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#70289 Overcoming Insecurity

Posted by LeeU on 20 November 2014 - 10:45 AM

OK, Ms. Guinea "furry critter" potter............this is from MY experience, so try not to personalize or view as targeted criticism...that is not where I am coming from  :wub:

 

When I was a student at the School of the Arts (Crafts Department, VCU) several instructors gave me painful "pull-ups". Pull-ups are blunt, sometimes harsh, reality checks that are used in an old-school drug treatment modality called Therapeutic Community. Screw up, and you'll find yourself scrubbing baseboards with a toothbrush or sitting on the Hot Seat to receive scorching feedback, or getting onerous pull-ups from the community.

 

Well, I had an instructor who was forever giving me pull-ups. And I really got my feelings hurt and got very discouraged and was about to quit school. He'd say things like "Art is not therapy...it you need emotional help, get out of my class and go see a social worker."  This type of comment might be delivered after I had to defend my lopsided vessel by disclosing that it was "off' because my hands were shaking when I centered because I was upset about "something". 

 

The day I was going to quit I ran into another art instructor, and I was crying at the time. She asked what was wrong, sat on the steps with me, listened while I moaned about this instructor, and then said "Don't you dare quit. You just do your best and come see me if anyone gives you any ######." I lived to fight another day, and earned my degree.  

 

(What neither of them knew was that I was in the shape I was in because I had been severely beaten by someone who knew how to not leave bruises where they show, that I was in a shelter with my toddler, that the batterer had totally destroyed my portfolio the night before the final critique, and that voc rehab was only very reluctantly paying for my school because I refused to work at McD's where they tried to place me. I insisted...with threat of legal action, since I had/have disabilities...that I could do something about and with my life if I could just go to art school.) 

 

Long story long: I had to get off the pity-pot, stop awfulizing and cease  whining about my sorry state of affairs, stop victimizing self, (participating in the killing of my own spirit by staying stuck), cop a positive attitude, and otherwise get a grip and make tough choices and tough changes to get myself out of the morass.   Making a daily Gratitude List, as much as I hated it, also helped. I had so little gratitude that I had to start by listing my ten fingers and ten toes, I kid you not. Oh, and I did avail myself of some therapy.   :wacko:

 

Eventually I came to see that the comments on my work that Mr. No Sensitivity provided were just as valuable, in terms of improving my skills, as the pep-talks from Ms. Nice-guy. Today, I have to own the fact that, by virtue of being a student, I ASKED FOR feedback on my work, and thus can't complain that I got it! LOL  :rolleyes:    




#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...

 

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#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

 

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Day Two

 

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

 

best,

 

.................john




#69459 For Christmas.

Posted by bciskepottery on 06 November 2014 - 09:35 PM

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#69163 Festival Survival

Posted by Pugaboo on 02 November 2014 - 06:12 PM

I had an interesting day yesterday to say the least. I had a festival in North Georgia. I also had snow, wind, and cold. YAY

Setup was set to start at 7:30 am. I am usually one of the first to arrive since I like to take my time and not risk hurting my back. I decided to show up at 8:30 instead. You have no idea what a huge decision this was for me... I am always early for everything, I still can't believe I managed it. 😜

Secretly I am hoping the show promoter will tell me it's been cancelled when I pull up. I arrive and am told cheerfully that the show would go on that we were tougher than a little bit of weather. Hmmm Weather Advisory anyone? Pulling into the site the first view to greet me is a lone tent upside down in the middle of the field. It looked like a squashed spider with crooked spindly legs sticking out in every direction. The legs had a nice chunky profile though where the PVC weights were still attached and visible between the flapping shreds of the tent top. Has no one around here heard of the weather channel except me? 20-25mph sustained winds with 40mph gusts, rain, sleet, snow and Max temperature of 40-45. Woo hoo lazy sunbathing weather, oh wait I can't get a tan for the life of me so I guess I'll just do the festival instead.

