PeterH

DIY might be an option. 1) Clip on the pix to enlarge 2) 3) 4) Cannot re-find it at the moment but I saw a suggestion that running the wheel 10% slower and using slip instead of water greatly reduced splashing.

Manual for your kiln sitter http://www.fireright.com/docs/kilnsitter/pandk.pdf

First I'll emphasise that I'm just an interested observer not an expert. Second Neil's suggestion of an infinite-switch solution would give you more control during firing, although take more planning and rewiring. Now the real point, IMHO you may have the wrong replacement switch for your kiln. p46 of the A&B series manual shows four different switches (with a fifth mentioned in https://skutt.com/skutt-resources/repairs/switches/). Your first picture identifies the original switch as an A-21, while the second picture suggests that your replacement is a "new-style 3-heat switch". ... from New Style 3-Heat Switch Conversion Instructions in https://skutt.com/skutt-resources/repairs/switches/ It looks like the original A-21 switch is wired with 7 connections, including L1 & L2. ... from https://eadn-wc04-7751283.nxedge.io/wp-content/uploads/IM5-A-and-B-Paragon-Inst-Man-Jan2017.pdf While the 3-heat switches are wired with only 5 connections, which don't seem to include an L2. ... again from New Style 3-Heat Switch Conversion Instructions in https://skutt.com/skutt-resources/repairs/switches/ PS Pin-outs for some other 7-connector switches here:

Well done! Is that before or after firing? If it's after I'm very pleasantly surprised at the absence of visible cracking. Looking at the angles those thorns come out at aren't you going to need a highly multi-part mould to avoid undercuts? (And/or a spectacularly meandering parting line.) Making the problem of achieving a clay build-up for your first plaster pouring even more difficult/fiddly. PS Idle thought. If the wood has burned out cleanly would casting a layer of paperclay inside the bisque be possible? It would strengthen the work -- and allow the original layer to be a thin as the first firing stresses allow.

It sounds like they are a special case of "oxide washes". (Which may be a productive search term.) https://www.vincepitelka.com/wp-content/uploads/2016/03/Surface-Design-Patinas-and-Glazes.pdf Dry-Effect Oxide Patinas An interesting category of patinas are those which simply approximate the accumulation of dirt and debris found in much ancient claywork. Varying proportions of zircon opacifier or tin oxide and coloring oxides with some 3134 frit (to flux the patina onto the surface) will give a range of “dirt” colors from very light to dark brown or black. https://ceramicartsnetwork.org/pottery-making-illustrated/pottery-making-illustrated-article/In-the-Studio-Washes-and-Patinas# In the Studio: Washes and Patinas Gerstley or Gillespie borate, Ferro frits 3110 or 3124, borax, or any other flux-based material can be used in combination with colorants to create patinas. ... so I think the message is to use a flux appropriate for your firing temperature. If you say what cone/temperature you fire to an expert will probably chip in with a recommendation (or confirmation that 3134 is OK).

In case it helps: clicking either "image link" opens up a web page inviting me to create a Gmail account. So its neither an image nor a direct reference to one. BTW The A123-B wiring diagram and parts identification document is at https://eadn-wc04-7751283.nxedge.io/wp-content/uploads/A123WD.pdf The diagram part is a bit blurred, in B&W and stylized (top, bottom & back views) PS I assume you have looked at the section on switch replacement starting on p42 of the manual, which might be this one: https://eadn-wc04-7751283.nxedge.io/wp-content/uploads/IM5-A-and-B-Paragon-Inst-Man-Jan2017.pdf

From: https://www.engineeringtoolbox.com/propane-d_1423.html Propane's latent heat of evaporation is 184 Btu/lb = 0.054 KWh per lb. ... so 100lb is going to take 5.4KWh just to boil.

If it's the manual Bill mentions an "F-1" message doesn't seem to conform to the format of the other alarm messages (none of which have a hyphen). Can you confirm exactly what you see? PS BTW it looks to me like a message containing "F 1" would be generated while setting the safety temperature. =================================

Very minor point. Domestic bleaches often contain a variety of substances in addition to sodium hypochlorite (generally known as bleach). While baby products for sterilising nappies, bottles, etc tend to just contain sodium hypochlorite. UK brands include Milton, which I use for purely sterilising purposes.

