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#67454 Well Said

Posted by Min on 08 October 2014 - 11:39 AM

I came across the little anonymous blurb below on Bailey's facebook page...



#64331 New Hampshire Institute Of Art Anagama Build - Images

Posted by JBaymore on 11 August 2014 - 10:28 PM

Some people asked me to keep some updates here on out progress.  So...... here are a couple of shots of the first two days of the build:


Day One







Day Two









More to come in this thread.  Check back every day or so if you are interested.





#3228 Amaco Ancient Jasper Question

Posted by Steve Lampron on 22 October 2010 - 03:17 PM

ANCIENT JASPER: Hello all and stay with me as I am and old guy and not blog capable. I am the VP of Technical Services here at AMACO and the engineer that developed this glaze. I am very sad to hear that some of you are having difficulty with this glaze. It is actually a very easy glaze to work with and will yield excellant results. Let me give you a few tips on this type of glaze in general an then some specifics about ANCIENT JASPER.
Many midrange and high fire glazes used by ceramic artists are what I call FLOAT glazes. These are the pretty glazes that tend to seperate out different colors in areas where the glazes are thicker. ANCIENT JASPER is this type of glaze and what it floating out is iron oxide. Iron is one of the more interesting colorants simply because it can be in so many different oxidation states. This simply means that it can make a ton of different colors. With any float glaze, enough thickness of glaze must be applied in order for the excess iron to float to the surface. If the glaze is thinly applied, the glaze will tend to be drier and a very unpleasant color.
This glaze was not developed where any massive amount of glaze needs to be applied. If it had needed this I would have told everyone on the label. We actually never had any issues getting red at all. I always try new glazes on all of our clay bodies to make sure there isn't some issue I need to know of. We also fire them at cone 5 and cone 6 to check stability. We found no issues with this glaze on either account. By now you probably saying, great but it didn't work for me. I will list some good parameters below for you to follow and I am 100% sure you will find this glaze simple to use and that it will yield great results.
1. Temperature: The red color is actually the first color to float and the use of more heat will tend to make it turn to the purples, yellows, browns and black. This means you will tend to see slightly (and I do mean slightly) more red at cone 5 than cone 6. No soak is needed for this glaze and actually soaking it will cause more red to fade into the other colors.
2. Thickness: The glaze must be applied with enough thickness to float the iron.
3. Kiln cycle: I fire all the glazes we develop in an electric kiln at fast, medium and slow speeds. Red color will be developed at all speeds but the faster the firing ~6 hours (tons of red) the better the results. I always quality check each batch at cone 5 in 8 hours. 10-12 hour cycles will cause more red to fade to the other colors. This is most critical within 200 defrees of peak. If your elements are weak and it takes the kiln a long time to achieve the last 200 degrees, you will find less red.
4. Cool down: No special cool down is needed nor will it help develop any red color. Letting the kiln simply shut off and cool naturally is all that is needed.
4. Clay Body: I have tested this on porcelain, typical stoneware bodies, bodies with grog, bodies without grog, brown colored bodies, etc. I develop red on all of them. I have found that when using our #1 Porcelain slip that the color transition away from the red tones is very pronounced (although it makes a rainbow of the other colors). This is because for a cone 5 porcelain slip alot of soft flux is needed to tighten the body. The flux in the body mixes with the glaze and actually makes the glaze softer (simulating more heat).
5. Texture: This glaze loves texture and will make some incredible colors. The texture makes the glaze get thinner and thicker in areas. The thicker the glaze the easier it is for it to stay red. The thinner the glaze gets the hotter that area of glaze gets and it shifts to the other colors.

These simple tips should help everybody that wants to make ANCIENT JASPER work. I suggest running a few tests of glaze thickness in your next kiln load and follow the firing rules above. Three nice coats on any typical stoneware body, fired to cone 5 or 6 in 6-8 hours with no soak and no special cooling curve will yield pieces just like the ones we showed in the ads. These were just pots we made in the lab. Honestly I have never actually made a pot that didn't make colors just like those pieces.
I will attempt to post a few more photos here today and next week we will post a board I made with all of our clay bodies fired at slow, medium and fast so you can see the slight differences.
Let me know if this helps.
The photo files are too big to upload. I will have someone help me make them smaller for next week.

#62922 What Makes A Good Mizusashi Good?

Posted by Rakuken on 21 July 2014 - 12:35 AM

I love making a mizusashi. Here are a few. I also made and finished the wood covers.
Aloha, Ken

Attached Thumbnails

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#56617 The Dangers Of Advice Without Experience

Posted by ChenowethArts on 14 April 2014 - 03:03 PM

There is an African proverb that applies to taking/giving advice: "Never test the depth of a river with both feet."

