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  1. I was sold what I thought was a cone 6 paragon kiln with a sentry 2.0 controller but after several firings realized it was only rated to cone 4. Now its of no use to me so I was hoping it would be possible to move the Sentry 2.0 digital controller over to my old cone 6 manual Cress kiln. The Cress is a 240v 20 amp kiln and the controller is coming off a 240volt 48 amp Paragon. Has anyone done something similar? I am unsure if it would be better to install a receptacle onto the controller and plug the kiln into that or wire the controller directly to the kiln. Are there any resources that might help me figure this out? Thanks' Jaalam Aiken
  2. I’ve recently discovered missing paint on the bottom of my mixer (see photo) so I can only assume that it is in my clay reclaim and potentially in my glaze. What do I do? Will it burn out of the clay? I mostly care about the glaze because I paid someone to make it for me and it was expensive. Should I put it through a sieve just in case? Is it totally ruined?
  3. bubbly.pdf Hello, hi ! I've been a bit lost and what seems to be a loop when looking to re-create this glaze somehow. I'm pretty fresh to pottery, and am willing to take any and all information to help me understand what creates this effect and if this piece is done by using two different types of glazes. For example a white over gray glaze with a higher levels of iron oxide? Thank you kindly
  4. Hi all! I have recently inhereted a kiln that needs some love. I'm a little unsure of how much or what type exactly. There is glaze on the heating elements in spots and some damage to fire brick. What would you recommend? Images of kiln
  5. Hello new wannabee potter here. I'm throwing the same thing over and over to try and get better at the basics but not sure what to do with all the clay that I use to practice. I'm keeping some pieces to see how they turn out after glazing and firing but I don't want to throw all this other clay. I know you can use plaster boards to dry it out and rewedge but I'm in a shared studio and there isn't space to leave plaster boards out for long periods of time. Any tips? Thanking you in advance!
  6. Hey everybody, I’m having trouble with my Shimpo. It was given to me by my college because it was sitting in a corner collecting dust. it runs, but it definitely needs new motor mounts and some work underneath. my main concern is that it isn’t running in the forward mode or counterclockwise, instead it’s running clockwise in reverse and forward. the parts number for the is tanac006232-rk2, but the part has been discontinued seeing as though the wheel was manfactured some time between the late 60s and mid 70s. Is there any way to resolve this issue through soldering, as a student in undergrad I don’t have the money for a new wheel, but I have two hands ready to get dirty. thank you for your time, Ry.
  7. Hi, I would like to share my Kiln built and ask for some insights as my experience with Kiln were all in studios where others were operating it and I did not follow the whole firing cycle. I believe it is important to start saying that I was not sure if I should post it here or at "Equipment Use and Repair", please let me know. I will try to convert the metric information to imperial, but i may fail, apologies in advance. I decided to make a small kiln from K28 bricks (1530C / 2800F), the bricks are 65mm(2 1/2"). The bricks lay inside a metal drum, with a thin layer of ceramic insulation blanket, in order to reduce the gap between brick and metal, and try to add a bit more insulation; It is a Dihedral (new word on my vocabulary, twelve-sided polygon), and ~300mm (11 1/2"?) height, and ~300mm (11 1/2"?) "diameter", resulting in ~20L or 0.7ft3 From commercial Kiln, I found that 20L takes 2300W, threfore using an Europe power plug (230V and 13Amps): I used Kanthal A1 wire (1mm, AWG 18) aiming for 23Ohms, ie. ~12.5m (41ft).; I coiled the element around a 6mm (1/4"?), resulting in a Surface load of 5.89W/cm2 (38W/in2) -> I know this is high, but I struggled to find a thicker wire, I will replace that in the future; The element above, also resulted in a coil pitch ("stretch factor") of 4x when using 3x layers of element inside the Kiln, again on the extreme side, it will be fixed with a thicker wire; I also built the controller myself, which I can share if people are curious. With the introduction out of the way, I did a test fire on the kiln yesterday, aiming for Cone 05 1/2 -> 1015C or 1839F, as a test, since my local ceramic shop only had this cone in stock and I would like to validate against the thermocouple, type K, readings. The Kiln had a bottom shelf, raised 1/2" from the floor; the self supporting cone was placed in the middle. The ambient temperature was -4C (25F) After 10hrs , it was late and the Kiln was really struggling to raise the temperature more than 870C (1600F), the temperature was going up, but Very Slowly as seen on the graph below. Therefore I concluded that it would take few more hour to reach the final temperature (if it was able to do so). The firing schedule, not very relevant I guess, was: 120C -> 110C/hr | 250F -> 120F/hr 538C -> 250C/hr | 1000F -> 400F/hr 120C -> 167C/hr | 1659F -> 300F/hr 1015C -> 60C/hr | 1839F -> 108F/hr Finally, my questions are: Does someone have a 2300W Kiln and can share some experiences with the firing Cycle? Do you see any absurd flaw that would justify the behavior? Some pictures:
  8. Hello! I am just getting started on my own pottery studio. I recently bought my Duncan ES 1020 energy saver kiln and came it with nothing. I have been searching high and low for an owners manual and I can't find anything that says "ES" on it. So, is there any differences between the Duncan ES 1020 and the Duncan EA 1020? Could I use the Duncan EA 1020 manual? I'm new to doing this on my own so any advice at all would be greatly appreciated!
