Hulk

Automated fire control likely predates Liamb's arrival (electromechanical logic, or relay logic goes back to about my Pa's grade school days), however, low cost cute lil' logic boards makes it available to hobby potters, much later ...thanks to development o' transistors, then integrated circuits. The topic (thanks Pres!) sure generated some thinkin' for me - what is technology? bein' one o' the questions for sure.

"It works fine on some pots but not others." Different clays, clay thickness, glaze film thickness, position in kiln (peak temperature difference) - any correlations? My guess would be different clays, next, peak temp.

In an eight by eight I'd go downdraft kiln vent and secondary hood as well, for it'll be both hot and smelly/fume-y in there - hence, adequate make up provision required. Methinks I'm just echoin' Bill here, eh? Suggest adding smoke and CO detectors and fire extinguishers - both in and on the way to said room.

I've tweaked each of my "keeper" glazes sg and most o'm thixotropy as well. Per Rick's (second) question, the thixotropy may change a bit after sitting, and, allow newly mixed glaze to slake a while, else anticipate re-adjustment after some days. Just on account o' curious what distinguishes rheology, viscosity, thixotropy (from Wikipedia, Google, and Epoxy Technology): Rheology is not a measure of viscosity but an area of physics focused on the study of a substance's change in flow characteristics under applied stress or force. Thixotropic Index is a ratio of a material’s

Dynamic Surfaces https://ceramicartsnetwork.org/ican/calendars/

Hi (again) Rick! Measure your thixotropy an' see for yourself!? My guess is you'll find slight adjustment of thixotropy may sometimes be necessary after some time sitting in the bucket. I'm noting each glaze's sg in my glaze notebook. After adjusting sg to a) same as last time, else b) a bit more or less, due to prior results, I'll test thixotropy by stirring clockwise (easier on my wrist, thumb, elbow, shoulder...) to match the meter of Bob Marley's "Rastaman Vibrations"; on cessation of stirring, the mass continues to revolve for just under three rotations, then comes to a sto

Hi Srishti! Wanted to echo what clay and cone, and add what glazes have you tried (perhaps just the one that crazes least - biggest pattern), and how much crazing - how close together are the craze lines?

Hi Rick! Measure your sg before and after (test an' see for yourself!)? My guess is you'll find the sg has not changed due to your adjustment of thixotropy. Adjusting sg and thixotropy, huuuuge breakthrough in learnin' to glaze effectively ....errr, better. https://digitalfire.com/glossary/thixotropy

~110 cfm per the only ref I found (a FB post)...looks like Timber Ridge doesn't make the stove that fan fits any longer. Looks like that (64-2812) isn't Timber Ridge part number; looks like the vendor's number https://heatredefined.com/collections/parts/products/ac-16 Between a) enough air moving through the kiln to supply oxygen for thorough and efficient bisque and the glaze effect we/I want and b) enough "pull" on the kiln to prevent any leakage of fumes to the surrounding area may be where you are with your setup. An overhead evacuation system to

Was paying attention today whilst at the wheel: even when using the 5/8 inch bats, the splash pan edge is higher than the surface of the bat; I'm anchoring the catching arm (right for me, as I turn clock wise) mostly on the splash pan edge - built in cast pan - and elbow against my leg; I anchor the pressure hand (left for me) on my other leg. My guess is a bit o' something to raise your forearms (hope your firearms are secured somewhere totally safe) a bit might help - keep trying adjustments until you're rockin'! Post back your solutions?

Hi Jessicak! Nome, we store alla firearms in the attic! Ahem, jk. Could you post a picture of your arms and hands when centering at the base of your clay ball? I sit lower than anyone I've met, and lower than most I see in vids, and my arms don't touch the wheel head (or bat surface) - only the edge of my hands on the little finger side, and, of course the edges of same little finger (whilst keeping fingernails away from the moving clay, for they wear away so quickly).

As for controllers, I'll argue that the pyrometer is the bit o' tech that counts; the controller automates notetaking - time and temps, and switch throwing.

Wow. As for (my reading of) the question, lots of tech in my Studio already, which is absolutely dependent on electricity to power lighting, wheel, kiln, audio system (yeh, it's important!), pyrometer, and mixing tools. I'm not interested in: working by natural light only (nor by candle light); kicking or otherwise powering the wheel myself, nor using a wheel less sensitive, consistent, precise, and powerful; isolating myself from media whilst working (although shutting off the system, and rolling up the door to the sounds o' birds, wind, neighbors, ocean can be a nic

Looks like it's from one of his books There's a "Exploring Cone 6 Glazes Together with John Britt's Book" FB group, however, one must be a member read/see anything (I'm not a member); the image above was posted to Flickr by Mr. John Britt.

Cool! Please post back your progress, decisions, etc. Three years ago, ticked (start to) learn to throw box at local JC Ceramic lab - Wheel I class, now have an ancient seven cubic foot electric cone ten kiln, a very modern electric wheel, some shelf and counter space, basic tools, glaze materials, and clay. Having tried several clays, have at least two "sure" keepers, and seven or eight glazes I really like - all mid fire stoneware. If you've yet to find Tony Hansen's online treasure trove o' data, https://digitalfire.com/ Retirement ain' all bad, eh?