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PeppernPatches

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Everything posted by PeppernPatches

  1. We have recently started a group studio and it was easy to split costs when 2-3 main people shared the kiln space evenly. We split the propane costs for the kiln, and the electric kiln for bisque shows the amount of electricity used. Supplies and maintenance costs are split too. But we are trying to figure out a formula for the future when more people get involved and there are different quantities of work being produced. The core members of the group order the materials, mix all the glazes, grind all the shelves, load and unload the kiln, keep the studio clean, etc. If a person wants to fire some pieces in the kiln, we are not sure what to charge ON TOP of the propane price. I see that some studios charge $0.09 per cu in, but I don't know how that is broken down. But what I would like to know is there a percentage formula anyone has worked out, that factors in all the materials, labor and wear and tear of the kiln? Would 20% on top of gas cost be a fair estimate? So ultimately, we would like the core members to pay for all the costs and split accordingly, and then excess monies paid for by the contributing guests would go into a "fund" that will be used for purchasing new materials or supplies. Would appreciate your feedback on this!
  2. Is this a satin clear glaze? I have the same problem with my satin clear glaze, it sometimes comes out glossy which I don't like.
  3. I like using Creamy matte and any kind of whites on this clay. Also I like baby blue lite matte and denim blue matte on black mountain. Here's a pic:
  4. YES, I would like a satin clear glaze that is transparent. The glossy clear liner is great because there's no cracking, the coverage is consistent and even, but it looks too shiny and plastic. I use both red and white clays. Mostly where I see a problem though, is with my red clay that I use white slip over, then I carve designs into the clay. I leave the outside unglazed, but the inside of the bowl needs clear glaze. See here: I will try adding a tiny bit of EPK to my existing batch to see if it makes a difference. Just wondering if anyone has a satin, semi-gloss recipe that s very different from my current glossy liner, for when I start a new batch. Thanks again!
  5. I have been mixing a Cone 6 clear gloss glaze that is very stable and consistent. It's a Glossy Clear Liner recipe (see below). However, the super shiny surface makes my pieces look "plasticy". It also changes the clay body color dramatically. I have two questions: 1) Does anyone know how to modify this recipe so it's less glossy? I don't want a matte finish. I would like something between satin and semi-gloss. 2) Will changing the sheen effect the clay body color somewhat? Thanks! GLOSSY CLEAR LINER 100G G-200 FELDSPAR 20 FERRO FRIT 3134 20 WOLLASTONITE 15 EPK KAOLIN 20 TALC 6 SILICA 19 TOTAL 100
  6. For bigger stuff like kiln shelves or kiln furniture, buy direct from Paragon...cheaper and eliminates the middle man. I hear many online ceramic supply companies buy from Paragon and don't even store many of their products on their own. But that was a Paragon rep telling me that
  7. JOHN: Thanks for the tip on cooling down the firing. My Paragon TNF-823 kiln has been overfiring at cone 6, taking 12-14 hrs at medium speed. That's why I decided to fire to cone 5, HOLD for 15 min until I saw the witness cone 6 had bent properly, then I shut it off. If I program slow cooling, what do you recommend I set the cooling rate in degrees per hour? New to this, so not sure what to program. Thanks again! MIN: I'm sorry I meant in my previous post that the ZINC could have caused the chalky finish. I substituted that cuz I ran out of Zirco. But I remember someone saying zinc has more flux. Ack. I think the real issue is that it's really a cone 10 glaze that was underfired in my kiln. Will be doing LOTS of tests! Thanks again for all the valuable feedback everyone. ALOHA from Hawaii...
  8. Min - My glaze recipes for the pale turquoise and light greys are semi-mat. I have not tried slow cooling yet. I'm not sure how to program my kiln to do that. I'm going to call Paragon this week to ask about the thermocouple and see if they can advise me. Thank you! And I used half the ratio amount for zinc to substitute for the zirco, which I ran out of for this particular firing. Could the zirco have caused the chalky finish, or simply that Turner White is really a cone 10 glaze recipe? My last firing of the Turner White batch which had zirco in it (instead of zinc) was glossier but an uneven finish, which I suspect was due to the glaze being too thinned out with water. So this time I made a thicker mixer. Coverage was better, especially on white clay bodies, but way too chalk mat! Thanks again to both of you for all your suggestions and input. It's greatly appreciated! I will check out the e-Book and start studying!
  9. Bciskepotter and Min, THANK YOU for your feedback!! The entire load was not Turner White. I had pcs in semi-matt light grey, pale turquoise, black and leech blue (denim matt). None of the colors came out right actually - the black came out clear and so did the Leech Blue. The pale turquoise and light grey were inconsistent. I suspect something is up with the temperature. I have a digital temperature controller on my Paragon kiln, and after a couple overfirings, I watched it carefully and after doing some reading, fired it up to cone 5, 2167F, then put it on hold for 15 minutes because I saw that the Pyrometer Cone 6 had already bent to the correct position. Maybe I need to hold another half hour? Bciskepotter, I will take your advice and just re-fire some of the white pieces and see what happens. Min, WOW thanks so much for the recipes! I had read the Turner White was stable for Cone 6, but perhaps that's not so accurate. I will definitely try your recipe for Hill's White Satin. If I don't have Zircopax, what's the ratio of zinc oxide I should use? I read that I can substitute zircopax with that. I do have a couple books on Cone 6 glazes, but you're right TESTING is the key! I guess my last 3 glaze firings have been test pieces then! Coming from four years of firing in cone 10 reduction, cone 6 is quite frustrating for me because I really don't like that "plasticy", lack-of-depth look that oxidation seems to give. So I try to layer my glazes but half the time it comes out looking drippy and sloppy vs. the organic fusion of color and clay in reduction firing. Gotta keep practicing.... I am still trying to figure out what type of clays I want to focus on, so have been experimenting with B-mix, Venus White, Electric Brown, Morrocan Sand and Red B-mix. I find that my glazes look radically different on different clay bodies, and only specific combinations of layering turn out good but are not 100% reliable (maybe because I haven't figured out a stable firing program yet). I just looked up that book you recommended and it's listing USED for $166 on several websites. Is it so expensive because it's out of print?
  10. Hello, I am new to this forum and new to mixing and firing my own cone 6 glazes in an electric kiln. Boy, what a learning curve! I have much to learn. I'm grateful to you guys for posting so much useful information here:) I just fired a small kiln load of pcs of different stoneware clay bodies with Turner White recipe that I found on Ceramic Arts Daily. I thought it would be a stable fool-proof glaze so I regrettably did not test. My kiln has been overfiring, so this firing I made the adjustment of firing to cone 5, holding for 15 minutes. My pyrometer cone reached cone 6, so temperature is good...but....maybe some improvements still need to be made. The turner white came out different on different clay bodies. On Venus White clay (which has some grog) and B-mix clay, it came out an undesirable chalky, super matt. The surface almost feels like clay body. There was also some crawling happening on the Venus White clay body pcs. On red b-mix and electric brown, the finish was a tiny bit more satin matt...but not much more. I also noticed a lot of crackling, popping well after the pieces had cooled down. On some of the Venus White pcs, lots of crazing where I had dripped Leach Blue over the Turner White. What do you think the problem could be? Could some of this have to do with kiln temperature and/or cool down? And could I save these pieces by coating with clear glaze and re-firing? Or mix a new batch of turner white glaze with additional chemical to increase sheen?
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