Jump to content


  • Content Count

  • Joined

  • Last visited

Everything posted by MFP

  1. Thank you both, I should have been more clear....the vase was not in the video. The box is lined with a green celadon. Somehow that video has changed....it used to look black and white on the lid...not a darker green breaking on the texture. I did see him make it....it is very white porcelain even when wet. And it was slab rolled and applied. Any idea what the red glaze is? He uses it a lot...I am thinking a clear with Mason 6003
  2. So...black and white underglaze stripes with a clear over the top....it didn't have that look but I will try it....it almost looked like black and white glazes side by side....but there was no blending of the two together. Can you use a stain like an oxide if you have the right glaze? There was another pot he used it on where he had clearly drawn lines over a glaze that were black,,,but again no blurring or running. I wish I could copy it and post it. Here is the url.....it is the lid of the box. He had a vase where it was vertical stripes on the neck. https://www.youtube.com/watch?v=3tcbcO_vwdQ&t=24s It is right at the beginning of the video....sometimes for some reason....it gets cut out. There is another brown box....it's not that one.
  3. I recently saw a pot with vertical black and white stripes up the sides......the black was a pure black....no blurring, no running, crisp edges. . Anyone have any idea how this is achieved? It was a white glaze. I was wondering if it was black stain applied to the surface. Any ideas would me most appreciated.
  4. I discovered in my hunt to try to figure out why Mark needed old talc for some of his recipes, that what we used to call desert talc was a substance that was deposited in layers like shale....and that there were two almost identical forms,.....the desert talc and pyrophillte. The talc we are getting now is literally ground soapstone and is not even the same as desert talc. Apparently if you look at the two under a microscope the difference is readily apparent. I then discovered that it is mined in North Carolina and is markedted as Pyrax by the same company that makes Vansil Wallosanite feldspar. Ceramic Supply in Pittsburgh carries it. I got ten pounds....and yes....it is beautiful white fluffy talc. I am sending some to Mark to see if it in fact works in his old recipes. I am also suspicious that I will need it for my old cone 10 recipes as well. So....this post is just an FYI for anyone having problems with the new talc. This is an alternative to try.
  5. Yes...add enough gerstley borate to a glaze and it will bleed.....and run....all over the place.
  6. Yikes! But to be totally honest, there are just bodies I like more. Everyone is different which is great....imagine the problems if we all liked exactly the same things!
  7. The senior moments just keep coming more and more frequently! I think we talked about S cracks or was that Neil?
  8. Thank you! I will take a look!
  9. Actually, after a discussion with Min.....I am less concerned about this. It was more force of habit I suppose since stoneware was the norm when I was last working and workable porcelain was fairly non-existent. I have actually found the new porcelains to be easier to work with than these new stonewares. I don't care for Bmix.....although it takes glazes well, I find it has all the disadvantages of porcelain and none of the advantages. Min noted more problem with S cracks with these stonewares and that has also been my experience. I found a stoneware body from Clay Art Center.....a cone 6 and 10 versions that are for larger pieces and ovenware. So, if I need a stoneware, that is what I will use. After this first test fire, I see clearly that porcelain is not "delicate". The New Zealand porcelain from Clay Art Center is whiter than Frost and you could bludgeon someone to death with it.....it would take a lot to break it. So I think I have finally figured out what I am going to use for what.
  10. http://www.greatkilns.com/resources/operating-manuals.html This is all the manuals available: It is in the electric kiln one. If you click on any of the below, it takes you right to the pdf. Kiln Sitter Manual LT3K Kiln Sitter Manual P&K 3 Key Manual RTC-1000 Control Manual Electric Kilns Operating Manual Standard 3 Key Cone Fire Manual Orton Auto-Cone Manual Orton VentMaster Manual V6CF Manual V6CF 700 Series Olympic Gas Kilns Manual High Limit Controller for Gas Kilns Manual Gas Blower Burner Glass & Heat Treating Kilns Manual Genesis Manual
  11. Got it downloaded...but this site does not upload pdf files It also won't copy and paste. I don't have the conversion program. You can download the entire manual directing from the Olympic site. It is on page 56 of the trouble shooting section. They just have one generic manual for all their kiln.
  12. I don't mind sharing at all. The entire manual is too large to upload....I already tried. I am trying to figure out how to save this single page to my desktop so I can just upload that
  13. Contacted Olympic....they sent me their PDF for this problem. When it is hot, you loosen the screws in the lid hinges until it lays flat and then tighten them again. Since they have it in their troubleshooting manual, it must be a fairly common problem. It's on page 56. It's too big to upload here.
  14. I contacted Olympic They sent me the troubleshooting page for this problem. When the kiln is hot, you loosen the screws on the hinges of the lid until the lid fits flush again. Then you tighten them up again.
  15. Removing the rod only only involves removing a cotter pin. It's too heavy to go anywhere right?
  16. Have you seen that video where someone throws a pot, then cups her hand around it and covers it with slip......the purpose of which then is to drag fingers or ribs through it to create a fluted looking texture? Also done on a large plate edge to produce flat scalloping.....is casting slip what is being used or did the person just make a slip from the clay she was using which was porcelain? I can't figure out how it will not crack or flake off later. Looks cool when thrown but then what happens to it?
