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PatIsGone

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  1. Like
    PatIsGone reacted to Mehmet Başak in I need help to build a downdraft kiln!   
    Yes maybe you right Patrick.My Brother who is ceramist either,also tells me that we should better buy an old kiln and restore it instead of buying or building a new one.
    But I really want to design a new one what I like and use for long years.I dont know yet what future will bring,it is still on researching stage..
  2. Like
    PatIsGone reacted to Magnolia Mud Research in I need help to build a downdraft kiln!   
    Mehmet, 
    before you make your decision, read the e-book: 21st Century Kilns.  You can download a copy from the Paragon website https://www.paragonweb.com/manualinfo.cfm?cid=212 
    The book covers  specific topics not covered in Olsen’s book.  
    LT
  3. Like
    PatIsGone reacted to soarbc in Downdraft gas kiln conversion   
    A year ago I posted an obscure blog article of two very simple gas downdraft conversions that have worked incredibly well. I have had some very nice thank-yous and I thought I'd make it available to a wider audience. It is an evolution thanks to many other people and is an inexpensive build process accessible to most. The kilns are easy to fire and get excellent reduction. 
    Here is a link: http://www.sebastianmarkblog.com/2018/07/gas-kiln-conversion-downdraft.html
     
    Cheers,
    Boris 

  4. Like
    PatIsGone reacted to Greenman67 in Paragon A82B 3   
    I cannot thank you all enough.  The kiln is working normally now. I took the sitter apart to clean the contacts and there was a dust bunny the size of Godzilla between the contacts on the left side. Canned air, a bit of sandpaper, and a good cleaning with alcohol made everything right as rain. I owe y'all  a beer or two if we ever meet and I hope this thread is helpful to others with similar issues. 

  5. Like
    PatIsGone reacted to Mark C. in Raku-pit firing -kiln building and trying new ideas   
    Nothing like a photo to show the concept
     

  6. Like
    PatIsGone reacted to Mark C. in Raku-pit firing -kiln building and trying new ideas   
    You know in the past 6-7 years many folks ask about doing pit fires or building raku kilns or have strange ideas on burners or kilns in general or whatever.
    Sometimes its and easy answer like the fellow who wanted to use a meat grind instead of a pug mill.
    Despite the it will not work answer he tried it and broke his meat grinder-easy lessen right-we knew he now knows its a win win.
    Many have unusual concepts about this and are asking if it will work. Some are completely unknown to us and we have no idea if it will fly others are more down home solid concepts.
    The main idea is will it work???
    One may ask how do we know anything about their idea-well thats a hard one -but at least for me I have had a few strange ideas and tried them out-I call it school of hard knocks learning
    I once thought of combining raku and being portable. One could just get the trash can ready and have a very small portable kiln that you could wear around and when the pot was hot enough just bend over and drop it into the reduction material in trash can. I worked up the idea and tried it out.
    So next time when you ask hey what if I try this just remember we were all nuts jobs at one time and may know about whether it may work from experience
    BY the way my wearable raku kiln was impractical. So if your are thinking about making one, I have and do not suggest it as I'm speaking from experience .
    Mark
  7. Like
    PatIsGone reacted to GreyBird in Hudson River Clay   
    These are what I consider to be my three successes  the bottle is Old Gold Hudson with painted underglaze dot accents and a few lines of a blue green glaze brush lines accents. The Squid Vase or "Octo Vase" has Hudson 30 sprayed on with cobalt green lightly sprayed on the top half to highlight the tentacles. Could have used a bit more of that maybe. The little jar is just underglaze with butterscotch onto and melted glass but at least I didn't ruin it with my crazy decorating ideas. LOL:
     

  8. Like
    PatIsGone reacted to glazenerd in Hudson River Clay   
    Mary:
    Want to see your clay up close?
    You can see the alkali film bleeding across the sedimentation lines in the first pic. In the second pic which is towards the surface: looks like the high iron content is oxidizing. You definitely have a large amount of mica: can see the crystals in other views. Which explains the high potassium and higher alumina levels. I did an "unofficial" sieve test yesterday: I sieved about 1/4 pound through a 100 mesh screen. Then I took one level teaspoon and sieved through a 200 mesh screen: about 70% passed. Unofficial, but gives me some indication of what you are dealing with. I can also see a green cast in some views: usually associated with chlorite minerals. Early in the game at this point: but I am going with some smectite variety, which has heavy mica deposits, hematite, and ??? (will have to test more). What I was wrong about: little to no humus.

    Been awhile since I have seen natural clay bleed fluxes.

