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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

 

GettingStarted-8-11.jpg

 

 

RoasterArea-8-11.jpg

 

Day Two

 

SecondDay-8-11.jpg

 

 

SecondDay-2-8-11.jpg

 

 

 

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

 

best,

 

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




#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.........


#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."




#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)




#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.

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




#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


#64206 Reduction Kiln- Too Early?

Posted by neilestrick on 09 August 2014 - 01:59 PM

If it's a soft brick kiln, it must be under a shelter. If it's hard brick, a shelter is still recommended since you live in a cold, icy part of the country. You'll also have to consider the cost of plumbing it up with either natural gas or propane, and the cost of gas in your area.

 

The big question here is do you need a gas kiln to make the work you want to make? Or do you just need to gain more experience in glaze formulation? I used to think I needed a gas kiln to be happy, but now I realize that I have gone further with cone 6 electric than I would have had I stayed with cone 10 reduction. One is not better than the other, just different, and for me cone 6 electric is perfect for the work I want to make. So dig deep and figure out what you want to do. It's a hard thing to decide, and maybe you need to gain more experience with different firing techniques before making that decision.

 

$300 is a steal, but don't buy it just because it's cheap and different and new and exciting. Save that $300 and put it toward a wood kiln if that's what you really want to do. Or put the $300 toward spending some time learning to wood fire with some of your local potters. Michael Schael or Mark Skudlarek (both in Cambridge, WI) would probably be happy to have some help firing their wood kilns.




#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!!!!




#62617 To Share Or Not To Share

Posted by JBaymore on 17 July 2014 - 12:19 PM

So when does copying happen between professionals?

 

It doesn't happen.  Because if one is copying in that fashion....... there is only one professional present. B)

 

best,

 

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




#62434 Non-Legal Ways To Address Copying Issue

Posted by drmyrtle on 14 July 2014 - 05:31 PM

I think it might be helpful to realize that this topic is difficult to manage, but not unique. "Takers" are everywhere, whether that's in your family, your work place, your neighborhood, or your studio. This is a pretty well documented phenomena in psychology literature (see a simpler discussion at :http://www.govexec.c...h-people/82192/ and you can follow the topic from there). Basically, most people fall somewhere on this bell curve:

givertakergrabjpg0802.jpg from Mark Goulston MD, 2011

 

People are not very good always at self-identifying how they act either. (It doesn't help that individuals are generally situation-specific, so there might be times/situations where you find yourself responding in ways not consistent with your "usual" habits.)

 

Anyhoo, I take the situation outlined at face value: you have a studio work space with two different kinds of collaborators. Mudslinger is either a giver or reciprocater, while the interior designer/potter is a taker/grabber. Some of the features of a taker are exactly that they look to others to serve their personal goals, while guarding their time and expertise themselves. It's all about them, and not about you. Although I understand that all situations have many perspectives, I think it's valuable for you to think this through from your perspective, MS.

 

Some key things to consider:

1. Givers get ahead most of the time: although there is a risk of becoming demoralized and running out of energy, givers powerfully move the world forward because they are the best kind of collaborators. Setting boundaries (as you have), and deciding carefully if there is any kind of win/win exchange (as others have suggested) are strong positions for you personally.

2. If you are feeling drained dry by the negative pressure and energy of being around a taker (and no surprise, either), that's when you need to make a decision about your studio space. Part of this psychological profile is that takers make other people feel drained, angry, depressed and violated. Same with shoplifters, liars, and that a**hole who keeps on stealing your studio tools. Protect your stuff, don't feel bad about holding on to precious recipes that you've worked hard at, and give when giving doesn't kick you in the teeth. You are in the studio to work, not to deal with someone else's blob of personal gunk. Music, smells, walls, and locks are your friend: use them when you need to. If you truly can't escape, then you need another space.

3. Although some are joking about revenge, your karma thanks you for resisting. Don't become more of the person you don't want to be. Shake yourself like a dog leaving cold water, and do what you need to do. Protect yourself, give what is consistent with you as a person, find a peaceful place, and get to work. Life is too short for this s*it.

 

There isn't a business situation that I have ever been exposed to that hasn't had to deal with this. In the community studio I work in, one taker can really profoundly change the environment. (I've only lost $250... in tools so far because I didn't take this issue seriously. Yikes.) I use it as an excuse to buy more stuff when I can, and hope, respectfully, that it all catches up to them, somehow. If I spend any more time thinking about it, then I'm just doing what they want me to do: think about them.




#62321 Image Envy ...

Posted by S. Dean on 13 July 2014 - 04:48 AM

Chris,

 

I wonder how much of "image envy" comes from the different interaction we have with other people's work than we have with our own.  

