Hulk

We've tented frost sensitive citrus (dwarf variety, in containers) trees with a light tarp to get them through freezing nights - a short string of xmas lights to add some heat makes a big difference...

Good question! I've used a few red clays, really liking IMCO's "Red Velvet Classic" cone 5/6 clay. The other reds were (much) more sensitive to overfiring, exhibited more defects, and required more fussing to dry without cracking. IMCO's red throws better, imo. My glazes certainly look different over the red - I like the look though! The black clay I'd tried (not IMCO's) was expensive, sensitive to overfiring, and my liner glaze didn't fit; fired, it's very dense and strong, however. So, I'd like to recommend IMCO's Golden Brown, Coffee Berry, and Night clays, however, I haven't tried them myself. You might give IMCO a ring to ask questions; I've found them to be open and responsive. Aaron is the person I usually speak with. He was off last time I was there; the person who helped me was also friendly, open, and helpful, however. Hope this "bump" helps - check back, perhaps someone will post some brown and black recommendations...

Mr. Hansen replied (on FB group "Clay Buddies"); question "Any chance that drop 100F from peak and hold 30 minutes helps the silica to dissolve?" Answer: "Certainly, the more time the more dissolves." and later, "Our main transparent glaze was not crazing either. At least that’s what we thought. On certain bodies it was crazing over time. Changing to the finer silica has definitely improved it. Silica is cheap, I would get some new stuff and use what you have to make Porcelain." My first kiln was certainly slow on the last 160°F or so. The new kiln, I've set the last ramp to just about match the old kiln. Perhaps the gentle/gradual final ramp to peak, drop 100°F to extended hold, and controlled/slow cool to 1850°F all help? ...and the mix of fluxes. Next run for heavy supply/material, I'll buy a sack of 325 mesh! Meanwhile, I'm still curious about others' experiences with silica "meshes" for cone 5/6 glazes, and thanks for the replies. Electric rates, whaaa? Our peak rate was 43.67¢/kw (off peak rate 40.83¢/kw); looks like 51.54¢/kw (48.7¢/kw off peak) since 1-JAN-2024, aah, the rates did go up! ...the "break even" point on our new (went online August 2023) solar array will be that much sooner then, eh? The utility (PG&E) does separate accounting on "peak" and "off peak" (peak for us is 4-9p.m., every day) usage, hence, limiting/monitoring peak usage does matter, particularly as there's little to no solar generation at that time during "winter"... Our house is on a North facing hillside. When the sun's arc is lowest (November through January), the shade hits the panels at about 2:15p.m.! During the design phase, I asked the Engineer if five more panels could be added. "Uhhmm, oook" they said.

This copied from a manual dated "Rev. 09/18" Note the dimensions; several vendors list Brent fuses, however, I'm not finding the twenty and twenty-five amp fuses, just 6, 8, 10 amp fuses for Brent wheels on ceramic/pottery supply vendor sites. However ii, try this search string: ".25 x 1.25 slow burn 20 amp fuse" Brent lists it, $10.90 Allfuses.com has the lowest price (that I'm seeing this morning). I'd started reading up on fusing DC motors, uhm, 20 amps does seem "big" ...however iii, seems it takes a lot to get the motor turning, "...electric motors have a tremendous amperage draw during the starting phase..." However iv, I'm not an expert on electric motors! My guess on the motor bearings, likely they are press fit sealed units. If that's the case, even if it is possible to repack them (with grease), once they are out and in hand, might as well replace with new ones. Measure the inner and outer diameters, and stack height. Look for quality. An electric motor repair shop may be an option. If you can post a clear image of the information plate (or copy the serial number), that might provide a date of manufacture clue? I believe a Forum regular had mentioned the serial number includes the year... Check back for updates; perhaps someone has direct experience with the blue motor!

Ah, NOVA kiln Here's a manual for what might be similar kilns novaman1.pdf (aakilns.com.au) ...which have lid vents! Hence, the lid vent may be orginal. The same company has a manual for NOVA controller novaman2.pdf (aakilns.com.au) From this archived thread My weird kiln won't reach temp - Studio Operations and Making Work - Ceramic Arts Daily Community : *begin quote* Duncan bought rights to the Nova kiln during the 1970s. All the Duncan kiln manuals can be downloaded from the Paragon website. (We list the Duncan manuals because we contracted with Duncan to sell their kiln parts after they discontinued kiln production in 1997.) Here is the link to the manual for the Duncan EA-092 The Crafter-Plus and the EA-122 The Artist-Plus ceramic fiber kilns. I believe these models were originally Nova kilns http://www.paragonweb.com/ManualInfo.cfm?CID=171 Sincerely, Arnold Howard Paragon Industries, L.P. *end quote* I'm not finding a direct match. The EA092 does look similar ...but it isn't 240v and is much smaller. LX855_Duncan_EA-092_EA-122_Manual.pdf (nxedge.io) Try contacting Paragon?

