Unbelievable !!!

The only thing going thru my mind right this instant is: this is totally unbelievable !!!
Unaccountable, without rhyme nor reason, illogical, implausible, mind-boggling, unbelievable.

For 3 years, i've tried to get my gas kiln to reach temps even approximating 2167 °F. Have prayed, sworn a blue streak, researched extensively, and with a heck of a lot more patience than my personality type normally exhibits - tried, tried and tried again.

Finally, as most of y'all know, decided to modify all my glazes down to ^01 which this kiln will do with ease.

Overnight temps here in the valley reached a high of minus-12 degrees last night and by 6am twas only basically zero. In the attached garage, the temperature gauge read 15 degrees. Figured that was too cold for the electric kiln's digital-programmer to function.
Guessed that i could figure out how to run the gas kiln in straight oxidation.
Have never tried this before. Gas kilns are for reduction firing, right?

Oughta mention here, that i always stack a kiln immediately before using. Otherwise the glazed pots sit in the house where normal temps range at 68°. Carried them out to the garage, loaded the kiln (which was icy cold) and started the pilot. Normally, the kiln is run on pilot for 2-hours before turning the main burners up.
But this is very early am and i'm not quite awake. It occurs to me, that pots which are already 68° might not survive being rapidly cooled to 15° and then reheated.
There was also the kiln factor. Figured the pilot burner was not going to heat that kiln much above the garage temps.
So!
Cranked on the main burner just as low as it would go and waited. Two hours later, it was holding at 1000°F. Pushed the main lever ¾'s open with the draft completely uncovered and all ports open. (Trying for oxidation.)
From past experience, was expecting that in about another 2 hours, temps would have reached around 1827° . Of course, in the past have gone for body reduction at ^012 or around 1550 - 1620°.

Ah but no, the Cosmic Joker was messing with my mind but once again !!!
The thermocouple in the top port read: 2400°F ! The middle port temps were: 2350°F

Just couldn't believe what my eyes plainly saw. Stood for several minutes switching the thermocouples from one port to another - top, bottom, middle. Letting the thermocouples reach room temp and reinserting them into the peephole ports.

Yep! They actually did read 2400°F at the top; 2350°F at the middle.
And climbing !!!

The glazes are going to be fried, of course. More pots to add to the reject pile which is growing well-nigh out of hand. And actually, until the kiln can be opened tomorrow - am not even sure the Cone 6 clay didn't melt to puddles in cone 10 temps !!!

Main question here is: is this a fluke? Somehow related to the zero temps outside? Or is this a repeatable operation?
Chae

Washes Over Thrice Fired Pots

Do not put a 50/50 Gerstley Borate and Frit 3134 wash over very dull, matt surfaces and fire them to 1888°F in a gas kiln hoping for better than previous results!
This does not work a'tall !!!

Glaze Combo

This is an awesome glaze combination at temps 2020°F electric oxidation firing.

50 Frit 3419
10 Neph Sye
5.5 Fireplace Ash
3 Lithium
9 EPK
14.7 Silica
5.4 Whiting
Plus:
1 Cobalt Carb
3 Lithium
2 Tin

Apply first, then apply the following glaze over this.

52.5 Frit 3124
9 Silica
14.7 EPK
4 Lithium
10.6 Zinc
7.8 Custer feldspar
5.4 Whiting
Plus:
1/2 Copper Oxide
2 Lithium
1/2 Cobalt Carbonate
2 Tin

Note: i measure in parts, using 1/8th teaspoon as a base measurement, so all of the above portions are in 1/8th tsp measurements.

Firing schedule:
200°F to 300°F
324°F to 1250°F
Full to 2000°F
Hold 15 minutes (see notes on this in previous post)
Full to 2020°F
Hold 20 minutes
Full to 900°F
Hold 40 minutes

Be aware: Both of these glazes run like crazy.
Note: by adjusting the tin oxide amounts in the additives, one can achieve different shades of blue yet with the same startling effects of the two glazes combined.


