Jump to content


  • Content Count

  • Joined

  • Last visited

Everything posted by CactusPots

  1. That was what I was hoping for, but I couldn't find an adjustment of the primaries that made a difference on the meter at the point of heavy reduction. Now it will be fall before I have another glaze fire, but I'll fool around with it some more when I get there.
  2. A friend of mine who does handbuilt planters and single fires uses a lot of iron wash. He uses steel wool for the wipe back. I don't really like iron wash by itself. When it's thick it gives a shiny metal look that isn't right for my taste. Lately I've been using this rutile wash that's a nicer mat brown where it's thick in the crevices Ball clay 25 Neph Sy 25 RIO 30 Rutile 30 GB 30.
  3. If the legs don't all reach the floor, something like this will help. They're made for heavy duty workbenches, so they should hold up. Google "workbench levelers" and you'll find lots. Might have to fabricate an attachment bracket for this one.
  4. At 80 on the oxyprobe I have a distinct gas odor. Not black smoke, but the exhaust is visible. I always adjusted the primaries to less than a quarter inch at reduction because I thought, but had no way of knowing that cutting the primary air would increase reduction. Mine are at least accessible, the kiln is open on both sides. The West Coast kilns that I learned on were not accessible. That was a long time ago. I really have this kiln down to the basics for firing. I don't know where to go for any improvements, but my personality won't leave it alone.
  5. When I use iron (mostly) oxide for textures, I wipe back the high places with a wet sponge to get maximum contrast. Once the wash is dry, I've never noticed iron coming off in the glaze. I usually add some dark clay and magma to the wash and I think that helps give it a more durable surface. I didn't always do that and didn't notice the problem then. As for spraying, it's more wasteful of glaze than dipping, but if you like that approach, the best bet is a compressor and air gun.
  6. Some of the information I was able to gather yesterday's firing. At 1600, which is where I would normally start reduction, the kiln is already registering about a 34 on the oxyprobe, My gas and damper settings for reduction run it to 80 The kiln will climb to finish, very slowly at the end, but very even temperature top to bottom. It will register a lower oxyprobe number as it goes by itself and I usually make a few small (1/8") adjustments to the damper to move things along. Pretty consistent 12 hour firing. Soft 10 Oxyprobe number at finish was 485 36 cubic foot kiln used
  7. ___________________________________________________________ __________________________________ __________________________________________________________ ________________________________ Brick floor of kiln What is the space between the bottom of the brick floor of the kiln and the top of the burner? --------- top of bu
  8. Beautiful pot. I wish I had your decorating skills. If I ever succeed throwing large, here's how I'm going to do it. All my techniques for footing pots are too much trouble for the big stuff. They're hard enough as it is. If you have an extruder, make them in different sizes.
  9. Bill, On this third picture, I see the burner penetrating the floor of what? This is not the floor of the kiln, I don't think.
  10. A- Turn up the gas From about 4" at 1600 to 6" the rest of the way B- the damper in by about half. Slight adjustments to the damper (1/8" per) to get temperature rise to finish. I had a suspicion the primaries adjustment wasn't making a contribution to reduction. Now I want to know why.
  11. Not cinched down, just to a few mm. What would you say it's telling me? I would guess the burners are able to draw all the air they want from the gap between the burners and the floor. I'll have to get back into my kiln building reference books and see what the gap is supposed to be.
  12. It doesn't appear any adjustment to the primaries makes an impact on the reading of the oxyprobe. At my normal setting, I reach reduction temperature at 1600 with an oxy reading of 31. My usual setting for reduction at that point reads 81 The kiln climbs about 100 degrees or so for the hour of heavy reduction with the bottom eventually passing the top (down draft). Maybe it just doesn't matter. I should watch and see if Geil ever does another firing workshop. My kiln is more like his that any other. Since it's a homemade job, maybe there are peculiarities.
  13. Everyone who works for that company should be required to say it that way. Maybe even get Dr Evil to record the auto greeting. Choice.
  14. Will the Neph Sy add gloss when the wash is pooled up in deep texture? I make my iron wash without a recipe, just adding a little of this and a little of that. No fluxes, but I do like the addition of magma.
  15. The problem with grinding glaze drips etc off standard alumina shelves is that the shelf is so much softer than the drip. Using a standard body grinder with an abrasive head is tough because the angle is awkward and the grinding wheel doesn't really cut all that well, so it takes some pressure and multiple passes. I got some quality diamond dremel bits from lapidary supply recently. They aren't all that cheap, but my understanding is that the diamond grit isn't just a surface layer, so it will retain it's cutting ability as it wears. This stuff goes through glaze drips right now. Pretty e
  16. That's a really difficult skill, judging how much clay to make a specific size and shape that's not a frequently repeated product. I can somewhat do it after 25 years. I don't think it's anything that can be taught or even calculated. Human brain is really marvelous.
  17. It looks like the clay is working well for detail. Maybe it just needs a little time on a plaster slab to set up a little. Moisture content from suppliers is not consistent, so better get used to that.
  18. This topic perfectly illustrates the difference between a studio potter and a production potter. Most of us may very well be some degree between the two. The ability to recover from varying degrees of difficulties in itself is an acquired skill. For a production potter, the typical response is trash it and move on, but a studio potter is always pushing the envelope, so it's useful to have a bag of tricks.
  19. Have you ever tried to pick up a bone dry pot by the rim and pulled a big chunk out of the rim? Believe it or not, I have put that piece back in and fired to bisque and then to glaze and it can't be seen. Paper clay is a really valuable tool.
  20. It doesn't take very much, maybe 1/4 cup per 25 lbs. That would be for commercial softness going to the softest you really can throw. Easy to wedge and center. That's for the clay I use, Soldate 60 and Amador. If you're using B Mix, porcelain or something like that I'd think it might be different. You really have to experiment and see what you like. After pugging it soft, it really does benefit from a rest/age period of at least a month and more is better. Did you get the machine to pug out the clay? The hopper has to be really full, no big air voids.
  21. JB Weld has a product called Wood Weld. It has almost the exact color of a neutral stoneware such as Soldate. If you use a dremel to take the shine off, it really disappears. I buy it directly from JB Weld in the large squeeze tube size. 2 part.
  22. Would there be issues with cooling as well? I assume these are fired in a standard electric kiln, so reaching top temp and cooling could be pretty fast. Also, Peter doesn't state that the entire piece is 2", so I'm further assuming some parts are considerably thinner. This also can create issues in heating and cooling. You could solve the exploding part and still have an unworkable design due to cracking, I think.
  23. Like most answers: it depends. A picture would help. One thing it depends on is how runny the glaze is. You could avoid one issue and create another depending on the thickness, clay type, size of support in relation to the supported piece. Generally speaking, I'd give a qualified yes to your question. I use a lot of little slices of soft brick just like you're describing.
  24. I have no expertise here, but even as a DIYer, it doesn't seem like the parts line up correctly.
  • Create New...

Important Information

By using this site, you agree to our Terms of Use.