Hulk

In my (limited) experience, calculated COE values are helpful to compare a glaze against a reformulation of the same glaze - where the ingredients are adjusted, and/or where a new ingredient is substituted in part. Calculated COE values may be less helpful when comparing glazes of very different formulation. My glaze lineup supports this, where the results don't line up with the numbers, exactly. There are a few outliers in my lineup! Hope someone using the clay in question (WC-609) can offer some specific glaze suggestions. As for other white stoneware (Pat B's question), I don't have any East Coast suggestions, however, here in California I'd found Clay Planet's Venus White a viable solution to my liner glaze crazing problems**, then IMCO's DC 3-5 white stoneware. IMCO is a short detour off an annual route, so I've bought more of that and am planning to continue with it (also their Red Velvet Classic and the WC-403). Last material load, I bought one bag of WC-403 (Cone 5 Speckled Buff). I'm very pleased with the results - my liner glaze and colors fit it well, it's a pleasure to work with, and other "problem" rate* is very low. *where random pinholes and crawling are likely related to inconsistency in the clay. **I was getting closer to fitting some another white stonewares - the craze lines getting further apart - then found Venus White, voila! Fit! Just shout if you'd like to see my in production low COE clear (clear-ish, it has enough zircopax to make it milky white).

Last year's Open Studio event, to my eye, a medium jar was the "best of show." A well-known watercolor artist (well known locally) visiting my Studio, was reaching for that jar before finishing her first sweep of the main display with her eyes. "Oh, I'm taking this one." The following weekend, well-known local potters (I believe they do more volume than any other Los Osos potters...) visiting my Studio reached for the teapot set right away. "I want this." It was, my opinion, the "best of show" at that point. I did feel bit sorry to see them go; on the other hand, I still feel a glow that someone else saw the same "best pot" that I was seeing.

For slowing, I'm still using 2.5 quart, 2 gallon, and 5 gallon (for big wares!) containers inverted over each ware. A periodic misting with a spray bottle slows things down - indefinitely, if desired, just watch for mold! Putting all the ware to be kept moist in a damp box can be more efficient, however, I'll typically have less than a dozen pieces in damp state - with the individual approach, I can bring each along to "ready to trim" state separately.

Air movement can make a big difference. At school we threw and trimmed wares in one session, setting up the bats outside with a fan blowing directly on them - the trick there is to turn the ware often enough that they dry evenly, else they will warp. At my home Studio, I'm not in nearly as much hurry. With the rollup door up, and the back door open, there's a subtle waft of air through the Studio, which speeds drying quite a bit. I'll do a quarter turn every twenty minutes or half hour. Denice's method doesn't require turning! At home, more often I'm looking to slow down, rather than speed up drying!

Hi AMO, Welcome to the forum! Please indicate if the kiln was new when you bought it, the thermocouple type you are using when replacing, and the cone you're shooting for when glaze firing, just for context, which may help the kiln experts. added: what controller type and model?

Borax variants - looks like they are high in sodium. Adjusting the oxide mix to eliminate crazing was an adventure for me - less sodium, less potassium, more magnesium, a very small amount of lithium... Nepheline Syenite is likely the highest sodium ingredient in my Studio. I don't see that changing. I've been "set" with glazes for a few years now, and although I do plan to break out into new territory in terms of color, finish, movement, et cetera, I'm not looking to get into new materials ...unless I have to. Borax could very well be useful in pottery. I'm curious to know who is using it, why, and for what.

Haven't been potting very long, coming up on five years. Seems like I've more getting stuck in terms of skill development* than evolution of form and finish, trying for new forms, textures, details, patterns, et cetera** Stuck is, however, stuck. Earlier, I watched a lot of video clips, and looked at many books and magazines. Now I persist for a while, then break off for the day, or even a few days afore returning to the challenges. I read this forum! ...variety is, "they" say, and yet, the themes are remarkably consistent. Every once in a long while I'll watch a few video clips, pick up a book or magazine, even wade into a "classic" magazine. *There are those times when skills seem to be going backward. There are also those times when skills appear to be stagnating - running in place. **Whilst there's nothin' new under the sun, there's plenty that's all new to me. New (to me) forms - even scaling up a familiar form - entails a development or refinement of skill. For me, it comes back to skill, even how one looks/sees evolves; is skill involved in that as well?

"I'm trying to decide if I should forgo clay. " My experience, no sensitivity to Studio consumables (clays, glazes, underglazes, wax resist, glaze materials), nor funky buckets of slop (clay reclaim, slop in the throwing bucket left for several days, etc.). So far. I do keep the Studio wiped down and mopped up - active and proactive dust controls. So, I consider myself lucky. Sensitivity to some smelly stuff - hair spray, hair goo, detergent, fabric softener, dryer sheets, body wash/spray, deodorant, perfume, cologne - can ruin my day. I retired early on account of an intolerable putrid rank of a sickening workplace*. Headaches, dizziness, nausea, eye pain, sore throat... - the usual symptoms - ramped up over the course of fifteen years or so. A side benefit of all the mask wearing these last few years, a well fitted N95/P100 reduces airborne smell exposure, a lot! Holding my breath - looking to get upwind, fast - and awareness of getting "it" on my fingers is second nature by now. I don't go anywhere without first considering how I'll get upwind and/or well away, fast. It can be awkward when folks come to the house, heh. If working with clay made me feel sick, I'd very likely chuck it, entire, and look into somewhat else. *wow, guess I'm not quite over that!

