Pres

Sorry to say @Bill Kielb, but you are speaking in a foreign language at this time. I guess what you are saying is that L&L uses a certain type of Thermocouple cover that has an insulation value that is programmed into the controller. If so there should be a file/program that has the entered values for that T cover. Where would I find these values, and the values that should be entered? On another note, I have been thinking that when running a bisque firing that I would use a lower cone value maybe 08 or 07 to see how my 06 witness cones are affected. If it is as @neilestrickhas said, that the differences at lower temp are nearer to standard, I might even try running the glaze load at ^4 to see how close that comes to my ^5-7 cone pack. I am currently reluctant to physically change any of the settings with offsets even though I believe I would know what I am doing. I really don't know how far the kiln overfired other than it was above cone 8 in all probability considering the pimples on the cones 6 & 7. Thank you for you input, more to look into. best, Pres

My first glaze firing was different. Two cone packs near top and bottom sections, top one near the thermocouple, bottom in the back. Both cone packs were shot. Cone 7 looked like what I expect of cone 5. 6 and 7 had pimples. Not good. Ware was overfired, but was not ruined. No bloating, SC 630 held up well. Glazes were OK. Temp at Zone 1 was 2223, Zone 2-2223, Zone 3-2216. i am researching where to go from here as I work towards filling a bisque load. best, Pres

I'm reminded of a tale told to me by a hunter/potter down in Georgia years ago when the conversation of mold came up. He said he had a bird dog that got hurt ran into a pig. on a hunt, and they couldn't find her for a couple of days. Finally found her part buried in a red clay bank along the river. She was doing fine, and the clay and mold had helped her survive. Don't know, but I have heard often that hurt animals will go to water for the water, and the clay. best, Pres

Inglaze has been around for a long time. Try spraying/blow atomizer or pump through lace, or leaves and natural materials for great shadow vs clean decoration effects. best, Pres

Oh you evil doer's. . . . just as I bought a new electric kiln, You had to bring back the old haunts and wishes of having a gas kiln in my garage. Oh how bad you are, not even thinking of the 1K for the gas line to the garage, or the variances I would need on zoning even though I live in a dual zone Commercial/Residential zoned area. I don't think downtown Tyrone would want a gas kiln on main street even if it is closer to the paper mill! That said, the ghosts have vanished, and reality of being over 70 comes to the forefront as I really don't need to get into this at this date. I will admit on some level that I really would like to do ^10 again, and have those surprises from the kiln that I used to get years ago in grad school or before in undergrad. I miss the grainy clays with enough tooth to allow you to feel the pull easily, the rich reds and browns with iron spots and matt surfaces that begged to be touched. It was the introduction to clay, to glaze, and seemed to be the holy grail. Yet over the years, I have found that even though it is not as exciting as combustible reduction, electric can be surprising also. Atmospheres in all kilns exist, and crazy things happen in electric as much as in reduction, when you have fugitive oxides settling and mixing with other surfaces for a blush of pink or orange red. When layers of sprayed glaze become pools of water with the feeling of a deep pool waiting to be explored. Granted some colors, textures and surfaces are really tough to get in electric firing. However, my electric kiln takes up little space in the shop, can be fired overnight or during the day. I don't have to feed it fuel by hand or watch for the perfect time to introduce salt or make certain the damper is closed or open. It is easy. Is electric without its faults? No, I remember when I first started to go ^6 at the HS. There was not internet, Ceramics Monthly covered very little in the way of ^4-8, and even less in the way of oxidation. Occasionally we would find an article with some glaze recipes, and some discussion of new trends, but not often. I would find glazes from A.R.T. , Minnesota Clay, and Amaco. As with any glaze, it would take a lot of testing to become proficient with them, and over the years when students would combine different glazes on their pots I took not of what happened, as I required that when they glaze they took notes. Then the internet appeared, and various ceramics forums began discussing Cone 6 as the new Cone 10. Then Mastering Cone 6 Glazes came out, and other books, and suddenly there was much more information. Yes, if it weren't for so many factors I might have taken the other route and fired cone 10-12 reduction. However, I took the one that made sense for me firing electric both at home and at work. Constantly learning, and always looking to make better pots both in design and surface. It has been fun, and someday maybe I'll take a summer workshop to refresh my memory of HF stoneware clay in my hands and the feel of the pull and even the touch of the fire. best, Pres

