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Everything posted by Min

  1. Even when just mixed it doesn't want to suspend / thicken. I know Callie, it doesn't make sense but thats what it did. Same jar of epsom salts solution I always use. (I'm using my raw materials also, not the premix) It's a nice glaze with the 1 bentone ma, behaves itself well.
  2. This glaze doesn't suspend well with epsom salts, I know it should as there is plenty of clay in it but from my experience with it it really doesn't. edit: epsom salts worked in new test
  3. My hunch is there probably always were people who work like this and always will be. Agree that it seems to be more in our faces now than pre internet / widespread computer access times. I think it's hard to change some peoples beliefs; doing so makes them admit they were either wrong, misinformed or need to update their knowledge. If a pot looks nice and sells well then isn't that enough kind of attitude. I had a read through Laguna's article, "Why Are There So Many Different Clays From Laguna Clay Company?" interesting that they referenced midrange claybody recipes they acquired through
  4. What’s your decal firing schedule? Could be too fast for vitrified clay. welcome to the forum!
  5. I use that glaze as a liner in my cast tumblers, I tried the saturated Epsom salts solution when I was testing it. It really didn’t do much in my test batch of 1 kg of glaze. I switched over to using 1% bentone ma (aka Macaloid), much better. I use it at a sg of 1.39, found 1.44 cracked while drying. Hope you can sieve most of that out Ron. edit: fresh epsom salts solution made fixed the problem, it works.
  6. Sure. Will pin it for now, if it doesn't get much traffic I will unpin.
  7. I think the other thing that has made a significant change to how electric kiln fired glazes turn out is the practice of slow cooling. I think that has been a game changer; being able to get the micro crystallization of dolomite mattes etc. that are possible with a high mass hard brick kiln that cools so much slower than the typical electric kiln. I was looking through an online CM magazine from the fifties, an article spoke of using the kiln sitter and propping it back up and turning the dial(s) back on to medium for a few hours. I didn't know it was a thing back then to slow cool (I wasn't a
  8. You don't have paper and cardboard recycling where you live? Even after wrapping a mug in cardboard and/or double boxing there still needs to be packing material, egg boxes, recycled peanuts, popcorn, scrunched newspaper etc. What's the difference if someone recycles shredded cardboard versus intact pieces of cardboard? For the few seconds it would take to run a piece of cardboard through the shredder the electricity cost would be negligible. edit: I could see a version of the paper shredder adaptation linked above working for the indented craft paper too.
  9. For self supporting cones, yes, but like others have said there isn't much difference between that point and tip touching shelf. Re you runny white glaze, if you have a bucket of it it would be worth testing it with some EPK (Edgar Plastic Kaolin) to slow down the running. EPK is a common source of alumina in glazes, it can be used to stiffen up fluid glazes by adding a small amount of it. It could save you doing a separate lower firing for just that glaze and/or underfiring your clay. Seattle Pottery Supply has a couple glazes they sell as ^04 - ^6, a friend of mine uses it overtop of other
  10. Use the same spar, kaolin and silica but in different ratios and it's cone 10, is this all it took, a couple fellows doing a triaxial? Nobody thought to do this before?
  11. My hunch is it wasn't a direct move down from high fire or up from low fire to get to cone 6. I think it went to midrange first then was fine tuned to cone 6. If you take cone 02 (approx 2016F) for the lowfire approximate cone/temp and cone 10 (approx 2345) as the high and split the difference you get a hot cone 5 (2180F). We see some clay suppliers giving a midrange for firing like cone 4 - 6 or Laguna's practice of calling their midrange bodies cone 5 even though most can do cone 6.
  12. Bingo. To me a wifi enabled controller is an improvement/advancement of existing technology that makes firing the kiln easier. 3D printers are simple tech compared to current computer / robotics technology from which they are derived. Under Pres's definition of technology (as it relates to all things ceramics) both would qualify. @liambesaw , may I ask what your "normal definition of technology" is?