Is a particular emotional type/profile and/or mental framework/outlook required to play with clay? Good Question! Short answer Only somewhat, yes. Medium answer Only somewhat, on account of I believe the typical human is flexible enough to adapt to challenges well outside of their comfortable "wheelhouse." Longer answer Many potters are potting by choice (rather than necessity); for them/us, I'd say yes. Clay involves putting the hands directly on and getting "dirty." It's not for everyone. I like feeling clean, however, I've been into tools, fabricating, taking things apart, repairing, and reassembling for as long as I can remember, and the chips, dust, flakes, dirt, grit, grease, oil, et cetera that's involved hasn't deterred. So, there's that. Beyond the garage/basement/workshop, we spent a lot of time outside whilst growing up, doing stuff. From there, so many directions to take with this question! How I've wanted to learn to throw for a very long time, just something that caught my eye, never forgot it. How much I've enjoyed physical engagement, to the point of extreme excess in endurance sport, and just normal excess in work for pay - running machines, in a few trades, et cetera. How much I dig the details - practical details - of glazes and firing, technique, history ...everything (up to a point)! How satisfying it is to make things that others use and appreciate. ...and more. What looms, in my memory, an experience in the "Mainstreaming" class (required to keep my teaching credentials current) I took some thirty-two years ago. The instructor had us complete several inventories (psychological, mental, emotional, thinking/learning stuff), then we shared our outcomes. The instructor had checked with me aforehand, would it be ok with me to discuss my results frankly with the class, last? Sure, of course. The instructor said this type of profile, where there's a significant "lobe" in each quadrant - rather than the usual one or two dominant quadrants - is somewhat uncommon; what is more uncommon is the depth and breadth in each quadrant. You could hear a pin drop at that point. The instructor explained that they fully believed the profiles to be accurate - they had been waaaatching me! Still, you could hear a pin drop. From there, the instructor explained what life is like for people "like you," which sounded rather familiar, yes, and summed up with somewhat about how it can be difficult to be like you, Tom, and it is difficult for the others in your life. Oh. The instructor thanked me, this is probably good for you, and certainly good the rest of the class, to know there are more of "you" out there. Apparently, I don't have an emotional profile/type, nor a mental framework/outlook. I remember this idea, occasionally, and I try to fully appreciate those that put up with me!

My guess would be the skins (the sheet metal coverings) come off, hopefully easily, allowing access?

I'd been recycling pieces that don't make seconds criteria as planters - drill a hole, fill with sand and potting soil mixture, add a succulent cutting, then wait. Once the cutting has started to root, it's ready to go. I've sold some, but mostly given them away or donated them to a local nursery operation. I'll keep doing this but will either hide them or drill them right away, for folks have been nipping them off the garden bench! To make it as a second, the pot has to look and feel "right," have no cracks or crazes, no crawling on the food surfaces. The flaws that demote ware to second have minor imperfections, like a tiny crawl or pinhole on the outside, near the foot, not on the top half; slightly out of round; pieces that haven't sold; small scratches... Seconds out of my Studio only, I've stopped hauling them anywhere since building some inventory, as it doesn't seem worth it. When I point out the flaw, folks usually scoff, or can't see it (many of us don't see as well as we used to!). I've yet to experience anyone being put off by a second's flaw! Maybe that's good. added: if not worthy of repurposing as a planter, hammer

Context Obvara Firing: Tips from Expert Marcia Selsor (ceramicartsnetwork.org) I like Marcia's description. also Obvara Pottery - UP IN SMOKE POTTERY Obvara Firing Technique in Pottery (thesprucecrafts.com) My guess would be the lifetime of the mixture has more to do with the evolving fermentation that number of dips. - without any accounting for material use - Perhaps the heat imparted accelerates fermentation.

Does the bisque temp/cone have any affect crazing in the glaze firing? Good question! Given everything else is same - same clay, same glaze, same glaze thickness, same glaze fire schedule - then crazing should also be the same. Crazing (digitalfire.com) See second paragraph under Details

It's all about fun for me too. That said, I'm interested in production, how the repetition and focus sharpens skills... Be sure to check your glaze thicknesses. You might find some clays "close up" quite a bit, while others take the glaze almost the same. If the layer is thin, going back for a second pour or dip can do the trick. Check out what Tony Hansen has to say about thixotropy (the link above).

