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Found 20 results

  1. Hi there! i found this beautiful glaze and I’m trying to figure out if I can use it for cone 6. It says it can be used for cone06 and cone 6. I’ve also seen other glazes that state they can go from cone06-cone10. Is that a thing? How do they work? I’m aware the results are different (the glaze becomes pale or bright or new colors pop and it may cause surface problems). Just wondering if I can fire this guy at cone5/6: https://seattlepotterysupply.com/products/speckled-pink-a-boo-1?variant=34198788538507 thanks
  2. I am an experienced potter trying to find the right porcelain for my work. As of late I have been using cone 6 Laguna 15 because it is super white and super vitreous. Both of these things are important to me because I leave much of the exterior of my pots unglazed, so the porcelain needs to look very white and not stain from absorption over time. However this clay cracks like crazy!!! About 50% of the mugs I make have cracks around the handles. Also, lots of cracks along the bottoms. I have tried everything I can think of to prevent cracking- compressing like CRAZY, adding more clay to attachments, different glaze/clay combos, slower firings with holds... at this point I’m wondering if it’s me or if it’s just the clay. Has anyone else had this problem with Laguna 15? Has anyone found alternative super white, vitreous clays that don’t have cracking problems? This clay is so beautiful I wish I could figure this problem out, but a 50% loss rate is too high!
  3. Last year I decided to resume my passion for modeling clay and in particular stoneware and porcelain clay. I decided to specialize in single firing (I had a book taken in Scotland several years earlier). At the moment I'm cooking at 1240°C, non-stop. The cooking lasts 3 hours between 0 and 200°C and then travels at a speed of about 100°C per hour (if I remember correctly: the oven is not mine). I'm doing glazes experiment using wood ash. This idea came from the fact that we use the fireplace and in particular the pellet stove for the winter. Wood ash from the pellet stove is probably not ideal: because some of the finer particles are lost and the sieve work is longer and give a coarser material. But I have a lot of ash from this stove and it's a shame not to use it, if possible. I had some book from Scotland about ash glazes and cone 6 glazes and I'm starting from them. To make my life easier, I use wood ash washed several times but I do not dry it: I let it settle and remove the surface water leaving only about 1 cm of water. At the beginning I used a volumetric system in the first 2 recipes (photos). Recipe 1: - 1 jar of dense slip of 1250°C spotted stoneware clay - 1 jar of thick potassium feldspar slip - 2 jars of dense wood ash slip Recipe 2: - 1 jar of dense slip of porcelain clay - 1 jar of thick potassium feldspar slip - 2 jars of dense wood ash slip. Than I made 2 little experiment with a little of cobalt and copper oxide. I calculated that those slips contain about 50% water and 50% clay or feldspar. Instead, I estimate a quantity of about 300 grams of dry ash in a liter of ash slip. The calculation is very approximate but the second experiment I am conducting is based on this hypothesis. Now I bought the different dry raw materials and a precise scale, so I weighed the ingredients precisely. However, I still use a very dense ash slip instead of dried ash: drying the ash would be too much work at the moment. I'm preparing the basic recipes for the next experiments. For now I have prepared the first two recipes based on the first experiments: First recipe: - 1 kg potassium feldspar - 1 kg ball clay - 170 gr bentonite - 500 ml pheatine - 2 liters of water - 4 kg dense ash slip Second recipe: - 1 kg potassium feldspar - 1 kg china clay - 170 gr bentonite - 500 ml pheatine - 2 liters of water - 4 kg dense ash slip I'm looking for other simple basic recipes to try. Something that can introduce someting new for the experiments with oxides. I have tried to modify some recipes of "Glazes cone 6 1240°C" book of Michael Bailey: exchanging whiting with wood ash, dolomite with wood ash and talc, exchanging soda feldspar and litium carbonate with spodumene, adding 5% bentonite for single firing. I am trying to modify a cone 8 recipe of the book "colour in glazes" of Linda Bloomfield exchanging soda feldspar with spodumene and calcium borate frit with colemanite, exchanging whiting with wood ash and using a litle less quartz hoping to fire successfully at 1240°C instead of cone 8. Looking to my books these are some ideas to try: Recipe 3 (recipe T13 modified from Michael Bailey book): 830gr soda feldspar, 130 china clay, 140 bentonite, 430 quartz, 120 Zinc oxide, 1,5 kg wood ash dense slip. And pheatine. Recipe 4 (recipe T14 modified from Michael Bailey book): 1kg spodumene, 500gr china clay, 160 gr bentonite, 500gr dense wood ash slip, 100gr talc, 100gr zinc oxide, 240gr quartz. Recipe 5 (recipe OR1 modified from Michael Bailey book): 1kg spodumene, 130gr china clay, 150gr bentonite, 322gr bone ash, 16gr litio carbonate, 362gr talc, 244gr quartz Recipe 6 (recipe for chromium green modified from Linda Bloomfield book): 1000gr spodumene, 320gr colemanite, 1000gr dense wood ash slip, 107gr china clay, 300gr quartz, 107gr bentonite. I hope to use this recipe with chromium to obtain a green glaze.
