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Showing results for tags 'Cone 6'.
Found 67 results
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Hi! My previous studio had a beautiful cone 6 glaze called Blue Hares, I'm trying to purchase it since my new studio doesn't have it but all I'm finding is how to mix it yourself. Anyone know if it's possible to buy it online and if so where? Thanks!
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My rutile blue glaze (Mastering Cone 6, Glossy Base 1, Variegated Blue) hasn't been variegated since I made the switch from an ancient Econo-kiln to an Easy-Fire. Using records from old firings to program and reprogram the new kiln, I've clearly failed at matching the heat work I achieved with the old Low, Medium, and High settings on my old kiln. Glaze appears grayish and even instead of bright and variegated. I assume the difference is that my old kiln with its small elements was relying more on time than on temperature to get cone 6 down. I'd appreciate any advice for testing that theory without over-firing. I'm guessing that the second-to-last ramp before cooldown would get the kiln to somewhere between 2000F and 2150 at 100 or so per hour. Does that sound reasonable? Can anyone offer an educated guess for the final ramp (speed, target temp., and hold time, if any) to try next? -
Hello, All! I am looking for info on favorite and best clear glazes to use with slip decorations at cone 10, and favorites to use with underglaze at cone 6 on porcelain slip! any and all help is appreciated. I am in my senior year of my ceramics undergrad, so photos of results could be super beneficial because I am not 100% certain of the properties I desire as of just yet. Thank you in advance!
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I need to find the best All-In-One clay for cone 5, great for both hand building and wheel throwing I know. That's a tall order. But I can dream. I have a pug mill and don't want 2 bodies. Problem: I have too many problems with my gas kiln for cone 06 anymore. I'm DONE. I am moving to cone 5. Criteria / Factors: I'm in Southern California I teach 180 high school students grades 9-12, all levels of art skills, so it has to take punishment Not too sandy on the wheel, not too smooth or squishy for hand building Not too dense so it is so top-heavy when trimming I'm willing to pug the new clay to soften it for throwing, if it is stiff and great for hand building, or visa versa Doesn't stain clothes or the tables, rolling pins, or make a mess everywhere Is not pure white (students can't see where they missed glazing spots when using light color glazes - painting) Good leather hard, doesn't soften up too easily when re-wetting to score things together Doesn't take every indentation to the surface of pieces, temperamentalD Centers on the wheel fairly easily, especially for teen girls with tiny hands Can take a good amount of water from beginners Pulling walls, it is strong, doesn't warp or sag easily Won't dry out too quickly in hands while hand building Doesn't bend or warp easily when removing from the wheel Not so soft that it caves when cutting and sliding off the wheel Doesn't make teens hate the class because it stains clothes or gets everywhere and of course, takes glazes well and can handle a little fluctuation in gas environments Cone 5 clays I've Tried: Laguna - Dover White: Nice clay, but pure white. easy to center, but A little soft when hand building Laguna - Plain (Buff): Nice light tan color, easy center and to rehydrate if repairing, but a bit too squishy and shows every dent Laguna - Moroccan Sand: I love this clay, doesn't leave residue - color, but a bit dense to center. It is really dark grayish brown, if they only could lighten it Laguna - Buff with Sand: Nice tan color, but WAY too sandy for students on the wheel Laguna - Greystone: Too dense and top heavy for small pieces, hard to center, but really takes a beating with water, warps when thin due to density of surrounding clay Laguna - Speckled Buff: A bit dark in color, has iron so it gets read everywhere, could stain (think girls with pure white vans) Laguna - LB-6: hmmm, can't remember, but nixed it very soon after Laguna - Sante Fe: OMG - red EVERYWHERE, like a crime scene Aardvark Clay - SBF - Too dark tan - a bit sticky for students Aardvark Clay -Arctic White: Too white Opinions???? Go!!! -
Hey all - I recently bought Laguna speckled buff cone 5 clay and have been really enjoying it! As I'm preparing to glaze, however, I realized my whole stock of glazes are cone 6. Curious to hear your perspectives on this - have you tried it? Any tips or tricks to help make sure I don't ruin all the lovely objects I've made? -