#54842 Video "a Love Story In Clay"

Posted by Isculpt on 17 March 2014 - 03:28 AM

My husband Bill and I are very private, low-profile people, but when Piedmont Crafts Guild, the oldest crafts guild in NC, asked us to participate in a series of short videos about guild members, we couldn't say 'no' to a guild that has done so much for so many.  Consequently, we spent a day last summer with a mini film crew at our rural South Carolina home near the Catawba Indian Nation, whose thousands of years of pottery tradition my husband carries on.  In contrast, as some of you know from the outpouring of help that I've received from this forum, I am a self-taught sculptor.  What I really like about the video is how it shows that, like everyone who chooses to work in clay, our love for the medium enriches and defines our life.  (What I don't love, having just seen the film, is that it now occurs to me that taking a few minutes to apply cosmetics (on me, not Bill) might have been a good investment of my time before the crew arrived to make a high def video!  :huh:)  Oh well.... 




Added note:


Thanks, all of you for your kind words and warm response to the video.  I have to say that the decision to focus the video on our relationship along with our work was the choice of the makers, and it struck us as slightly ironic.  After the intensity and intimacy of a shared life in craft, we were adjusting to a new reality that took Bill away from home and studio for all but a few hours a day.  After 25 years of working side by side, our new reality is that his days as Chief of the Catawba Indian Nation are filled with administrative duties for a tribe of 3,000, lobbying Congress on Native issues, and handling intense political pressure as he works to regain some of the sovereign rights lost to his tribe. Meanwhile I keep the homefires burning and look forward to the day when his crucial work on behalf of his tribe is done and I regain my studio partner.


The video shows us working on several pieces that are pictured in their completed states below.

B Harris small image.jpg Bill Harris Pottery_054 small image.jpg BLUEBIRDS SWIRLED AROUND HER clay sculpture by Jayne Harris.jpg JAYNE HARRIS SCULPTURE 46 SMALL IMAGE.jpg

#46175 12 Inch Club

Posted by neilestrick on 19 November 2013 - 10:03 PM

Membership has it's rewards.....I'm not sure what they are, but I'm sure they'll be awesome.


#18863 Was: Etsy or Ebay? Now: When Should You Start Trying to Sell?

Posted by metal and mud on 02 July 2012 - 01:55 PM

I've been thinking about this thread a lot this weekend. I've been having a wonderful time making gift items out of clay--2 and 3 inch lidded boxes on feet, textured and glazed in pretty colors, little Indian rugs hanging from metal racks that my son makes, plates carved with our local Organ Mountains and a moon and glazed to look like moonlight--etc.--different things that just come to me. I had so much fun making them that I couldn't NOT do anything with them. I also know that I need to do a work many times to get better at it; already the lids on my clay boxes fix much better. I am a small business owner and it only seemed natural to sell my items, so last December I got "certified" as a vendor at our Farmer's and Crafts Market. I get such a kick when someone buys one of my--admittedly--imperfect items. They make them happy and me even happier. I use my revenue to buy supplies, thereby supporting my hobby. It's disturbing to me that someone should suggest that we shouldn't put our items in public until many years have passed, implying that the works shouldn't be in public until much better in quality and near-perfect. I view my craft as an incredible relaxation whose result brings happiness to both the maker and the purchaser. After reading some of the posts I started to doubt myself in my decision to put my works in public and my ego on the line, but I had a good firing over the weekend and I know that on July 4th, my next market, some local folks will get a kick out of my little items and I won't stop bringing them to market, for one, nor trying to make them better and better each time. I hope I never achieve perfection because then I might stop.

#64036 The One Minute Teapot.

Posted by Tyler Miller on 06 August 2014 - 12:16 PM

I thought a little humour might light the mood a bit.  "Johnny Vegas" is/was a potter under his real name of Michael Pennington.  Extremely talented fellow, but got bad marks  due to his choice of subject matter.  He then got into comedy.


I hope you guys enjoy. HIs 60 second teapot.



 A version of this pot is in the Victoria and Albert: http://collections.v...t-vegas-johnny/


There's another video of him "potting" on stage, but it's perhaps a little too graphic (he does something colourful with a tall centred lump of clay and some beer) for sharing on a public forum.


#63868 Is Kiln Wash Necessary?

Posted by Min on 04 August 2014 - 06:38 PM

After kiln washing do you bisque fire before use?

As a first timer .....grind and coat...... I do not like...... (Them.....Sam I am)


Would you like them wet or dry?

I would not, could not fire them wet.


Would you, could you dry them in the kiln?

From here to 200F for an hour or three.