Hi Sierra, welcome to the Forum! Is there an information plate on the kiln - model and serial numbers, brand/maker, voltage and amperage requirements? If so, please post a close up image of the info plate. While you're at it, a pic of the inside also? That hole in the lid seems, err, too big! Perhaps it had been fired with a baffle over most of that hole?

Hi JPS, welcome to the Forum! Good question. Lizella Clay page on DigitalFire.com includes comparison with Redart: Lizella Clay (digitalfire.com) That's a start; please check back for updates/suggestions from others... Added: digitalfire.com entry on Redstone (per Min's post, below) Redstone (digitalfire.com)

Is it possible to deduce which ramp(s) went over on time? Data Menu -> Graph Past Firing Graphs from the last ten firings Compare the actual segment runtime to entered value. ...step out to the kiln, look at graphs...Brr! It's cold out there! ...up to 39°F If it is not clear which ramp(s) are at issue, then watching the graph during next firings should clear it up?

You might get lucky finding someone with bamboo growing in their yard who will give you some - keep your eye out for bamboo! Bamboo sticks are sold for staking plants, try searching "bamboo sticks" or "bovitro bamboo sticks" - Amazon carries them. As for selecting hair, see https://community.ceramicartsdaily.org/topic/40726-qotw-have-you-ever-experimented-with-making-you-own-brushes for some ideas. This Blick page has a paragraph at the bottom on "Ceramic and Glazing Brushes" Ceramic and Glazing Brushes | BLICK Art Materials (dickblick.com) Keep an eye out for brush hair sources! Carry your scissors, tape, and plastic bags with you. :| I use "chip" brushes more than anything else in my Studio; they are also called "throw-away" brushes. I get them in several sizes, and trim the bristles as necessary. ...I don't do much brushing, however. Please do report back on your progress?

Hi ClayFishStudio, Welcome to the Forum! Looks like a Mason jar (the regular one, not "wide") Image above copied from the Critter website Try searching "plastic Mason jar" - looks like there are many options, e.g. Target carries "Cornucopia" brand eight pack, sixteen ounce jars for twenty dollars, however, it's an order item at our local store, eight day wait.

"...I wouldn't be surprised if your problem was related to differences in inside and outside glaze application." Perhaps sequence and/or timing involved there.

Archival, just checking... From Utrecht Art Supplies document, "Just for Fun: What does 'Archival' Mean?" "When artists say 'archival', usually they really mean 'durable to the standards of permanent art.'"

Container inverted over each ware. I have two quart size plastic planters (with the drain holes taped over), 2.5 quart containers (a big wider), one and two gallon buckets, five gallon buckets, one large canning pot. Almost all my work is wheel thrown, on bats. To slow drying, I'll pop a container over the ware. Ware on impervious bats can stay on, or be wired off when stiff enough; ware on absorbent bats have to be removed before they get too dry... The wares can be kept moist indefinitely, given periodic misting with a spray bottle, even in the height of summer. ...however, probably better to get to them afore the molds take over... Trade-offs, eh? Keeping a crowd of ware together, no doubt simpler, more space effective. To each their own container can be "brought along" individually. It's what I'm used to. For clay balls waiting their turn on the wheel, I'm using a plastic tote with two bits of damp sponge in there. Periodically, I'll refresh the sponges and use the spray bottle to mist the underside of the lid. I'm not over loathing plastic sheeting for protecting in progress clay work. Hulk no like!

Outlets at counter level ...where your counters are (or will be) can be handy. A second outlet where your wheel goes might be handy. Integrated lighting - never, err, hardly ever need dusting - setting your baseline wash(es) of light in the space. I'm liking the round flat led units - cut the hole, wire it up, set the light temp, done. Lots of light at low (looong teerm) cost.

...and it's a rainy day here.