  4. I'm a beginner potter and I've tried wood firing pottery outdoors because an electric kiln is not very accessible for me. My small kiln is about a bit bigger than 2'x2'x2' and made from regular red bricks with a regular grill grate halfway to place pottery. As you can probably tell, it has terrible insulation and I can never get it to a high enough temp to fire glazed pottery. I can bisque fire and it works but It never gets hot enough to melt glaze, even the low fire glazes I use. I really don't want to ditch this project because I've already put so much time and material into it but I don't have the time/material to build a much bigger kiln or spend days firing. I also don't have a huge budget. What fairly inexpensive materials I can use to insulate my small kiln so that it can comfortably reach cone 06 and complete a glaze firing? I've looked into getting ceramic fiber board to line the inside of the kiln with, fire bricks are very expensive and probably out of my price range. Any advise from someone with more experience in this field would be very appreciated, Thank you!
  5. Hi there, I have Amaco Potters Choice glazes and they say that they should be fired to cone 5/6. I am very new to pottery and was wondering what this means in terms of the firing schedule in my Nabetherm kiln. I have been trying to get the effects as shown on their website but they do not look very similar! What would the different outcomes of cone 5 and 6 be? Thanks so much and really appreciate any help, lara
  6. I’m new to ceramics and recently bought a used kiln that’s quite old but works like a charm. i don’t really know what the numbers on the knobs are and I’m trying to bisque cone 06 and glaze cone 6. I don’t have pyrometic bars for the cone 06 bisque so any help on what the numbers on the knobs signify and how to reach the desired temp would be awesome. (I do have glass cone 6 bars)
  7. So there's this glaze one of the potters I follow on IG uses that has me drooling. I'm too shy to ask for a recipe but from scrolling through the feed I see that it's a wood ash glaze fired in oxidation. I don't know if this potter uses real wood ash, all I know is that I don't want to mess with real wood ash myself. I found a few synthetic ash recipes that are supposed to mimic ash sourced from different kinds of burned materials. Also found some wood ash ^6 ox. glaze recipes I want to try that I believe may produce the look I'm after, which is very glossy with tiny white crystals. Those of you who have experience with wood ash glazes - is using synthetic ash as a replacement for real ash adequate? Produces similar results?
  8. Hello clay hive mind! I was happily making some planters and cups last week out of clay I'd marbled. I thought I'd used Laguna Speckled Buff and B-Mix (50/50), but no ... turns out it was Speckled Buff and Soldate. ugh - I'd grabbed the wrong bag. Is my bone dry greenware trash? Can I fire at Cone6 and get some use out of them? I'm thinking that the cups are NOT food safe (plus bonus: they likely won't hold hot liquid), but can I use them as planters? Some folks say that porous planters are best anyway ... (trying to find some silver lining here). I'd love to hear anyone else's experience or advice. Thanks!
  9. Hello! Does anybody have experience firing Standard Clay 112 or 182 to cone 06/6? These are the clays that I work with and typically my studio fires to cone 05/5. However, I have recently started working out of home and found a studio nearby that will fire my work, but to cone 06/6. I want to be sure that I like the result before committing to the change.
