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Everything posted by Min

  1. No you don’t need to hold the trip arm up by hand. After the kiln trips off lift the trip arm up to about 45degrees then press the white button and gently release the trip arm. It will rest without tripping the power switch off. Kiln will keep firing until you either press the trip arm down to (re)depress the trip arm to trip the power switch or if your kiln has a timer it runs down and shuts off the power. It will take a fair bit of experimenting to figure out how long to hold it without a pyrometer, you’ll need to figure out a schedule for turning the elements down so you don’t overfire t
  2. Each post has 3 little dots on the right side, click on those then click "edit" then you can delete the duplicate link you posted. You have the option of adding a reason why you did the edit in a little box at the bottom of the edited post. If you have problems with this just pm any of the mods for help if you need it.
  3. Need to have some flux in the slip. Silica, kaolin and ball clay alone isn't going to work.
  4. If you are not doing a controlled cooling that would be fine to shut off the electricity for the cool down.
  5. Hi Shelly and welcome to the forum. Could you give a bit more info about the engobe your friend is using in Germany? It could be what we would call and underglaze in North America or it could be an engobe. There are different definitions of what an engobe is so if what the product actually is could be clarified first it would help. If indeed it is what we in North America call an underglaze the problem could be that it was applied too thick and needs thinning down with water.
  6. Which claybody or bodies is your reclaim made from, what is your bisque schedule, what is the glaze recipe, what is your current firing schedule for glaze, is this a dipping glaze, do you use the same glaze on same clay that isn't reclaim without getting the pinholes?
  7. @Katie Piro, hope we haven’t side tracked too much from your original question. Takeaway from the fast vs slow cooling part of the discussion is that both of the glazes you were asking about are going to react to a slow cool. Level of "matteness" can be altered if required for your purposes. I'ld suggest just using the program you already use for those glazes and add your opacifier(s).
  8. I feel one of the most important advances to electric kiln firing is the practice of slow cooling. Since we are talking about one of Roy and Hesselberth's glazes and slow cooling vs rapid cooling an image taken from their FAQ page below. Same glaze on all 4, Variegated Slate Blue (which uses the High Calcium Satin Matte base 1) only difference is the cooling schedule. Link to article the test tiles taken from here. Yes! That's what is so wonderful about it! In addition to creating wonderful matte glazes slow cooling is beneficial for phase separation in other glazes also.
  9. High calcium matte glazes like the Hesselberth and Roy High Calcium Satin Matte glazes are supersaturated with calcium. During cooling the calcium forms microcrystalline structures (with some of the silica and alumina). Given that the flux ratio of this glaze is 0.1:0.9 using calculations this shouldn't be a durable glaze but in practice it is. Since some of the calcium is precipitating out of the glaze to form the microcrystalline matte surface I question whether using calc alone is enough to judge whether a microcrystalline glaze such as this one will be durable. My thought is the calculated
  10. I'ld try mocha diffusion. Could use a high ball clay slip that is similar in colour to your base clay and manganese in the "tea" if you want the same look as your image.
  11. @Katie Piro, I've tested the High Calcium Satin Matte 1 base with 12 zircopax plus 2.5 tin oxide. It's a lovely white and still a semi matte with these additions. It does bump up the silica level (from the zircopax) but I found it still matte enough for me. I was using it over a white clay, I don't know what colour your clay is but will need higher opacifier levels over darker firing claybodies. I found it did slightly cutlery mark. If you also find it cutlery marks then do a line blend of the semi matte glaze plus a clear glaze, both with the same levels of opacifiers. There should be a point
  12. Thanks Dick and Neil. Local pottery supply place charges just under 40- so both suppliers you linked are far less expensive, will definitely order from one of those. Thank you!
  13. Really don't care for the crimp on connecters that Skutt uses. Much prefer these, $2- each from Pottery Suppy House / Euclids. @Dick White, is there an online electrical shop you can recommend for relays? (preferably with relays that aren't low quality import ones)
  14. I agree! I was trying to figure out what looked familiar about it even though I've never seen it before. Took me a while but then it dawned on me, the pot on the cover of Robin Hoppers book Making Marks.
  15. If the 2 glazes are similar in composition there is going to be less chance of them flowing together and creating an uneven line during the melt. If you want a dead sharp line then avoid having one glaze high in alumina and the other low in it (for example), what the one glaze is low of it will pull from the other glaze. If you use a gloss over a matte or vice versa there is often more visual texture happening between the two glazes than having the same (or very similar) bases (plus colourants or opacifiers) overlapping. Same principle for keeping a sharp line between glazes. Other thing is to
  16. Yup, that would work too! Maybe a little faster to make using a cake pan, doesn't need to be glazed and fired. But my version would need to sit on something.
  17. An idea I've had for years but never actually got around to making is a glaze pan for doing rims of mugs etc. Glaze the outside like Liam said then to get an even line around the rim dip in a pan with a threaded shaft through the middle to let the air escape. Marker line around the inside of the pan (black line) to keep the glaze level topped up, hole drilled through the pan (red circle) and threaded shaft (blue) with a washer and nut on each side to keep it snug, probably need a little gasket to stop leaks. Would have to sit it on a container of some sort since the thread goes out the undersi
  18. If there is any chance of making your own casting slip instead of trying to alter a commercial one I would go that route. Claybody colour would be far less expensive to achieve by using darker firing clays. Manganese speckle might or might not stay suspended long enough in the casting slip to work, I'm not confident that the larger bits would, also the larger manganese particles probably wouldn't be on the outer surface of the cast so I'm not sure if they would show. An example of a similar colour casting slip here, the M340 revison 7 titled L3798G. It looks like it needs to go to cone 7 to ge
  19. This can vary depending on how thick the pieces are but in general a slow bisque firing would be the safest until you get to know your kiln and firings. Temperature varies depending on how fast or slow you fire the kiln. Turning the kiln up quickly will take a higher final temperature to reach a specific cone rather than going very slowly to reach the same cone. In effect the cones are measuring both the time and the heat spent working on the clay. Temperature measures just that alone. Cone 04 (approx 1060C) is a common cone to fire to for functional work. It leaves the bisque strong eno
  20. I compared your recipe to quite a few that I've tested, including one from Andrew Martin. (he has a great book on slip casting if you need one) Have a look at the formulas (below the recipes), I'm not seeing anything thats really out of whack. If it casts okay I'ld be looking at other causes for the chipping and crazing. For both I would confirm that the kiln is firing to a full cone 6, verify with witness cones on each shelf. Depending on what qualities of the glaze is contributing to the type of matte glaze it is makes a difference to the scratch resistance of the fired glaze. Cutlery
  21. @Ronnie Payne, please add a price and location to your Peter Pugger post. Thanks
  22. Hence the stainless. Yeah, I would expect tin to degrade in such a corrosive environment.
  23. Kiln bricks to carve out plugs make really good plugs but it's dusty if you use power tools, I've found whittling them by hand isn't as dusty but still needs to be done outside (wearing a respirator). Other option would be to use peep "flaps" instead, 2 of my kilns use these. On the Euclids kiln they are made from an open groggy clay, on the ConeArt they are stainless steel. Would need to add 2 self-tapping screws for each. One screw to attach and pivot the other screw to hold it in the open position. Advantage to using flaps instead of plugs is they don't get dropped or lost. Disadvantag
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