Min

Well,  hot diggity dog--I have received an invite from the Ceramics Art Network's magazine, Ceramics Monthly, to write a short article w/pics for the Quick Tip series. It will be about my simple "works for me" inventory/storage system.

extruders

What kind of wifi cam are you using to monitor your digital  controller? I just installed one yesterday but did  something wrong and the red LED display is hazy on camera. I suspect it's too far from the controller; it's about 5 feet away on a  bookshelf. It's a cheap model that nicely pans and  zooms, and it supposedly has  HD. You put yours on a tripod, yes? My iPhone held up to the controller captures the numbers fine so I suspect the problem is the distance from the lens to the readout. 

-28C, colder tonight

thanks Siberia

Just  learning how to be "Part of a community"... 

Hi everyone!  This is quite the community.  Glad to have stumbled upon it.  Minju and I are based in Taipei - we make pots on our balcony.  Bear with us as we find our way around this forum.

Merry Christmas and Happy New Year to all you wonderful people.

My First "Hi".

I volunteer in an art studio where all bisque ware is fired at cone 5.  Is this ok for the stoneware I use which does get final fired at cone 6?

short person (me) + tall kiln = leaning over too much to reach=

very sore ribs.

Took about 1 1/2 months to heal.

I volunteer in an art studio where all bisque ware is fired at cone 5.  Is this ok for the stoneware I use which does get final fired at cone 6?

Currently Working at Seattle Pottery Supply. But, I am about to move to Southern Oregon and start my own endeavors. I can't wait to contribute here with my experiments and Home Brew Glazes!

wax resist

I have recently build a wood fire kiln and tried several recipes for wadding. My last wadding was one I have no desire to repeat. Anyone out there have a recipe that seems to come off easily even when there is a good bit of ash? Also......glue or spit? 

If you glaze pieces for a "totem " close to the edges of each piece how do you prevent the glaze from getting on the kiln shelf? 

Are there special stilts that can be used?  It seems like most shapes; balls, tubes, boxes need to be lifted off the shelf ???

Hi, thanks everyone.

In answer to your questions:

1. Firing to 1240

2. Oxidation in electric kiln

3. G72150 multi-purpose stoneware transparent glaze, firing range 1200 - 1290

4a. I first used Mason Peacock 6266 at 8% (with the china clay/ ball clay slip - oh, also with a little feldspar potash, recommended by the supplier)

This resulted in a very dark blue - could I rectify this by just diluting it with more of the ball/china/little bit of potash clay slip?

  4b.   Then I used Mason Deep Turquoise 6315 at 8% (with the more complicated slip)

I was advised to add the feldspar potash and the silica by the supplier that I bought the stains from, but it resulted in a very washed out anaemic blue instead of the deep turquoise.

I imagine I should just forget about the complicated slip?

Am I still ok using the ball clay/china clay/little bit of potash  slip with the stoneware (I have mixed up quite a bit)?

Would there be any difference between using this and a slip made from the white stoneware clay?

I'm after a pure colour, as shown on the Mason stains chart.

Thanks again!

Very jazzed!! I just received  an invitation to participate in a raku firing this spring. I am going to focus  on  vase-like forms (not for water-dry only).   

Hi, thanks everyone.

In answer to your questions:

1. Firing to 1240

2. Oxidation in electric kiln

3. G72150 multi-purpose stoneware transparent glaze, firing range 1200 - 1290

4a. I first used Mason Peacock 6266 at 8% (with the china clay/ ball clay slip - oh, also with a little feldspar potash, recommended by the supplier)

This resulted in a very dark blue - could I rectify this by just diluting it with more of the ball/china/little bit of potash clay slip?

  4b.   Then I used Mason Deep Turquoise 6315 at 8% (with the more complicated slip)

I was advised to add the feldspar potash and the silica by the supplier that I bought the stains from, but it resulted in a very washed out anaemic blue instead of the deep turquoise.

I imagine I should just forget about the complicated slip?

Am I still ok using the ball clay/china clay/little bit of potash  slip with the stoneware (I have mixed up quite a bit)?

Would there be any difference between using this and a slip made from the white stoneware clay?

I'm after a pure colour, as shown on the Mason stains chart.

Thanks again!

I saw an old post of yours, searching for recommendations about Rhode or Nabertherm kiln. Which one did you purchase after all?  And what is your experience with the chosen one?

I'm asking as I'm trying to decide myself. I have a 20 years old Rhode (working great to 1250 C) but need a new one (for cone 10).

Thanks,

Mirjam

recipe for stoneware

Been working on color development using soluble salts preparing several articles for publication.

Hi Connie how did that work out for you?  Having a similar issue myself.  Your rheostat for your CI wheel

I want to refire a piece that has been fired to cone #6. Can I refire it at cone #5?

Started a firing last night, something told me no right. I turned it off and waited til it cooled but, not before I noticed top coil was not firing. Later found that the SC-20 fuse on the right side on top layer was blown! No replacements until this morning with a walk to Ace Hardware. Firing now

 have my monstrous stack of glaze samples ready. Have to do one more busque. It finally cooled down today. So I can hopefully take the plastic off and get everything dried out.