  9. Hello! I recently purchased some Laguna Speckled Buff (WC-403) and have been throwing some pieces on the wheel. I have been looking for a perfect honey brown/light tan speckled clay and finally came across this one. Anyway, I made and fired some pieces with a Cone 6 cone in the kiln sitter and everything turned out kind of burned (?) looking and darker than I was expecting. I fired some more pieces but this time put a Cone 5 bar in the kiln sitter and got almost the same result My glazes also aren't showing up as well. Does anyone have any ideas of why it is coming out like this or have any advice? Thanks a bunch!
  10. Hi, I am looking for some advise if possible. I fired my kiln last night but the kiln didn't reach full temperature. I looked at the cone I have in my cone stand and it is not melted. The cone in the sitter either melted or fell off and the kiln shut off. Can I re-fire? As I have not unloaded it, can I just turn it on? Thanks Mal
  11. Hi all- hope everyone is doing well wherever you are. I was interested in purchasing an overglaze luster (metallic/gold) to apply to my pottery, but realizing my studio doesn't have the capability to do a 'third firing' for my pieces (especially if it requires different heating instructions etc.). I believe the studio fires at cone 6. Is there an alternative to using overglaze luster that could get me a similar effect? Any tips would be appreciated! Thanks.
  12. Hi All, I am trying out barrel firing whilst in lockdown as I do not have access to a kiln. I'm having some problems. The first firing I used the following 60cm pit dug 3-4 inches on fine sawdust pots (some wrapped in foil, some not) Salt Seaweed Red Iron Oxide More sawdust Kindling, then smaller logs up to larger logs Paper to get the fire going. The fire burned for about 2 hours and I think put a lid on and sealed the edges. Next moring it was still quite hot when I took the lid off, so i left it to cool a while. The pots were mainly black, with some small amounts of colour (galaxy like). The Second firing, I completed in half a 55 gallon drum with a few holes from bottom to middle to create airflow. This time i used less sawdust. I also added dried bananas skins, lots more seaweed and used a little more salt, and wrapped copper wire around 1 pot. I only foil wrapped 1 pot too. I started the fire and about 1 hour after I added a little more wood as I could see the pots emerging, however they were not glowing red. As all of the wood had mainly burnt to a nice bed of embers i placed the lid on (no seal this time, some air and smoke did escape) The following morning I took the lid off and allowed it to cool a little. The pots are very contrasting . Please see the link to the images. Some colouring has worked wonderfully, however where the pots were lying in the sawdust, they are completely black. I admit it could be a cool affect, however not what i was trying to achieve. https://photos.app.goo.gl/hpoXPyVDNhnb4u2N6 Barrel Firing photos Can anyone help problem solve with me? My first thoughts are use wood shaving rather that sawdust,, maybe place a grate in the barrel so the pots are not in direct contact with the sawdust. other than that, i'm really not sure???
  13. Hello! I am in a bit of a predicament at the moment… My kiln is currently down because I’m waiting on a new thermocouple.. I have a business partner that needs a prototype ornament by Monday of next week (4 days). I am making the ornament out of white sculpture earthenware clay that fires to cone 06-04, the commercial glaze I have fires to 05. When talking to a friend he said to go ahead and glaze it once it was bone dry and single fire it. So, I went ahead and glazed my ornament after it was bone dry. I called the place that I get my supplies from to make sure I was firing my test kiln correctly, and he informed me that doing a single fire with the white earthenware was not something I should be doing... Is single fire okay for this ornament or should I scrap it? I know single fire isn’t uncommon, but I have never done it before. The test kiln is a Vulcan JK-1. I know these kilns fire much faster and cool down much faster than large kilns, so I am unsure how to fire it properly if I have a single fire piece in it.. Since my piece is single fire it needs a longer fire time, correct? How long should I fire for to get the best results?
  14. Cheers! I thank you very much if anyone can consult. I don't know why in the black or red ceramic paste (which I have high temperature), my faldespatico base enamels do not cover this clay. The enamels come out with bubbles.., although in white clay they work well for me. I understand that black clays contain ox iron and manganese..
  15. Hi all, I have recently purchased a Podmore wheel to find that the whole electrics system needs repairing! not ideal Everything else in the wheel seems in good condition and would be a shame to write the wheel off! My uncle fixes motorbikes and deals with electrics so had a look at it and got it working but then it stopped again. we figure that someone previously has done some soldering work on it and basically it needs a replacement electric system. I rang Potterycrafts who took over Podmore in 1982 and asked if it could be refurbished or if they sell the parts and they said I would need to find an electrician who wanted to fix it for me and the modern wheels are so different electrically wise that we cant even combine the two. The wheel is currently in swindon, Wiltshire. Any ideas of how to get it fixed or who to ask? i really dont want to scrap it
  16. Hi all. Am having trouble with pinholes. I am using some commercial glazes and one glaze I mixed up from a recipe I found online. I clean my pieces very well before I glaze. I allow to dry before glazing, and leave them covered until glazing. I believe maybe it could be my one glaze recipe, or perhaps it could be the firing. I rent a space and the owner does the firings. He will not let anyone else fire and he blames all defects on you or your pots. Any help is so much appreciated. I am attaching a photo of a bad example of a glaze with a pinhole I got this firing. I saw where I could add flux, or remove zinc or rutile? Here is my recipe for floating blue cone 6 I used: Neph Sy - 45.2 Gerstley Borate - 24.5 Silica - 18.9 EPK Kaolin - 5.7 Whiting - 3.8 Talc - 1.9 Bentonite - 2 Rutile Flour - 4 RIO - 2 Cobalt Carb - 1
  17. 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.
