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JRW

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  1. I live in Berkeley, CA, which is a very temperate/Mediterranean climate with relatively mild summers and winters. The building gets hotter during summers and colder in winters, but it's manageable for people. (I have yet to be there for a winter). I did call Skutt and to my surprise, they said it's fine to vent it into the building. But I'm taking into consideration everything that you've said and will have a conversation with the manager. I really appreciate all the info everyone has provided!
  2. By the way - there are no recirculating fans and there is no AC or heat in the building. There are fans built into the ceiling which I assume pump air outward.
  3. Bill, thank you so much! This is very useful information. All of this is new to me so I'm trying to puzzle it out. Based on what in see in the warehouse it's hard to understand how there could be an air exchange of that volume, that frequently. And I was wondering about the heavier gases/components of the fumes.
  4. Also, regarding the air exchange comparisons: aren’t these other places you mentioned (Foundries, laboratories, commercial kitchens etc) typically in much smaller and more enclosed spaces with a lot more fumes and pollution? Do you think one kiln in a huge warehouse could pose much of a threat? It’s not sounding great but I’m curious what you think.
  5. Thank you all for your feedback. Neil, to answer your question, this is a commercial studio space for artists of all kinds and there is only one studio that is wired for a kiln. There have been several artists who have used kilns in that particular space before me, I am told. No one has mentioned any issues with it. Currently I take my work to be fired elsewhere. I don’t think it will be possible to vent to the outside. There is no exterior wall close to or adjacent to this studio and I very much doubt the manager will let me drill a hole in the ceiling. It sounds like the
  6. Hi All, I'm currently working in a warehouse space (approximately 7500 square feet) and am considering getting my own kiln for greater flexibility and faster/cheaper firings. The space has multiple individual studios with four walls but no ceilings - so that any gases/fumes will rise into the loft of the warehouse where there are ceiling fans that push interior air outside. The problem is, I won't be able to vent the kiln directly to the outdoors. The manager has told me that the space is "built code for artists, with an air exchange every 20 minutes", and apparently there have
  7. Thank you both for your input, it is reassuring. Do you know how often filters need to be replaced? Hard to find clear info on that.
  8. Hi Rew and everyone, I appreciate this thread, and I stumbled upon it because I am in the middle of my own freakout about silica dust. I have been doing pottery for 2.5 years and have been pretty blase about dust. I have done a lot of dry sanding of greenware (outside), and have worn an N95 mask for most of it. Since COVID, I learned that N95 masks do not work well for people with beards like myself, and so now I am quite concerned that all that time I was breathing in massive amounts of silica. I am having some lung irritation and phlegm production that is making me paranoid. Does
  9. Hi All, I am mixing Mason Stains into Laguna s-695 white stoneware casting slip. I find that when my pieces bisque-Fire, the colors looks vibrant and promising. But once they are fired to cone 6, the lighter greens and blues become a washed out gray or brownish color. I am not using any glaze over the raw clay, so I’m not sure what is causing the color to change so much (reds and darker blues do just fine). Any ideas? I have read that the percentage of stain in the slip might be the cause, but I’m not sure why a higher percentage would change the actual COLOR from green to gray, ve
  10. I am having the same issue - although I’m not using glaze at all. So it must be that I used too high of a percentage of the stain. It’s interesting that with stains on other parts of the color spectrum, higher concentrations yield more vivid colors - but apparently not with light greens and blues! They just turn grey
  11. I should add that I do a ton of slipcasting and I’m positive that some tiny amount of plaster must have made its way into some of my pieces, and yet I have had no issues with cracking or explosions... and yet I use a shared kiln, so I want to be careful not to put others’ work at risk.
  12. Hello, After reading many posts on the subject in this forum and others, I remain deeply confused about the dangers of a bit of plaster being present in clay during firing. Many people take it as a given that even a speck of plaster embedded in clay will cause an “explosion” or, at the very least, cracking. They say this has to do with the different properties of the plaster, which will not shrink at the same rate as the clay that surrounds it. Many other folks say that the only danger with plaster in clay is that it can lead to “lime pops” AFTER firing. They say that the plast
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