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About Kabe

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    Advanced Member
  • Birthday 02/21/1956

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    My Great wife and Family and Playing in clay. I Love music and about any type of Art. Want to produce and Sell architectural ceramic art, fireplace fronts and the like and sculpted sinks.
  1. The bottom bricks are sort of falling out the bottom and I think if they get a new kiln it will be a down draft but I'm sure they will save the good brick.
  2. We have replaced the UMV controller that is on the outside of the electrical panel and checked all the lugs where it plugs in. It is a fireeye and we have replaced that. In fact when the eye sees fire it drops to 400 volts, maybe it we hade four eyes on the kiln it would fire. The ring will stay lit for a short time then the flame failure light comes on, that was why we thought it was the fireeye. Like someone said it is not the solenoid because it will open to lite the ring burner, it just will not stay open. We have repositioned the eye so it could get a better view but it still will not stay lit. My son, who is a electrician, said that there is no way we can get that many volts off of a 110 circuit. I have no Idea why we get this false reading. We even tested it with two different meters to see if it was repeatable and it is. A co-worker of mine recommended the tongue test like how you do a 9 volt battery but I declined. We did call Alpine but they said they don't work on this old of kiln anymore, although they did direct use to the parts we are using. The kiln tech who worked on it also changed out the control box that is inside the kiln. We are baffled as to what is wrong. We ordered a valve with a thermocouple and we are going to bypass the photo-eye system and set it up like a water heater. The kiln the instructor used at college was set up that way. The valve may be here Monday. I do believe that whatever produces the 500 volt reading is the problem, but I do not have the training to chase it down. At this point the instructor has a complete semester of bisque students wares and about a week left to get them glazed and fired. Bummer for everyone involved. Ain't clay fun, Kabe Thank you again for the help. On the bright side the school may get a new kiln this summer. We need to nurse this one through for one more semester. This one was installed in 1987.
  3. I work at a collage that has a 1988 Alpine kiln, Natural draft, Model ND-16, and the ring burner will not stay lit, which sets off the flame failure sensor. we have replaced the photo sensor, and the UVM control box and the highfire /soak switch. All the relay look clean and with no visual sign of shorting out. The kiln has been looked at by a kiln tech, to no avail. Someone in Tenn. said that it works off of micro volts and if there is a break anywhere in the wiring system (talking about a microscopic crack in the plastic coating covering the wire, not the wire itself) that will allow a single electron to escape and that is one to many for the electrical system. The power light on the control panel fluctuates. That does not seem right to me. I cleaned the key operated, power switch, but it still fluctuate. Would installing a new power cord make a diff? when you test the currant on both sides of the wiring of the photo light where it hooks into the panel the meter bottoms out like there is 500 volt going through it. you get the same reading at the control box. Why? Where would it pick up another leg of power or is that something to do with the way the photo light sensor works? We are to the point to where we are going to bypass the system and install a baso valve with a thermocouple, so we can fire the kiln and give the students their wares. Any advise would be helpful. They hope to replace the kiln this summer. thank you. Ain't clay fun, Kabe
  4. Thank you for adding me to your friend list. I will check out your videos on how to market art. wow what a concept, selling art.

  5. Thank you for adding me to your friend list. I will check out your videos on how to market art. wow what a concept, selling art.