Hello All, I have a kiln full of goods and I want to fire it. I am a potter and have been teaching myself how to fire my kiln. So far I have been using the pre-programmed firing schedules. I now want to try a slow cooling schedule. My kiln is a Cone Art and my controller is a Bartlett. I have the firing schedule that I want to apply and I have a simple example of how to program a firing schedule with the Bartlett - but I am confused as to how to use their "9999" cooling rate code. Their example shows using "9999" at the end of a sequence but I want to use it in the middle of a sequence. My Cone 6 Glaze Firing program that I want to use: 100 deg/hr to 200 deg 350 deg/hr to 2000 deg 150 deg/hr to 2185 deg hold 15 mins 500 deg/hr to 1900 deg *** 125 deg/hr to 1400 deg allow kiln to cool naturally to room temp *** It is this stage that I don't know how to actually enter the values into the Bartlett. The notes in the Firing Book and on Ceramics.org say "I program... kiln fro 9999 degF to 1900degF so that I don't get an error message if the kiln can't cool at that rate" Is this a typo? Is the person meaning they program a "RATE of 9999 DEG/HR" (rather than entering 500 deg/hr? If someone could help sort this out for me I would REALLY appreciate it. Take care, Liane
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Hi there! I made a cone 6 Butterscotch Yellow Glaze. It is too bright of a yellow, I'd like to make it a little "softer". I will include the recipe... I'm used to mixing/measuring the dry ingredients and adding water. How would I add a certain percentage of a chemical to my wet glaze? Would I weigh a certain amt of the wet glaze and add a percentage of dry? Thanks a bunch! I have a few gallons of it. --Margie-- Frit 3134 20 Dolomite 20 Spodumene 20 Ball Clay 20 Silica 20 Titanium Dioxide 10 Rutile 6
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I’m looking for a cone 6 grey glaze recipe (glossy). I seem to be finding a lot of matt recipes. Thanks!!
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I am a newbie to firing my own pieces. I fired this mug to cone 6. It is Coyote's Pistachio Shino. In trying to remove some glaze around the design so it would stand out I did not apply enough to this area resulting in this brown patch. This is how this glaze behaves with thinner application. Could I add a bit more glaze to this area and refire? If so should I use the same firing program I did originally? I am sure there are other threads about this topic but I would really appreciate advice to my specific situation since this a gift for a friend's upcoming birthday!!
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I have this lovely off white glaze c6 that I've been using for awhile but its too soft. It will mar slightly with a knife. I'm not very strong in glaze calc - I"ve messed around with some other fluxes but haven't gotten any results for a better melt. I fire to c6 via the programmed firing with a half hour controlled cool down to 2130 on my Skutt kiln. I would love any advice on getting a better melt with this glaze without effecting the color and finish too much. OFF WHITE Neph Sy 59 Dolemite 19.5 Zircopax 14.7 OM4 Ball 2.4 RIO .9 G Borate 10 Bent 2
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This is a problem I have had intermittently since I started making pottery at home in 2010, and lately it seems to be happening to more pieces each firing. 1. Are these pinholes or blisters? Sometimes they are sharp on the edges. 2. How can I correct this? Helpful (?) details: I am doing a slow bisque firing to cone 04. I hold for 10-15 minutes at peak depending how tight I've loaded the kiln. Bisque firing profile: 80/hr to 250F, 200/hr to 1000F, 100/hr to 1100F, 180/hr to 1676F, 80/hr to 1945. Glaze firing to cone 6. I do a programmed "slow" firing on Bartlett controller to 2167F and hold for 15-20 minutes depending on load. Witness cones show cone 6 achieved. Stoneware clay, made by a local manufacturer (all-purpose Goldart-based body rated cone 6 to 8. Contains 4.5% fine grog). 10 cubic foot kiln, electric Kiln is vented with a Vent-a-Kiln hood that is only 2 months old, replaced broken downdraft vent. Problem occurred with both vents. Trouble occurs sporadically with all my glazes, which I mix. The green glaze recipe in example photos: Rutile green: Talc 5, Custer Feldspar 22 Whiting 4 Silica 26 EPK Kaolin 17 Ferro Frit 3134 26 ADD Rutile (light) 6%, Copper Carb 4% Happens on all types of work: mugs, bowls, etc. I've read on the forum about correcting pinholes with a slower bisque but I feel my firing is pretty slow already. Do I need to slow it more? Why does it only happen to certain pieces? Sometimes two identical pieces glazed and fired at the same time in the same way result in one unblemished piece and one as shown above. Working from home on my own and really feeling out of my depth... and incredibly frustrated. -
I've been using Elaine's Cone 6 porcelain from Sheffield for a few years now, and I love it. I love the feel of it on my hands, I love the way it takes glazes, and overall I've been really happy with it. But over the past, say, 9 months, I've been having new problems with attachments: handles and other attachments are cracking even when I dry super-slow. Does anyone else have experience with this? Any suggestions? I don't want to switch clays, but I'm getting frustrated. Thanks!
