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JBaymore

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About JBaymore

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  • Birthday July 19

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    http://www.JohnBaymore.com

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  • Gender
    Male
  • Location
    Wilton, NH USA
  • Interests
    woodfiring, Japan, Chado, Iaido

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  1. Don't ya' just love his stuff. We have no idea what maybe about 30% of the material in there IS. Firing issues aside........ what might be any health considerations about that 'missing matter'? The actual "policing" of MDSDs is not all that stringent. best, ...........................john PS: hum....... missing matter. Maybe it is "Dark Matter".
  2. Yeah.... that. best, ............................john PS: Welcome back to clay. You were just resting.
  3. Ian Currie Test Tiles Forums?

    It is funny how sometimes that kind of thing comes up and slaps you in the face. Epiphany! best, ...................john
  4. Bisque firing OOPs

    Dip your finger in water and touch it to the pot. If it sort of absorbed into the ware relatively quickly, you have some hope of getting a layer of glaze material onto them in a somewhat "normal" manner. If the water just sits there..... it is possible, but tough to get a layer thick enough. Let us know more what you got, and we'll help to see if you need to alter application method. best, .................john
  5. Dipping Pots into glaze

    I've never done that. best, ................john
  6. Dipping Pots into glaze

    Another technique where a glaze (run) happens, in order to thin it out is to use the Fettling Knife to do what it was named after........ fettling. You kind of "shave off" the semi dry glaze where it is thicker to have it "merge" with the thickness of the surrounding glaze. If the spot is not severely cracked up from shrinkage, this is a viable approach. If you wait til it is REALLY dry... this is a real dust hazard. But slightly damp.... not so much. If you do it too soon..... it just ulls off the glaze in chinks. If you do it WAY too soon.... it smears the wet layer best, .............john
  7. NCECA

    RonSa, Here's the NCECA conference program guide: https://nceca.net/program-guide/ best, .........................john
  8. While there is certainly the possibility of a piece of wadding popping because of steam forming too quickly at 212F (100C) ........ I've never seen it happen. I mainly use it in wood fire these days, but sometimes I used it in salt and soda fire in gas kilns a long while ago. And I still occasionally will wad a piece in a gas kiln to this day. Typically pieces and posts are wadded one day and then firing started as close as the next day. Sometimes loaded and then fired as much as a week away. Wadding is typically used in very small pieces. Often lots of surface area relative to the volume. The material itself has large particle size, so the migration of water from the interior to the exterior is pretty "open". When it is contained between post tops and the shelves, even if it cracked due to steam issues, it likely will just stay where it is until unloading......and then you wouldn't notice that it cracked. A real "bang" not so much though. Wadding is almost always placed against both a piece and a shelf or a shelf and a post. These relatively large thermal masses touching the wadding tend to slow down the heating of the wadding itself. So if the air/gases circulating past the wadding is at or over 212F (100C), or if radiant transfer is happening in that area, there will be a tendency to "retard" the rapid climb on the wadding itself a bit. BIG thick jumble stack wadding is usually loaded with a lot of organics. Sawdust, coffee grounds and the like. There is more of that stuff than "clay". It dries out very easily, and is very open to the migration of water. So this style does not tend to pop even though it is often pretty thick... and applied in inches and inches thickness. Do remember in wood fire, not only is there the natural by-product of combustion that is water vapor, but even "dry" wood has some more water that is contained in the wood structure. So in the very early stages of the firing, the warm gases that are circulating in the kiln chamber are very "humid". The partial pressure of water vapor in those gases is high,.... so that "evens out" and slows down the evaporation rate of water out of any wet materials ion the kiln. Add to that the fact that a wood kiln typically is being ramped up kinda' slowly for a LOT of reasons (like flame quenching on cold refractories in the firebox. So the treatment is pretty "gentle". This sort of resembles how industrial drying units work. In an electric kiln, with no combustion going on to produce any water vapor, the air in the kiln is quite low humidity (depending on where you live and how humid the climate it). So there is a tad more "risk" there that it might happen. I've never used it in an electric kiln. (But I have frequently made fresh cone packs -with very little clay- and placed them in electric kilns and fired them almost instantly... and never blew them up either.) So I'd be a tad more careful than us woodfirers are. Them's my thoughts. best, ...........................john
  9. Me - Teach a Class??!

