Jump to content


  • Content Count

  • Joined

  • Last visited

Everything posted by 1515art

  1. Tom Thank you. this series “one small fish” is a reflection on Autism to swim alone as one small fish in a giant ocean.
  2. Thank you, I got lucky with the glaze breaks.
  3. I’m not necessarily recommending this as a solution but you are asking if anyone has done this and if it worked. I made a hood system for cheep for my 16 cu’ Alpine updraft on a outside kiln setup with a metal roof and mostly metal framing. For the hood I used a galvanized metal wash tub and just your standard sheet metal single wall ducting. I lined everything with fiber and just used 4 fairly lightweight chains to suspend the assembly from my structure over the kiln. Although it could be a tiny bit bigger It’s worked perfect for the last 11 years this is not something I would consider venting inside through a structure or inside where you need to vent all the gasses. The same fiber lined pipe is on the home made down draft kiln except it’s direct connect vent pipe with no hood and both have home made sheet metal fiber lined vent caps.
  4. I have two TS wheels a 1/3 hp and the other TS is the 1 hp and I like them both very much my local dealer sent me the 1/3 by accident first and I decided to keep it. the 1 hp wheel is obviously much more powerful but the 1/3 will handle 25 pounds of clay although it will slow some centering large amounts, I like them both but if I had to make a choice and was keeping only one it would be the 1 hp. I just gave an old Shempo RK2 wheel I bought back in the late 1970’s to a friends son who was learning to throw that still worked perfect after 50 years in the studio that’s the type wheel I learned to throw on and there’s still a lot of them in classrooms everywhere.
  5. I think most stoneware bodies throw basically the same unless the mix is short by error somehow particle/grog can make them feel different but if the clay is well aged that’s the key difference I notice old seasoned clay is extremely plastic and throws great. I’ll buy a ton of clay and wrap the whole batch up for a couple years different kinds from different makers and after Time growing all the good stuff it’s so plastic you ‘d be amazed what it will do, even old bags gone bone dry rehydrated in a 5 gallon bucket come back as beautiful stuff it’s well worth the effort.
  6. I see a T just after the regulator I’m not sure what you have on each end of that, the second picture shows a check valve to your pilot safety shut-off and then there is a knob I’m assuming controls the flame to the pilot? Are you running a separate line from the T at the regulator to each burner? All of my setups start with some type of gas shutoff valve, with natural gas that valve controls the rate of flow on lpg the shut off valve is followed by a gas pressure regulator some type of gauge is next in line on both systems so I can monitor pressure and consistently reproduce results maintaining the kiln optimally during the firing cycle, my kilns also have air control being a screw disk air gate or forced blower giving me control over the air to gas mixture this will provide some of the atmosphere control (oxidation/reduction) where I have a valve at the burner I usually only use that to shut off one or more burners during candling (water smoking) otherwise they are all full open, lastly is the damper on top of the kiln also controlling kiln atmosphere and pressure giving you some control over heat distribution the air control will also affect heat balance and works in combination with the damper.
  7. The cylinder valve is on/off I don’t believe you have any reasonable control over the flow, the regulator is what you should be using to control the rate of rise in temperature, if you are using a Venturi type of burner the adjustment for air control is at the burner some burners may also have a shutoff valve at the burner and this can also be adjusted to control and balance the kiln the last control you have would be the damper this is used to control pressure inside the kiln as well as the atmosphere.
  8. If you only want to know if you can open you kiln really hot, I’ve opened my 16 cu’ Alpine a couple times above red heat without any noticeable damage although I’d expect repeated thermal shock is harder on the bricks than gently cooling. One time during a cone 6 firing I opened the kiln around 2000 F cooled it a bit and then refined to cone 6 producing some interesting effects on the items without any damage to the pottery and another time I used the big alpine to raku fire a piece that would not fit in my raku kiln, the only difficulty was the heat I had to endure pulling a 36 inch tall item with the large door all the way open was quite hot.
  9. From the album: work at 1515art

    Commercial real estate project in San Francisco
  10. From the album: work at 1515art

    Commercial real estate project in San Francisco
  11. From the album: work at 1515art

    Commercial real estate project in San Francisco
  12. From the album: work at 1515art

    Commercial real estate project in San Francisco
  13. For the bottoms of my pots I’ve quit waxing and just wipe the bottom with a big tan utility sponge after I glaze holding my pot in one hand and the sponge in the other twisting my pot back and forth on the sponge until I get a clean line, clearing as little or as much as I want. If my pressure is steady and even the line is also clean, sharp and even it takes only seconds to clean the foot and I’ve never had a problem with pieces sticking due to this technique alone. It will stain white clay foot with the colorants in the glaze so resist is better if that’s a problem.
  14. Jeff, for detailed work I’ve watched the decorators in the factories in China using a latex resist I’m not sure if it was water or ammonia base or if it would make a difference duplicating detailed blue and white traditional designs. They made it look easy although I’m sure it’ll take practice brushing on green tinted latex over transfer design and then immediately tracing the transfer design with a sharp bamboo stylus through the latex removing a fine line on the still wet resist. Repeating this process small area by small area until the entire piece is covered in the latex with as fine a line cut as needed over the complete design using the stylus. After the latex dries completely they brush on oxides, peal away the latex and spray on clear glaze single fire I think. it’s a nice effect and when they do it produces clean sharp cobalt blue designs. Having not tried this it may not work as well on bisque ware, watching them work they cut the wet latex quickly and easily and the lines remained clean I’m not sure of the mix they used for the oxides. I have some photographs of them working I’d post but don’t have them handy at the moment.
  15. It probably works for me because I seldom (never) do slip cast objects and do mostly press molding with my plaster casts, I’m only interested in the quality of the mold surface and if the object releases from the mold, dryings not an issue and so far I’ve never had issues attaching parts or with the firings because of the oil. I guess I’ve used it for years because it good on the skin and was handy one time when I needed something not knowing any better, I’ll have to try the soap.
  16. When making plaster casts of things I’ve had pretty good luck using olive oil as my mold release agent, the spray cooking olive oil works well.
  17. No, it didn’t warp when I stuck it together it was off a little depending on what angle you look, I figured I’d just go with it sometimes you have to know when to quit. The glaze is cream with speckles dusted with red/gold.
  • Create New...

Important Information

By using this site, you agree to our Terms of Use.