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About clayshapes

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  1. Thanks for all this great advice. I was just so shocked at how hot it is in the room, compared to my kiln in my studio in the city, which NEVER heats up the room like this. This is a bigger kiln though. The kiln is reaching temp at the expected time - but it's cooling more quickly than my kiln in the city - hence one of the reasons I think it's loosing more heat than it should. I did put an empty shelf on stilts, as Pugaboo suggests above, just above the top shelf, and had no issues in the following firing. I also avoided putting flat pieces on the shelf just below...worried they would
  2. I bought an old kiln (cone art) to use at my summer cottage, and retrofitted it with new elements and a new electronic controller. The interior bricks are in excellent condition, but the lid has several small cracks. After firing it a couple times (bisque and cone 6) I see that it is losing a lot of heat, likely through the lid. I leave a window open during firing - but the room is super hot - so hot that I'm afraid it's actually a fire hazard. I can see a glow between the lid and top of the kiln when it's reached temp. (pieces in the kiln fire well, generally - although during the last glaze
  3. Wow - that is amazing. I'm going to try silver polish! Thanks for the tip!
  4. Naturally, the manufacturers hope to sell them - but from my pov, I'm just happy that they are providing me with a huge palette with which to work. I have and use more than 40 different glaze colors, textures/finishes in my studio - Since I don't have room, time, or inclination to create 40 of my own, I'll just have to sort through and figure out which are best for what. I'm learning that some are more suited to strictly decorative work, that knives and forks don't touch. Others (most) are very functional, and can be incredibly beautiful.
  5. Thanks for your insight Mark. Interesting. My opaque solid color glazes are the ones that show scratches, as opposed to more "glassy" glazes - transparent - or matte glazes. I guess I just need to stop using the opaque glazes for dishware. When I say opaque, I mean commercial glazes like Mayco's Foundations or Stroke and Coat (which I use to cone 6) and some Amaco and Spectrum cone 6 glazes. Hardness makes sense. But since I can't control it, I guess I better just stop using them!
  6. Does anyone know why some glazed porcelain and stoneware is easily marked by silverware use - and others not? I use various types of commercial glazes in my work - and notice that some are marked by spoons forks etc, - and others are not. Curious to know the reason.
  7. Thanks Denise - I assume you had no problems with your pieces? Everything came out the way it went in - in terms of shape, that is.
  8. I went to India, and soaked up the colors, shapes and food. While I was there, I didn't really think it was inspiring me for new shapes or colors in my pottery - But when I got home and started using the wood block stamps I picked up - it took my work in a whole new direction. I was really surprised that I didn't see it coming!
  9. I know you should be able to stack greenware for a bisque firing without incident -- but I'm always afraid to - mostly because I'm afraid that my cone 6 porcelain plates and platters will not stay flat. Generally speaking the shape doesn't change in my bisque firings (05 or 04) - but because I prefer to use fairly thin slabs to create my work, there is sometimes warping during the glaze firing. Technically and intellecturally I know it is unlikely that cone 6 porcelain (Tuckers Bright White) will move in shape during a cone 04 or 05 firing...but still I hesitate. I would love to stack - to ge
  10. I traveled to India recently and came home with some wood block stamps...I'm experimenting with different palettes and designs. Lots of fun.
  11. I just started using Designer Liner (Mayco) to cursively sign my work. It's pigment only, so doesn't stick to the kiln shelf when you fire it.
  12. My cone 6 porcelain isn't translucent - just very white (It's from Tuckers - called Bright White) and my cone 6 black clay is very sturdy - never warps, which is why I love it so much. A gorgeous clay to work with (although impossible to get glaze color on unless it's blue or red - everything else goes clear or horrible mustard!). In any case, the biggest takeaway from all this advice is...as usual... test! But I'm glad to have all these comments. It will inform my testing. I'm always trying to get away without testing, but it's no use! Thanks everyone. My work is almost dry - I will re
  13. Thanks - I'll do a test with a few pieces and see what happens!
  14. Thanks Marcia -that was my concern. Good Solution. Do you think the same is necessary with cone 6 stoneware? I'm also using a cone 6 black stoneware for these pieces.
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