This weeks QotW comes from another Moderator, and not surprisingly a thread of discussion covering the use of electric vs combustible firings. The discussion started as a search for materials, and went sideways lamenting the lack of cone 6 potters in some areas and cone 10 potters in others. It also made assertions about the difficulty or ease of one or the other disciplines involving ceramics as if they were from two different planets in different solar systems. Hmmmm! See more on the thread here: @Min's Question for the QotW:Electric or gas reduction firing at any cone you choose, which is more work overall and at what stage of the pot making is it more work than the other? Also, is firing one way more enjoyable than the other? best, Pres

I am running a slow glaze right now, Found that the kiln is larger than the old one as it will hold 3 patens to a shelf layer without bridging gaps. I was able to put all of the pieces from the glaze load in the old kiln in, and add a paten that did not get into the old load. I had lots of space yet that I could fill with small pieces, and if I had a few more shelves I could have gotten more in. I will be getting at least two more 1/2 shelves maybe 4 and a few more pieces of furniture to augment my present supply. Firing is great, but I can't stop myself from checking on it often, though not as often as I used to. The phone app is fabulous even though it seems to be hung up on updating right now. May have to restart it. best, Pres

I sent the following email to L & L. I hope they get the message and reply. I have long been a fan of the L & L line of kilns, having used a J236 I purchased years ago with no controller or setter from you brand new. I served me for years with firing that were quite flawless, and I did all of the repairs/replacements and maintenance on my own. The firings were tiring towards the end, as watching a manually fired kiln through the night was tedious, but I fired the kiln up and down by watching heat color and cone packs. Alas, during the pandemic the kiln quit during a firing. Careful assessment indicated repairs would be excessive and that it was time to replace the kiln after about 36 years. I have been an art teacher in central Pa until 2009, and became a moderator on Ceramics Daily.org for in the studio. I have become acquainted with Neil Estrick, who helped me decide on the e28m-3 considering my needs, the voltage and existing 70amp breaker set up. I received my new e28m-3 a few weeks ago, and after having the electric line in I ran what I thought was the first firing. I ran a fast glaze firing with the Genesis controller. I posted my first firing after the fact, to find from several that I had run the wrong firing. Please see the following strand of discussion for information here:https://community.ceramicartsdaily.org/topic/24541-new-l-l-kiln/#comments End result is that I would like to suggest an insert into your fabulous manual at the front. THE FIRST FIRING OF YOUR NEW KILN The directions on this page are to be followed if your kiln has the Dynatrol or the Genesis controllers. Use the sections in your manual as related to your controller to program your kiln but follow this program for your test firing. Your first test firing is done very slowly, about 16 to 19 hours total to minimize the inner and outer surface temperature differences in the kiln while it goes through its maiden firing. Also this will slowly steam off any moisture absorbed by the firebrick during construction, shipping, and storage. The test firing is done to cone 5 (about 2167°F) to vitrify the special coating on the inside on the firebrick and to allow an “aluminum oxide” coating to form on the element’s surfaces. The coating on the brick helps to reflect the heat radiated from the elements, strengthen the surface of the firebrick, and help prevent dusting in the kiln. The oxide layer on the elements helps to protect them from the many contaminants found in many materials fired in a kiln. This aluminum oxide layer will rejuvenate itself every time there is an oxygen rich firing to a high temperature. Going to cone 5 may also point out any problems with your electrical service - like low or incorrect voltage or wrong supply line wire size. The elements will also seat themselves in the ceramic holders - and any springiness you see when you first get your kiln will be alleviated. best, Pres

best, Pres

@Smokey2 Those are exactly the same pages I refer to in my post. I find it counter intuitive that the one page states follow the Genesis controller pages, while another page unde Dynatrol says to do the ^5 firing as a slow bisque. . . . but they were talking about the Dynatrol. @neilestrickI think I will get in touch with L&L about the confusion of the manual set up. I have been waiting on electric set up for a little while, and have not wasted my time, but been reading the manual once and some places 2 and 3 times. Maintenance, repair, and operation areas I have covered well. I think that the section on the Dynatrol was not thought out when the Genesis was added in. That seems to be the biggest discrepancy that I could find. Is there a person I should aim my discussion of the manuals misleading statements? best, Pres