  13. Keep your throwing water and slop from your splashpan and add that back into the clay scrap. It's the fines that make the clay plastic, when you throw clay some of this is removed in the slip that is generated. Alternatively, @glazenerd suggests using a blend of 80% OM 4 ball clay, 10% silica, and 10% nepheline syenite for stoneware, using 1 cup of dry mix blend to 1 gallon of slurry then adjust amount as necessary. For porcelain he suggests using 50% Grolleg kaolin, 25% nepheline syenite, and 25% silica together plus 2% BentoneMA and use 1/2 cup of this blend to 1 gallon of slurry. His full a
  14. With all due respect @liambesaw I do think it's a useful dialogue to be having. From last weeks QoTW and the topic "Do you draw a line in the sand about technology when it comes to your studio or anything Ceramic?" it was your reply "I think 3D printers are the only real new technology to hit pottery since I was born, so maybe this is more a question for the older people here then?" that brought to my mind the possibility that we have different definitions of technology as it relates to ceramics. To me wifi enabled controllers that have only been available for a few years now would fit Pres's
  15. I think of wifi as being intangible but feel it would need to be included also. Or is the wifi the tool? Tough definition to nail down. Perhaps separating into old and new technology? Old could be anything that has been in use for X number of years, new technology after that?
  16. Some underglazes come with warnings to cover with a glaze in order to be used on "dinner ware" surfaces. Spectrum 300 series can be used as either an underglaze or over a glaze majolica style at both cone 04 or 6.
  17. Earlier this month Mayco bought out the colour division of Duncan Enterprises. Sounds like they will be selling off remaining inventory and then some of the products will be rebranded while others will be discontinued. Just a heads up if you use Duncan products, might be an idea to check if what you are currently using will still be available in the future. From a facebook page from Mayco: "As you may have heard, Mayco has acquired the ceramic fired and non-fired color lines of Duncan Enterprises, effective November 2, 2020. Over the next 90 days, Mayco will start manufacturing “The Best
  18. @Purpleglaaze, if you are using a brushing glaze you can lightly sponge on a thinned down coat of glaze, let that dry thoroughly then brush on the remaining coats. Other thing about glazing over unfired underglaze (ug) is the ug contains gums that can hinder the amount of glaze taken up by the bisque. When you bisque fire ugs the gums burn out so the bisque takes on the glaze easier. There are ugs that can flux enough at bisque 04 that also can hinder the glaze application. Like its always said, test, test, test. Welcome to the forum!
  19. It came with just the one thermocouple but when I replaced the controller I decided on using 2. The boards now have the option of 1,2 or 3 thermocouples being wired up.
  20. Try a triaxial with a 50:50 mix of boron frit (or gerstley borate) and nepheline syenite as one point, your clay as second point and ash as the third point. If you haven't done a triaxial before chart below shows how to blend. Basically you will be having 3 ingredients which will be blended together in different ratios. Might take few triaxials to get it nailed down but definitely should be doable. If it's too fluid then decrease the flux in a line blend. Fire your tests on waster pieces of clay and/or use little bowl shaped test pieces and just glaze the insides.
  21. I wouldn't call it a major fail at all, they didn't tip onto the elements, didn't hit the bricks, didn't make a glaze mess on the shelf. I think you were very lucky with how it turned out, not a major fail. You lost some pieces, no biggie.
  22. I wouldn't use your regular cone 6 clay, it's still going to slump, more and more so with subsequent firings. April 2020 C.M. has a kiln post recipe from Jeff Diehl that he uses up to cone 12, EPK 25, XX Saggar 25 and grog (30 mesh) 50. Another recipe that would probably work would be a mullite setter mix. C.M. June 2017 article from Glynnis Lessing making kiln setters ^10 using 20 Talc, 25 Tennessee Ball clay and 55 Mullite (100 mesh).
  23. I'm not seeing the pinholes as being a big issue at all if the clay is vitrified. Look at Japanese Shino wares, pinholes are part of the aesthetic. If you don't want the pinholes on the next one then try lightly spritzing the bisque with water about 5 minutes before you glaze it. The dampened bisque will take up less glaze so when the glaze runs down it won't create such a thick layer.
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