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to maximize the number of tests a test tile provides is it ok to test glazes both on the front and the back of standing tiles? or will the chemistry go through the clay and interfere with the other side? I read an instance where a glaze should not be used on a pot if that pot was glazed on the inside as well.? is this a common issue or just a rare occurrence specific to one particular type of glaze?

Looking to do the crackle effect on a piece, and finding few color options when it comes to ready made crackle glazes. Could a similar effect be achieved by using a color underglaze with CLEAR crackle glaze on top? I realize most to the best crackle effects are achieved in Roku firing, but would love to get a matte surface with crackle.... and electric kiln.

I'm firing test tiles in my test kiln to cone 6, and at 2100f it got a FtL /Fired too long error message and then temperature rapidly decreased to 1900 before I decided to restart it. it's now slowly trying to reach cone 6 temperature at 2232F again. Will these test tiles be unusable now? Or does it not really matter as long as it reaches the correct cone 6 temperature at some point? even if it reaches that temperature twice? or would accepting the 2100F render more accurate results?? Just trying to understand how this all works, so I know for next time. I think I might have gotten the FtL message because I set the target temp at cooldown to 32F. it says in the manual that "programming a cooling segment target temperature that is below room temperature can trigger the FtL message". Strange that it would give me the error message before I even got to that ramp hold segment. But anyway, let me know if you have any advice should this happen again in the future.

doing my first test tiles in a new test kiln. My test kiln has slow, medium and fast firing speeds. a bunch of hold options etc. etc. since these are just test tiles (I already bisque them), I feel eager to do a fast firing speed, but will this give me false glaze test results? considering the final pieces will probably be fired slow? How exact does the firing have to be? I'll be firing the final pieces at a communal ceramic studio, so not sure how much say I will have in how they're fired there. ...

yes. thank you!

Anyone knows how to achieve this texture/color? it looks like a mixture of a lava glaze and a cobblestone glaze. or maybe a slip?

Aneta Regel is the artist. I found a video and she talks about firing multiple times and adding natural rocks and slips. So I guess what I'm trying to understand still is how do you successfully add slip to an already fired and glazed piece without the slip simply falling off? I tried once adding slip to a bone dry piece and as soon as it dried it fell off. it didn't remain on the piece. Maybe the key is to fire it while the slip is still wet?

I know there are glazes that will crackle, but I would like to have some serious, deep crackling, like in this piece, which I assume was achieved by adding slip at some point... but how do you do this in a manner that will make the slip seriously crack, but not fall off? I like how the surface of the piece in the photo is red on the bottom, but the top crackling layer is white. Was this effect achieved by manually painting the cracks? or is it possible to apply a red glaze first, before a white slip is applied on top?

Can I fire a 27" tall piece in a 27" kiln? or how much extra space do I need to accommodate for airflow etc.?

thank you

thank you. I'm making urn/vase shapes, so the top is just a cylinder basically, while the bottom is irregular shaped. the top cylinder is also not a perfect fit after hollowing out, because as I'm turning it this way and that way its slowly changing shape... so when I put it back on, I have to get finicky with it, which adds addiontal stress on the bottom part. What is the max thickness you can go? I've been going half an inch thick, but if I could go 1" thick on the bottom, that would be helpful.

I am making 40" tall sculptures and having issues with them collapsing once I hollow them out. I split them in half horizontally, hollow them out, but when I put the top piece back on, they crumble. I'm thinking I need to make the walls thicker, but how thick is too thick? Any suggestions?

oh, sorry! I just realized how unclear my question was! The plaster in this case is a plaster mold. I'm pressing clay into a plaster mold to get a specific shape, but then I want to release the clay so I can continue working on it.

looking for release agent to separate clay from a plaster mold. I'm not doing slip casting. I'm pressing regular clay into a plaster mold to get a certain shape. Cooking oil, WD-40 and lubes have been recommended, but I often reuse my clay when whatever I'm creating doesn't work out. Will cooking oils and lubes in the clay interfere with the clay's "reusability"? If so, what is a release agent that won't interfere with the clay's integrity? Thank you!

I just called my insurance company to see if they would have an issue with me installing a ceramic kiln in my basement. They had no clue what a ceramic kiln was and couldn't give me an answer. I also called the building department of my town and they didn't know either what a ceramic kiln was, but told me I would probably need to apply for a permit and get an inspection. Has anyone experience in this area? I want to make sure I'm fully covered if there's ever a fire...

thank you. that looks interesting

is there a way to pour slip "thickly" onto normally moist clay and get them to stick together and not crack? In other words I am working on a sculpture and would like part of it to be a cluster of stalagmites and stalactites. This would be easy to create by putting slip into a cake decorating piping tool, but then how would I prevent this thick slip from separating and cracking when it dries and is fired?

Thank you Denice. Did you find that the fumes would migrate into the house above? My house is old too. built 1935...

I've been sculpting for a long time, but just recently started working with ceramics and need to get a kiln for occasional firing. Looking at the L&L E18T-3 w17"x h27" $3051 or Skutt KM1027-3 w(23" x h27") $4523. as most of my sculptures are tall and narrow. My original plan was to put the kiln on my 500sf patio where the ground is stone pavers and open sky above. But there's no real space to build a huge enclosure for it. Has anyone figured out a solution where you store the kiln in a small enclosure, then roll it out of there when firing? Maybe erect some kind of temporary metal mesh tent around it so leaves don't fall on it while firing? Been looking at animal enclosures, dog cages, etc that would be slightly larger than the size of the kiln Limiting firing to good weather days would not be much of an issue for me, but there are lots of trees and small animals and insects around. I'm in upstate New York. Alternatively I have a basement, but it's fairly cramped and ceiling height is only 6 feet with wooden beams and spray foam insulation above. I can't find the recommended "ceiling clearance" for kilns, but it seems to me that I would risk burning down the house. walls and floor are cement so that's all good and there are 2 small windows. But the area is only about 8 feet wide by 25 feet long and has my water treatment equipment, furnace, well pump, softener nd a bunch of garden stuff, and tools and house Paints. I will be firing all sorts of glazes as well so keeping it on the patio for sure would feel safer. Been thinking about this for a couple of weeks and thought maybe someone else here has dealt with a similar situation and could give me some ideas of what to do?

Do you "vent" your test kiln? Or are they just too small for that?

This does look like the perfect unit. Thank you! I do have 20 amp outlets and even a 30amp 240volt outlet, but to use the 240volt outlet I would need to use an extension cord as it's located in my studio mate's section. Probably not a good idea to run extension cords with a kiln.

this is great! thank you!

I'm trying to make my clay less plastic. Was about to add sand, but thought I'd run it by the forum first to see if someone has expertise in this area? The reason is that I want to achieve the crumbling effect depicted in this image I've attached. Any idea what kind of clay this black/brown clay is?

Getting a kiln set up. AT HOME I have space to install 1 larger unit, outdoors, on the patio in a metal Home Depot shed. AT THE STUDIO, I don't have space, ventilation or electric for a large kiln, but I'm hoping I can set up a small test kiln there, that uses regular 120v wall outlets. I've read that some small kilns fire in as little as 3 hours, so I'm thinking I could leave the space when firing, (since I don't have proper ventilation, except opening the window). Researching small kilns, there are "glaze kilns" "doll kilns". and "small kilns" and I'm getting a bit confused. What is the difference? I want to use it to experiment with glazes and clay mixes. Don't need anything fancy, but need it to be accurate. and for it to plug into a regular wall outlet. Any suggestions would be greatly appreciated.