PeterH

You can find your kilns part number from the info on https://paragonweb.com/support/kiln-wiring-diagrams/ If you then enter the p/n into the pages search field it will give you its kiln wiring diagram. This should show you the "as new" resistances of your elements. PS If you post your p/n it will help the experts customise their answers.

Sorry, I meant there was unlikely to be a major flux-based "chromatic influence" for Celedons towards the golden metallic effect the paper was seeking. In this project, a kind of glaze that resembles metal glaze with golden color, simple color and no obvious luster

Yes, I intended the picture as an example of the effects of an applied leaf, and a mulberry leaf in particular. I was suggesting that the paper I was discussing seemed to start by looking at the traditional leaf-based way of obtaining an image and then thought: hey what if you used leaf-ash (or its chemical equivalent) as a "local surface additive". And the paper expands on the idea (I thought overglaze was less of a mouthful than "local surface additive"). Thanks for the thoughtful contribution and very interesting reference on colouring mechanisms. PS I find it interesting that the paper applied to technique to Celedons. Which I suspect would be less likely to be "chromatically influenced" by things like local flux changes than Tenmokos.

An interesting spin-off? I welcome others interpretation of this paper (pity it doesn't have a pictures) Research on the New Woodleaf Glaze in Celadon https://www.scitepress.org/Papers/2019/85615/85615.pdf The image on a good leaf bowl is notable both for its fidelity and its colour. https://www.yuyinghuang.com/shop/mulberry-leaf-tenmoku-teabowl This paper thinks of the leaf as a way of applying an over-glaze image to the pot. It starts by analysing the mulberry leaf ash as it is heated, and comes up with a glaze formula: Any thoughts on the colouring mechanism? And is it a property of the overglaze alone, or a reaction with the base-glaze? It then considers the use of this overglaze which it uses with a celedon base-glaze. Combine with celadon's mud glaze to make no less than 6 sets of test pieces, (I'm not sure if it is applied it as an overglaze, or mixed it with the celedon.) ... and then looks at the effect of firing temperature. Pity there is no pictures. PS It would be interesting to know the analysis of the ash of other leaves traditionally used for leaf bowls.

222 page thesis TRANSFORMATION OF SIX LEAVES GLAZE TO CONTEMPORARY CERAMIC BASES ON THE TAOISM CHARACTERISTICS https://tinyurl.com/4a48pyky In the research process, 768 glaze recipes have been tried. A total of more than 600 kilns have been fired, and more than 20,000 pieces of products have been fired. In the early stages there were a high probability of failures. However, the rate of finished products finally increased from 2% to 80%

木の葉天目茶碗 (Konoha Tenmoku bowl) https://www.teaforum.org/viewtopic.php?t=1863 http://www.tokorozawaclub.com/HP/okachan/konohatenmokutyawan.htm Seems to be some how-to pages (scroll past the first tiny ones) Sample pix I now appreciate John Britt's comment about removing them with a magnet better.

No process info. Young Chinese girls revive, innovate 1,200-year-old porcelain leaf cup making techniques http://en.people.cn/n3/2021/0113/c90000-9808774.html

One line of thought The quest for the illusive leaf bowl: John Britt describes his search for an ancient technique. https://tinyurl.com/7bfmn6fc ... with the intriguing content Then, while on Facebook, a Japanese woman named Mia Ishiguro (no relation to Munemaro) noticed that I was researching the leaf bowl and having trouble, so she sent me the symbols for 'leaf bowl' in Japanese. ([TEXT NOT REPRODUCIBLE IN ASCII]) I copied and pasted these symbols into Google and found a lot of information, unfortunately written in Japanese, which I cannot read but, being a visual learner, I decided to click 'Images' and voila--thousands of images of the leaf bowl instantly appeared. I started to click the links and many connected to museums and historic books, while others led to blogs of people who, like me, wanted to figure it out. Several others led to newspaper articles allegedly describing the technique. I was excited, saved these articles and printed them out. Although I could not read them, I could deduce what was being done by the pictures. Today Google will translate text for you but not images and some of these were photos of newspaper articles. Nevertheless, this gave me some excellent techniques to try. Google translate gave leaf-bowl => リーフボウル Which sadly gives lots of images of leaf-shaped bowls! Printer friendly version at https://www.thefreelibrary.com/_/print/PrintArticle.aspx?id=372884215 The article appeared in print (no idea about the Japanese symbol) Ceramics Technical ISSN:1324-4175 Issue:38 Page Range:84-88 First Page:84 Last Page:88 John also sold an ebook containing this and other articles, don't know if it's still available. Not here, but some photos https://tinyurl.com/mvmnu3xf Guarded praise from J Baymore ... PS An historic example at https://www.britishmuseum.org/collection/object/A_1973-0726-279 PS Google translate into Chinese (traditional) gave leaf bowl => 葉碗 A google search for images then gave a few hits, the first of which was https://m.fei123.com/10000/4218.shtml

From the archives

Cheaply available second-hand, adjust this search for your location and currency https://tinyurl.com/mw873skd I found the second half of Ian Currie's book - which examines several important glazes -- very interesting. Especially as it reflects that there are many mechanisms that make glazes interesting. Online at https://wiki.glazy.org/t/ian-curries-stoneware-glazes/367