If you feel them you will see

Cool means they're too wet to fire


I do so like dry shelves for me

Bisquing is not necessary


(deepest apologies all around, it's been a long day)

#61362 Tips & Tricks

Posted by Min on 25 June 2014 - 11:38 AM

It's been a while since we have had a tips and tricks posting and it's seems to be a bit quiet on the forums so anybody have anything new to share?


I've got this one: for pots that have gotten to dry to cut the rims of or attach handles to, wet cheesecloth works really well. I dip the cheesecloth in water then squeeze out the excess and drape 2 or 3 pieces on the area of the pot that needs to be softer. For fairly thin pieces it takes about 15 minutes and the clay is soft enough to work again. For thicker pieces I re-wet the cheesecloth and reapply. This works much better for me than misting or dipping the pot in water.

#37769 What do you collect and why? | June 19, 2013

Posted by trina on 26 June 2013 - 07:18 AM

oh man and i was so clinging to that one positive rating point.....T

#63228 What Are You Working On?

Posted by Isculpt on 24 July 2014 - 10:10 PM

This has gotten way off point, but out of curiosity I just Googled 'echidna' and found a bizarre you tube video entitled True Facts About baby Echidnas" that starts "The echidna was created 54 seconds after God created marijuana..."


Oh my, the things I have learned reading the ceramic Arts Daily Forum!!!!

#61641 Hakame

Posted by bciskepottery on 01 July 2014 - 06:47 PM

With glaze, you'll want one that is "stiff" or "fat" . . . one that stays in place and doesn't move when melting. The second bowl seems more shallow than the first picture; gravity will come into play. It also looks like your glaze melts and flows easily at temperature. Perhaps for the hakeme decoration you'll want a more matte or semi matte glaze that does not melt completely and stays in place. Another key is how the two glazes interact; the first picture seems to show the two glazes melting together nicely, probably because they are similar in composition; two glazes with the same base recipe are not likely to work well. You don't have that happening in the second picture.

As for getting the flow, you'll need to practice on paper. Loading a hakeme brush made of broom bristles is far different than loading a brush of animal hair. Also experiment with different viscosities of glaze . . . thick glaze vs. thinned glaze. Once you find you can get the effect you want on paper, move on to your pottery.

#58561 Why Is Our Work Better Than Imported Work?

Posted by JBaymore on 15 May 2014 - 11:49 AM

On the other hand, I'm afraid I see a lot of potters who are struggling to sell. Tact prevents me from asking "do you think it might be the mustard yellow and green glaze combo?"................


Thanks for addressing the 900 pound gorilla in the room. I applaud you going out on this limb with your comments. 'Political correctness' often prevents useful and honest dialog and critique, particularily in places like online forums. Too bad really. It limits the effectiveness of that kind of venue. And it doesn't help improve " the field".


Good pots is good pots. I also often come back to the old Alfred comment: "A pot without a soul is just clay around a hole".


'Our work' is only better than 'imports'.... when it actually is better. Far too often... it is not. Skilled handcraft is functionally and aesthetically better than unskilled or poorly skilled handcraft. Unskilled or poorly skilled handcraft is not necessarily functionally or aesthetically better than mass produced work (heresy! :P ).


Here's the really hard and politically incorrect statement coming: Too many people want to start being a "professional" in the ceramics field way before they are really ready to do so.


Since there are no standards that prevent this from happening, and "free enterprise" tends to rule (at least in America)....it is very easy to do this. In "years gone by" I think folks tended to self-censor such inclinations much more than they do these days. More folks would not even consider 'hanging out the shingle' until they had spent a lot of time learning the craft to a pretty high level of technical and aesthetic skills. These days.... two community ed classes, and the financial ability to buy a wheel and a kiln... and bingo.... instant professional potter.


This practice is hurting the whole field.


Personally I always return from Japan, Korea, and China feeling incredibly humble and a 'babe in the woods' when it comes to my own knowledge and skills in working with clay. You can only understand the broad level of ceramic skill that resides in those cultures with such huge histories in the field...... by having the chance to see them first-hand. And I've been doing this full time for 40+ years, and have been teaching it for almost as long.


There are some darned nice "imports" being made and imported. Alluding a bit to that CapitalOne credit card TV commercial...... "What's in your kiln?"







#58301 Carving Stamps - Any Tips?

Posted by ChenowethArts on 10 May 2014 - 07:28 PM

Most of the small clay stamps that I make are not terribly detailed so I stick with a simple tool set, primarily a sharp x-acto knife, a needle tool, and a few sharpened chopsticks.  To get finer lines, I do the carving when the clay is leather hard and leave some thickness on the linework.  When the project is nearly dry, I then take the x-acto and carefully shave the lines, little-by-little to the desired line thickness/thinness. BTW, I used to thin the stamp handles down to about a quarter inch...this makes them a little brittle when it comes time to put pressure on the stamps when putting them into practice.