I think a large part of the confusion comes from the section in the ring binder marked OPERATION. First page shows the Genesis panel and dialogue boxes. Page 2 begins with DYNAIMIC ZONE CONTROL, then FIRST TEST FIRING OF THE KILN. Text here is " See pages 5 and 6 of the Genesis Model LT3140 Controller Operation Manual for simple and detailed instructions on the process. This section is in the binder under CONTROL. If there is to be an edit change, it should be made in the Genesis Controller Operation Manual so that the slow bisque or glaze is chosen. I have inspected the kiln thougougly and do not see anything amiss. best, Pres

ECpot, no problem. New kilns can be frustrating, as they are part learning curve. Hopefully we will both get some answers. For those of you looking at my question about adjustments, I would think this cone is pretty spot on, maybe a little hot. I had two included with the kiln, so one was at the bottom of the top sections, and one on the floor shelves. They both look almost exactly alike.

"If your kiln is supplied with cones, the programmed cone number should match the cones provided, or you may use a cone of your own choice for the first firing. The example below is for a cone 04 firing, but if you use a cone other than 04, substitute that cone number in the programming." Immediately after this is the fast glaze fire menu in novice mode. I guess I missed something somewhere in my reading about running a long glaze firing. I do not believe anything is damaged, but time will tell. As far as making adjustments I was just wondering, and I believe asking for opinions is better than trudging on without more knowledgeable help. This is a new world for me, but I am not without some skills. I would think the manual would show a long firing for first firing instead of referring to a fast glaze immediately on the page for first firing????!! best, Pres

I fired my new L&L e28-3 last night with an empty load, bottom shelves in, and one upper shelf near top zone cone 5 self supporting at top and bottom. Instructions said to fire fast glaze to cone that was included with the kiln. kiln took 5.38 hrs. . .I assume 5' 38". Temp went to 2187, 2186 and 2181. My way of thinking that is ^5 3/4. I suppose I could find way of making adjustments to that in the cone offsets, but if wishing to fire to cone 6 that would get me pretty much there to just use cone 5, I do believe that I have been firing my ^6 firings by hand to about ^6 1/4 or 1/2. Any thoughts here on adjusting or not adjusting? Really excited about the graphic set up of the Genesis controller and the wifi with phone app capability. New world out there.

@Hulk Don't get rid of those broken shelves, they work well as @neilestricksays to use as bottom stilts, or other stilts. I have always used them as a "riser" for a stilt when I didn't have enough 1/2" stilts. @neilestrickI had to get more of the patens in to the loads, and as there was not enough space for two across the stagger helped, then would fire the chalices on the top shelf. I had wondered about large bottom shelves, and probably did things wrong as I used 5 in the octagonals to support the full bottom shelf. It is good to know that 1/2 inch gets me enough to have downdraft ventilation. I leave a small space between halves for air circulation. @Bill Kielb When I was in my first year of teaching, '73, I was talking to another teacher and an administrator. We were standing near the kiln at the end of the ^06 glaze firing that the ceramics teacher had turned up and opened the vent on the old square Amaco. You folks all remember those polyester pants that were in vogue back then? Well, I stood there in the warmth not realizing that I was near the vent hole. Yep, melted them to my leg. Never again. Wore cotton after that. The old kiln? 5 years later I started dong electric raku out in the center court, for the next 3 years. best, Pres