I decide to set up my display but not to put up my tent, easy ups are not known for liking wind. I just didn't feel like practicing my tent flying skills. Lazy thing aren't I? I had brought extra weights. I usually have 4 25lb wrap around sand bag style weights that I use but I had raided the gym on my way through the garage and grabbed 2 25lb and 2 30lb kettle bell weights to add to this. I also grabbed my spiral anchors and an extra pack of ratchet straps. I was really worried about bending the frame trying to keep everything on the ground.

While setting up my displays I had to clamp the fabric covers down since they were flapping around like crazy. I zip tied all the wooden crates together and then to my tables. Whatever would I do without zip ties, wish I knew who invented them so I could send them a thank you note. I had to put pieces of wood under the table legs as the ground was wet and soft and they started sinking before I even had pots on them. Oh and why do they never sink equally? It's always to one side or the other, something really weird about that let me tell you. I zip tied my plate racks and sculptures to the crates and taped the plates to the racks. While I was doing this other artists would stop and ask, "aren't you worried about the rain?" My answer, "Nope pots don't care if they get wet and I have a rain coat and umbrella for me." They would answer, "oh" and wander off. Lol I guess my answer wasn't the one they wanted to hear.

From the looks of it about 1/3 to 1/2 of the artists didn't even show up. My husband said oh you mean the smart ones stayed home. Ummm... I set up what does that say about me? He just gave me a look. I guess he doesn't want cooked food this week huh. Mr. supportive stayed home with the dogs which is just as well having to listen to even one more person whine about the cold might have done me in.

The day progressed, the sun came out which was a blessing and made me even happier I didn't put up my canopy as it warmed up my space quite nicely. The wind was relentless and so was the cold. There was a handful of people braving the elements. I sold some items but nothing big. They didn't want to carry anything and expose their hands to the cold. If it was small enough to fit in their pocket they were interested but just barely. Spoon rests sold, colorful fall leaves did not. Personally I think Polar Bears have no need of leaves but find spoon rests useful for their big bear spoons. The show had the capability of be a great one if the weather had just cooperated. Thank goodness for spoon rests... Seriously spoon rests saved my rump.

By the end of the day I had the pleasure of watching another tent flip over, covered my show fees, supply fees, got paid for creation time, and made a little bit of profit as long as I don't pay myself for the time spent selling. I'm such a good volunteer I really must ask me to help out again! The booth behind me sold nothing, the booth next to me sold nothing, the booth on the other side never showed up. The booth diagonally behind me was a potter and he sold some. I'm thinking around $200 but it could have been more or less. The woman selling hats and scarves 2 booths down made a killing. Gee I wonder why? Any ideas??? Maybe I should have knitted little caps and scarves for my Pug sculptures and mugs then I might have sold some.

Towards the end of the show I am sitting there wrapped up in five layers of clothes fantasizing about Oldlady's closet full of wool sweaters. Weird but true, I actually got to debating with my self as to just how many layers of wool sweaters it would take to turn one into the Michelin man and have to be rolled away. Thank you oldlady for mentioning your lovely closet stuffed full of warm and toasty wool sweaters, I being a past Florida girl probably own 2, but at least it gave me something to take my mind off the loss of feeling in my extremities.

Anyhowwww sitting there wondering why I hadn't thought to bring a blanket a guy walks up and goes... "How can you be so calm? It's irritating!"

"Ummm excuse me do I know you?"

He points off in the other direction and I guess he can see me from his booth or something. I ask, "What is there to be stressed about? I can't control the weather, once I decided to do the show the only thing to worry about was tent or no tent, that decided there's nothing left to do but hope for the best." I told him the stress goes away when there are no options to choose from. He grumbled something and stalked away. Oh well another unhappy noncustomer. I really must work on my people skills.

The day continues, the clouds build, the temperatures plummet, the handful of wanderers stagger frigidly off to their cars and hey what do you know it's 5pm and I didn't blow away. YIPEE, success I am soooo good at this. lol The show promotor comes by and hands out checks for the $25 deposit we sent with our applications. Those of us still standing at the end of the day earned our deposits back. Woo hoo! I'm rich whatever shall I do with all the money!

The only thing good about tear down was that for the first time in 8 hours I wasn't shivering. Oh and the fact that it was really quick since I had no tent to take down... Really must think on this use of no tent policy of mine for the future just imagine all the stuff I could leave at home. On the other hands the medical bills to care for my skin cancer might eat into that joy some so I guess maybe it's best to just stick with a tent and take a bit longer to tear down.