    Suspect this is your iron (8.31%) oxidizing as it is exposed to air.
    Tom
  9. Like
    PatIsGone reacted to curt in Hudson River Clay   
    Yes.  You would.    And without that analysis you would be doing it the hard way.  A particle size analysis would also be very helpful to speed you along on clay body development, although you can mostly do that yourself if you have the right sieves. 
    But be warned that the costs don’t stop there.  That the exercise is also expensive in terms of time and firing....
    ...and now you find yourself at the edge of the rabbit hole, peering down, wondering if you should go in.  Don’t worry, the Mad Hatter is in there somewhere....  
  10. Like
    PatIsGone reacted to Magnolia Mud Research in Ball mill - ceramic ball sizing   
    Go read Cardew’s book - Pioneer Pottery.  It has details on ball mills.
    LT
  11. Like
    PatIsGone reacted to Bill Kielb in Changing a thermocouple issue   
    Cut them to length. One wire is Cromel (positive) one is alumel the only thing that matters is the junction so cut them to the exact length you need at the back end to match the length of the original exactly and reinstall per manufacture. Protection tube type must be long enough to  extend all the way down the tube and touch  as Neil mentioned. Oh if you accidentally lose track or cut off the red marker, the red is magnetic and the yellow is not.
  12. Like
    PatIsGone reacted to neilestrick in Likely ruined plaster wedging table   
    I think that's a great idea. To go even further, pour some porcelain slip on the table. Once it's set up and you can peel it off, it should take up any remaining red clay. But I think just wedging a bit would probably do the same thing.
  13. Like
    PatIsGone reacted to C.Banks in Likely ruined plaster wedging table   
    On the list of things that can go wrong in a studio this is kinda' minor.
    Our brains will tend to make a situation worse when left to over analyse - at least mine does.
    Maybe try a thin slab of porcelain on the plaster to take up some of the iron - you could use both sides and see how much or little it leaves behind.
     
  14. Like
    PatIsGone reacted to killacarly in Advice on Kiln I Found   
    Thank you all! I am picking it up on Friday :)
  15. Like
    PatIsGone reacted to Housefull of pots in How did you learn to fire your own kiln?   
    THanks Patrick =-)
    Good to see pics and hear of home made kilns pros and cons.. love the glass of red you had to put down to take the pic lol.  The hood worked fine, maybe could have been a bit wider actally as it was getting pretty hot and the finish kind of shmooshed like you said but otherwise pretty happy. I found a manual online which described how to make a hood with dimensions and it pretty much matched up what we came up with so that was cool.  Gonna do another firing this week hopefully and test out top temps with some ash glazes. 

  16. Like
    PatIsGone got a reaction from Rex Johnson in Kiln still stalling   
    OK. Quick check to see if it's a tank freezing issue.  Take a 20 pound propane tank - the kind you use on a gas grill (borrow one from a friend if need be).  A 100 pound tank should have the same valve as a 20 pound tank.  Fire your kiln with the 100 pound tank until it stalls.  As soon as it stalls, turn the gas valves off, swap to the 20 pound propane tank, and turn the gas back on.  (No worries about pressure differences in a 20 and 100 pound tank.  Propane makes it's own pressure by boiling at -43 degrees Fahrenheit.)  The kiln will be hot enough that it will re-ignite the propane as soon as it enters the kiln. Propane ignites between 920 and 1020 degrees Fahrenheit (Some will say "unsafe" - do what you feel safe with.) Try to finish out the firing.  You should only lose a few hundred degrees in all this swaparoo.  I've shut down the kiln, drove to the store to swap out a 20 pound tank, came back home, hooked it all back up, and only lost about 300 degrees.  If it is a freezing issue, this will let you know for sure.
     
  17. Like
    PatIsGone got a reaction from Rae Reich in Kiln still stalling   
    Linda, just as a point of reference, according to Ward Burners Kiln Cubic Feet and BTUs, if your kiln has 9" of insulating brick (the soft brick), you need approximately 10,000 btu per cubic foot of kiln space per hour.  You have an 8 cubic foot kiln.  That's approximately 80,000 btus per hour to hit cone 6 (APPROXIMATELY).   I haven't checked the orifice size chart, but here it is for your reference.  At 11" WC (I know you have 12" so 11" should be fine),  you would need an orifice size of at least 7/64" (for only one burner!)  to put out that many btus at that pressure(11" WC).  ... That is unless you increase the pressure (which was why I brought up adjustable high pressure regulators in previous post).  More pressure = more fuel = more btu/hour through same orifice.  Don't go voiding warranties or blowing stuff up though! Make sense?
  18. Like
    PatIsGone reacted to glazenerd in Stoneware Limit Study   
    Marcia:
     
    Indeed it does, but like most threads: it took little time to get down to the chemistry of it all. Stoneware limits will end up being a set of values that produce a mature body, and the upper end of those limits before each creates problem. Color will end up being a different table of values all together:  and adjusting properties a different table as well. Ole Neil is trying to save me from spending the next two years pulling my hair out- bless his heart. The link I posted above does a fairly good job of detailing how to manipulate a stoneware body for color or speckling. Obviously that was studied and released because that is what potters care about the most. How to paint the canvas has already been tested, how to make a canvas has not.
     
    Curt:
    Porcelain originally started out being a basic 1/4 recipe:  25% kaolin, 25% ball clay, 25% silica, and 25% flux. Laguna now calls that their 50/50 porcelain recipe: more marketable I suppose. Most porcelain bodies are a light to medium gray color because they are 30-35% kaolin, and 15-20% FHC (foundry hills cream-ball clay). Again, price point driving the market. FHC is highly plastic, and once you get into the 12-15% recipe range: plasticizers are not even required. The vast majority of porcelain and stoneware bodies are using Nep Sy as the flux: again because it is dirt cheap. If I wanted to buy a rail car of Nep St, it would run me about 0.04¢ a lb.and FHC would run about the same.
     