  6. Wow!!!! I'm in love!!! Thank you for sharing this.
  7. I don't remember making a cast from I fired tile, so I'm not to much help in that area. I know that there are some great discussions about plaster casting in the posts. You can buy mold release for plaster casts, I use Murphy Oil Soap and it works for what I do. I tryed vasaline once and it made the cast soft, also the plaster has to be able to absorb moisture and I think the Vasaline would hamper that. Maybe my oil soap does too never though about that part before. Potters Plaster is at least 5 headachs better than hobby grade molding plaster, It is not hard enough does not hold up. I don't know what you bought. If your carvings have under cuts you will not be able to get them loose from the cast no matter how much release you use. I don't know how deep your cuts are. That's the few things that I know. Try looking back through the old posts, there are some very talented and skilled artists out there. The next one reading this may have just the thing. Happy Firing
  8. Hi Marcia. A friend of mine said someone in one of his college classes made some tile and when they were fire the tile "cupped" I guess that would be the word. They were like upside down bowls. I thought about this abit last night and maybe that would be more like a situation where if the glaze was on a pot it might of shivered and if thetile warped the oppisite way and the edges all pulled up it would be like crazing. It would be interesting to manipulate a glaze both directions and apply the test glazes to thin tiles and observe the effects. happy firing
  9. I do tile work and seldom have warpage but I mix my own clay and use a lot of grog. Let me ask this as a question because I might be way off base here. Could it be that the glaze is to tight and instead of crazing you are getting shivering. Seeing that it is a flat tile and not a circular surface maybe the edges are pulled up by the difference in thermal expansion. I know that shivering can tear a pot apart. I have a glaze that will break a porcelain pot everytime I try it. I do not know what glazes you are using or if all your tiles warp or just certain ones. Maybe someone who is better informed could tell if this is possible. Happy firing
  10. Julia Gallaway has a website that has some cone 6 white claybody's on it. I have made up a small batch of one of them, but I haven't ran any tests on it. might take a look there. Happy firing
  11. I may be wrong , it's happened before, but I think this is a plaster cast limited edition because of the splatters and how the wire is fused in the cast. If it were fired I think the wire would have melted. If it is clay it would be hard to scratch, it if it is plaster it will scratch rather easily. Happy firing
  12. This is a long shot and probably not right. Is there anyway a vent for the kiln (If you have a vent) is pushing air instead of pulling it out. My Kiln is out in a garage so I don't need a vent so I am not sure how they are set up on an kiln. If is possible for it to be going backwards this could put dust into the air. Hope this isn't pure stupid. But it might be. oh well. Hope you find the solution. and Happy firing.
  13. You can throw a centered cone, like when you first center your clay. Make it tall enough and small enough to set your vessels onto and you can use that to trim you work. Cover it with Plastic food wrap so it does not stick to you green clay. You can take the plastic back off if you need to adjust the size to fit your bowl. There are probably better way to do it but that works for me. Happy firing Kabe We would hate to have you abducted by the Humane society for braining your dog. I think small vessels are great test tool. I have started to throw all my glaze mixing bowls, cups large enough to hold 100 gram of glaze and a mixer beater. Part of it is because it is fun to have all these home made test cups and secondly I can use them to test glaze combinations. Like double dip rims. I number my glazes and put the number of the combination on the bottom of the cup with a wet mixture of red Iron oxide and bentonite with a small brush. Say glaze 101/402 that way if I want to repeat it It is easy to find. Plus it is good practice at throwing things the same size..
  14. Diane has a strong point. It is a lot easier to adjust your chair than to raise and lower the wheel, no matter what height you end up at. Happy firing Kabe
  15. Kabe, While it seems to make intuitive sense, that will not work with the clay body to obtain a COE figure. You are getting the COE of the body if it was FULLY MELTED into a glass........ which is likely going to happen at about cone 20-30. The reason that you can calculate COEs for melted glasses is just that... it is assuming that they are fully melted glasses. In that case, the individual oxide's COEs can be calculated to give an overall COE by their individual contributions to that factor. However no one has of yet been able to model the development of a COE for a clay body, because it is a mixture of melted glassy components as well as crystalline components. The variables involved there are immense. It will be a major breakthrough if/when someone figure out how to predict this. At the moment the ONLY way to come up with a clay body's COE is by using actual measurements. This is usually done using a device called a dialatometer. The dialatometer heats up a prepared sample rod and measures the actual physical expansion. A technique I have my students do in the ceramic materials (glaze chemistry and related studies) is to do a series of GLAZE recipes with a run of steadily increasing COEs.... running from a very low one to a very high one. Than apply the glazes to the clay body in question. At one end of the spectrum the glaze will shiver badly on the body. At the other end of the spectrum it will craze badly. SOMEWHERE in the place in between.... you will find the glas that fits the body. Using this number you can then APPROXIMATE the COE of the given body. best, .........................john Thanks John For the information. I have put this question out there before. This will give me a way to find out. There seems to be so much information to absorb. I am in a process of setting up triaxial glaze trials. Making a set of tiles that can be pressed out so test results can be hung up, where people can get some use out of the tests. Most of them end up in a shoe box . I can run a 10 stage strip with a glaze that will show slivering at one end and crazing at the other. Thanks again I am in the procss of learning the glaze chemistry and terminolgy involved with the art. Challenging. Happy firing Kabe
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