Hi Grackle! A higher bisque can burn out more organics, which could be helpful, particularly for red/brown/black clays*. Higher bisque should close the clay up, perhaps significantly, hence, if you're having to dip quickly to avoid getting too thick a glaze layer, it could really help. On the other hand, you may have to slow down, perhaps even dip twice to get a thick enough layer, it depends! Yes, my experience says it very much depends on the clay, and as for glaze application, how you mix your glazes and your application processes. I really like having a longer window of time to pour in/out and dip, where I don't have to hurry and can move deliberately while glazing. Surely there will be more responses to your question! Please check back in a day or so. *I not only bisque to a solid 04, but I've also added a half hour (or so) of hold at 1500F for all the clays I use; if there's red or brown clay in there, then I'll hold on the way up and again on the way down, with the kiln vent running the whole time. The higher temperature, oxygen, and holds seem to really help - especially where there's anything much over 5mm thick - with the off gassing and resultant pinholes, also bloating. Even the well behaving clays will sometimes have a bit of something that causes a pinhole. With the hotter and longer bisque, I get much less of that. see also: Bisque (digitalfire.com)

With the rim turned down per kswan and Pres's suggestions, you could throw a support ring for the platform - just for firing, bare clay; the turned down platform rim would hide the unglazed portion underneath. The support ring would have to be very near the same thickness as the pedestal, so they both shrink the same, else the platform wouldn't come out level ...or, let the pedestal hang, support the platform only? Firing upside down should make the platform level, however, it would have to be left bare clay. I like Pres's flared pedestal.

Car batteries will discharge right across the top as well - the type that get a film of yuck that is - periodic cleaning can help. Putting the one or two amp charge on for forty-eight hours once a month can make a difference for those who drive lots of short hops.

Heat pumps are much better than they were just a few years ago. It can be cheaper to move heat than "create" it via exothermic chemical reaction(s), much cheaper. The units and their installation, however, more expensive than furnaces... Germans Turn to Heat Pumps to Replace Gas Furnaces - The New York Times (nytimes.com) A Heat Pump Might Be Right for Your Home—Here’s What to Know | Reviews by Wirecutter (nytimes.com) Our son's home has two heat pumps. They keep up with the heat ok, and, as we learned over our Xmas visit, they heat the home effectively as well. Our next home will have one in the Studio. If the home comes with a gas fired furnace, it will be replaced, eventually ...with a heat pump. Bein' curious (and soon moving to a colder clime), just read that a fully charged car battery is good (enough to prevent freezing) to about -76°F, so maybe your battery was depleted Pres?

When I go to the clay pad, it's on a bat, so I can leave the pins in (+1 on stainless steel; I used the "tooth lock" type lock washers and stainless wing nuts), transition to trimming set up, back to the clay pad or bats, back to the clay pad... ...a bit of anti-sieze on the threads, (almost) always a good idea.

Interesting! Found an ad for KILN-GARD lectro cone AUTOMATIC KILN CUT-OFF In an online "Ceramics Monthly" magazine, October 1961, so that part may be like the modern controller, also like the Kiln Sitter of yesteryear, that is, a third party part that doesn't identify the kiln for us. ...but may help in terms of what decade.

Hi Goren, I don't have a depth of slip knowledge and experience to draw from*, just wanted to suggest that you run trials on test tiles or test pieces - same clay body, of course - before committing to your vase. *I do use a red slip, which is made from a red stoneware that I use, with the sand sieved out. I apply it to just trimmed ware, usually with a brush, with the ware on the wheel.

There's a lot to be mined in the archives of this Forum. There are books; I found Susan Peterson's The Craft and Art of Clay most helpful in getting an understanding of unity, and for overview of and reference for materials. Tony Hansen's website, Digitalfire.com, is a wealth of info, a treasure, aye. Try perusing the Articles, under "Others" ...and just keep browsing! Those three sources have been the main ones for my ongoing glaze education. There've been other books, articles, sites, etc., however, those three stand out. From there, choose carefully**, then trials and tests. Keep detailed notes. *...and magazines, where books are typically more comprehensive, and magazines articles focused, limited scope **recipes from reputable sources, especially where they include usage notes, tips, and test results

Hi KatieD, Welcome to the Forum! While waiting on more responses, could you take a close-up picture of the info plate, a picture of the kiln with the control box centered, and post them? This might predate your unit (note the publication date, 1977) : SM and MED Paragon A and B series Instruction and Service Manual.pdf (arizona.edu) There is a lot of detail, diagrams, images... This Forum thread includes an entry from someone who works/worked with Paragon: I guess I'm setting up a studio! - Studio Operations and Making Work - Ceramic Arts Daily Community Be sure to confirm the electrical specs. If I'm recalling correctly, a neutral line is required.

You might test* somewhat like this: A clay "stilt" - a tapered clay cylinder that supports the conical piece from within - touching perhaps about where the fourth or fifth circle of branches are, so it's stable. Thus, you could glaze the bottom edge and up the inside - leaving plenty of unglazed area for the support, of course. I was trying to remember where I'd done something similar, finally remembered, the upper portion of a two-part fountain, where I wanted the upper portion's drip edge glazed. A support cylinder did the trick. Lucky for me, the support and the ware didn't stick together! I was happy with the result, where all parts in constant direct contact with water are glazed. I run the fountain when I'm in the Studio; it makes a nice sound. *test, as in limit the trying of something new to one or two tests, vs. risking the whole batch!