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Hi all! The company we work with that formulates our slip is having difficulties achieving the necessary properties for casting. The issues are due to the fact that they are taking a plastic throwing body, and are trying to convert it into a casting slip. Due to the fact that we have little control of that formulation, I do not know the exact recipe for the slip. We are just curious how difficult it is to create a Mid-Range Red Casting Slip that is properly flocculated, and casts evenly with no issues. After firing, the color we are trying to achieve is a Red-Orange, preferably something that withstands thermal shock since we are creating drinking vessels. Does anyone have any recipes, or reasons why a high-iron casting slip acts weird? Thank you all for your time!
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I have a Skutt KM822 I have been firing since I bought it new in March 2013. I fire to cone 6 in it. Lately I have noticed a change in when the relays "click." Let me preface by saying the firing I did last week I got error code 1. Kiln stalled out at 2177. I fire to 2210 with a 10 min hold. It was a very hot day when I did this firing, was mid afternoon when the error code 1 came on. I have multiple fans going to move air around in my kiln shed. I did diagnostic test and for amp, voltage. All OK. I also did a test fire of the kiln to 1100 with a 30 min hold and checked every peephole to see if elements all on. They were and I heard relays clicking the entire firing. OK..here is the issue. I just completed another cone 6 firing. I do ramp/hold program. Modified from one I saw online here in this forum. All are degrees Fahrenheit 150 to 250 degrees no hold 400 to 1900 no hold 130 to 2210 Hold 10-13 min. This firing I heard the relays clicking at the beginning. When I checked at 1700 degress no clicking but the temp rising. Checked again at 1923 and I hear clicking relays. Checked again at 2127 no relays sounds but the temp rising. I didn't hear the relays click again until I was in the hold at the end. The temp during the hold rose to 2217 and then the relays began clicking and the temp dropped to 2210. I have fired a manual Skutt for decades, so digital is foreign to me still. I will probably call Skutt this week, but curious if this sounds normal or not to those of you who have more digital firing experience than I do. Appreciate any insight!
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I have maybe a half shelf or a half and a bit more of "smalls" in an unglazed cone 10 Troy Woodfire body. If I only fire it to cone 6 (for bisque) and I am not able to get into a woodfire anytime soon, and the peices are not being used for food or anything that would get much handling, will that clay be "fired enough"? Or would I be shortchanging myself re: quality by not just holding on to them until I can do a cone 10 wood fire, or even just wait until I can make enough from a high fire body to fill my my electric kiln? I can afford to wait, but I'm not really all that patient if it doesn't make a major structural or aesthetic difference for the type of ware. So-what should I expect-usable at 6 or not until 10?