LOI (Loss on Ignition) https://digitalfire.com/oxide/loi

As an example here is the entry on cracks http://ceramicsfieldguide.org/pdf/materials-handouts/ClayCracks.pdf

Historical aside Code stone. Sold as an artificial stone, it was really a ceramic with a very narrow firing range. Coade stone https://en.wikipedia.org/wiki/Coade_stone The Secret of Coade Stone https://tinyurl.com/y2ckdhyy What is Coade stone? https://tinyurl.com/2s3b5j76

Naming an issue, see https://en.wikipedia.org/wiki/Calcium_phosphate Tricalcium phosphate (tribasic calcium phosphate or tricalcic phosphate, sometimes referred to as calcium phosphate or calcium orthophosphate, whitlockite), E341(iii) (CAS#7758-87-4): Ca3(PO4)2 https://tinyurl.com/bdds5ssf

Scarva offer it at a higher price, but lower postage. No claim this is best UKish price available. https://tinyurl.com/2t33eypa Partially completed order for 1kg

My understanding was that everything for sale is probably mined as hydroxyapatite, but sold as either triphosphate or synthetic bone ash. Two recipes:

I think the recipe is essentially the same, substituting calcium triphosphate for bone ash. Bone china https://digitalfire.com/glossary/bone+china True bone china is a special type of translucent porcelain. Instead of feldspar as a flux, bone ash is used (today available in synthetic form tri-calcium phosphate). ... my note tricalcium phosphate is Ca3(PO4)2 Unfortunately the terminological plot thickens: Phosphate Triphosphate https://en.wikipedia.org/wiki/Tricalcium_phosphate Most commercial samples of "tricalcium phosphate" are in fact hydroxyapatite Bone Ash https://digitalfire.com/material/123 Bone ash is TriCalcium Phosphate in the form of Hydroxyapatite Ca5(OH)(PO4)3. This reacts when making bone china to give Anorthite (CaAl2Si2O8) and Ca3(PO4)2. 2*Ca5(OH)(PO4)3 --> 3*Ca3(PO4)2 + Ca(OH)2 So I've no idea if you you substitute 1:1 hydroxyapatite (sold as calcium triphosphate, or maybe synthetic bone ash) for "real bone ash". But it probably isn't far off.

I can think of two possible reasons 1) Historically that's the way bone china was [always?] produced commercially. 2) You may only get marginal transparency gains from using bone china unless you make thin and fire close to warping. When you do - you need setters and hence a high bisque. If you don't - porcelain and white-stoneware are easier to use.

... while waiting for the experts to arrive. Sasha Wardell is an artist who works in bone china, her site is at https://sashawardell.com/ Her 1st book Slipcasting contains some bone china specific information. I haven't seen her 2nd book Porcelain and Bone China but I expect it's well worth reading. She gives an overview of porcelain vs bone china in Tempting Transparency https://tinyurl.com/mryx92z7 You need to high fire first because bone china has a short firing range and tends to warp. It's usual to use setters the support the work during this firing. Obviously you cannot glaze the parts the setter touches, so glaze fire afterwards. Glazing the vitrified body is difficult. Heating the pots helps, as does spraying. Tempting Transparency https://tinyurl.com/mryx92z7 Bone china has a low-glaze cycle following low-fire clay temperature ranges. The pieces need to be warmed up, usually to about 212°F (100°C) prior to glazing. This helps to evaporate water from the glaze slurry as it’s applied to the piece. When glazing, I pour glazes on the insides of the ware to line them and if I glaze the outsides, I spray them. Use a thicker application of glaze with a drop or two of gum Arabic added to the glaze to help with adhesion, as the body will have vitrified during the high firing. 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 If you are not using setters, then I don't see why you cannot do a normal-ish bisque firing.

Might be worth snipping the resistor out and trying to clean it with an abrasive cleaner. PS It's a long time since I read a resistor, quick recap. Resistor Color Code Chart https://tinyurl.com/5n6ud78n A handy tool for reading resistor color code values https://tinyurl.com/5n6ud78n

... also see Power caulk gun to extruder conversion https://community.ceramicartsdaily.org/profile/894-pres/

@liambesaw You seem to be joining plastic handles to slip-cast pieces. Any comments for this thread?

Two page article (as jpegs) by Preston Rice & Madeleine Coomey ? https://1.bp.blogspot.com/-xYr-ZLHHRyc/XGsvzDufnKI/AAAAAAAAA0U/zISVLs-TKzQ3RPNKwFoc2rZ4CNnpzi3iQCLcBGAs/s1600/TT_RiceCoomey.jpg https://4.bp.blogspot.com/-6bczNxLZFgI/XGswHUKVTOI/AAAAAAAAA0c/K5DZtUz323YGyY0UNfsVDQCP0k-LhPtRgCLcBGAs/s1600/TT_RiceCoomey2.jpg From https://picworkspottery.blogspot.com/ (Pres's site?) Also as Tips and Tools: Extruder Conversion https://tinyurl.com/47cbbuv9

I don't think anybody has directly addressed this question. Understanding the Deflocculation Process in Slip Casting https://tinyurl.com/2p96x33r A simple mix of clay and water will not work well at all for casting. Not only will it quickly waterlog the molds but it will shrink too much (and therefore crack in the molds) and it will take much to long to cast. It will also gel and settle out and generally make the process miserable. 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. ... I suspect that these issues are amplified if you are trying to solid-cast.