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Everything posted by Mudfish

  1. has anyone tried the Katz-burke formula in reduction? I'm just wondering
  2. ok thanks. I will go with the Katz-burke formula. I know Chrome, Nickle, and rutile as colorants will not add gloss. Well, thanks again.
  3. I've found that photos on glazy or other websites sometimes are not the actual result. Also, will the Katz-Burke formula work well on stoneware? I usually use a buff to gray/brown stoneware
  4. oh wow, thank you so much! I will try this and also I'm looking at Rat City Studio glaze formulas. What do you think of this formula? Dragon + 2% Nickel Carbonate Recipe: Minspar 44 Cornwall Stone 22 Whiting 18 EPK 5 Zinc 7 Titanium Dioxide 4 Bentonite 2 +2% Nickel Carbonate
  5. do I increase the flux the same percentage as I reduce the silica/alumina?
  6. this is embarrassing, but I really do not understand glaze calc. I think you are saying that I should try reducing the alumina, (epk, om4), and reduce silica.. I'm thinking silica is from the custer feldspar. Then, after that, should I increase the flux? The Cornwall sub is from Mid South Ceramics, but I don't have the formula.
  7. This is on brown stoneware. Brooklyn Red, I think
  8. Shucks. Im really having issues submitting pics. I'll keep trying
  9. https://www.facebook.com/1634468103/posts/10223056971406083/I have a glaze formula that I made myself. I have tried it in reduction, cone 7. It is a beautiful stony look, but has a very velvety feel. Does not seem to like my other glazes, as they pinhole over my new glaze. My new stoney velvet glaze crawls slightly where it settles in low places and gets thick. My question is, if I add some silica, say 3%-5%, will that stop the crawling? Here is the formula: Custer feldspar 40%, om4 ball clay 20%, epk10%, calcined epk 10%, Cornwall sub 13%, strontium 7%, ultrapax 5%, zinc 3%. Also added about 1/2% rutile and 1/2% manganese ox. I'm thinking maybe some silica will stop the crawling. Any suggestions will be greatly appreciated. Im having trouble posting a pic, but I'll keep trying
  10. https://m.facebook.com/story.php?story_fbid=10222891159700894&id=1634468103https://m.facebook.com/story.php?story_fbid=4440959362600664&id=100000599325935 https://m.facebook.com/story.php?story_fbid=4440956075934326&id=100000599325935
  11. oh, yes that is a wooden beam. I have cut it away. I do realize that the chimney is kinda close to the ceiling., I keep a fan on it and I monitor it with a infrared heat gun. It does not get hotter than 130*f
  12. Its been a long haul, but I feel like I'm on the good side of a long and well paid for workshop - and I didn't even have to leave home! Thanks all !
  13. no not any more. i have cut it away
  14. At last I can report some success here with my cantankerous converted kiln. After many alterations and dismal test fires, I can finally say I'm enjoying smooth sailing with even temps right now. Initially, during my test fire today, the bottom level just lagged behind the top level. No matter WHAT I did with the damper. So. , I VERY carefully added more height to my stack during mid-fire, and it worked! I know the new addition looks like crap, but I'm so happy right now and looking forward to making the extra height look as pretty as the rest of it!
  15. Thanks again, Bill. So I'll play it safe and make it a two day Op
  16. I am re doing my chimney to my converted kiln. The chimney will be around 9ft high. My question is "can brickwork on a structure like this be completed in a day or does it require doing it in sections to allow for the mortar to set up?"
  17. Yes mine is a downdraft. If I can remember... Im pretty sure the quick cool episode happened the first time I fired it. Originally I had the burner ports on the side, and I did not close them off with bricks or something when I shut the kiln off. but now the burners are on bottom about an inch from the burner ports and I slide a kiln shelf over the burner ports when I shut the kiln off. There was a pretty significant hunk of brick missing on the lower level where the kiln was losing heat, so I repaired it. I measure the outside temp with an infrared heat gun while its firing, and I could tell it was about 100*f hotter on one area, so that is why I did the brick repair. I will fire tomorrow, so I will know then if the brick repairs have done the trick. Otherwise, on previous firings, the cones (6, and 7) easily dropped on top and bottom, except in the place where I needed to do the brick repair. I will let you know how it goes Thanks
  18. Thank you, Callie I thought zinc was a flux in glazes, I actually omitted it, because I thought it would make it glossy. I'm going to maybe make a small batch and re-test it thanks so much
  19. its an electric conversion 27"x28". I sealed up some places where there were some brick damage, so I think this will help me in evening out the top & bottom temps. Thanks, Neil
  20. Well Min, you make my issues sound as much fun as they truly are! So, here is more info on my process: - I do not shut down my kiln after a cone 6-7 reduction fire. I wish I could.., but I know it would cool WAAAY too fast. - yes, my kiln cools quickly. The first time I fired it I did just close the damper, off with the burners...and within less than 4 hours it was about 300*F . Thats quick! - I do have a difference between top and middle. I am getting better at firing to an even temp, lately. I just had to learn the ropes with it. For now, I just want to be safe and use glazes that have a wide firing range. - cone 6 clay. I mix my own. Its mostly Goldart 65 parts, 20 parts hawthorne, 5 parts neph sy, 5 om4, 5 parts redart. - I stagger the shelves when I stack. first shelf sits about 5 inches from the floor - I make mostly functional ware, some thrown and attached sculptural forms that are based on functional ware, but mostly I make functional ware - yes, durable glazes - not much luck with glazes. I think mostly because I've been wasting my time trying to salvage some foo-boo glaze I had. I'm done with that and in search of a reliable base glaze - Hal's Pale Apple formula : Forshammar Feldspar 40 Cornwall Stone 20 Kaolin 20 Whiting 20 Zinc Oxide 7 Total base recipe 107 Rutile 6 Yellow Ochre ...And I was shocked at the actual results I got from Hal's Pale Apple. From the pic, it looks matte. Its not. Not in my kiln. It looked more like a celadon, with crackles everywhere. So I fired it again, with a slow cool, and the crackles were gone. I was so worried about the crackle business, that I did a very slow cool. All I'm saying is, after a ten hour fire, doing another 4 or five hour slow cool is a lot of time. If I have to operate this kiln this way, ok, but I would like to not have to worry so much about the slow cool process. I would like to use a base glaze that is not so prone to crackling, and has some wiggle room with the maturing cone. and matte. Maybe I'm asking too much, Idk. Yikes. Thank you for your attention, Min. I do appreciate the suggestions and your knowledge. I'm new at this. I have been using the touch and go kiln types for years, but I have always loved reduction.
  21. Thanks Bill I will try this out also
  22. Thank you, M. M Research.... I like your idea, my issue is I really do not have a clear that works. I've always used matte even when I was firing with electric. I did this suggestion of yours with Hal's Pale Apple... I chose Pale Apple because of its wide firing range. I added 4% u-pax. I like the color and I can tell if I add a bit more u- pax it will matte it up a little more...its just that my (converted) kiln cools off so quick and I havent mastered the slow cool and targeting the temps to do holds...so pale apple crackles if it is cooled off too quick. Honestly, I would just like to nix the tedious manual slow cool process, or at least use a glaze that is not so sensitive. Pale Apple is a high feldspar...so there ya go. I did find a matte base Cooper formula on the Sankey glaze data site. It is in the cone 5-8 range. Im going to test that. If anyone has another glaze suggestion that would be great. Thanks :)
  23. My kiln fires sometimes one cone difference from top to bottom so this is why I just want to play it safe and use a wide firing range glaze, preferrably
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