  18. Hello, I fired my first glaze kiln (electric) last night and it was finished around 6am this morning. Once the temperature started to go down after it got to temp I turned my kiln off and left everything shut. I have been coming down to check the temperature every so often and I have noticed a very faint crackling noise kind of like Velcro being taken apart or electrical crackling.. All of the glazes are supposed to be guaranteed to fit my clay body (I have friends that work at a distribution center making both clay and glaze). My clay is a buff stoneware that fires between cone 2-7 and I am using Amaco PC cone 5-6, I fired to cone 6. I know what the pinging sounds like when a kiln is opened too hot, but this isn’t a ping noise. I haven’t opened the kiln at all and have left the peep holes shut, could it be cooling too fast still? This is my first time firing a kiln on my own (with instruction from the clay friends). I’m afraid to see what my pieces look like when they’re finally cooled..
  19. Hi! I was running a cone 5 glaze with my skutt electric kiln and forgot to turn on my enviro vent. When I realized it was already finished and at 500F. I have the KMT so was able to see a graph of the firing which looked fine, but it did fire in 4 hrs instead of the regular 13hrs. What problems could this cause ??? Could this hurt my kiln for future firings? Vent is on now and another fan in the studio cause it definitely smells. Thanks!
  20. have inherited a Gare Kiln Model # 1210 Serial # 10.7.84 hertz 60 volts 240 watts 3120 Amperes 13 inf phase single and I need your help pricing it. It’s better than used condition but not new. I would say used 5 times total and has the stand, all working parts, etc. I have someone wanting to buy it, but I can’t find any information online to compare too. Please help your girl out!
  21. Hello all. I recently started experimenting with mixing Mason stains in with my b-mix clay body. The green I tried came out beautifully, but the crimson when fired to cone 6 was left with no color. Any suggestions? I thought maybe I hadn't done a high enough percentage, but after doubling the amount it still was the same amount of colorless. I just did a small pebble of clay and left one side unglazed and covered the other with Mayco's zinc free clear and that didn't keep the color in either.
  22. I just bought a collection of ceramic pieces, green ware, bisque, partly painted or choked, from a former ceramic painting teacher. Most of the pieces are from the late 80's to early 2000's. I'm trying to find out how to fix some of these pieces, such as broken antlers or wings, legs or feet or arms or hands. Some of these pieces have been started painting or choked, some are green and some have been fired ready for painting or choking. How do I fix these pieces if I'm going to glaze them then fire them again? How do I fix the green ware so I can fire it? What is the best way to fix the pieces that I'm not going to refire?
  23. The kiln is giving me an E1 error. Can I fix this myself? How?
  24. So, I've been working on two slab projects for the last 2 weeks. Both of them have some pieces in the 3rd dimension as well as lots of 2D detail. I finished constructing both pieces today and despite how shaky my hands were, managed to paint both almost immaculately. Thing is, I forgot to give them a bisque firing before I jumped into glazing them. They're so detailed that there's no way I can remove the glaze without destroying the work in the process, so unless there's another way to make finished work out of them, they're garbage and I wasted my time, materials, and effort. My instructor must have felt really bad for me, because as I was sticking the pieces back on the rack and deciding whether or not to trash them she came over and decided my stuff was special enough that we were going to try a risky operation, putting both pieces through both bisque firing and final firing despite them being glazed out of order. She says that the color won't be as consistent and you couldn't eat off of them (fine by me, because they're not dishes), but they should still stick together and come out okay. Before we try this, however, I wanted to take some initiative and research both the risks of this test and any alternatives. Despite my excellent googling skills, I haven't been able to find an article or forum topic specific enough to my situation, so I figured I'd start one myself. Any and all information you can give me will be useful. I just want to know what might happen if we try to fire this thing and/or if there are any other ways to save the work with less risk involved.
  25. Hello! I wasn't particularly sure which forum I should post this request, but I was wondering if anyone was able to help me out. I recently broke a decoration owned by my mother, one that she very much liked, and I was hoping someone would be able to help me identify it in order for me to buy another. She is not sure where she got it, but we are based in the UK. But we have a feeling it may be Scandinavian. I have searched around the web, and have failed in finding it available to buy. It may be only available in a store somewhere. Here is a link to a photo of it - https://drive.google.com/open?id=1Huxk-UUWiO7dBfw019ZMAcT-zXxyj_6_ Many thanks in advance. R
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