From thread on target cone and crazing*, are you using 325 mesh (e.g. "Sil-Co-Sil 45" or 45 micron), 200 mesh (90 micron), or some other mesh silica for glazes? Ever used 200 mesh? If so, any crazing at all? How resolved? I am curious if others are using (or used) 200 mesh successfully**. This article https://digitalfire.com/picture/u2d1fdLBki got me thinking. I wonder if my glaze fitting struggles were related to 200 mesh silica (which is what I have)? If so, then, would more heat work help dissolve the silica? If so, then, would more and/or more aggressive fluxes help dissolve the silica? If so, would a drop & hold (after peak temp) help dissolve the silica? I don't know. The solution involved tweaking the formula to reduce COE, however, I'd adopted drop & hold at about the same time. Answers, hmm maybe testing. I have several small batches of glaze that crazed. I'll try resurrecting and then putting them through my current glaze firing schedule. More to the point, perhaps, would be get some 325 mesh to compare, heh. * https://community.ceramicartsdaily.org/topic/41078-crazing-versus-firing-temperature **David, in the thread linked above, had incurred crazing at cone 6 (but not cone 10) when 200 mesh was substituted for 325 mesh on error; going back to 325 resolved. Perusing the archives, 325 melts better; "; 325 is standard; "; 325 is for glazes; several recipe examples specify 200 mesh, or some of both 200 and 325; 200 mesh requires more heat work, or slower rate to achieve same heat work; 325 is standard for glazes, "Cone 6 needs 325 mesh, or additional fluxes for full melt of 200 mesh" per GlazeNerd; 325 melts better, go half a cone hotter with 200; 200 is cheaper, melts less and 325 has a better finish; commercial glazes may/do use 200; From John Britt's "Mesh Size" article linked to Ceramic Arts Daily, 200 mesh used to be the glaze standard (fifty years ago), "Using 200-mesh silica now may be closer to using 325 mesh back in the day." and 325 will melt easier.

Hi Heidi, Welcome to the Forum! Good questions. For a start, verify what type of service you have. Typical home electric is single phase 240v (we have higher voltage at our new house, ~252v). Modern homes often have 200 amp service (or more), however, smaller homes may still get 100 amp. Your choices may be limited, depending. For electrical requirements, a good start might be perusing new kiln listings*. Note the relationship between size (in cubic feet) and amperage required. Note also the breaker and wire requirements. For example, my 6.7 cubic foot kiln runs on 240v (single phase), draws 48 amps, and for a reasonable run (less than fifty feet, just), #6 wire on a 60 amp breaker. Consider, you may wish to add a kiln, or get a bigger one in future? You can wire for a larger kiln, but use an appropriate breaker for your current kiln. Venting, essential topic, in my opinion. ...to be continued... for the sun shines now, I'm heading out! Added: Yesterday's outside adventure in the sunshine was glorious! Today we have gouts of rain, heh, good day to fire the kiln, swim, read, maybe throw some pots. Powered kiln vent, I'm definitely a fan, and recommend; it's good for the elements and removes a lot of fumes from the area. Many kiln manufacturers offer them. I put together mine - but should have sprung for a better fan - it works though! Overhead powered hood, I'm also a fan, and recommend, for the fumes that the powered kiln fan doesn't get, and the excess heat. The Heat The bigger the kiln, the more heat and fumes. I put together a 400 cfm overhead hood for my previous setup. It was loud, but I could be in the Studio while the kiln was firing. *Skutt, L&L, Bailey/Cone Art, Olympic, Paragon, etc.; the sizes and amperages somewhat similar... Skutt, L&L, and Cone Art have easy to read specs on their websites (I haven't looked at the others)

"Switching back to 325 solved the problem." Thanks David! I'm curious now, err, more curious, does drop & hold firing schedule help ameliorate the 200 mesh "non fully melting in" problems? I'm still on the original silica supply I bought in 2018, and year afore last I bought more, a lot more.

