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About synj00

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  • Birthday March 22

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  1. It just occurred to me that we did an experiment with raku a year or so ago with some soft brick that I have since gotten rid of. I didnt have a temperature gauge or anything but do you think that with a big enough tank and enough soft brick to build something conducive for airflow would it reach cone 10 in a few hours? This would allow me to experiment with glazes, build different configurations, reduction and all that kick@%% stuff :-) Tell me good news! Thanks All!! Sebastian
  2. Grype! Great to see youre still at it! I had to take a break for personal reasons but I've picked up where I left off. I came to post the question "Does cooling have an affect on Tenmoku (Temmoku)?" and here I find some great information as you are already treading this territory. Here is my testing its at cone 8 oxidation with quite a hold time. The leach 4/3/2/1 recipe and it works but its not anything like temmoku at all in oxidation even with a long ramp down in cooling. It looks cool but its not what I'm after. Its the journey not the destination right? :-)
  3. Hey everybody, been doing some testing and went through my first gas firing. (click my sig link if you are interested in the firing) I thought it was a disaster but others tell me not so much. Expectations will absolutely RUIN your happiness. Anyways, I have 2 glazes that I really kinda dig. The first glaze is a leach white which is nice and I'm still doing some tuning on that. Below is an example of the leach 4-3-2-1 glaze that went through the gas firing with too much reduction and made it to cone 9. I put a sprinkling of FE203 Red Iron Oxide and a sprinkling of Rutile as well just to see w
  4. I second the hardiboard. I dont have a table as I am a garage potter. I just pull out a piece and brace it somewhere and then kneel to do my wedging. Then you can put the board back against the wall to free up space. I'd say just grab a piece (they are huge 4'x8') score and break to the size needed and nail it to the top of the tables and replace when it needs it. $12 at home depot.
  5. Thanks for the detailed post BciskePottery! Thats why I love ceramics. With just a few ingredients and techniques one can come up with infinite possibilities. I'll be in Watkinsville, GA this month taking the workshop with Akira. See you in a few weeks Grype!
  6. Why the uneven firings? The hardest part is going to be to get the heat evenly distributed. There are a few options like a buffer brick, 45 degree input burner port, etc.. If I can get one single shelf to cone 10 I'll take it. Its for glaze testing and expirements with reduction and some small wares.
  7. Thanks for the link to the electric woodfire conversion. I'll check it out! It occurs to me that if I make the exit flu a long rectangle such as on the Codyo site link above I can put kiln shelves in any place I want and see if back, middle or front are the most optimal along with giving the option of increasing and decreasing the damper. With that decision out of the way I can implement that tonight. Woohoo! HighBridgePottery - Its the MR100 Venturi Burner from Ward Burners. We spent time on the phone to go over the project and I was under the assumption that this was 6 cubic feet but it w
  8. Thanks for the replies and the links. Actually, Bciskepottery, I saw your page and got some great inspiration to do this! I dont yet have a pyrometer but have cones. I get conflicting information about chimney. Square burner hole apparently means round chimney hole and vice versa? I dont think it should matter that much. We just want to get a good even distribution of heat. Also another question I had was the chimney in relation to the burner port, it seems that if it is at the back of the kiln the heat will just hit the back wall go up and exit. If the chimney is on the same side of the kiln
  9. Since day 1 I wanted to do wood firing. I started with an electric kiln and although it is possible to do interesting things I'm still focused on ultimately doing Anagama. I cant truly test Cone 10 glazes in my electric and want to get as close to possible to that environment, which means a way to do reduction, neutral and oxidation. So I got a broke down Duncan kiln donated to me and the burner came in today so I'm super excited!!! Stripping it down tonight and getting the elements out then will figure out how to cut the burner port and the top opening. Then I have to find a 40 - 50 gallon ta
  10. Being in this around 3 years its all pretty new to me so I have no real problem finding new things to try. I do get stagnant from time to time though and I try to just focus on the present moment and pay attention. Inspiration is everywhere. Keep a notepad next to the bed with some colored pencils and I "dream" of new things to try and if they are interesting enough I'll make a quick 30 second sketch. I pay attention to nature and find inspiration there. I try to find relations between things. I'm currently focusing on concepts relating to ceramics. Connections / Divisions / Unity, that sort o
  11. Welcome aboard! I'm up in NE Georgia. It seems like you have some great knowledge of building and DIY! A lot of potters get very creative with re-purposing items and scrounging for parts and collecting bric-a-brac for their studios (I know I do!). I hope to see some of your projects! And of course your pots
  12. YES! this is exactly what I was looking for Timbo_Heff! The ball clay I can see as being the binder for this. 11% redart, isnt that just ball clay too or does it influence the color along with the red iron oxide? Man i need to get some yellow iron oxide / ochre! Thanks so much for the starting point! Sebastian
  13. Anyone have a good starting point for a deeeep amber cone 10 glaze? I'm familiar with the celadon base and adding fe2o2 which brings about a nice temmoku at around 8-9% but looking more for a translucent honey / Amber look. The closest I've seen was a teadist but it is more green than what I'm looking for.
  14. Thanks for the tips everyone! Fantastic video. Jb is a wizard!
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