 

First - I have realized that it is very hard for me to be satisfied with my own work. Burdened with expectations of what it should be, I focus on the flaws and failures of my work to meet my ideal. While being our own harshest critic pushes us to be better, it sure doesn't give us a neutral starting point for interacting with our own creations.   Conversely, when I look at other people's work, I'm free of expectations and able to engage with the piece for what it is.  Ever notice that something that would drive you crazy in your own work just isn't a big deal in someone else's work?

 

Further more, familiarity breeds contempt.   How many times do we look at our own work and say "I wish I made that!"  We discount our own uniqueness/specialness because it isn't unique or special to us.  After all, we work the way we do because that's how we do it.  However, our work may be special to others in the same way that we find other's work special to us.  As you said, there are pots you make and pots you buy.  Let's hope that ours are special enough that someone wants to own them.

 

Lastly, by the nature of what we do as makers, we are going to look at and analyze other's work. Rather than image envy, I would hope that we can change the mindset to image appreciation.  A friend of mind once commented that instead of being envious, he was happy for other people that made more money then he.  That was eye opening to me, and since then I've strived for an approach where I try not to begrudge anyone else's success (certain outrageous CEO compensation plans excluded ;) ).  Instead of wishing that those images were ours, let's be glad for the maker and that we get to enjoy their creations. 

 

-SD




#62108 Does Your Dominant Hand Dictate Form Or Are You Ambidextrous.

Posted by oldlady on 09 July 2014 - 12:53 PM

you have used the propaganda yourself, pug, your special minority group does not need special "rights", you need special "LEFTS". -_-




#61665 Hakeme Slip Recipe

Posted by JBaymore on 02 July 2014 - 11:05 AM

Babs,

 

The "recipe" for Hakeme slips I have from being in Japan and Korea (south) are basically anything from 100% of a specific kaolin-type clay....... to about 80% of a specific kaolin-type clay and 20% of a feldspathic type rock.  Not much more than that.

 

One aspect of the success of this is the really coarse nature of the clay bodys UNDER the slip.... very unlike our dense fine particled highly plastic western clay bodies.

 

But the real key is the BRUSH used.

 

Put many of those slips on with a fine nice quality bruish... and they flake right off the body as it drys.  The key is that the coarse rough brush causes impressions into the underlying clay body... that makes the two different wet to dry shrinkage materials stay together.

 

My best Hakeme brush I made while working in Japan with the bristles from an old used natural fiber broom, some string to bind them, and a piece of rope to bind over the string to make more of a gripping handle.

 

The clay underneath the slip has to be wet enough that the stiff bristles dig into it a little.  Then it has to be applied in a fast direct move.  No "redos".

 

best,

 

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




#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.


#60968 What Is The Most Dangerous Thing In Your Studio?

Posted by bciskepottery on 16 June 2014 - 08:07 PM

What I think I know vs. What I don't know.


#59917 Are Custom Orders On Location A Good Idea?

Posted by Mark C. on 03 June 2014 - 03:16 PM

I found that my last craft fair, I got asked a lot more of the"Can you make this in white," "Can you make me a set of these bowls" etc. So I had a good amount of interest in custom orders. Now I know granted some of those people are not serious buyers, but a few may have been. I spoke to them about the potential custom order, gave them a business card and they went on their way. Now, weeks later none of them have reached out. So my question is this...

 

Does anyone have any experience in taking custom orders on the spot? If a customer shows interest in a custom order, I'd like to have the customer fill out a form (that states all the specifics), take a deposit, and give them a receipt. Then arrange to get them to custom piece when it's completed either in person, or my mail.  

 

I live in NY, people here are quick paced, and seem to try and get things done right then and there. If not, next time they're at the dreaded home goods they'll pick up whatever I could have custom made them. So I thought of doing this custom order concept as almost a "strike while the irons hot" kind of thing, but didn't want the concept to seem pushy to a customer. 

 

I'm open to advice!

 

~Dianna

I have had over 35 years of doing custom orders-which I do not do anymore.

That said I shipped a custom cannister out to AZ yesterday and a honey pot lid to LA. today

These where special exceptions for customers I already have sold pottery to.

Over the years I learned that custom orders really are not worth it-heres why

1st the custom order is the 1st pot to crack or not turn out-trust me on how I know this

2nd-the custom order which you now need to remake has taken twice the time you thought as it did not work the 1st time thru

3rd-they never pick the damm thing up anymore as you noted they are just to busy these days

4th ok its done now you need to stop with your life and pack and ship it -its getting more costly for you every minute

 

I will make exceptions but I stoppped doing custom work years ago when society shifted to the burger king thought process -I want it my way today right now for the highway.

I suggest you take this advice to heart as the other road is heartbreak

your very post mentions thier busy lifes and quick paced wonderings

Take it from me and let them wonder-spend your time with making and selling to interested buyers who like what you have made not what you do not have.

The only iron you need is the one to wack them with and quit wasting your time on does this come in blue questions.

This might be my most true advice I have given in 2,000 posts-

time to set the bar high-doing custom work for existing customers is another topic.

Mark




#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.