Ignore the outside of these pieces (these were all glaze tests and i usually try 3-4 per cup). Focus instead on the inside blues. Guess i oughta mention, ignore the quality of the photographs too!
For these are richly saturated blues with riverlets of blue, green, black and wee specks of pink adding a "richness" and depth to the overall finished glaze.
Happy glazing days to y'all
Chae

Nother Glaze Database

Good Sunday Mornin' to y'all

If you're trying to find low-fire glaze recipes, this is an extremely useful database !!!
http://lindaarbuckle.com/handouts/glz_hg_lowfire.txt

Many thanks to Linda Aarbuckle, who has spent many hours compiling it !!!
She, also, has a raku recipe database. Just replace the word lowfire with raku in the address bar to reach it, then add it to your favorites list.

Way down towards the bottom of the list, there are some recipes for lustre glazes, too !!! Haven't tried them out yet but now that i can no longer find a source for Amaco Gold Lustre, will be attempting some of them in the near future.

Happy glazing days
Chae

Glaze Worth Mentioning

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If you are working in the 2020°F glaze firing range, this glaze works well. It strongly resembles a "floating blue". The color is much more saturated and a richer blue than my photo shows.

It's a high Gloss where applied thick and doesn't run. Oxidized, electric firing.

Base Glaze:

52.5 Frit 3124

14.7 Silica

9 EPK

3 Lithium

7.6 Zinc

7.8 Cornwall Stone

5.4 Whiting

Plus:

2 Tin Oxide

2 Lithium (that's in addition to the 3 in the base glaze)

1/2 Cobalt Oxide

Note: i measure by parts. And use 1/8th tsp as a base measurement. Thus: 1/2 cobalt oxide would be: 1/2 of 1/8th tsp. Plus: i halved the above base recipe but didn't half the additives: tin, lithium and cobalt oxide.

I was seeking a pink. Spozedly lithium and cobalt oxide will produce a pink. But this didn't.

Still -- am quite pleased with the "floating blue". It's a keeper.

On the inside: Where applied thin, it's a steelish blue; the areas where 2+ coats were applied are the sections it "floated". Plus, (on the outside) where applied over a yucky chocolate brown glaze, it covered it well but the double-glaze is nothing to write home about.

Firing schedule:

200°F to 300°F

324°F to 1250°F

Full heat to 2000°F

Hold: 15 minutes

Full heat to 2020°F

Hold: 20 minutes

Full ramp speed drop to 900°F

Hold: 40 minutes

Explanation: the only reason the hold is between the 2000°F and the 2020°F, is because my Paragon kiln doesn't operate as it should and shuts itself off !!! Thus, i added an un-needed hold in order to coax it to reach 2020°F and this seems to work for this kiln. If i were firing a normal kiln, i would fire at full heat straight thru from the 1300 to the 2020°F. However, if my kiln operated correctly, i would be firing to Cone 6 !!! instead of recomputing all my glazes to the lower temp.

Chae

Fiddlin' Around

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Have recently been teaching clay classes.

Decided that having a theme would move the classes along in a somewhat orderly progression.

Chose musical instruments.

Had already started this banjo as a model for the first class, when i realized, much to my dismay, that it surpassed the abilities of the enrolled age group.

So!

Have spent the last couple of weeks remodifying my game plan.

We're still doing musical instruments.

Just on a drastically more basic level.

Still, without the motivation of teaching classes, it would never have occurred to me to try and create a banjo !!!

The tuning pins were a bit of a logistics problem. But think i have this solved.

The next challenge is: how in the world to i prop this upright in the kiln? If it warps a'tall, i'll be in the soup.

Have a day or two to figure this out while the clay dries before bisque firing . . . .

Am just a'hopin and a'prayin that it survives both the bisque and glaze firings, and then, actually makes music !!!

Chae

Old Discovery Made Anew

Even the smallest amount of Dolomite will turn a glaze matte !!!

As y'all know, i've been trying to modify all my glazes to vitrify at 2020°F.
Soooo
Drew up a list of materials and oxide melting points. Dolomite's melting point is 1472°F. Now, silica's MP is on the high end of the scale at 3110°F. I was hoping that in the language of eutectics, the Dolomite would lower the melting point of the silica. Or some such thing. Actually, computed the formula a little more precisely than that.
But it's Dolomite that is the culprit here.
All 6 of the new glazes worked. But darn if they're not ugly.
An' didn't i use Dolomite in every one of them. To help bring the glaze melting point down, of course.

But even the smallest amount of Dolomite will turn a glaze surface matte . . . .
7.7 out of a 100 percent isn't very much, you know.
But just for future reference
If you want a glossy glaze
7.7% is too much.
It will give a Satin Matte glaze at best. Otherwise, just a plain ole stoney matte.
Chae

Trying to Understand Glazes and Gas Kilns

What can i tell you? That i don't understand gas kilns? Yep. That would be a true statement. Am i sorta getting a handle on it? Perhaps . . . .