    Remember to present the information that you want to get across in different ways. Different people process information differently. Figure out how to share what you are dealing with visually, explain it in words using lots of word pictures and analogies, and also give them sensory feedback cues and maybe some "hands on" touch (with permission first). We tend to teach in the modality in which WE process information. This works really well for the people that learn the same way we do. We have to WORK at teaching to others learning styles. best, .....................john PS: RE: Visual, Auditory, Kinesthetic Learning Styles
  10. I use the banding wheel a lot of making Chawan. (and also wooden trimming tools for the kodau -feet-) best, .................john
  11. A large SHIMPO banding wheel. The Lamborghini of banding wheels. About $75 in the Trade Show hall at NCECA. Priceless. Nothing else compares. best, ................john
  12. PQotW: Week 33

    So.... Pres sent me PM and mentioned that this week's quiz might interest me. (He did not mention the little "mention" he did at the bottom of the original page, however. ) I looked at the quiz... and immediately discovered something. Wrote back to Pres about it.... and he said I should share that info here. So I am. This "something" is VERY important to note. Not because of this specific instance, but because of the thing that I often say here (and other places): Just because you read something in a book or on the internet, it does not necessarily make that single item accurate information. You have to "dig deeper". So in question number 1 above, it makes some statements to support the question that they are actually asking (not going to reveal the answer ) . Some of the statement made there is incorrect or is a bit misleading. Pres got those "facts" from a printed book. The book is wrong. Japanese ceramic history is a field that I teach in the art history department at the college. I've spent a lot of time researching this info in Japan and elsewhere. Lots of time there in museums and talking to curators and researchers and potters. Including some time at the Raku family pottery in the ........... (nope.... not saying where). Here's what I mentioned to Pres in my message back to him: Hum..... My understanding from a lot of research is that TANAKA Chojiro was the son of a CHINESE roof tile maker who came from China (not Korea) and who was a sancai (three color) ware potter there in China before coming to Japan. And Chojiro did not really totally "originate" the ware, but was commissioned to make the ware BY Sen No Rikyu. Sen was dictating the general character of the work. And here is a link that I later followed that comment up with to give some pretty definitive 'primary source' support to the point: https://www.raku-yaki.or.jp/e/history/index.html Sancai (sansai in Japanese) is a low fire lead glazed ware. There is the 'connection' to the low fire Japanese process of Raku. The family was familiar with low fire lead based glazes. The forming of the ridge and eaves tiles of ceramic roofs is a very sculptural process, from a pretty coarse clay body. There is the 'connection' to the basic forming process for the making of real Raku Chawan....... a basic rough very thick forming process and then serious subtractive completion. Now we are into a piece of conjecture from me. Unproven, but making an "educated guess" as to a possibility. There IS a firing process in Chinese history that is sort of a bit LIKE what we think of as Japanese Raku. Pieces are fired to a very low temperature and then air cooled. The Chinese process is a bit more like "copper enameling" as far as how it works. MAYBE this is the root of Chojiro's process idea. It is MAYBE possible that his father was familiar with this in China. I'd have to be more a scholar of Chinese ceramic history to dig deeper into the background of Ameya (his father) to see if he might have been aware of that process in a certain part of China. There is not enough time in life............. SO............ there you have it. best, ..........................john PS: You still have to answer the question #1 as to WHERE.
  13. If you maybe watched my NCECA lecture on Chawan I noted this...... I found in studying a lot of famous Chawan, that the profile view is at or very close to the Golden Mean Ratio. best, ...............john
  14. Glad that worked for some help. best, ...............john
  15. Bloaty Mc-Bloatface

    I didn't know this thread was here Min on the same topic ..... but yes, as to your comment on the other thread....... we posted the same though at the same time. best, ................john
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