    Premium porcelains running from 0.80-0.95 a lb. include the good stuff like grolleg, or super standard (china clay), and higher amounts of KnaO are added to make it all perty and glassy. The recipe above notes much higher amounts of CaO than what is typically found in the States. Pot Clays out of England ran tests back in the 90's and found CaO made an excellent floucullant and added to the green strength. I am already seeing that the premium stoneware bodies are using kaolin: mostly #6 tile kaolin. They are also using the more expensive, but cleaner grades of ball clay. So deciphering clay bodies is really not that tough: just add up all the cheap stuff and you got it.
     
    Any potter can make up their own clay, without going to the expense of blungers, puggers, or mixers. Just find an old kitchen aid mixer with a good motor and a dough hook: and go to town. You could easily mix 50lbs a day, in small batches. The only thing required is to set the moisture at 12-13%, then let it age for a day or so before you use it: so it will hydrate and bleed off the excess moisture content. Adjust to the amount of clay you use every day, and always stay one day ahead in your mixing schedule. Give me another year or so, and I will post some recipes as: 2 cups of kaolin, 1 cup of ball clay, 1/2 cup of Nep Sy, and 3/4 cup of silica: you will not even need a scale. Clay is not like glaze, exact amounts to the 100th percent is not required.
     
    Nerd
  19. Like
    PatIsGone reacted to Min in "fitting" Glaze Shivers When Applied Thin?   
    Something wonky going on with the absorption test, 2.27% doesn’t mesh with what one would expect if the body is low on flux as Nerd pointed out. Try taking take a pot and put a drop of ink or food dye on the unglazed bottom of it and leave it sit for an hour or so then run it under the tap to wash the ink off. See how much the ink/dye stains the clay.
     
    If you had crazing test glazes you are not going to have shivering with the same glazes; high expansion to craze, low to shiver. 
     
     There is a good article on testing clay bodies, before going into production,   , here
  20. Like
    PatIsGone reacted to glazenerd in "fitting" Glaze Shivers When Applied Thin?   
    Hi Patrick:
     
    I see a failure to bond at what is known as the clay/glaze interface. The flux at the surface of the clay, and the flux in the glaze both adhere and bond to each other: creating a mechanical structure.. See below>>
     

     
    You can see the clay body (white) being pulled up into the glaze, and the glaze (blue) being pulled into the clay: a true mechanical bond. The lack of flux in the clay is causing the bond failure in this case.
     
    Nerd
  21. Like
    PatIsGone reacted to Magnolia Mud Research in "fitting" Glaze Shivers When Applied Thin?   
    How thick are the rims of the bowls and cups that are shivering?  Also how sharp are the 'corners' between the wall surface and the rim surface?  I often see work that has problems due to not enough surface area to hold on to the glaze layer. The actual failure is in the clay body, not in the glaze. 
     
    A thick layer of strong glaze can often cover up a structural design issue.
     
    LT
  22. Like
    PatIsGone reacted to glazenerd in "fitting" Glaze Shivers When Applied Thin?   
    Min:
     
    I ran his formula on Glazemaster (Clay Body) mode-- 1.64% alkali molarity. about half the required minimum. Hawthorne has 1.50% total alkali molar. The mine recently updated analysis sheets: Tony has not updated Insight yet: slightly higher than the old specs.
     
    Nerd
  23. Like
    PatIsGone reacted to Min in "fitting" Glaze Shivers When Applied Thin?   
    Glazes don't look like low expansion ones, wondering if this is shelling and not shivering. Nerd, you don't think the Hawthorne is supplying enough extra flux? Looks like a somewhat similar V.Cushing recipe which has 10 Kona added to it. Patrick, how are you doing your shivering tests? 
  24. Like
    PatIsGone reacted to glazenerd in "fitting" Glaze Shivers When Applied Thin?   
    The only addition supplying flux to this clay body is redart: and that is less than half the total minimum fluxes required for a cone ten body. Nearly 50% of the recipe is larger particle fire clays. Have you even done an absorption test on this body? I would estimate by the recipe it is approaching 8-10% absorption range? There is not enough iron present to make up for the lack of flux. this strikes me as an old Raku / wood fire recipe.  Do not think your glaze is the problem. Have you looked at the glaze shivers closely? Are there course particles present on the back of the shards?
     
    Nerd
  25. Like
    PatIsGone got a reaction from Evelyne Schoenmann in Qotw: Is Art Pointless?   
    I guess my response would be along the lines of:
     
    "I know.  I know.  But of all the pointless things we do and make, I find it one of the most worthwhile."
     
    And I would then try to help that person understand they really don't understand what they are saying.
     
    "Die Kunst ist einer Tochter der Freiheit." - Friedrich Schiller
    Translation: Art is a daughter of Freedom.  Wouldn't be a bad assumption to make about the Spoilsport, and try to help free them up a little bit.
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