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About AaronRotchadl

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  1. In case anyone was wondering- Paragon said to just change the elements, that’s all.
  2. Thank you guys! Just waiting to hear back from Paragon.
  3. From what I’ve found (which is not too much) this should work fine if the elements are replaced with 240v elements, and maybe replacing the relays would help? Am I missing anything? I can buy a 208v kiln at a good price so I’d like to know. It’s a Paragon TnF-23-3 240v single phase, 47 amps. thanks!
  4. @neilestrick Thanks for the quick reply! When you say a "new controller" you mean just the part with the buttons that is riveted in or the entire box outside the bricks?
  5. I was wondering if these are reliable controllers? They're the first generation of digital controller by Paragon(that has the telephone style buttons) and I'm looking at buying a used kiln that has one. I couldn't find much information about them other than manuals. Are they known to run for a long time? Any serial issues anyone knows of? I'm just skeptical of anything "first generation" anything for fear that kinks still need to be worked out. Thoughts on what a good price would be for a 16"Wx22"D kiln with this controller? The rest of the kiln looks to be in 9/10 condition. Thanks!
  6. Magnolia- That is a great idea! I guess it is that simple... maybe. Thank you! A
  7. Hey all- I really love working with Malcom Davis Shino glaze for the depth that can be achieved just through the uneven/controlled drying of a singled dipped piece. The way I understand it, this happens because the Soda Ash is water soluble and thus travels with the water as it evaporates from the surface, creating varying levels of soda ash in the glaze across the surface. Now, I know that for those deep, contrasting surfaces this glaze needs heavy reduction for the carbon trapping to happen. I've had some Malcom Davis glazed pots in firings that didn't get very much reduction and the result was a much more muted surface with less contrast where I'd brushed wax. This has had me thinking what was possible with this technique without reduction. I don't have access to a gas kiln right now, and am pretty entrenched in working at cone 3 oxidation in an electric kiln. I was wondering if there were any glazes out there for cone 6 or lower oxidation that have a water soluble component, such as Soda Ash, that could get variation in the color/surface by affecting the drying of the glaze the same way one would with Malcom Davis Shino. I'll call myself an "advanced novice" as far as glaze chemistry goes, and I have a pretty good raw ingredient pantry and am looking to do some testing, but I wanted to seek a little direction before taking the leap. Any advice, stories, and information would be appreciated! I'm also a little concerned on what 17% soda ash in a glaze would do to the elements in an electric kiln if anyone can weigh in on that. Thanks in advance A
  8. Thanks for the replies everyone! I feel like I'm always seeking out answers on this forum that have probably been answered many times over.. and I really appreciate you regulars on here who are always giving your time and knowledge to help those of us with less experience. There's a lot of room for tragic error in Equipment Use and Repair and we're all so much better off with y'alls input.
  9. My partner and I have an old Alpine gas kiln model HF-24 that was given to us when we took over a lease. We're wanting to get rid of it within two months and was looking for some input. Like I said it was given to us, so we're not hellbent on making any money off of it. It was allegedly operational til right before it was delivered. It's been under a tarp, but also been rained on a little bit. When it was delivered, one of the two red electric controllers(?) on the right side got knocked and is crushed beyond fixable(I think). The screen that plugs in(temperature reading I think?) reads "oooo" on the top line when plugged in. We haven't gotten the burner fans to work though. Anyways- Based on what I've read about these kilns I don't think I want to sink any time or money into it. I'm wondering a few things: 1- Anyone have any idea what it would take to get it running if it's just the crushed box that's bad? 2- If it was just the crushed box that needs replaced, how far would someone be willing to drive to even just take it away for free? 3- If we scrapped it- what useful parts could we save from it? I'm mostly wondering about the powered burners? the fans spin freely so I imagine they're fine, but how much would I need to spend on everything to make them run(variable speed controller and whatever else) to power a smaller ~12 cubic foot gas kiln with natural gas? 4- Are there any actual "bricks" that are salvageable from this? I know this is far from a complete picture but I appreciate any input! See some photos below and please let me know if you need more information! Thanks!
  10. Hey guys- Thanks a lot for weighing in! I'm going to take y'alls word that cottle boards are the way to go. I think I may try to make the "base" its own mold and attach it to the tower in order to keep the weight down and use less plaster.
  11. Anyone have any experience making plaster molds without cottle boards? I want to make some plaster molds of desert towers that are roughly 8"x8"x14".(see photo) I've made one sculpture/mold so far using the method from Andrew Martin's book where the cottle boards are placed with the sculpture upright and then the seam lines are formed with clay by reaching down into the mold.(see photo) The experience was nightmare-ish in the moment and the mold, albeit ugly, works like a charm for slip casting, but is soooo heavy(like 60 lbs.) because of the way the sculpture tapers. So in order to save on weight and $, I'm looking into making the molds by doing a "hand lay up" style plaster mold like the one in this video, where I make walls out of clay at the seam lines and just brush/spatula the paster on. This seems like an OK idea in my head but I'm wondering how difficult it is to achieve an adequate 2" of plaster all over the sculpture? Should I mix just one estimated batch for each "piece"? Since it will probably be slip cast, how will I keep it square so it will stand on its "top"? I'm also pretty open to doing a slab/press mold where the mold thickness and needing to prop it upright won't be an issue. Any input, experience, and/or advice would be much appreciated. Thanks in advance!
  12. I'm wondering what is the maximum absorbency(%) of a mature clay body to be considered "dishwasher/microwave safe"? I'm assuming that if a clay body absorbs a certain amount of water and is microwaved it could explode... I'm using a terra cotta body and firing to ^3. I'll be doing an absorbency test real soon. Any data, anecdotal or otherwise would be much appreciated!
  13. I just started experimenting with an airbrush and I'm finding that some of the underglazes that need to be applied thicker to be opaque don't come out as nice because you have to move the brush so slowly to get adequate coverage. One of the best glazes that goes dark fast and with a thinner coat is the Amaco Velvet Blue Green. This allows me to be more gestural with the brush and move a little faster. Anyone know of other underglaze colors that behave like this? Or any other commercial glazes that you particularly like to use with the airbrush? Thanks!
  14. I'm looking to replace the bearings/brushes for the motors and wheel heads on two Creative Industries Model MP wheels. I'm not sure when either of them were manufactured, but they have two different looking motors. Can anyone point me in the direction of the right parts? I know that CI was bought by Speedball, but I haven't contacted them yet. I've also never replaced bearings, but been watching youtube videos and it seems simple enough with a bearing puller. Any extra advice on that is appreciated as well. Some pictures of the motors below. Thanks!
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