Hi folks, once again no new questions in the question pool - Soooo I will pose another question this week. As all of you probably know, I have a new kiln and will be going through the test firings and first firings and other things. This is big step, as I have not used a vent or computerized kiln before to fire my own work. I have assisted in firing and seen the dyna trol system in use. My new one has genesis, and quad elements a power vent, and 3 inch brick. However, that is not anything to do with the question. . . somewhat. I have always fired my kilns with a base shelf usually placed on 1/4-1/2 inch stilts. I started out with full shelves in the bottom. The full shelf broke after several firings, and I started using 1/2 shelves. Then I started to use 1/2 shelves with different height stilts under them. My reasoning was two fold, one to start the shelf build with the bottom allowing overlapping plate lips, and second to give more air circulation at the bottom of the kiln. Now I have decided that the bottom will have two 1/2 shelves, but do not think I need to use a staggered first layer, as if I leave them flat I could possibly up 3 pieces to a layer, even though one would bridge the two shelves. My practical question for the QotW: Do you protect your kiln floor with a kiln shelf to start your shelf build, and if so do you use a full or pair of 1/2 shelves? best, Pres

Seems like there is a lot more in the way of Potter Maintenance going on here than one might assume! best, Pres

Before I retired in 2009 the HS studio was on a schedule. Once a year the Walker pug mill had the gear oil replaced and the rubber drive grommet checked. The Bailey air filtrations system had its filters replaced and the entire studio was cleaned by cleaning staff. This included dusting pipes and other over head areas like the ceiling lights and ducts. Sink traps were cleaned out on schedule once a month, and all of the tools were hand cleaned by students and myself once a month. As to sharpening and upkeep of tools, if i noticed a dull tool, or handle loose etc, I put it in a small bin to get to on an inservice day. All of my classes would wash table tops, replace tools after cleaning, and wash out the sink after the cleanup was done. best, Pres

Hi folks, no new questions in the pool, but even though a little late. . . . QotW: Do you schedule maintenance activities in the studio or have a non structured format for maintenance? Maybe I should have asked first what you considered maintenance. My definition is any activity that helps to keep the studio moving efficiently. These activities include: inventories of both materials and finished work, monthly and yearly studio clean ups, kiln maintenance including vacuuming and shelf maintenance, ordering clay materials and packing/shipping materials, repairs of tools and equipment. These things usually happen for me in the late winter. I will have running lists of things that need done, inventories, and other things. When these lists look to be getting unmanageable, will order or do the work. Cleanups usually happen once a month, but not during the winter months as it is too cold in the brick garage/studio. Once again, I would ask QotW: Do you schedule maintenance activities in the studio or have a non structured format for maintenance? best, Pres

I had a Summer session, at PSU that resulted in 150 pieces at least. Many of these were raku, but there were a great many that were ^10 stoneware. I did get all of them out of my firings, and took them home to my 3 room apartment. After the first few nights of September weather my wife and I moved them on to the back porch. The pinging kept the baby up! Two seasons later over 50% of the pieces were gone. The following year, none were left. The back porch was on a highly trafficked alley. I am at time embarrassed to see a familiar piece on a mantle or other place of importance when visiting homes, knowing full well they were not gifted or purchased from me. I will sometimes quietly check for the EPR on the bottom as that was my signature back then. At least I got a chance to analyze my work before it disappeared. best, Pres

Hi folks, little late with this as I just didn't have an idea for a topic this week, but thought of something that is nearing for all of us, and in the north is important. .. Spring! Its on the way. So I thought that something about the season was appropriate. So, QotW: Now that Spring is on the way what will be your first task in the studio? This change in the seasons, and the warmer temperatures will bring on several days in the shop. I will not be throwing or producing anything, but unloading and unfinished glaze load, removing two kilns, and clearing the area for the new kiln. I will also take the time to do the yearly material inventory and cleaning to get ready for the new kiln due at the end of April. Lots to do, with big excitement! Once again I will ask Now that Spring is on the way what will be your first task in the studio? best, Pres

There are thought in the US, that extending HS to include another or two more years may be useful. History of Education followed the need for higher and higher levels of learning as we moved out of colonization through industrialization. It may be time for some form of HS or post HS public education. best, Pres