Show survived, pots packed, car heater running full blast, I looked at my husband, grinned and said, "Gosh the life of an artist is so glamorous, so easy, no responsibilities, do what I want, not a worry in sight, it just doesn't get better than this."

He just rolled his eyes and said, "I think you froze more than your toes."

😄😁😃

Terry


#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.
Steve.........


#69962 Huge Pots

Posted by Benzine on 15 November 2014 - 09:07 PM

Not really that big of deal.  

 

I make things like that all the time, except I use one of these wheels:

 

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#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 Files




#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.... 

 

http://shawneestreet...d-jayne-harris/

 

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.

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#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.


#70266 Overcoming Insecurity

Posted by Marcia Selsor on 19 November 2014 - 11:41 PM

@Benzine: Thank you...I paint with underglaze, yes. Straight onto greenware then pop 'er in the kiln. ^_^
@Marcia: ...I'm not sure what you mean...I use white slip over terracotta because the terracotta is too dark to photograph with my camera to see the image. :(
"Shows potential..."
...euphemism for "yeah, you have a lot of work to do before I can call you acceptable."
I'm gonna go sit in a corner now and nurse the sting in my cheek. If I only "show potential" after seven years of work that literally have broken my back...I better find something else.
@Pugaboo: I hate Hobby Lobby... but yes, I have an Etsy store. It's just off at the moment because I am too poor to pay the bill. Had a vet bill come up and my butthole ex ditching me in financial ruin. My clay and my underglaze are all I have. No car. My phone is my internet, which suuuuucks...I just gotta get outta here. There is nothing for me here. I really would like to get a website going, but I'm a bit dumb when it comes to web design. :D Thank you for your kind words to me. I work so hard. My hands ache from decorating for nine hours yesterday, no break. More of the same today. I have tried and tried for years to make my work look even ACCEPTABLE, and it hurts to be told by someone that a piece I feel very proud of only "shows potential." It just kind of makes me feel like I will never, EVER succeed in making beautiful things. I'm actually tearing up... my pottery might be crap, but I'm trying... :'(

Guinea,
You asked for criticism.Get over your insecurity and don't over react to something you misinterpret. What I was comparing was the strong contrast of your drawing compared to a green ware mug. Your drawing skills are fine. I think the stronger contrast in clay compared to what you do on paper is not a put down , but an attempt to help improve the impact of the clay drawing.I also draw or as you said "illustrate" my work. I find working in porcelain or drawing with a luster line accentuates the image. Rudy Autio used a white slip before starting to paint on his large vessels. If you are working in low fire range, try low fire white clay or work Majolica on the red clay. Look at traditional majolica decoration in Spain and Italy or even Delft tiles. You need a brighter base for your drawings to sing.This is a technical suggestion to help you.Not a put down.Cover the entire piece with white clay if that is what you have to use.

Marcia


#69782 The Double Dip

Posted by High Bridge Pottery on 12 November 2014 - 11:16 AM

I had never seen anything like this technique, after trying it out on a few pots I love it. Firing is on now so the final verdict will be found out tomorrow but it really speeds up my glazing. 

 

Thought I would share to educate anybody else who has missed out. 

 

 




#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


#59378 Super Amateur Needs Help With Porosity

Posted by Tyler Miller on 28 May 2014 - 08:48 AM

Okay, geremyh, this is what you're going to do.  You're going to make 50 or so prototypes to test your product.  10 to be bisqued to a low cone.  Say, cone 010.  Then 10 bisqued to cone 06-04.  Then 10 bisqued to cone 02.  You're then going to make 10 with paper pulp in the clay, 10 with perlite.

 

For each 10 prototypes, you're going to test 3 in loam soil, 3 in sand, and 3 in heavy clay.  Hook each prototype up to a plastic hose or pipe similar to your design and hook up that hose/pipe to container with measurement marks on it.  Test the flow that way, with an average of the three of each type being your significant number.  The final one of each will be for destruction testing for durability.

