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FGC

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  1. I have a few questions about how to construct this nifty tool. I'm not sure what Bottle Rx film means, is that a glass bottle? How big? I see an angle on the 10" tube leading from the bottle to the 90 turn, what is the angle? Or is it important? What is the length of the tube sticking up on the right side of the picture? Do I use an tube 'elbow' to make that 90 turn? Lastly, is this whole apparatus sitting inside of a hollow wood or foam box? You didn't know you'd open a can of worms here did you? I read that part about gross adjustment, I just don't know if it voi
  2. Wow! Your firing schedule just blew me away--and my theory of the vent not working up to par. After reading your post, the pinholes in my work seem to point to a unhappy clay body/glaze fit. I've grown to really enjoy WC609 and hate to change and just recently purchased many commercial glazes. Is your pottery mostly thrown and thin? I hand build with slabs no thicker than 1/4" with this clay. What kind of kiln/vent set up do you use? And do you turn the fans off for the cool down? I haven't ventured to dive back into glaze formulation, I took it many years ago in college. I
  3. I did the smoke test with a cold kiln and heated to 150 degrees to make up for 43 degree TC offsets and no smoke was going in around the lid or kiln. Slider on bypass box was closed. Yes, I'd love to know how to make a manometer! This piece was from a drop and hold from a slow cone 6 down to 1950 degrees for 30 minutes. I've never heard of the term 'packed bed porosity', it sounds like you're saying the COE of the glaze is too tight for the body? And the viscosity, (the brushing medium the mfr added won't allow it to flow?) This clay, #65 has only a 4.8 COE and is crazing with o
  4. The smoke is being pulled into the fan motor assembly, see photo 1, and the gap between the 3" tube and the collection box that is welded to the rolling kiln stand under the kiln. But at 100 degrees the smoke is not pulled into the kiln near the lid or any other place around the body of the kiln.
  5. Thank you for your reply, To answer your questions, I will get some pictures of the pinholes uploaded later today. I do not have Bmx5 clay at this time to run tests. The pinholes seem arbitrary, some glazes like Cinnabar from Mayco will have only one pinhole in a piece and others like Blue Surf will have multiple scattered throughout. When applying the glazes, I do not shake the containers--only stir the glazes. I notice there are always bubbles present while brushing the glazes. My work is quite textured using bisque stamps. However, the pin holes appear on the inner smoot
  6. Hello, I'm hoping I can find some help with this topic. I have a new L&L JD230-3 kiln with a vent-sure. I've been using Laguna WC-609/#65 clay body. I use a slow firing schedule by Steve Davis that I read about in the July/Aug 2018 issue Pottery Making Illustrated. It is about a 15 hour schedule where the ramp is 60 degrees/ hour from 1300 deg to 1650 degrees. My schedule is even slower than the published version. My ware is small, thin thrown and handbuilt pieces and is spaced quite evenly, no stacking in the bisque fire. I have the required two holes drilled in the bottom
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