Hulk

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!

Hi Ceramics.np.04, Above I'm disagreeing with PeterH, looks like your kiln is rated Cone 10 (or more), not Cone 6. I should have been more specific. A Cone 10 kiln element set should last a good long while when used to fire to cone 5/6. I'm just saying it looks like a Cone 10 (or more) rated kiln.

Looks like 1300 °C is well over Cone 10, excepting particularly (very) "fast" heating rates...

I'm seeing the range of tested absorption - very low (1% or less), low (2%), somewhat low (2-4%), not low (5%+)* - for high fire clays and mid fire clays. I'm still thinking absorption has to do with formulation/ingredients and firing to the specified cone. *these range labels reflect my opinions!

Looking at the cones, that's direct feedback. With the bung having to be in, then getting stuck, relating the pyrometer readings and clock times (for temperature rate of change) against the cones might be the best you can do. That's assuming you have a pyrometer - from there, take notes on the readings (time and temperature), then compare against the cones afterward. After a few trials, you will be able to repeat your heat work by watching the pyrometer and the clock! ...that's assuming that your pyrometer is consistent and reasonably accurate. Heat work Take a long look at a cone chart, noting the relationship between time and temperature. In short, it takes a higher temperature to slump the cone when the rate of change is faster; the cone will slump at a lower temperature when the rate of change is slower. "... Are we talking about welders glasses for IR & UV protection?" Yes, also protection against any flying bits! The odds that something would go ping and fly into one's eye are minimal, yes, but not worth chancing. For sure, don't look into the yellow hot kiln without protection! I'm seeing several welding supply shops in northern UK, where a decent pair of Fronius UV wraparound glasses are about fifteen pounds. Added: or, as Bill points out, these (IR and UV) Warrior Safety Spectacles Smoked (weldsafe.co.uk)

Hi Shaina, I've no direct experience with matte glazes. Looks like a matte finish glaze with a bit of greenish blue that doesn't move much. What Cone are you firing to? What type(s) of clay are you using?

Hi np.04, Is your firing governed by a controller? If you are able to set cones where they can be watched*, that might be a real help - you could start your cool down when the heat work is completed. *be sure to wear kiln glasses against the harmful rays and any flying bits!

Quieter than the vacuum cleaner method! Looks good.

...how's this? It's not the three-inch brick though. Circa 1980s Skutt 1027, the original brace is attached just forward of the point/angle that is in-between the flats where the handle and hinge (fore and aft) are attached. Let me know if there's another angle that would help, and/or anything else. Raising and lowering this lid, am being very careful, deliberate, and slow, for there is some flaking that I don't want to make worse. I'll be offline for most of the day, will check back asap...

Hi Gonen, Welcome to the Forum! Generally, contains manganese and iron, sometimes a stain (which likely has manganese in it)*, perhaps iron chromite (likely a rarity these days). Per my experience (one twenty-five pound bag), be prepared for a few cycles of testing. Stay well clear of any fumes whilst firing. Tony Hansen's article on manganese and clays: Manganese in Clay Bodies (digitalfire.com) A forum thread on black clays: Black Clay Advice - Clay and Glaze Chemistry - Ceramic Arts Daily Community More links: clayart - thread 'black clay safety inquiry' (potters.org) clayart - thread 'black clay' (potters.org) *credit Min, here: Scarva Professional Black Clay bodies - Clay and Glaze Chemistry - Ceramic Arts Daily Community

Good question Kevin. Starting out, I was convinced that a natural gas fired kiln would be the best choice for me. Down the road from there - there isn't a place to set one up at our house, the neighbors are too close, a large enough gas kiln that works well would be heavy and expensive... I went with a used Cone 10 rated electric kiln to fire Cone 5/6 ware. I like it well enough that I'm looking to replace the unit with a new one when we move upstate. Electric may be more portable as well. The space, setting, and infrastructure available will likely be factors, also what kind(s) of work you are interested in, and your budget.

Callie's observation/speculation on "flow state" is resonating!