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mousey

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  1. So much to digest there, THANK YOU. Honestly this kiln has no chill, getting a smooth sane ramp to 1500 is extremely difficult. At least for me at this point in my evolution. Also that digital control panel is mouth watering, and I'm 3 minutes into the video and already my core understanding of reduction is being redefined. Also note that when I do the electric -> reduction chamber route, I take the pieces out at 1750'ish, max. Higher than that and the nitrates seem to burn off. I'll absolutely get some more experiments put together this weekend and ping back with results.
  2. - It's tricky because I can do celadons fine so I know I'm reaching a measure of reduction.. but its nothing like the vacuum created when a reduction chamber's burning media sucks up all the oxygen.. and the disparity between the two is my primary culprit so far. I've been measuring the jet from the upper most plug, not lowest, however. I'll verify from lowest as well next firing (I have no oxygen probe). - Notes from last firing, which was just testing out some new iron/copper/cobalt blends in an untested base ^6 glaze: 6:45pm start. propane at about 15% throughput, flu open 90%, peeps in. 7:45pm 1033f 8:50pm 1140f propane bumped to 30% throughput. flu/peeps untouched. fast jump to 1500f. 10:30pm 2060f shut flu to 20% open, very strong reduction evident from top peep / flu. Peep has a solid 5" jet when open. 11:26pm 2220f 12:40am 2260f shutdown. ^6 witness cone is almost a puddle. Again this is just me dicking around with a new glaze but it demonstrates how fast this thing goes from room temp to supernova, and it's certainly generating enough reduction for celadons (attached). I just got some ff3269 so I should be able to make some glazes that mature much more quickly.. I'll whip up another few tests using coppers as well as nitrates and put half in a reduction container and leave half in the kiln for reduction. That should at least remove a few variables. Updates to come.
  3. I thought about somehow reaching down under the kiln and sealing them somehow with strips of thermal blanket but even with the gas shut off, I feel like there is zero chance I dont bump into something and disfigure myself.
  4. Absolutely fair point but how is this any different than copper raku reduction effects, ultimately? Daly's work with nitrate/copper lusters seems fairly well described but its certainly possible Im misunderstanding the physics/chemistry at the end of the day. The porcelain mix suggestions are intriguing but way outside my comfort zone... that said I'll look for a vendor, definitely.
  5. Certainly viable suggestions, and thank you for them of course, but I think I'd like to understand conclusively why this isnt working as is.. so many possible variables. Celadons come out great btw so perhaps reduction isnt the issue core issue? I'd love to find out that this is simply a matter of technique and finesse and perhaps I'm blowing out the glazes and making the metals volatilize before the actual melt.. this is a possibility I suppose..
  6. So.. bit of background... fell in love with Beato's lusters early on and then discovered Greg Daly's book (and work) and decided to see what I could accomplish with a reduction bucket. This is a porcelain body covered with what is essentially a very melty shino recipe with some nitrate salts added. Fired to about ^06 then placed into the reduction chamber directly from the kiln, and Bobs your uncle. And I'm super happy with how it came out, except that the body cracked. As most of my porcelain pieces handled thusly do (and why shouldnt they; thermal shock, etc). Sometimes I use a nice raku/sculptural body that is groggy enough to survive this sort of behavior but I have two significant complaints; 1) I love porcelain more and 2) the groggy clays tend to gather carbon on all the exposed, unglazed surfaces, especially the parts that directly touch the combustable medium. Its an interesting enough look and sometimes even desirable but if you look at Greg Daly's work, its porcelain and clearly he obtains an appropriate level of reduction within his kiln to create the luster effect without actually inducing reduction through burning organics, eg paper, leaves, sawdust so on (aka what Beato used to do in her electric). I've seen footage of him placing pieces in his kiln and later removing them that back up this assumption; they go into a firing chamber unfired and come out with lustered surfaces. That, in essence, is my desired end game.
  7. I got an Olympic propane gas kiln set up for reduction work and it's been an absolutely wild ride, but so far the one thing I havent been able to nail are proper reduced nitrate lusters. Once thing I've been toying with; it has 3 burners coming up through the floor with a considerable amount of space around each, so I'm guessing that's contributing to why I cant replicate the classic sawdust / raku bath effects I'm looking for. I would like to see if I can get there without the reduction bucket because the clay bodies I'm using generally cant deal with the thermal shock. Anyway I'm thinking about taking slices of thermal blanket and essentially stuffing it into those gaps around the burners. My concern is that doing so will obviously impact the ability to feed oxygen to the fuel.. and that seems like a recipe for a catastrophic failure, potentially. Anyone have any thoughts..?
  8. And this is why the Hudson Valley is famous for its brickworks Lotta old brick kilns out and about as well.
  9. Much obliged, will do. I read that propane was simply harder to starve of oxygen, in so many words, because apparently its a lot more efficient than natural gas, but per your advice I'll trust the advice of people who have walked this path more than a random article any day.
  10. Just bought a smallish Olympic (2331G ) gas kiln for reduction work, specifically lusters, celadon, and shino. As I only have access to propane, thats what I ordered, but I'm reading that on top of the implicit difficulty bringing a gas kiln into reduction in general, propane is particularly problematic. Can anyone give me any hints on how best to get a suitably reduced atmosphere for these sorts of endeavors using propane, or warn me now if I'm just chasing an impossible dream?
  11. I'm looking for an ultra low-fire clear glaze as I want to dip my toe in kutani yuri-kinsai.. I found an interesting cone 014 recipe that is about 25% frit p-54, and I cant find any for sale online. Can anyone suggest either a suitable replacement for frit p-54 or an alternate low/fast-fire clear glaze that is suitable for yuri-kinsai? This is the glaze I was going to roll the dice with: Frit 3269 44 Frit P-54 26 Silica 14 Lithium Carbonate 10 Kaolin (Theoretical) 6 thanks all!
  12. Not to minimize the danger, but a lot of people worked their entire lives around manganese fumes/dust and very few developed the horrific permanent nervous system issues traditionally associated with it. Point being, its not an instant death sentence, and thats coming from someone who really once thought it more or less was. Also manganese isnt water soluble, it cant be absorbed through the skin (according to an employee of Aardvark I reached out to about these exact concerns). Do what is needful to work with it responsibly from now on, but its extremely unlikely you've lit the fuse on any neurological time bombs already.
  13. Went off without a hitch. You folks are the best, thanks for excellent advice as always.
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