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About Sorcery

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  1. So far, indoors is winning for me. All Day. Covering the ceiling insulation and installing the vent no matter how difficult, is still half as expensive as the wires needed to get to the garage alone. Just the wires. Sorce
  2. Gas! I don't think researching the electricity is worth your time. It'll be cheaper to just buy a different kiln. Or go gas! Sorce
  3. Sounds like someone else's misstep, and once they get found out they're getting blamed for spending too much on the cobalt stain. Sorce
  4. I believe it "slipped" into use regularly, because there is a benefit of using it to connect bone dry porcelain. Sorce
  5. Hole sounds good, I have seen folks cut with an implement when things are too dry, which starts cracks. I don't know that I have anything for ya, I just don't like when so many energies go into thinking about things that seem to NOT be the problem. Witness cones? It all still seems quite random. The old breaks, the new, I feel like they are still related and the different firing just exposes them differently. Do you dry them right side up? Sorce
  6. I built my conversion with the help of that blog. The design is friggin fantastic, works amazingly well. Consider keeping a seperate junkier kiln for Raku. I don't even like opening the lid on my conversion when it's cooled, opening it hot, would cause more shifting and cracking of the internal flue than I could stand thinking about. Plus it's kinda dangerous. Check OfferUp for used bodies. I have $50 into the body, $70 into the flue shelf, and about a thousand on shelves and furniture. Borrowed burner probly around $100. Sorce
  7. A recent Washington Street Studios video explained how using Vinegar actually (one of the floccs it) and makes it scientifically worse to use than plain water. Sorce
  8. Did we get any more information about this? The first thing I thought was a thing I read on Glazy that said use of Black Stain other than Best Black turns things Blue. It is highly likely someone figured black was black was black and bought or added the wrong stain. Sorce
  9. How different are these 2 instances? I ask because it doesn't take much to turn a hairline crack into a break. It makes sense to me, the slightly more accurate control of the controller keeps the temps so, that the hairline crack is just a lesser version of the earlier breaks. When/How are you cutting your hole? Sorce
  10. There are many types of "masonry". Still, it shouldn't be too difficult, and if it is, that just means it will stay! I use the forward leg to pin the table to the wall. Sorce
  11. I'd add em after of it's faster but I'm already an after adder. Sorce
  12. Lol. I set this up to fill a Togo bottle and was going to do something else while it filled.... Then I quickly realized I essentially setup this scenario, where the weight of the water would transfer and end up knocking this glass to the floor! But who doesn't like to hear glass break! Lol! Sorce
  13. Though some folks have succes drying between layers of things, It is actually uneccesary, and as we are witnessing, actually highly detrimental, depending on the clay, and prior treatment of it. Just ONE extra swipe of the rib on one side is enough for some clays to want to bow. Any minor amount of bowing trained into the molecules IS garaunteed to break if that bowing has nowhere to go. Hence the breakage in this project. Most of the shrink occurs by leather hard, shrink is what makes things bow, by ribbing and flipping until leather hard, we completely eliminate the need to "keep things flat". No shrink no bow. Add in the "pinning and shrinking", which is essentially the same phenomenon as "s" cracks, and it's quite easy to see why near every piece is cracking. But screw speculating failure. I am absolutely positive all you have to do to find success...is... Make a slab correctly, rotating and flipping between about 60 and 80% evenly. Then Rib perfectly evenly. Depending on slab size, x amount of strokes in your most comfortable position (usually towards you) then spin the slab and do all 4 directions. Sandwich and Flip and do all 4 directions. Note, spin the slab, because you can't apply the same pressure with an away stroke as a towed stroke. This is a requirement of perfect. Spinning on a wide banding wheel works. After a couple flips the clay should no longer stick to the Flipboard at all. One more ribbing for good measure. You may decide to outline your cuts and texturize here, to minimize texturing failures that can occur with thin strips. Then cut out your strips. Some clays may require a downward full sheer cut to not introduce warp again. Dragging a knife down one side reorganizes those side molecules again, which can then warp during firing. These can be left in the wide open to continue drying. If you, @LeeU can't get near 100% success with this method, I will buy you a box of clay. Sorce
  14. This white clay is Amaco 46. Which is my grog free clay. Ribbed as such, only this one, which was likely thrown on an unflat surface after discard was slightly warped. No topper needed. Only 3 to four good even layers of "molecule packing". The "memory remover", or "maker" as it were. Running out. Let's chat! Sorce
  15. This must be ware...get it...ware....the breakage occurs. I exclusively slab build, with at least fine grog or sand clay. Working on Hardie backer, I rib in all four directions, flip, rib all four directions, flip, and realest this till leather hard. This ensures nothing warps. Porcelain takes more flips than an open groggy clay, and also needs more ribbing, so any clay is ready when it is ready kinda automatically. Using this method with your clay should ensure no warpage, and no need for the tile atop. I'll draw you a pic of the holder an firing I'm imagining. Later. Apologies. Sorce
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