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Hi Y'all - I'm super stressing cause I don't know if I can reverse my mistake. The studio I work at uses a kiln that can fires to a max of cone 10, but regularly fires at cone 06 and uses EM342 whiteware clay. I somehow totally missed the memo and thought I heard them say we fire at cone 6 (!) so I went ahead and bought some really beautiful cone 5-6 glazes, covered a handful of pieces in them, and, to probably no one on this forum's surprise (but to my total dismay) they came out all kinds of wacky Is there any way I can salvage my pieces? One thought - could I fire the pieces again at cone 6? Would the clay be able to withstand that? Your ideas would be appreciated - thanks! -
From the album: Favorites
I love all the varied shapes a good mug comes in. The shape is my current favorite. It works well to separate the textured areas from the geometric sgraffito in the bottom. It has a pulled handle and commercial glazes and was fired to cone 6 electric. -
Spring is on the way, and I saw robins in the yard already- a month ahead of schedule. I have finished my porcelain study, almost done with stoneware, and done with crystalline. So this spring and summer, I am going to look more closely at slips and standard cone 6 glazes. I have an interest in slips; to be used in non-traditional applications. Have these thoughts rolling around about using slip as color nodes, or for colorant fields for a runny glaze to leach color from as it runs through it. I am sure there are books out there, but I usually do not read them until after I get done experimenting. Do not learn very much by reading them; they tend to be shy on technical information (chemistry). So if you have some generic slip recipes floating around that I can "rearrange"; please send them along please. Nerd
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Hello! This is my first post after reading so much fabulous and useful advice on these forums the last couple of years. I'm still a bit of a newbie potter and I've been selling for just over a year. So far I've been really pleased and no complaints or negative comments (exception: why don't you make in blue?) LOL. So I sent off a pair of mugs (Etsy sale) and the new owner is really happy with them, except that he just tried to microwave one to reheat his beverage, and he heard some "pinging" noises. He was alarmed and took the mug out and didn't try again; he's just wondering if I know what is going on. The details: I use Tuckers Pottery 6-50 cone 6 porcelain clay. I fire to cone 6 based on witness cones. (I use cone 7 in the kiln sitter to get there). Glaze: I am making my own glazes. The liner glaze in these mugs was an Assad Opalescent (basic high percentage frit based glaze with no added oxides). Outside was a floating blue glaze (from John Britt's book of Cone 6 glazes: Floating Blue #2) I've used both of these before and have been very happy, and I've personally have had no problems with anything in my home. Unfortunately, I have sold everything at this moment that has this exact glaze combo. Also not sure if a mug done the same isn't necessarily going to be a perfect "test" as glaze thicknesses, exact kiln position, exact top temp, etc may be slightly different? Any advice would be really appreciated! Mostly I'd like to know if in *your* opinion I should tell this buyer not to try to nuke these mugs? I know I've been a bit "reckless" in claiming my things are microwave safe and I'm sorry now I did without being more sure. I've read the forums about the astm standards and I plan to at least test more carefully than just a few things I have at home. Thanks in advance! Cheers, Lorraine. -
From the album: Glazed Ceramics 2013
This whole bowl was glazed in sun valley. The outside ran quite a bit onto the foot and cookie it was resting on, but the inside result was very interesting. It breaks in a light blue, and can have a whole range of color changes as it melts. In 2013 this was the largest bowl I had managed to throw, it was made out of 10 pounds of clay. Deciding on if I want to use this glaze again on future works, as it is very unpredictable and runny. -
From the album: Favorites
This was a new take on a design I've been doing awhile. It may have spurred a new variation on several of my usual pots. I'm excited to see what comes of it. The pattern at the bottom was created with paper resist and sgraffito. After bisque fired, black underglaze was applied and wiped back, then colorful accents added to the wings. It's finished with commercial ial glazes and fired to cone 6 in an electric kiln. -
From the album: Favorites
Wheel thrown and hand carved. The bottom features a leaf design created by using paper leaves as a resist to the underglaze. Sgraffito designs were added along with a pulled handle and spiral embellishments. Fired to cone 6 in an electric kiln. -
From the album: Favorites
Set of butterfly bowls I just finished. I'm fairly pleased with how they came out even though they were over fired. -
From the album: Favorites
Wheel thrown vase with geometric carved design and rainbow pattern in underglaze. Commercial glazes, fired to cone 6 in an electric kiln.