Yesterday fired these pots under the assumption, that while i've never been able to get the Olympic Torchbearer 1827G to reach temps of 2167°F, it has consistently heated beyond temps of 2012°F. Since, both the electric and gas kilns seem to be in cahoots with each other, i've been trying to modify my cone 5-6 glazes to accomodate the kilns.

OK. Here's the scoop. Arranged the shelves in the kiln totally differently than previous attempts. Used 2 half shelves placed 3.5 inches from the bottom. Put 2 more half shelves on 10-inch posts and balanced them on the first set. Put the 4 bowls on these shelves. Then, balanced a full shelf on more 10-inch posts which placed it 4.5-inches from the top.

The air-intake valves were approximately 1/8th-inch from the closed position. The draft at the top was covered to approx. 1/3rd of the opening.

The first peephole would have been measuring heat of pots on the bottom half shelves (if any had been placed there). The second peephole measured the heat of the middle set of half shelves, and the third peephole measured the heat in the space above the top shelf. One should probably pay attention to these type of details before they fire a load. Me? I arranged the shelves and the pots. The hour was midnight and did i mention that i was already exhausted? Yesterday morning at 6am, as i fired the kiln, wondered why the pyrometer was giving me three different sets of readings: top peephole read 2150°F, middle read 2050°F, bottom read 2000°F. Which one of the three i should be paying attention to !!!

This morning, after removing the bowls, i measured both the shelf spaces and the peephole openings. An ounce of precalculation is worth a pound of cure, they say. But i lucked out.

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I should mention here, if you're gonna try out new glaze recipes, try not to concoct them when you're positively exhausted and your mind is laboring to overcome a dull, throbbing headache. It's not that you can't build a perfectly wonderful glaze computation which turns out swell and nicely vitrified !!! It's that after you have done so and fired them, you find you've forgotten to meticulously write down the ingredients in a logical and repeatable order!

So! To the best of my dead- (tired) reckoning, here is a recipe that will vitrify at temps between 2020°F and 2050°F:

Neph Sye = 10

Frit 3110 = 50

Bone Ash = 5.5

Magnesium = 3.1

Dolomite = 7.7

Lithium = 5.5

EPK = 5

Silica = 7

Talc = 6

xxxxxxxxxxxxxx The outside of this bowl has the above recipe (base) with 4 parts Zinc added. Let's call this: (#A). It's a satiny matte.

The inside glaze is a combination of the above recipe (base) with (#B) which has 4 parts Rutile and 1 part Red Iron Oxide added. Then, an additional overlay of the glaze (#A) with the zinc was added. It's super glossy and quite attractive in its own way.

Now . . . here comes the part about inadequate notes. A few days ago, fired a recipe high in manganese content trying to produce a lustre glaze. Fired 3 different bowls with 3 different amounts of manganese on the inside with different glazes on the outside. One had antimony; one had potassium dichromate. While all the glazes vitrified at 2020°F in the electric kiln (oxidation), they were not pretty. Dull matte surfaces. No lustre.

Naturally, i thought - well - they needed a reduction atmosphere. Put them in yesterday's firing. Since they were formulated for temps of 1999°F to 2020°F, most of the glaze surfaces boiled at 2050°F. Some did not, which is confusing in and of itself !!! But it's the color we're interested in here.

Note: On the bottom bowl: the potassium dichromate turned a putrid green in reduction. Not cool when in theory it was spozed to be an orangy-red.

The top bowl with the antimony on the outside turned ugly shades of gray sprinkled with white.

However !!!

The inside of this bowl which had been a dull metallic gray and originally glazed with:

Manganese = 36

Gerstley = 32

Lead Bisilicate = 20

Frit 3110 = 4

Red Art = 4

With the addition of Glaze recipe #A ( 4 parts Zinc) liberally brushed over the pre-fired surface and fired in reduction, turned glossy with rich red-highlighted tenmoku coloring !!!

This isn't the greatest picture of it; the one above shows the richness of color and glossiness better.

So! There you have it. Such as they are, notes on firing gas kilns and metallic lustres which didn't luster and cone 03 to cone 1 glazes which did vitrify, amidst notes on overlaying glazes.