  17. I have a little 1827H Olympic electric that I am NEVER going to ask to fire to cone 10----the one with the gaping lid.. My plan was spending the summer/fall learning cone 6 oxidation. I also have a huge 2831/2381 ( I can never remember) Olympic propane kiln that has never been fired. I first have to deal with the burners....they are rusted on the outside and I have a feeling that it is going to take some effort and lots of WD40 to open up the ports....if they even have them.....they call this kiln Torchbearer now....but mind has 6 burners not 4. I also have to set up the propane line. I wanted to wait til this winter to fire it as I do not want to vent it.....all I have to do here in the winter is open the shop door and all the heat will be sucked out right away! ( I am in northern Idaho). It is going to take a lot of ware to fill that thing up....and I must admit I am ambivalent about it. But I still have all my cone 10 glazes and there are now so many cool cone 10 refection glazes to try! And cone 10 reduction is what I know.....and now having porcelains you can actually use for cone 10? Heaven! I like the color possible at 6 oxidation....and the subtly at cone 10 reduction. I already have separate shelves set up for the different bisque ware.
  18. Yes....I noticed that....I am wondering if this is all due to the Colemanite. I am going to put a bunch of cups with "knowns" in the next bisque and all four unknowns again and see if we get any matches! As I told Min, we did not use the wide range of materials then that people use now. So picking five or six of the most common should not be that hard.
  19. THANK YOU! I thought I was losing my marbles.....I actually have found the porcelains easier to work with than these stoneware bodies! And Yes! I have been battling s cracks in the stoneware but not getting them in the porcelain---despite compressing and compressing and compressing. I certainly saw in this fire that the colors do much better on the porcelain.....and that Oregon White, although it looks slightly tan where the exposed body is....under the glaze it is strikingly white. It also did not have areas of uneven appearing glaze like the New Zealand and Frost did. I also noted that glazes like Floating Blue and Wright's Water Blue liked to run on the other two but not on the Oregon White. I am glad I put that extra coat of kiln wash on! B mix took glazes well but I hate it. It seems to have all the disadvantages of porcelain and none of the benefits. Ironically, the cone 10 Amaco stoneware is very nice to work with but way too expensive. I bought it before I had shopped around. Well....this answers my question then. CAC makes two traditional stoneware bodies recommended for oven ware....they are your classic grey body with grog. They have one version for 6 and another for 10...again I liked the 10 version better. It took glazes well in this testing. So....if I want to make oven ware...that's my choice. So I am thinking that stoneware is staying in the cone 10 group. I took back that raku body and replaced it with the Oregon White....so porcelain it is! ( I told them they had the wrong description under that clay listing but they never changed it) It is their best selling body, The porcelain bodies are sure different now. The only one I worked with in the past was Kai from Westwood and it was very challenging. Thanks again! This answered a lot of questions!
  20. Ok...then I think 3 is barium carbonate. I have some barium in a jar....and it looks similar. Looks like what I need to do is what I did with the three oxides....I put known oxides on a chip with glaze and then the three unknowns on three other chips and numbered them. Finally differentiated the cobalt from the nickel from the black iron. So. looks like time to throw more small cups and in the next bisque, put in small amounts of common materials we suspect they are and the unknowns again. Then we should be able to figure it out. I have also discovered that melting point and actually melting are two different things. I had an experiment in the last fire.....garnet sand in the bottom of a dish with clear Mayco glaze. Yes....it was clearly starting to melt at 6 but not melted. So it's going to have to go to 9 at least to be melted together. I should note that aside from the coffee can, these are large cans of materials....about five gallons worth....so they would not contain anything that was used in small quantities. I already found the titanium oxide.....so know that #2 is not that. The reason I think the coffee can may be tin is because I made the white glaze with it and it was whiter....does that make any sense? I saw US Pigments also....will check it out again. I think it is ironic that I have found three porcelain clay bodies that all have their pros and cons, but still cannot settle on a stoneware body. It seems like everyone has switched to porcelain. Thank you again so very much for all your time! You are very generous!!
  21. Thank you! I will look at it!
  22. Ironically.....deciding on which porcelain was the easy part. Oregon White from Clay Art Center took glazes best....over Frost from Laguna. I am still trying to find a stoneware. B mix took the glazes well but I worry about its strength. There is a Bennett that is stronger but very tan.
  23. Is anyone aware of a truly WHITE cone 6 stoneware? Not buff, not tan, but White?!??
  24. Just to underscore Neil's point.....my Shimpo is 40 years old and still going strong. If you buy a brand wheel.....it will last you much better. Sometimes if you check around, there might be a local potter's guild where people sell their used wheels because they bought something niftier.
  • Create New...

Important Information

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