Hulk

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!

Getting better at somewhat unliked can help, also streamlining/improving the process, and/or the state of the unliked thing can help. For example, I'd grown to tolerate glazing, now I look forward to it - my skill having improved some, and the results as well. Another example, keeping a clean and organized (well, relatively) space is easier than facing a mess!

Many folks in my age group also experience this: that their body "lets them know" when they've done anything outside their usual routine, e.g. a light pruning session in the yard with hand shears - next day, hand and forearm screaming, upper arm, shoulder and back moaning. This started for me well over ten years ago. Maintaining a wide variety of activity can really help! So, the variety of physical tasks associated with pottery is good! Moving clay, handling ware, wedging, throwing, getting up and down, walking about, all routine, it is good, and I had ramped up gradually enough to avoid debilitating pain, so far... I'm a part-time hobby potter. Doesn't seem like I've been doing it long enough where worn out parts are because of pottery activity. That said, the maladies I brought with when first sitting at the wheel require some adjustments - both thumbs are compromised, I've some nerve damage to a few right-hand fingertips, there's shoulder damage, vision limitations, knee and hip damage, etc. Big picture, I feel very fortunate to be able to do just about all I want to, pottery wise, where the main obstacles are skill and knowledge, not so much physical limitations. My elders say, "Just wait!" which my experience and observation supports; meanwhile, if not quite "Do not go gentle into that goodnight" then a hearty use it or lose it is what I'm trying for. Regular aerobic activity has been a big part of my strategy, mostly road biking, supplemented by lap swimming. It's really helped! Almost twenty years ago my physical condition had deteriorated to the point that the walking my job required was daunting, and I was very overweight. I am fortunate, which I'm trying to remember and be thankful for!

Asbestos insulated wiring, asbestos varnished wire cloth, asbestos paper - were all in use as late as 1988. Also, asbestos woven cloth, and several other permutations, something to watch for.