If you're not ready to throw in the towel by now, stay with me. More notes on experimental glazes to follow when formulated and fired !!!

Chae

Steve Graber Tool

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ok. So ok. This is a little rough and the lid needs attention but it's my first effort at working with Steve Graber's tool which arrived via U.P.S. delivery a few days ago.
Am tickled with the tool. It creates all kinds of potential new design ideas.
Chae

Imagination Needed Here

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Discovered this morning that i really don't know how to photograph "shiny gold" effectively. Placed these pieces here. Placed them there. Placed them everywhere.

Still

The light sparkled off the gold; overexposing some areas, darkening the rest of the gold areas to reflect a "brown" rather than the shimmering gold.

Soooo

Imagination is needed here. Can you see the bright golden lusters resting luxuriously upon sunset colored sands?

When held in the hand, these pieces boast of far off magical lands awash with shimmering gold in the last orbs of the day.

XXXXXX

Chae

Results

OK !!! I feel a little more positive now.
It's as if, after much searching thru the convoluted maze of pathways at the world's fair, i finally found the cotton candy booth. Oughta mention here: i love cotton candy!

Here's the scoop.

About three-quarters of the way thru yesterday's firing, realized i was trying to do two opposing things simultaneously.

1.) Was still working under the theory, that with different programming, i could get the little electric Paragon to reach a mid-range temp.

2.) That i had concocted glazes for a much lower temperature range, and if brought up to 2142°F quite possibly, they would "boil" and the effects of the whole firing would give misleading results.

Opted for the lower temperature range. Specifically 2016°F with a 15-minute hold.

Used 3 different glaze calculations.

Here are the results:

Glaze 1 xxxxxxxxxxxxxxxxxxxx Glaze 2

Both glaze 1 and 2 vitrified. Glaze 2 is richer, more glossy and a much better glaze. In both cases, i poured glaze into the bowl, swished it around, then poured the remaining out. Glaze#2 is a Conrad G170, cone 3-5 gloss. It worked well, but if used again, will apply 2 coats for i think that will give better results. The pea-green color resulted from the basic glaze with 1% copper carb and 0.25% Rutile added. The dark purplish blue had 0.5 cobalt oxide and 0.25 magnesium added to basic glaze.

Neither of these glazes ran at all.

ok.

Now for the prize. This next one is a glaze formulation which i found on the internet which had been published in Ceramics Monthly's April 1998 issue. Notes on the glaze mentioned that it had a Cone 1-6 range but sometimes bubbled at Cone 6.

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It is a rich creamy glossy turquoise glaze. Perfect. Only needs one coat. But 2 coats wouldn't hurt it. Doesn't run at 2016°F temp with a 15-min hold. Will definately use this formulation again.

Name: Wrights Water Blue

Cone: 1-6 Oxidation

3% Lithium Carbonate

9% Strontium Carbonate

59% Frit 3110

12% EPK

17% Silica

Plus:

2% Bentonite

5% Copper Carbonate

Wasn't sure the clay i am using would vitrify at this low of a temperature either, or that the glaze would marry the clay. It's Georgies G-mix 6 with grog. It has a stated range of cone 4-6. However, the clay is extremely versatile and i've used it before when doing raku firing. Had noted, then, that the pieces with a raku 80/20 glaze would hold water indefinately without the liquid seeping out. No leakage.

If sound counts for anything a'tall, a fingernail pinged against the side of the bowl gives a lovely melodic sound as if the clay has vitrified !!!

Currently, have water in all three bowls checking for seepage or leaking.

So !!!!

There you have it. There may be a way around dysfunctional kilns.

After a year in the doldrums, a wee bit of my lifelong positive attitude is returning! And i am soooo glad to meet and greet it again . . . .

Chae

Watchin'

Watching that kiln like a hawk. New glazes. New schedule.
If the glazes come out to anything a'tall, will post photos tomorrow.
Chae

Remodificaton

Up at 3am this morning, to try just one more time to get the little Paragon's cooperation!
Found a glaze firing schedule produced by the Paragon company themselves, which i thought i'd try before chucking the whole Cone 5 venu and remodifying all my glazes to lower temps.
The paragon schedule gallops at high temps up to 1120°F, then crawls slowly to whichever cone completion you're seeking.
Seems backwards to me.
Still . . . . if i didn't try it, how would i know that it didn't work?

