shelf about 6 in above the burners. It worked fine for bisk and could only get to cone 7-8 with bottom hotter than top for glaze firing, it was a great learning tool. If possible find a manual on the internet or call Olympic for instruction on firing,and shelf placement. There's a learning curve that is going to take some time but it's only Gas($$$) and pots($$$$) and time. A gas updraft will work well and not fall apart on you as long as you are reasonably careful. Study how they fire their kiln, ask question, take notes before you head off on your own. Wyndham
  5. old thermocouples lose integrity as they age and it maybe the T?C is wore out and not reading the proper temp. if this is the case you need to change the t/c. several things could give this result, t/c and or elements Wyndham
  6. Has he done this before, ask for other crafters names whose worked with him before for references , and all the above. Good luck Wyndham
  7. no need for 3 phase, just get another 11 cu ft, better return on investment. When you mentioned hand building, are you slabbing the clay , cutting out a template, and wrapping it around a form, then attaching a bottom then handle? If so, where is your bottleneck. Wyndham
  8. To give you an idea of labor cost, a contract potter in Seagrove, NC, who turns for several potters during the week, works at about $1.25 to $!.50/lb of clay. The clay is weighted and ready for him to turn, no handles,no trimming, just turning. As suggested above rolling the bottoms save time Since these contract potters work by the pound, they must produce enough to prosper, a hundred lbs a day is common. At 3lb of clay labor and clay equal to $6/piece +/-. Clay can be thrown and covered so your production can exceed your daily demands as well, store in damp box.. If your hand builders are making just the tile badges that are applied, these too can be stored by wrapping and storing in a damp box. If you don't have an extruder, get one for handles, you can make the die out of 1/4 in lexan and cut the handle pattern out with a drill press and a jig saw. Extrude the handles and form them on a board to firm up. There again keep in a damp box till ready to apply. You can make 200 handles in an hr if needed. Next get a larger kiln to add to what you have. If you have the power to handle the amps and the margin to handle the expense. Just a few thoughts, hope some help, no idea if these fit your situation. Wyndham
  9. Add water seal and let sit for a day or 2 then start stir until things start loosening up . You might want to invest in a kitchen stick blender for about $10 or so to help blend these back to a usable consistency. You'll need to screen the glazes and some may have hardened lumps from some ingredients crystallizing. Put those aside in a bowl after screening and try dissolving them in a small amt of hot water, after dissolving, add this back to the glaze. Test these glazes on some test tiles by themselves as well as in concert with out glazes you might be using. This will allow you to make a palette to refer back to. I've had glazes dried out for years that I forgot about.They are as good today as when I made them, just some work to get them back to the right consistency Hope this helps Wyndham
  10. Trimming allows you to find the piece within the piece that you've thrown. This is the time that the true beauty can emerge from a rough form. Feel the piece as it develops don't rush it. Wyndham
  11. A link or pdf to the glaze jet would be great if you still have any info for a diy. Wyndham
  12. big chance because of a temp zone for ceramics called quarts inversion(1025-1080 depends on clay body). If done incorrectly the plate may crack. If you fire take the temp up slow, maybe 125 or 150 deg per hr till decal fuse then slowly down. Have something like silica sand on the shelf to allow the plate to expand/contract and not get stuck to the shelf. Another idea, how about making a glass disk with hole in center and fire on the decals then assemble to the plate. Gamble anyway. Hope others might chime in, this is just a guess. Wyndham
  13. contract for 6 more months...then outta here Wyndham
  14. The folks at the shows I do expect to use their cards and are very aware of the Square and how it works. The way I look at the cost, is that's it's less than 2 mug per $1,000 in sales and for those that want to use CC, I'd lose far more than that in sales. CC's account for about 50% of sales, which is down this year from 70-80% in previous years. The Square is cheaper than the machine I still use at the shop because of monthly fees, yearly compliance fees and a higher cost per swipe compared to the Sq. I have yet to have anyone ask about my cost for the Sq, it's just the cost of doing biz. Wyndham
  15. if the clay you use is rated for cone 4-6(2150-2232) that means that is the vitrifaction(maturing) temp that makes the clay as hard as possible. If you fire to 04(1900) then all you have done is fired to bisk(half way to maturing) temp for that clay body. If you have a low temp earthenware clay that matures at 1900(04) that's as high a temperature as that clay can fire without melting. You might find a good book at your clay supply resource that can explain the differences and reasons for the maturing temp and uses of different clays. Wyndham
  16. 1.Square Masonite, cheap, home depot will cut for little or nothing. 2.Mexican free tail as they emerge from the cave at sunset in San Antonio, TX You asked Wyndham
  17. You might have to take the barrel off to clean it out if the above suggestion don't work for you. Not that hard just a pain. Wyndham
  18. Can you replace the support beam with a steel beam and metal 2x4's to get the code warrior to pass it? Just a thought. Wyndham
  19. There will be changes on refires, what they will be only testing will determine. I have heard that potter's choice have different firing schedules for different glazes, it might be best to contact them about details on firing with different clays. Why not make up a bunch of test tiles that can go into every firing so that you can build a library of glazes and effects as well as refire tiles. Yes you can add a glaze over a fired glaze and there again testing will give you info about how your kiln fires. Wyndham
  20. If the bisk is indeed vitrifying the clay then the glaze firing could have the stress problems of a refire. Talk to the clay mfg and find out if this might be the case. Wyndham
  21. A test would be to put an unglazed bisk piece through the glaze firing and see if anything happens. If it cracked or exploded, the clay is the issue, otherwise it's the glaze or the method of glazing Wyndham
  22. Randal Anderson's work is very interesting as is his photography of his work. Have you ever noticed if you take a rather common pot and place it in an interesting setting, it can take on the life of the setting it's in Wyndham
  23. John, Here's the link I was looking for \ http://www.environmentalleader.com/2014/09/23/goodyear-converts-rice-husk-waste-to-fuel-efficient-tire-treads/ I bet they might share some for a pot to go in the boardroom Wyndham
  24. Sounds like a clay body/glaze fit compression issue because chemical water leaves at around 1000-1200 deg f. Your walls might be too thin and stress gets the better of the form. Just a guess at this point Wyndham
  25. Phil, look up the equivalent of wood ash in chemicals we use.3% will not be much more than a few flux ingrediends Wyndham
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