#55814 An Apology

Posted by Tyler Miller on 30 March 2014 - 10:22 PM

I suppose I should come forward and say that I was the one who asked TJR to apologize.  I'm very impressed with his humble and cordial response.  TJR's a good guy and a great potter. I wish my teapots looked as good as his.  He's also Canadian, a fine quality in anyone ;).


My feelings about not pointing out spelling and grammar mistakes come from my experience with languages.  I was a classics student for a long time and I'm still an all-around word-nerd.  I know my rules well, but after a time, you learn that spelling and grammar are very artificial constructs that have no bearing on artistry, intelligence or the ability to communicate. They are merely indicators of your schooling and skill with words.  Shakespeare had a vocabulary of well over 20K words, and invented a significant portion of our modern lexicon.  He also is known to have spelled his name five different ways in his own lifetime.  His own name!


Not too long ago, a gentleman posted on The Bladesmith's forum inquiring about making a knife for his son with only his limited hand tools.  Literally every word was spelled wrong and he used no capitals or punctuation.  He likely had the legal minimum of education for his state.  But he wanted to learn now.  People jumped on him, but the truth was he was perfectly legible, if you bothered to say what he wrote out loud.  He didn't need punctuation, he had a built in cadence to provide sense to his words.  He was writing in poetry, not prose, poetry.  To understand him you needed to read his rhythm and cadence.  After everyone had jumped on him, he never posted again.  eye wud hav reely lykt to no how his nyf ternd owt  eyem sher it wuz grate Very rarely does poor spelling and grammar amount to nonsense.


Then there's the fact that a lot of people have dyslexia and struggle with spelling pathologically--not to mention all the other learning disorders out there.  I once knew a perfectly brilliant man who was rendered illiterate because of Reye's syndrome in his childhood.  He was physiologically incapable of reading.  He had very real cognitive problems because of his illness, but he was an excellent carpenter, machinist and labourer.  At 45 he's finally learning to write his numbers with great difficulty--he could read them, but writing them used a part of his brain that he struggled to muster.  He was very proud that he painted his house number on his mailbox.  You don't need to read to make a pot and some of the most brilliant artists I know aren't the greatest with words.  Ann Rice, author of Interview with a Vampire etc.  is dyslexic and held off writing because of it.


That said, I'm all for orthography. It's necessary for science and modern communications.   To the argument that precise spelling makes search engines easier, I recommend using  Google with "site:http://community.ceramicartsdaily.org/" and entering your search terms after that.  No offence to the mods/admins, but the IP boards search engine is difficult to use at the best of times, and you need to be actively trying to misspell words to miss a term with Google.


I'm also not so sure language degradation is a bad thing.  Bad Latin eventually turned into La Commodia Divina, Don Quixote, Les Miserables, etc.  English is past due for a change, IMHO.


I guess my point with all this is to maybe ask everyone to think about where their preoccupations with spelling and grammar come from, and what they really mean.  My own feeling is that unless you're a teacher in a classroom teaching students, or you're helping someone achieve some sort of goal (resume, essay, publication, etc.), or you feel you're helping someone, it's unfounded.  I can think of at least three teachers I've known (one a neighbour, one a professor for whom I worked, and one who taught me) who used pointing out spelling and grammar mistakes as a way to cover up their own insecurities.  Google the phrase "sine nobilitate," and read about what holding someone to an arbitrary standard can do.


I hope none of this offends anyone or comes across as accusatory.  These are simply my feelings on the subject.

#52514 You Know You're A Real Potter When....

Posted by Wyndham on 14 February 2014 - 10:25 AM

When you're so disgusted by a glaze test that turned out so totally off that you smash it in the shard pile, THEN.......

six months later while walking to the kiln you see this GREAT shard on the ground. You race back to your notes only to discover that page is missing.

You put that shard on a shelf to remind you to let the glaze live long enough to talk to you.


To err is human but to lose a great glaze is unforgivable.


#40845 What Time Of Day Do You Fire?

Posted by Doulla on 15 August 2013 - 05:38 AM

We installed solar power a couple of years ago so I fire during the day. I set the timer to start at about 5am which means it is ready for the bung to be put in when I get up. I try as far as possible to fire on nice sunny days and my smaller kiln will fire entirely on solar power so for free!!

#38799 Have you ever used clay in mixed media pieces? | June 26, 2013

Posted by justanassembler on 13 July 2013 - 02:12 AM