The kiln didn't like the Paragon firing schedule any more than i did !!! Shut itself off around 1910°F instead of its usual 2112°F. Yet, true to its own personality quirks, when it was immediately restarted, the onry puppy completed to 2167°F. Of course, you had to be sitting there, nose to nose with the rascally critter, to catch the exact moment it would shut itself off !
Sooooo.
Remodifying my glazes it is.
It's worth the effort, eh? Unless i want to sit thru another winter, eyeballing the digital readout dressed in 3 sweaters, an Alaskan parka, mittens and muluc boots trying to catch the exact moment it decides to misfire.
I'm sure there are other possibilities. Just haven't thought of them yet. An' sure now, isn't experimentation a grand pursuit?
Chae

Greenware On The Drying Rack

Have i mentioned?

Became fascinated with the old Russian teapots which sported a hole in the center. It took me a minute or two to figure out how to throw such a piece on the wheel. And, as heavy as it is, have a hunch that perhaps the originals were slab-built.

Still

This is my first one.

The pitcher was my second attempt at the theory and it's much lighter.

With practise, ought-a get the technique perfected, eh?

xxx

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On the pitcher below, the pink areas will bisque-fire blue on a white clay.

Happy Sunday to y'all

Chae

Random Thoughts and Taller Pots

Stormy here today. This area regularly has electrical storms; we seem to have had a lot of them this summer. Lightening zapping from the sky like a cobra's deadly strike. Hitting the undeserving bushes outside, and once, in the other house, it came right inside, hitting the metal woodstove pipe with a resounding crackling. There's no proper word to describe the sound it made. Loud. Crisp. Zap!

That's a pretty long story telling why i won't bisque fire tomorrow. At least, til i know what the weather intends to do.

Last week, bisque-fired every other day filling the small Paragon to capacity each time. This wee kiln, which has such trouble reaching glaze temps, does a bisque fire very well. Was going to post a photo of all that was done, but realized it was nothing to brag about. In a large kiln, it would only have been half a load.

Transferring photos from my camera to the computer has now become a "situation". Not a situational comedy, mind you. Just a troublesome situation. I should have been paying attention, but wasn't -- when my cockateil, Kama, chewed the connector cord. Now, it's "iffy" whether the photos will transfer or not, even with electrical tape wrapped round the wires trying to heal the partially severed copper strands.

Here's a couple of pots thrown and altered this past week. Haven't a clue why it occurred to me to throw a square teapot. Spent more time trying to configure spouts, handles and lid -- on the square -- than the finished pot is probably worth !!!

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Am about to take another detour. Have gotten to the point in life where i intensely dislike detours. They are always so time consuming !!! Average lifespan for American women is 68-years old. So! There's little time left to accomplish a mark in the world of pottery. Two? Maybe 3 years? Less? Guess, even a detour is better than sitting here fretting about wasted time.

The detour?

Learning how to sagger fire. It's not what i want to do. I'd prefer a straight-forward glaze firing. But neither kiln will "get there". It was only within the last couple of days that i realized i had options. Saggar firing is one.

Promised my friend, Gay, that i'd post what i knew about throwing taller pots. I'm afraid what i know about the subject isn't much. But here goes:

Here are 3 links (courtesy of John Lowes of Pottery by John) which give videos showing how to throw taller:

(1) This one was the most inspiring for me:
http://www.youtube.com/watch?v=8Pw3AZvOUC8

Throwing a tall fluted porcelain vase by David Cuzick

(2) http://www.youtube.com/watch?v=KOrlPNNhEvw

Throwing a big clay pottery vase by potter at Ingleton Pottery

(3) http://www.youtube.com/watch?v=4BkIWBgT8sU&feature=channel_page

Simon Leach - Learning from Guy Wolff

In the discussion between John and i, we noted:

1. That is a good comment about the type of clay making a difference. David is using Aardvark Nara Cone 10 porcelain. They also have a Cone 5 Nara porcelain.

2. Also notice that David keeps control of the rim of the pot all the way up with his left hand. He also uses his fingers on the right with the sponge to create a ledge under the clay as he pulls up and as you observed the left is pushing out hard stretching on top of the ledge.

3. The inside hand is just above stretching out the clay and the bottom hand is guiding it up and in, at the same time making the claybody wall thinner.