Do you apply the paperclay before or after you've assembled the nest? I seem to remember people coating wire mesh with paperclay by repeatedly dipping & drying. http://antjhfoo.blogspot.com/2010/10/paper-clay-and-wire-mesh.html ... and organics such as cloth https://ceramicartsnetwork.org/pottery-making-illustrated/pottery-making-illustrated-article/Impressions-Imprints-and-Dipping# Googling making nests (again with the images option) shows the appearance of nests made from various substances -- including twigs, straw and coir. I wonder if something less substantial than twigs would burn-out better after coating with paperclay. PS Birds get revenge by using anti-bird spikes in nests https://www.bbc.co.uk/news/science-environment-66163943 Biologist Auke-Florian Hiemstra says the birds seem to be using the spikes as humans intended them - to keep pests away

Try a google for paperclay nest, then click on the images option. It may at least give an idea of the state-of-the-art. Hits include https://www.google.com/url?sa=i&url=https%3A%2F%2Fdeniserouleau.com%2Fworkshops%2Fadventuresinpaperclay&psig=AOvVaw24dMc2zyf9RW6-ztQqTML1&ust=1711619956846000&source=images&cd=vfe&opi=89978449&ved=2ahUKEwj2n7Wtl5SFAxUqVKQEHdaCBYoQr4kDegQIARBi https://judithrosenthal.com/section/125628-Sticks and Stones.html https://judithrosenthal.com/section/125628-Sticks and Stones.html

Loosely related

You would need to - cast a "master" in the silicone mould, plaster would be a natural choice (and doesn't shrink) - remove the master from the silicone mould (hopefully the mould will flex/stretch enough to allow this) - make a plaster mould from the plaster master - remembering to give the mould time to dry out before you cast in it (it has to absorb water from the slip) Note that the plaster mould may need to be multi-part (so you can get the slip-cast object out) ... as illustrated in these two videos. How to Make a Two Part Plaster Mold at Home! Ceramic Orange Juice Jug! - YouTube https://www.youtube.com/watch?v=wcSytuNXKfQ

People have used bisque moulds to slip cast in, although you may need to pick a bisque-firing temperature to maximise absorbancy. Note the contributions by @Tyler Miller and @Viking Potter in: Have you considered casting a plaster master in your silicone mould? If necessary immersing the mould in sand to minimise distortion. I assume/hope the silicone could be stretched to release the plaster master. PS I'll walk through the slip-casting process in order to make a few points about slip-casting. 1) Assemble mould The mould needs to be made of a very absorbent material (plaster is the almost universal choice). And you need enough plaster (or whatever) to absorb sufficient water from the slip to form the walls before you drain the mould. A slip-casting mould cannot have any undercuts, so the casting can be removed without damage. This form seems to require a 3-part mould: one for each "side" and another to handle the foot-ring. 2) Pour slip into mould. Casting slip needs to be suitably deflocculated and it contains a lot less water that watered down clay of the same viscosity. https://digitalfire.com/article/understanding+the+deflocculation+process+in+slip+casting Optimal casting requires that the slurry have minimal water content (e.g. 30% instead of 60%), good flow and draining properties and that it not settle out or gel too quickly. When the slurry is right the casting process works amazingly well. The slip is left for a while so that a thickened lay of semi-dry slip forms on the inside of the mould. The water removed from this layer has been absorbed by the mould. 3) Drain mould. The liquid slip is poured out of the mould, leaning the semi-dry layer layer on the mould walls. 4) Trim After waiting a while for the clay to firm-up a bit the casting can be trimmed. Small details of the mould are often designed to make this trimming fairly fool-proof. 5) Remove the mould. Wait until the casting is ready to remove from the mould. Too early release may result in slumping. Too late release can cause shrinking-on issues. ... then let the pot dry fully.

A slight quibble ... Digtalfire seems to think there can be issues when "late gassers overlap early melters". https://digitalfire.com/picture/huctibegac ... 1400F=760C So perhaps whiting can/does cause issues when used in combination with some early-melting ingredients, such as frit 3124.