"Is it correct to say that if a glaze/clay combination does not craze at cone 5, then it should not craze at a higher cone firing?" Good question. imo, maybe! "Maybe" on account of the crazing or not crazing may not matter so much if the clay isn't fully mature or is over fired. For clays that take a higher cone without misbehaving, yes. In my experience (limited, of course!), some clays have a wider firing range, while others are very much more sensitive to over firing. Three clays, in particular - a red, buff, and a black clay - that I've tried matured at a solid cone 5 but misbehaved when fired into the top of cone 6 range. "Fully mature" - where the clay is dense, strong, and has low absorbency*, err, as low as the particular clay can reasonably get, that is. "Over fired" - where clay has begun to slump/melt, bloat, fizz/bubble... This article This amazing difference 45 micron silica can make (digitalfire.com) got me thinking. I wonder if my glaze fitting struggles were related to 200 mesh silica (which is what I have)? If so, then, would more heat work help dissolve the silica? If so, then, would more and/or more aggressive fluxes help dissolve the silica? If so, would a drop & hold (after peak temp) help dissolve the silica? I don't know. The solution involved tweaking the formula to reduce COE, however, I'd adopted drop & hold at about the same time. I'd like to have clay and glaze combinations that can take a half cone or more of "excess" heat work without problems. The aforementioned sensitive clays, I've found other red and buff clays (haven't tried any other black clays yet). Keep on with cone packs on each level, keep notes, and test (test, test)! *article on maturity Maturity (digitalfire.com)

I got a start at local Junior College ceramic lab (Wheel i & Wheel ii), where I enjoyed great access (many "open lab" hours), lots of material and equipment; met many potters from beginner to highly skilled; saw lots of pots; and liked the instructors and lab techs. It was dusty and I didn't always like the music selections, heh, minor complaints. ...hard to beat the price, best deal going! There are also many Studios in the City not affiliated with public education. Perhaps someone in the Bay Area can make a recommendation ...meanwhile, my suggestion would be to find and cruise - talk to the students/members.

I'd started looking this morning, then had to run... Hi Andy, Welcome to the Forum! Good question. I'm not finding a specific reference for oil types/viscosity for Podmore pugmill... ...nor for "Opperman spur reduction" gearbox, which appears to have been standard for some time with Podmore pugmills. Hypoid oil is important for ...hypoid gears! Still have the drained oil? Might be helpful for comparison. You might go with a semi-synthetic (cheaper than full synthetic) multi-range hypoid gear oil. How warm/hot the gearbox gets, important, as Bill has pointed out.

I like several of their clays, and they offer a significant discount. I'm low on tin oxide! Hard to beat USPigment on tin oxide. Shout if you see it for less than $30/lb? They (USPigment) have cobalt carbonate at $28/lb today...

Also trying new clays, IMCO reformulated "DC 3-5"*, an off-white stoneware, and "Terry Clay," a new light buff stoneware offering. Looking to fill the kiln for a bisque fire this week, then turn that around for a glaze fire. Other than that, I hope to host some local potters for a "Studio visit," throw lots of pots to pick from for next firing, explore outlets (wholesale and/or consignment) and make some progress on Studio upgrade/remodeling. Mainly, enjoy spending time in the Studio! I'm a lot closer to being pain free now, energy is much better (still lots of room for improvement there, however), and although more "cold" weather is certainly in the offing, the longer days help, and it's warmer these last few days. Mainly ii, I'm feeling more comfortable at the wheel lately, almost back! *Likely on account of finite supply of C-98 talc (looks like IMCO still has some C-98 available).

Hi Lee, Welcome to the Forum! Good question, hope you get some first-person experience responses. ...meanwhile: Laguna shows four distributors in Mexico, one in Mexico City Laguna Clay | Distributors Is it sane to build a pottery studio in Mexico? - MexConnect “You can get high-fire clay and materials for your studio from Marie in Mexico City. She ships truck-loads of supplies from Laguna Clay in Los Angeles and distributes them to potters all over Mexico.” The potter, looks like they passed away last year. I haven't found Marie... Volume establishments, (e.g. Anfora) may give you some tips on suppliers. Amaco dealer Taller – Esmaltes, equipo y herramienta para cerámica (esmaltesparaceramica.com) Shops that appear to have raw material Bizcocho CDMX:) Servicios y Productos | Arcicor

Liner glaze, translucent white. Clear blue, variegated green, red, variegated blue ...uhhm... teal blue. Six! There's scrap glaze, spills and wipe ups, wash offs, and such, it adds up after a while; when there were a couple gallons, I sieved and adjusted it. It's gray-blue, light gloss. The seven colors exhibit a range, depending on the clay, firing, and whatever may be fuming nearby in the kiln. I use seven underglaze colors, all Speedball. Some yellow would be nice, maybe via adding stain to the liner glaze. This year I want to get Faux Celedon (Selsor's) back in the mix... Down the line I expect to simplify. Each recipe is unique. I'll typically use three or four colors in a glaze load.