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About jpc

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  1. Yeah High Bridge. We become more and more dependent on our electronic goodies. I have almost lost the ability to do math without a calculator. Lord help us all if the power goes out and the grid goes down! Pit fire!!!!
  2. Thank you! I will do the right repair. I have rarely hit the sides with the shelves and will be more diligent in the future. I have not changed elements or the holders before. Do you think it wise for me to try?
  3. Greetings! Here are two picts. What do you think? Thank you!!!!
  4. Good day. I am going to try to change the elements in my L and L Jupiter kiln. I have just watched some instructions on You Tube and it looks fairly simple. The question is what do I do with the small tiles that hold the elements in place that have fallen off? The elements have expanded and pushed some of them off or visa versa. Any suggestions? Thank you!
  5. When I needed a stone matt glaze I found a glaze recipe that was close to what I needed and then reconfigured it to what I wanted. It took lots of testing (I bought a small test kiln) and patience. It was a great experience in that I have the perfect glaze for my work and have a much better understanding of glaze ingredients and the make up of glazes. Read read read, test, test, test! http://www.upenn.edu...book/14713.html looks great!
  6. I created 44" ceramic sculptures a while ago. The kiln was a 45" electric Alpine. Some of the challenges I had were drying very slowly, too fast and there were cracks, especially where the seams were ( I built them using coils). I created a drying cabinet using plastic bags, worked well. This changed with the seasons, winter being the driest and needing the most attention while drying. I built them in one piece and a seam wouldn't have worked with the pieces. There is a huge difference in making something large and one medium height. My studio kiln is 23" high, it took a few tries to get it 44" high, no cracking. The weight of the final piece should be taken onto consideration. How to move it when it is being made, green ware, etc.... Both bisque and glaze firing were done slowly with a 15 -20 minute soak with the glaze fire as the top and bottom of the piece had the potential to be different. The soak allowed the glaze to even out. I suppose you could do that with the bisque as well. The application of the glaze was somewhat of a challenge as there was so much surface. I experimented with pouring the glaze but found the drip marks were a problem for the work. I do not spray because of the significant amount of waste but it might work for you. Best of luck. I will be looking to see how you do.
  7. Perkolator Thank you. Do you know of anyone on the east coast making large sculpture? I would love to do a workshop/residency.
  8. Thanks Peter. It looks like they are attached properly!
  9. Hello! I am have difficulty with an aspect of my sculpture. I cannot seem to get rid of the building lines. I am using slabs that I cut to thin sections and then join them. I use to roll my own coils but this took too long, I do not have access to an extruder. I slip and score and then blend the pieces together and although the lines are not there at this time, as the piece dries out the lines reappear. I am not sure if they are the joint lines. Unfortunately, I do not have photos of them I am going to try to upload a photo of the models for the work. You can see the lines on the smaller pieces. I hope I have attaches them properly. They are green ware. Working on the glaze for them. I have looked for books and possible you tube videos but cannot find any. The work in them is usually on the small side. I have a few books on large ceramic sculpture but there is nothing about this in them, I imagine it is something really simple that I am overlooking. In advance, thank you! JPC
  10. If you are interested in using under glazes I would suggest using AMOCO Velvet Underglaze Series, royal blue and hunter green. (The hunter green looks like a light turquoise in the jar but is in fact a dark green) Dip a wet brush into each color and brush it onto the surface. Stop and repeat as soon as the colors blend. A satin mat overglaze on top of that. Repeat this until the ware is completely covered or you get the look you like. I agree with the others that you are looking at the results of a glaze and firing on the piece in the picture.
  11. Lala. I have been experimenting with the following glaze recipe: Frit 3134 10 Nepheline Syenite 35 Wollastonite 10 Magnesium Carb 35 EPK 10 I have been experimenting with different amounts of each ingredient and have come up with some interesting results even though it is a crawl glaze. Happy testing.
  12. For a bisque firing I usually get the kiln to about 180 degrees F and let it sit for an hour or so. The 212 degrees is the temp of water boiling, putting it in lay terms. Then another ramp up to 200 degrees F and sit for an hour then proceed with the rest of the firing. I do the same with a glaze firing. Can never be too careful. Hey Neil, just noticed you are affiliated with L and L. I love mine!
  13. Thank you Min! This is really helpful. I am still searching for the one I am thinking of. I appreciate all of the responses. JPV
  14. There is somewhere an very clear explanation of how the heat behaves in the kiln, I believe it is not intuitive. unfortunately I can't find it. The advice I was given was not to use lower portion of the kiln. Not efficient but I tried it with my last firing and the results were good.
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