I now realise my posting can be interpreted as a criticism of the advise in your earlier posting. This was certainly not my intention. I think adding another material with the same analysis as an existing one - simply because you are unaware of the existing entry - would be suboptimal practice. My current impression is that the OP wanted to use an existing entry for Frit 4064 but couldn't find it.

Hang on, something doesn't add up. Dick's advice is correct - if the glazy database doesn't already have an entry for the frit in question. However the database seems to have had an entry for Frit 4064 since 2018. https://glazy.org/materials/22651 Frit 4064 22651 Other Names Frit 4364, Frit 3531, Frit DA4064 Created 25 Sep 2018 Updated 5 years ago - are you sure the frit in question was 4064? - any chance of finger-trouble when you entered the name? - maybe try some of the alternate names? Confused, Peter

Looking for the x14 diagram on paragon's site I could only find one for the X14J, which seems to be for one segment only. https://eadn-wc04-7751283.nxedge.io/wp-content/uploads/WX14J.pdf @neilestrick The diagram gives a max temperature of 1650F (about cone 010?). Do you have any comments on expected element life versus firing temperature? It seems that the X14J was sold as a china painters kiln.

I hope that CMC has solved your problems, if not: - what cone/temperature do you bisque at - how dry is the glaze before you fire - what bodies have you tried (raku, e/w, s/w, hi-fire s/w, etc) - do you use real Gerstley B or a modern substitute

Just for the record Ceramic Arts Daily publish "15 tried and true glaze recipes" for (at least) raku, cone 6 & cone 10. https://ceramicartsnetwork.org/docs/default-source/uploadedfiles/wp-content/uploads/2015/08/15rakuglazes.pdf https://ceramicartsnetwork.org/freebies/guide/15-tried-and-true-cone-6-glaze-recipes https://ceramicartsnetwork.org/freebies/guide/15-tried-and-true-cone-10-glaze-recipes

A memorable analogy

@Chilly did you have any undercuts?... PS Comparing fondant moulding with press moulding (probably the the closest pottery equivalent) ... The fondant process: — uses a flexible non-absorbent mould — the fondant sets hard (without shrinking?) — the set fondant doesn't adhere strongly to the mould? — fondant sets strongly enough that peeling the flexible mould off undercuts doesn't damage them The press moulding process: — uses a rigid and absorbent mould — the clay shrinks and becomes harder as it dries — minimal drying time needed/required —— the mould absorbs water from the clay; so no air-drying needed and clay-mould adhesion is minimised —— if the clay dries too much it will shrink-on any texture in the mould — you cannot cleanly extract the (still fairly soft) casting if there are any undercuts. So I suspect that you could have issues with — air-drying the clay — getting the clay firm enough — clay shrinkage — clay-mould adhesion — the undercuts PS Using paper-clay would probably strengthen the clay and speed air drying to some extent.

An relevance? https://www.lickinflames.com/obvara_june_2021.html Generally speaking, the hotter the pot going into the mixture, the darker it will be. Nearly glossy black pots are from the hotter side of the firing range and tan pots are usually from the cooler side of the range. Really hot pots held in the mixture longer will yield fewer patterns. Cooler pots held in the mixture longer will possibly not carbonize as they cool below the threshold where carbonizing can take place.

Te previous thread is at

Yes, but it may introduce more problems than it solves. To my untutored eye it looks like firing with a sitter would probably solve your slumping issues. ... but would introduce glazing issues. The classic bone china solution uses a supported high-fire bisque and an unsupported lower-fire glaze, which creates its own problems. Bone China https://digitalfire.com/glossary/bone+china The process is completely different than what a potter would do: Bisque fire, glaze, high fire. Bone china is bisque fired to high fire and then glazed at a very low temperature. Since the porcelain has zero porosity, getting a glaze to stick and dry on it is not easy, the process needed goes well beyond what a normal potter would be willing to do. PS Balancing slumping and decoration has a long history. Robert Tichane expressed his surprise when he finally realised that the ancient Chinese cup he regularly drank from had a guilded rim to disguise the lack of glaze on the rim (a result of firing the cup rim-down to minimise slumping). I'm having difficulty visualising your "handmade leather molds". I assume that they are semi-flexible press-moulds, but am unsure how you extract the bowl from the mould.