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Everything posted by Hulk

  1. Interesting! Given the kiln's amperage (or watt) draw, looks like eighteen elements, from there, calculate the draw per rod? My guess, your replacements should draw about the same in order to provide the heat and not overheat the wiring harness; the wire gauge should be discernable via inspection. The kiln and element vendors may be helpful, else the specifications. Perhaps the pics will generate some helpful response for you.
  2. Ain' got me flab roller yet. :| Aaand, I still have some flab. Used, err, second hand wheel (it was still squeaky new), and very used kiln (it works gud) easily outdistance other equipment, although initial order - glaze materials, clay, some other clay supplier stuff - was more than the kiln, less than the wheel. Also spent some change on two semesters at the local JC Ceramic lab for Wheel I and Wheel II classes. The wheel, kiln, materials/supplies/tools and classes were all great investments. Over the last sixteen years, the pounds have been dropping off, am down about ninety five or so, all without a flab roller, but the bike helps, and it rolls!
  3. Hi Nabila! Good questions. Learning through apprenticeship is still a thing (e.g. Florian Gadsby — florian gadsby), however, am not recalling any regular contributors to this forum having served an apprenticeship... You might get some ideas through taking a leisurely trip - a fact finding vacation - through the areas you're interested in? If so, my guess would be that the apprentices you meet would be your best source of information, and the Masters a close second, eh? Meanwhile, try "ceramic apprenticeship in Japan" search string; Google returns a long reading list!
  4. Hi Emily! Good question! Tempted as I am to research your question ...I'd like to suggest contacting Skutt support directly, having found them very responsive and helpful*. Support - Kilns | Ceramic Pottery Kiln, Glass Kiln, Pottery Wheels | Skutt You have the required info/detail in your pic - call them during business hours (but not at the end o' th' day, particularly Friday...). I am, naturally, curious - what is the problem with your cord? *I'd called them when researching a used wheel I was interested in (a few years ago); a real person answered the phone and answered my questions, stat. When researching a used kiln, the same real person transferred me to a kiln tech, boom, answers!
  5. Hi Chris! My reading indicates that PZT parts are sealed "...in high purity alumina crucibles..." to prevent lead from escaping during sintering, as the process requires temperatures well over lead's volatilization threshold. That (probably) doesn't help. You might identify the kiln in question, and/or post a picture? Be careful with that lead!
  6. My wedging area is a good height for standing, and I find it easier that way - leverage? The glaze mixing space - at the exhaust fan intake - requires standing. When glazing, I'm standing when stirring and dipping. There are several other tasks that require standing, and I get up from the wheel fairly often. Otherwise, I'm looking to have a seat - several lil' nagging conditions make being on my feet a lot uncomfortable. Also, at the wheel I'm dependent on the splash pan and my knee area for bracing arms/hands. Your question has me reflecting on the many adjustments made, over the years, t' work around, aaah, limitations. I'm very fortunate!
  7. Hi Sohaib! Zones in a Sacmi kiln, that looks like a commercial setup, where the ware is moving through - continuous - via belt, or rollers, through the firing chambers (likely gas firing). Hence, each zone corresponds to a step in the firing process, where the temperature (and perhaps the atmosphere as well) of each zone is different... How much time at what temperatures, likely depends on the clay composition and thickness, how "clean" it is, and the product requirements/specifications. Here are a few links on the transformation of clay to ceramic: Firing Clay: The Lowdown on the Ceramic Firing Process - Ceramic Arts Network Critical firing temperatures - Clay and Glaze Chemistry - Ceramic Arts Daily Community No doubt commercial tile firing is much different than what I'm doing in my garage studio! Still, the phases the clay transitions through are likely very similar. In an electric "hobby" type kiln, zones typically correspond to the areas heated by electric coils, or elements. Per prior, the concept has to do with control such that the entire kiln heats evenly. A kiln my size (seven cubic feet) may have three "zones." I'm curious if any regular contributors here have any experience in continuous firing - where the ware moves through the kiln. Most, likely, are firing in a static setup, where the ware is placed in the kiln, and later removed after the firing is completed and the kiln has cooled to ~300F or less - where the process can take well over a full day.
  8. Yep. Baffle/muffle might help - blocking the direct path(s) from under the wheel's decking, and also soften nearby reflective surfaces - what the sound may be bouncing offa. Still important to allow for the motor to cool.
  9. Aye. Perhaps "role" - arr being close to eff on a qwerty keyboard? If so, electric kilns that have more than one element - and separate controls for each element - may be considered to have "zones," one corresponding to each element. Furthermore, where each zone also has a pyrometer, the kiln controller* may throttle the heat to each zone/element, per the feedback from the pyrometers. Sohaib, if your kiln has zone control, likely your firings will be more even, top to bottom! My kiln, for example, runs cooler at the top and bottom, which I try to compensate for via loading/placement of ware. The zone concept may also apply to fuel fired kilns... * "Controller" typically referring to an electronic device that controls power to the kiln element(s), and may also control fans, log values to file, etc., however, a multiple element kiln with pyrometer feedback for each element would be, imo, subject to zone control, whether auto or manual.
