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Mark C.

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Everything posted by Mark C.

  1. Any kiln that plugs into a regular house outlet will be very small. You may consider to have an outlet wired just for the kiln somewhere and than you can move up in size.
  2. JB weld has broken off still holding the glaze it was glued to and the ceramic area broke in 1/2. That stuff is way strong
  3. On my flat fish wall art -I use JB weld epoxy to cement two ceramic pieces that have a small hole thru them and are flat on one side and rough for glue to grip. After drying I string them with stainless wire which will not rust. I do know that if hung in direct sun (gets very hot) some epoxies can loosen so testing is in order. I like the weather proof no rot or freeze to this solution. No wood to sour up. For indoors wood is fine.My fish go in and outside so I need to cover those bases.
  4. I'm heading the other way-still subscribe to CM since the early 70s although at times I wonder why- dropped pottery making as it aims more for beginners and I got little from it.I donated all my issues to a local fire arts center These days it more technical reading for me-Kilns and materials-glazes-high fire reduction and salt less about technique these days for me I am no longer expanding library and will down size it in next year or two.
  5. Smooth -on is the one stop shop for all mold making -rubber for masters and working masters No need for vacuum degassing with most products they have it all here-https://www.smooth-on.com/products/
  6. Spring sales are still way up and all outlets are selling more than usual . I finally have some backstock in mugs. I'm a bit worried that since my local outlets are doing so well and tourist season is just now getting under way gathering enough stock for a summer show will be harder than usual . My slow down plans for now are out the window. Our tourist season is perdicted to be over the top this year and its starting now. Get your wares into an outlet as the consumer is consuming in a big way now. One of my outlets was up 20% last year.
  7. Its an easy job if you are handy-plenty online help as well-skutt has You Tubes on it.
  8. How about some other ball clays like Kentucky ball clay or Tennessee Ball clay-I have used them interchangeably many times EPK sub is a bad idea in my view-you need to clay -a test will be needed
  9. I use plaster bats so the bottom dries without touching the mugs.(no cutting with wire) Porcelain can warp in the wind or sun but usually its fine if the lips are thick enough
  10. how are they drying? in a no wind no sun area? outside in sun? no air movement arount them? some details may help
  11. The part about crazing is some is below the surface (smooth surface) and some is on top of surface (rough surface) . Only you can telll what yours is . If its smooth than teh decal will float on very well and smooth out fine-if the cracks are on the surface than I would not do decals on that surface. In terms of Temps-whatever the company says fireto their recomendations as they know what those colorants need to fuze well. I was specking in general decal terms which for me was cone 017 when I did lots of decal work in the 70s
  12. I agree that seems hot for decals-usually they are at cone 017 or 018 Now for the bubbles -use a plastic credit card or and work from the center out in all directions or your small rubber squeegey paper towels are not the right tool. If they have bubbles add water and try again And as Bill says make sure they are clean. The crazing if its on the tile before adding decals can make for a non smooth surface and will make adding decals very hard as they need smooth glossy surface to work. air bubbles can be seen when dry (use a magnifier) so do not fire them until the bubbles are gone
  13. How about a heated building or room to dry them in?In the sun in daytime brought in a night
  14. I poured my wedging table in 1972 out of plaster -if I recall it was casting plaster (a bit harder than #1 pottery plaster) its about 5-6 inches thick and weighs a ton. Now nearly 50 years later its still good as new-and I can slam a 25# pug on it with no cracks. Its open on all sides with a solid wood base. I store 500# of clay beneath it-I have two of these made into one unit with 4x4 legs ,one for white clay and one for brown clay-they have held up to the test of time. I had to move them in 73 when I bought this place .I would not move them again-to heavy.Back then that casting plaster was darn near free price wise.Overrall width is about 6 feet and about 28 inchs deep for the unit-a slot of 3 inches separates the two plaster sections.
  15. No is only use it when I mix it with dry milled zircon since its collidical silica (ridgidizer) That I apply to fire boxes and fiber in the flame box area of gas kilns or as a thin top coat on fiber walls. That mix is super durable and hard and I learned about coating fiber with it from glassblowers who use it building glory holes for glass work. Those are fiber lined and need to be hard with spinning glass in them. That mix sticks to just about anything fiber,hard or soft brick when its thin-if it gets to thick it will spall off (flake off) I suggest a thin coat which will keep fiber firm and solid -best sprayed-take the lid off and lay it facing up for this-lay the loose fibers down. This process will harden the fibers-spary and let dry then fire. can you post a photo of this fiber lid?
  16. Its both for me to some degree but load is usually the main idea but what goes in is more driven always by what I need for orders/sales than any other factor. I fill the kilns full-stuffed no matter what and extra bisque gets stored away and piles up at times. I like to make lots of extras and smalls so the spaces get filled. I'm all about maxium use of space these days. I just finished a piece on tumble stacking for CM just on that subject of maxium fill in for a bisque. Look for it in the future -its more about electric bisquing than my gas kilns. Pots do not go bad and having more in all states is always a good thing-whether green ,bisque or fired-its all good.It all sells in the end so really its a no brainer for me. Right now I have boxes of what I call show pots that are just for shows-not for my outlets as I do not offer them-like cannister sets ,teapots,large vases and huge bowls, larger pots and platters. These pots are waiting for an art show this summer and have been boxed up for many months now since my xmas sale in 2020.
  17. (I guess the use as a rigidizer is insider knowledge) My mistake this is the link sorry THIN coat is best with any product like this https://www.axner.com/search.aspx?find=RF+458 I keep a gallon on hand
  18. A model A Brent used -weighs 49#s and will throw pots up to 20-25#s They no longer make them but they are around.I demo on one now and agin and trim on one every week
  19. My electric is outside under a huge tin roof with no vent. Great for bisquing in
  20. this will make the surface rigid-you can spray or brush it on fiber (I spray it with a mask on) pretty cheap stuff -also called ridgizier thin coat is best https://www.axner.com/search.aspx?find=RF+458
  21. Makeup air -its always a good thing
  22. I mixed a copper carb and cobalt carb glaze yesterday. 10,000 grams . I weight the materials like you and toss them into a bucket of water like you. Then I use a jiffy mixer on a drill. to beat the snot out of them then sieve them thru a Talisman seive which has brushes that force the material thru the sieve. Zero issues I'm guessing you are not power mixing with a beater of sorts which is cheap and easy to do. In terms of a seive use a plastic scraper like a credit card to force the lumps thru. ig there are any after power beating. If you are mixing small amouts just use a blender from the thrift shop and it will pour thru any size seive after a few minutes on margarita speed I do this almost every week for decades and never dry mixed-always wet mix (less dust) The power mixer on a drill is a key tool-I have many kinds but use the jiffy mixer heads that come in many sizes depending on the bucket size you are mixing
  23. Been lots of luster questions lately The best practice is to test lusters they work best on smooth surfaces Long ago when I did lots of luster work I took a test piece and ran all my luster tests on that so I could see what they actually look like I suggest this to anyone who is starting with lusters-these days you choices are very limited but as you can see by this test pice in the early 80s they made lots of colors back then This test was on a low fire clear that loved to craze on a refire but it shows the colors and a list is always a good idea to back up the test. I have many tests like this with glazes or pencils or slips-whatever-testing keeps you from making lots of mistakes even though with testing mistakes will still happen as its part of ceramics
  24. I think since you are firing all the time both upgrades make lots of sense. As well as advancer shelves-more space more tile more profit
  25. They work best on shiny glazes.
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