Terrampulvisignis

Thank you both Tom and Min for the rabbit holes indeed. Ive managed to find materials and recipes for cone 6 that have produced some positive results. I need to dial in holding temp and time to get more rainbows and crystals and start developing my own base to work with. There is quite a lot of convoluted info out there actually so i think this problem is about refining the various technical threads into a smaller number of variables to pin down. One things for certain about this rabbit hole, I’m definitely in it. side note for those who might be following: an older book by one Sanders called “glazes for special effects” has some info including recipes with Lead and some homemade frits. Ebh pottery on instagram sells tungsten and bismuth (sisters to moly) on etsy. Theres also a wild and confusing page on the matter on puttgarden, as well as various academic papers to sift through. Again I think the problem is making sense of these various sources and refining the avenues worth testing.

Hello network, ive recently come across some incredible glaze work and the creator is very secrety so I’m turning to you brilliant folks to try and dig up some leads/recipes. As far as I’ve gleaned these effects are achieved with molybdenum/ powellite and tungsten. Does this ring any bells? Thanks.

I appreciate the replies here. I realize ive conflated two questions as in terms of unsupervised firing i meant with electric kilns specifically and should i go through with gas conversion im moreso avoiding rain as id be supervising a torch type raku situation and was wondering about the flue on that question. Anyways thanks again!!

Hello all, newish potter here. I have the opportunity to convert an old electric kiln to a gas kiln and am wondering how hot and or how large is the flame or draft that exits the kiln? I would be firing it outside in a patio with a small leaning roof about 10 feet above and am wondering if its too risky? Ive seen videos of people firing indoors in a garage and generally people put kilns closer to their materials than i would think is ok but maybe im being too cautious? In a way I’m wondering how practical and realistic the recommendations of “always supervising” your kiln really are. Of course everyone says that but also I’ve gathered many a potter just fire overnight(while they sleep) and often times indoors or next to wood shelves, papers, etc i appreciate any feedback on this, thanks!