  10. "Only way to know is by testing, there is no magic formula to tell what the actual fired COE will end up to be." Aye that! Glaze calculation software (e.g. GlazeMaster, DigitalFire, etc.) provides calculated COE values, however, as Bill points out, the numbers may not line up, especially when comparing very different glaze formulations. However, calculated COE be very helpful, particularly when looking to adjust a formula to lower/raise COE. After four rounds of adjustment, the "low e" clear I'm using on white stoneware is performing well. It definitely helps to start with something that's close!
  11. Hi Sharyn! JohnnyK made a splash pan, as I recall ...ah! See his post, top of page three - good idea, that. Anyone Have A Really Old Creative Industries Model Mp Wheel? - Page 3 - Studio Operations and Making Work - Ceramic Arts Daily Community Old model C, hrmm, that also rings a bell, ...ah II! Unidentified Older Brent Wheel - Equipment Use and Repair - Ceramic Arts Daily Community Mark points out that the new pans may not fit the older model. Hope your Brent runs strong and true for a very long time. Post back an update, eh (and pics)?
  12. Good work! May I suggest providing a dedicated outlet for your kiln - so you're not unplugging/replugging? If the new circuit won't support charging your car and running the kiln at the same time, one receptacle does proof it, however, so would a switch.
  13. Hi Hailey! Hope you find good information and use it to square up against nuisance dust with your abatement plan - you might get some info and advice here (yep!) in this thread, however, my first advice (see?) is to research the topic thoroughly - likely, that will help. First, are you firing in your spare room? Routing all (at least most of) the fumes out and away, that's a concern, and fire danger, there's that as well. Second, are you mixing glazes in your studio? Storing and managing materials and glazes - it's all dust - that's a concern. Clay dust, hrrm. My observation has been that communal/academic studio (I spent a year in the local JC ceramic lab) is much more dusty than my home studio, for there's dry clay everywhere - on the floor, on shelves, wheels, canvas covered work tables (yuck) - everywhere. How to measure dust? I'm still posing this question - no answers yet. My suggestion has been to monitor clean surfaces - how quickly does dust accumulate? I'm finding that our clothes closet is a dusty place, also the kitchen. In the studio (we have a two car garage and a one car garage; the latter is my studio/workshop/bikeshop), the wedging and wheel areas appear to be the dustiest. Back to measurement - wipe clean a portion of shelf, counter, floor, etc., then check back periodically - how much dust has appeared? At the local JC lab, an appalling layer of dust accumulates in less than two days - at every level, everywhere. Abatement, hrrm. Dry clay, bad. Quickly moving air, also bad. I run my mop (commercial bucket and wringer - like the one I put myself through undergrad with) several times/week in the studio. I wipe down the wheel, tools, and counters at least daily. Open clay bags slowly and carefully, wiping back the dried clay. Green ware sits on the green ware shelving, which be furthest away from moving air in my studio. I do open the roll up door and the man door for air and to get in and out. Having everything clean afore opening the doors helps, for moving air moves any dust as well. I wear my N95 when stirring up the dust, aye. No sanding in the studio. Handle glaze materials with N95 on, aye; thorough clean up after, aye that too. Mop and/or wipe up glaze spills/drips afore they dry, aye that. There are dustier places - dustier than my studio - near us, the beach, for example, and others' studios, heh. Be concerned, stay concerned enough to keep up your dust control plan! Please post back how it goes.
  14. Hi Christy Ann! Among the choices, a standalone box that your kiln and a pyrometer plug into might be simplest, and also serve for another kiln (within the amperage rating). Kiln Master Wall Controller ~$650 AF3P Controller ~$600 (see image, below) Amaco Select Fire Skutt Touch Retro KilnMaster (perhaps not a standalone box) Orton AutoFire Express Controller ~$475 (15 amp) ...try search string "Wall Mount Kiln Controller" My (somewhat ancient) kiln is also fitted with a kiln sitter and three switches with choices low, medium, high; I bought cones and a pyrometer, and started out watching cones through the peep holes (with kiln glasses on, o' course) and watching the pyrometer readout. A few years later, I still watch the pyrometer readout, and place cones on each shelf, but I don't check the cones whilst firing. That to say this: one can fire manually, just takes time and attention. Even with a controller, take lots of notes and stick around whilst firing. Be sure to manage the heat and fumes - especially the fumes - don't breathe the fumes!
  15. Hi Skip! Making a single cup o' tea == the test described, hence, subject your 7th favourite (perhaps not your very fav, any road) mug to it, as it's reasonable that mug users will. We don't want hot water flowing out of a split mug, for it's at least a disappointment and mess, and could be dangerous and damaging. As for your glaze, my guess is that you'd have seen glaze fit (crazing perhaps more likely than shivering) issues manifesting by now, if any. The thermal shock test might accelerate any fit issues, another reason to do the test, eh? I'm going with a clear or white liner glaze on my ware - no colours on the food/drink part, even though my colours seem rather durable, stable, and all - just not going there.