4. Collaring is a big help too.

In Tom Bivins workshop, i noticed that he applied most of these techniques. He starts with approx. 6 and 1/2 pounds of clay (it may have been more than this) , opens a fair amount, then cones up. Tom uses a lot of water. A very wet sponge which he slowly squeezes over his v-shaped inside fingers to focus the water along the sidewall. Using the techniques above, he brings the pot up; then, cones the clay again. Repeating the process until he has these gigantic pots.

Tom advises: "Don't pay attention to the wobbles. Ignore them and continue to bring the clay up."

He also sets his rim early on. Says it helps stabilize the pot.

You'd think with all the above info, i'd be able to throw tall pots. Not so. The tallest i've managed so far it 9-inches. The taller pots you've seen me post, have used the age-old technique of throwing the tallest pots i can manage, then stripping them together into one pot.

Last i heard tho, John is having much better luck! And better skill

If you're trying to throw tall pots -- good luck and good skill to you . . . .

Chae

Tom Bivins' Workshop

Occassionally, time gets away from me.

And lately, my efforts have been focused on creating tall pots.

So!

I've been remiss in giving credit where credit is due.

Attended a workshop given by Tom Bivins, a master at throwing tall pots, at the TAC building last Wednesday.

Oughta repeat part of that last statement: Tom is a Master thrower of tall pots !!! If you ever get a chance to attend one of his workshops . . . . run . . . . don't walk to the affair. It will be well worth your time to watch him make the clay rise.

And rise.

Then . . . .

just when you believe it can't get any taller,

Tom brings it up more!

Tom Bivins at the wheel.

Here he is bringing the clay up.

Bringing it up more.

And setting the rim. Notice that now he's standing up!!! It's much too tall to work on sitting down!

A special word of THANKS goes to Tom Bivins for giving us his time and his expertise. In addition to creating beautiful ( and tall !!!) pots, he's actually a really good instructor, presenting a workshop that was not only informative, but lotza fun.

And a special word of THANKS goes to Reed Sullivan of the Valley Citizen - (Teton Valley newspaper) x for sharing his photos of the event. Thank you Reed.

Successful throwing tall days to y'all.

Chae

Update

So !!!

You think because you haven't heard from me lately, i haven't been busy ???

You think that just because my kilns don't work . . . .

I haven't been creating ???

Ha!

Here are a few of the pots thrown recently . . . .

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They are all greenware. All are between 9 inches and 14 inches tall. Except for the little guy ... he's approx. 7 inches in height.

Have done some casserole dishes too. Will bore you with photos of these at a later date.

Am praying sooo hard for a working Cone 10 electric kiln to somehow miraculously arrive . . . .

Happy creative days to all

Chae

Susan Harris

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Susan Harris held a workshop here last weekend and i am delighted that she did !!!

Sometimes an artist's work and techniques are so inspiring that after the workshop ends, one just can't wait to get to their own wheel and see how much they actually learned from the person teaching.

Such was the case after Susan's demo.

And here is the result.

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Thank you Susan for coming. And thank you for sharing. It's quite awe inspiring to learn techniques from a Master Potter.

I want to thank Cynthia Guild Stoetzer for organizing and hosting this event. Cynthia is awesome !!! She is putting her heart and soul into building up the Teton Arts Council's pottery department.

And she is doing a great job.

Bravo Cynthia. And you have my heartfelt appreciation.

Have a very best creative day everyone!

Chae

Born Again

Have been studying ancient Greek pottery recently. It seems that every "new" form we create has already been done by the Greeks !!! Amazing.

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Then, it seems, there is pottery of the shamanic transformation style. One would attribute this to our southwest, perhaps? Or South America?

Anyhooo, i'm sure this fello was around before, in some era from a long time ago, and found somewheres between Greece and South America.

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It is said that a spiritual practioner owning such a vessel is able to transform himself into a supernatural being and take on the powers of the Jaguar !!!

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Which would be fun i guess.

But i ask you,

who

in this day and age,

has the time for such tomfoolery?

Chae

New Work

Oops! Sorry folks. Didn't realize that it's been such a long time between postings.

Well, here we go then.

This is greenware ready for the kiln.

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God willing n the creeks don't rise, a new KM1027 Stutz kiln will make its appearance and these can be bisque fired.

So i'll go ahead and Thank Him for the new kiln even if the thank you is a wee bit premature.

Chae