 

After this, repeat the experiment with your decorative glaze added.  Maybe only the worthwhile ones to save money/time.  The cone 010 will likely have to be excluded--you're going to have a tough time finding a cone 010 glaze.

 

I think as a courtesy to us, as we have freely offered up information to you, you should publish the results of your experiment here.  No design details, just the results of your experiment which betrays nothing proprietary.

 

Then, I think you should apologize for misrepresenting yourself.  In your initial post, you said you were a "super amateur" looking for help with "gifts."  On your last posts, this is a business venture.  If you're a business owner/CEO, dishonestly asking for free R&D isn't cool.  If the reverse is true, and you're just an amateur, lying about your professional status to save face isn't cool either.  I apologize for being a little stern, we're an honest group filled with goodwill here, dishonesty would kill the convivial spirit.  I like the people here a lot.




#44874 Why New Blisters On Re-Fired Glazed Pot?

Posted by JBaymore on 30 October 2013 - 10:14 AM

This is almost for sure a body outgassing issue.  Likely caused by the BISQUE firing from a lack of enough oxygen present for enough time, not from the glaze firing.   The cumulative heatwork from the second glaze firing just allowed the more melted pyroplastic clay body to show what was hiding inside the body to start with. 

 

You likely can't fix it at the glaze firing point.

 

Many "glaze firing defects" come from the bisque firing, not from the glaze firing.  They only SHOW UP in the glaze firing.

 

Tightly stacked bisques, particularly fired in electric kilns, often have the issue of two things that combine to cause issues in the GLAZE firing.  On is poor oxygen flow and dispersion in the load.  The other is the thermal lag of the load.  Put em' together.... and whammy.

 

There are numerous reactions that have to happen to the clay body in the bisque firing.  Some require oxygen to be present (inside the clay body walls).  Others just need to have enough time for evolving gases to migrate out thru the clay body.  Some just need to have herat energy applied.   All have a specific temperature or temperature range at which these reactions happen.

 

Cones are usually out in an "exposed area" (in the open) where you can easily see them.  Thermocouple probes for controllers are also.  These devices are measureing the heatwork and temperature in a location very different from the interior of the walls of a piece of ware, particularly if the loading of stacked up wares is densely packed.  Therfore, sometimes the work is not fired to the heatwork that you THINK it is, no matter what you cones or controller are telling you.  This issue is called "thermal lag".  That's the amount the load is "lagging" behind the indicated temperature on a measuring device.  There is ALWAYS some thermal lag.

 

Then there is the penetration of oxygen into the load.  The edges of a stacking get this O2 pretty well.  The interior of a dense load does not.  If the kiln does not have good air circulation from an active draft of some sort, this issue gets worse.  Electric kilns without local pickup vents are very difficult to get "right" with a dense load.  Local pickup vents improperly installed or too small for the kiln unit are also causing issues with inadequate airflow.

 

If you tend to nest bowls one inside the other in large stackings in an attempt to have an efficient use of space... this can make this issue worse, affecting both oxygen penetration and thermal lag. It can also impede necessary outgassing.

 

This stuff is an IMPORTANT understanding to mastering firing operations.  A main point from my ceramic materials and also kiln design and operation courses....... There is no such thing as a cookbook firing schedule.  Firing is specific to the particular material being fired, the particular kiln being used, and the specific stacking job.  You need to know when you have to alter thngs to get optimum results.

 

SOMETIMES, you can fix the poor bisque by dragging out the lower (bisque range) part of the GLAZE firing.  Effectively you are doing what you should have done in the first place.  Glaze firings are almost always stacked more openly....so heat penetration into the load and air circulation is better.   However if you have a glaze application on the pieces that tends to become gas impermeable (particularly to O2) at a low temeperature (like American soda based shinos in highfire), then this can block the gas exchange.

 

Slow down your bisque firings, and make sure the local pickup downdraft vent is actually working as intended to get airflow.  If this happens to you a lot, don't cram in as much ware in the bisque loads.  If it is the occasional piece........ it likely was a happenstance of the way that one particular piece was located in the bisque firing....and comes under the category of "%$#@ happens." ^_^ .

 

Hope that explanation helps.

 

best,

 

...........................john