  16. Hi Frenchie! Good question. The quote above - the source article has been reposted many many times... In my process, slurry is the way to go, no contest - works for non-horizontal surfaces, sticks well, allows for somewhat precise application, doesn't blow around. Am finding that adjusting glaze specific gravity (how much water) and thixotropy* helps, also practice. *Thixotropy and How to Gel a Ceramic Glaze (digitalfire.com) See also several threads on the topic in this forum.
  17. Hi JF! Thanks to your post, I've enjoyed some reading 'bout silicone moulding products. I'm sticking with wheel thrown clay, however... You might find some good reading; no doubt you've exhausted what's available from Smooth-On website - their FAQs, "World Famous" technical page, etc. Try "smooth on forum" search string -> resinaddict.com, taxidermy.net, sculpture.net, hobbytalk.com, modelmakers.org ...and here... Searched for 'smooth-on' in All Content (ceramicartsdaily.org) Rubber Slipcast Mold Masters - Need Help - Studio Operations and Making Work - Ceramic Arts Daily Community
  18. Hi Janu! When you've scrunched your freshly thrown piece back into a ball, then smooshed it flat on a plaster bat/slab, it shouldn't take very long for the clay to dry enough to be ready for wedging and re-throwing - perhaps less than an hour, even when the humidity is high. You might peel it up, wedge it some, and smash it flat on the plaster a few times... In the long term, there's "reclaiming" - which there are several threads on this forum for that topic.
  19. Hi Shan! As you no doubt found in your google search, tyvek is DuPont's brand name for a synthetic (polyethylene fiber) materiel - rather like paper, or cloth, that is used for many things, particularly "house wrap" (vapour barrier). House wrap materiel is typically available at building supply stores; try online retail giant (am a zon) for precut rectangles - 3x7', 9x7', etc. - marketed as ground covers for camping. Counter tops in my studio/workshop/bike shop are repurposed doors; they take wet/wipedown well.
  20. Hi JCC! Good questions. I've some success making simple bisque molds for sprigs*; I'm pressing the "master" (bike sprocket, bike chain, other stuff in my studio/workshop) into a smoothed slab of clay, which is bisque fired - now it's a mold. Then, a) press some clay in this mold; b) as bisque is fairly absorbent, the clay sets up fairly quickly - remove from mold when the spring nearing ideal moisture level for attachment to leather hard ware; c) trim and smooth; d) prepare for attachment - your preferred method here - I dampen, score, and use a bit of slip; e) attach, smooth, finish! This is a silicon mold available from local hobby chain store: * try searching "sprig molds for clay" - there are many choices for pre-made molds, and instruction for making your own molds as well. Go sprigs! There're fun. My decoration style is very simple, and often muted, still, a bit of sprig can add interest.
  21. Is that a passive (without powered fan) setup Thiamant? Either way, systems that pull a small stream of kiln atmosphere reduce the fumes considerably (per my limited experience), however, there are still some fumes and a great deal of heat as well coming off the kiln. If you use wax resist, that might give you an idea, for it has a strong smell when it burns off. I'm using a powered kiln venting system and an overhead hood fitted with a 400 cfm fan, even so, a bit of fumes do escape...
  22. Am finding white foam glaze recipes including significant quantities of leaded frits, and jars of "vintage" glazes from decades ago... I suggest avoiding lead.
  23. Definitely recommend watching some video clips, practicing regularly, and giving it a rest as well. Go back and re-watch the clips you liked, and see with your new/changing perspective! ...lots of clips, and note the variation in technique. Initiating a pull, seems to take much longer to establish the shoulder/ridge of clay than it does to move it up, once established. Really take your time initiating the move. I use the side of my index finger to establish a groove at the very bottom of the outside ...Bill Van Gilder uses his middle finger in some o' his videos, thumb in others. You may see folk using just about any portion of the outside hand (per prior), also various tools for pulling walls. My initiating step is not the quickest, for sure, for I'm using my right index finger, then moving that hand to the inside - it's adding a move. Keeping one's fingernails away from the clay (and the wheel head/bat!) may be important, as they can wear away - when that becomes second nature, time to celebrate. Any road, forming and then getting that ridge moving takes more time that keeping it moving. :| "Inside fingers must be below the outside fingers." I sat up, closed my eyes, an' did some imaginary throwing! I'm running my outside below the inside. A quick check o' books I have lying about, and a few online sources - there are several others that run outside contact below inside. I'll definitely try the opposite though. Min, do you initiate your pulls with outside contact below inside, then shift (maybe a typo)? I haven't been aware that I'm using one hand for pulling walls now, wonder when that started? Any road, I've thumb on the outside, fingers on the inside, using the "inside" hand, where the outside hand is steadying and supporting, but not doing much. When the piece is taller than I can reach that way, I'll move to index and middle finger (or second knuckle of index finger) on the outside, two or three fingers on the inside. Hands are in contact with each other - until the piece is too big for that... Some may (like me!) be more comfortable with one rotation direction over the other; counterclockwise seems heavily favoured 'round here (California). Whilst I can (kind of) hang that way, clockwise is much better for me - lots of reasons, some of which I'm aware of, heh. Try different grips; you'll find what works.
  24. Found replacement derailleur hanger mounting screw in the Ace bins a few years back, at < 8% o' th' cost of a replacement from the frame manufacturer...
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