  10. From the album: Clay Tests

    Cone 6 Terra Cotta Unglazed. Body developed from locally sourced (wild) clay with hematite iron source.

    © TJA2020

  11. Hello, I recently bought some OH10 (they were out of OH6) and was told I could just fire at cone 6 and everything would be fine. Then I was told the pieces wouldn’t vitrify and would be too porous for use (mugs and bowls). The studio will bisque the OH10 for me and asked if I have my own cone 10 glazes. The question is, can I fire my cone 6 glazes on the cone 10 bisqued pieces? Thank you for the help! Josh
  12. I've recently had problems with dark rings or patches on my clay body, just underneath the glaze application, in a cone 6 glaze fire. It looks as though my clay body actually burned. My witness cones look great - just as they should. I'm firing to 2232. It's happening with my mid fire white stoneware as well. I have a fairly new kiln, and this hasn't happened before. Could I be over firing even though my witness cones look good? My kiln is 2 years old and fired, on average, once a month. Do I need new elements already? Thanks for any advise!
  13. Hi there! I am wondering if someone could help me with converting this formula to use a different Feldspar. Possibly give me a good explanation as well.
  14. I’m looking for a good stable cone 6 crawl for use with Mason stains. The crawls with Mag Carb and Nepheline Syenite tend to burn out some colours at cone 6. Thinking that some Frit 3124 substituted for some of the Feldspar might do it but any pointers would be appreciated.
  15. Hi everyone, Thanks in advance for your help! I am having some issues with a cress kiln FX 27-P. I am new to operating a kiln and have only successfully fired 1x to cone 04. I had no issues with the timer, kiln sitter, thumbwheel (rotated to different numbers throughout firing), and maintained power to the kiln for entire firing. I read the entire manual and follow instructions on kiln when programming settings. In my second firing- set kiln to 12 hour timer, cone 6 bar in kiln sitter, set it on slowest firing setting. Walked away from the kiln for maybe 2 hours- when I walked away it was on. I came back and it was off, set it again, same settings, it turned itself off within 30 minutes. Set it again, this time for a normal firing speed, it turned off. The plunger will stay plunged for a time limited period on its own. The kiln will stay on if use my finger to keep the plunger, plunged. No obvious issues inside kiln- kiln sitter bar has not been moved out of position or bent. Please help! Cress is not open until next week, same thing with local ceramics stores. Thanks again, Chelsea
  16. Hi all, Second time posting here and I’m hoping you can help! Hopefully this is the right place to be for a troubleshooting question like this. Im currently working from a recipe for Val Cushing’s Cone 6 Porcelain Slip. grolleg: 15% tile 6: 15% Epk: 3% om4: 10% flint: 25% neph sy: 30% gerstley borate: 2% —————————— Sodium silicate: .0028% calgon: .0005% When I mixed this before, as now, I subbed the deflocculants with Darvan. I mixed it successfully then, but I’m currently have difficulty. I know that darvan generally subs for sodium silicate at 2-1, so bearing that in mind, that’s where I started. I kept adding darvan in small 5g increments up to 100g in a 10000g recipe. That seems like far too much, but maybe I’m wrong? I feel like I’m on the other side of that deflocculation bell curve some how and missed my mark. Every time I come back to the studio the slip is gelled thick but never settled and never develops a skin. When I’ve added more darvan, the slip temporarily thins, but seems to rebound to being too thick the next day. Can the casting process indicate overdeflocculation? If so, in what ways? What should I be looking out for other than settling and a skin in my bucket? Can anyone offer any advice on this recipe or deflocculants? I’ve been doing some hard research and testing and can’t nail it down. My current gravity is measuring at 1.71, so I’m hesitant to add more water, since according to some other online sources I should be aiming between 1.7 and 1.8. I’m wondering if I should throw caution to the wind and say “this slip just needs more water than most”. Ive mixed this slip before with great success two years ago. I have no clue what I did right then. Dumb luck haha. Any suggestions or advice would be greatly appreciated. Thanks!
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