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  1. I usually only use one cone pack on the top shelf, I only have one usable peep hole in my kiln so I place it there. If the kiln is not firing evenly, what can be done? I very recently tested the elements and resistance was exact spec. Is your suggestion a for basic troubleshooting or is a cone pack on each shelf standard practice?
  2. Based on this, I would guess improper kiln loading. I know the large piece was on the bottom or middle shelf with taller pieces. The top shelf was probably 3-4 inches from the lid: I had a bunch of short pieces so I "fit" them in and likely the under fired pieces were there. The cone pack (top shelf) did not melt normally, only the ^5 bent slightly. The kiln is a paragon A88B (18x18inches) and the elements are fairly new so I didn't expect much variation in temp from shelf to shelf. In my mind a large kiln would have more hot and cold spots. However, the top element was at the same elevation as the shelf and was not able to heat fully, as indicated by the cone pack. I also had a few other test cups that behaved quite differently from previously fired test tiles. I'm now going to assume those too are under fired. Thank you for your diagnosis, it was very helpful.
  3. Wow, thats really interesting. Other than the copper, how close is your recipe to mine?
  4. I know there are variables with glazes based on clays, kilns, fire schedule, etc, etc, but I did not expect to see variations within the same kiln. This is a photo of 5 pieces that came out of my kiln yesterday (a new glaze I am working with) The four small cups with letters are all different clays. When I first noticed the color variation I thought that the red clay may have something in it that made it more blue grey. However, the larger piece (upper leftmost) is the same porcelain as the cup labeled BU, and they are clearly not the same color. All five pieces were dipped in the same bucket, one after another, and fired in the same kiln load to cone 6. I don't remember if they were on the same shelf or not. All were bisque fired to ^04 and may or may not have been done in the same kiln load. I do know that I did 14 or 15 different variations of this glaze on test pieces and never saw the greenish hue that is present on the three cups. Any thoughts? Recipe: EPK 30 Wollastonite 30 Ball Clay 15 Frit 3124 15 Silica 10 Rutile 6 Volcanic Ash 5 Cobalt Carbonate 0.8 Green Nickel Oxide 0.8
  5. This seems like the best approach at this point. Thank you
  6. ha ha, yeah. Just because I don't want to reinvent the wheel, doesn't mean I don't love wagons. But I suppose time will tell, lol
  7. That is a great color! Thank you for taking the time to dig it out and explain how the stain mixes work, as always, with your post, great info. I am curious what I said to give the impression I was looking for a one size fits all?
  8. Thank you for your detailed response. I started my pursuit of this glaze by searching glazy. There are two "transparent grey" or "transparent gray" glazes, one is brown and the other is clear. Maybe there is a better way to find things on the glazy website than using the search? but I wouldn't know what a transparent recipe looked like if it wasn't in the glaze name. I searched through this site without any luck either. The wiki page you linked brings up 11 grey stains, I have tried nine of those, including the cone 9 glaze (fired to cone 6 just to see what happens). Two of those I liked and made 20-30 different variations, though none were transparent. That's when I posted here looking for guidance as to if I should use stain or something else. Based on the responses, I went to my local supplier (3 hour round trip) and purchased the mason stain they had labeled "grey" (which turned out to be 6530 silver) and did some testing (photo above, posted so if someone else searches for it.) How do you know which mason stains don't have opacifiers? Their website only lists that for discontinued glazes.
  9. I find that interesting on two accounts. (1) I would be surprised if I was the first person to ever want a transparent grey glaze, someone surely has tried this before. Though it may be a small chance that they are on this particular website. (2) In my professional work, I do dilutions for lab testing on a daily basis, and we must guess what dilutions to make. But, there is literature, and mathematics, that guide us as to which dilutions are beneficial. EG the difference between an 8% and a 16% dilution is not significant enough mathematically to bother running both tests, so an 8% and 25% is selected instead. I was hopeful that ceramics had similar guidelines.
  10. I have only ever used black mason stain so I expected the grey to be just as potent: it is not. My first testing: Mason Stain 6530 Silver added to Standard Ceramics Clear Gloss 1125, Black is Amoco velvet underglaze. #35 - 0.1% #36 - 0.3% #37 - 0.5% #38 - 0.7% At first it seemed like there was no difference, but there is, albeit slight. I'll post results of my next testing when completed.
  11. That's where I was looking for some guidance from anyone who has tried it before. My original schedule was for 0.5, 1 and 2% but I wasn't sure if that might be too much.
  12. That's good info, thank you. I'll pay particular attention to how those two behave in my future glazes.
  13. I'm looking for a transparent glaze recipe with a slight grey tint. My goal is to be able to see darker underglaze beneath the glaze, . I tried a couple glazes from glazy, but neither really worked (they grey color was derived from cobalt so it was spotty) . I have considered mixing mason stains in very low percentages into a clear, but I don't know what kind of %'s to start with. Or if there is a better route?
  14. I made my first glazes this week. All recipes came from glazy. One of them I really liked but wanted to make changes to it. This is the original: Silica 30 Whiting 30 Epk 25 Ball clay 15 100 base Hardwood ash 10 Rutile 6 Green nickle oxide 0.8 Cobalt carbonate 0.75 First, I substituted volcanic ash for the hardwood ash (because that is what I had on hand). Then I made several test pieces with different amounts of ash. Then I started playing with the Silica, Whiting, and epk proportions. So, my question is, when do I stop giving someone else credit for the recipe? I get that there is no exact "change two things by 5%" formula. But I want to give credit where it is due. Opinions?
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