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About JBaymore

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  • Birthday July 19

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    Wilton, NH USA
  • Interests
    woodfiring, Japan, Chado, Iaido

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  1. NCECA

    RonSa, Here's the NCECA conference program guide: https://nceca.net/program-guide/ best, .........................john
  2. 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
  3. 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
  4. I use the banding wheel a lot of making Chawan. (and also wooden trimming tools for the kodau -feet-) best, .................john
  5. 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
  6. 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.
  7. 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
  8. Glad that worked for some help. best, ...............john
  9. 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
  10. Cone 5 Clay Bodies Fired To Cone 6

    Just as an added thought..... are you using witness cones on the shelves, or trusting the computer program to say you are going to cone 6 with a soak? If you are trusting the computer........ you may be going with more heatwork than a cone 6 level... and that might be the source of the bloating. best, ................john
  11. Docweathers, Given your first sentence above........ here is a simple reference on this subject. It is high school level..... but it is a good start on the 'rabbit hole' road you've started down: https://www.incredibleart.org/files/elements2.htm best, .......................john
  12. Pitting and pinholing

    On bisques, do you nest pieces inside pieces and stack things as densely as possible trying to cram as much as you can stuff into the kiln? Are your bisque loads pretty uniform in the amount of stuff that gets loaded into each single firing, or are some bisque loads having more work than others? best, .......................john
  13. Pitting and pinholing

    Does this happen on particular types of forms? Does you kiln have a local pickup (downdraft" vent system? How tightly do you stack bisques? best, .............john
  14. Stoneware Limit Study

    One thing I always think about when posting stuff to internet forum type places is "audience". It is the same kind of consideration that goes on in my mind when "in the classroom" and when writing handouts for the classroom. It is incumbent upon me to really think about the nature of the people receiving this information as I decide what information to share and how to share it. What I present and how I present it in a low level throwing class is quite different from what I present in a more advanced throwing class. A forum like this is sort of a "one room schoolhouse". Right here, reading this posting right now, we likely have everything from kindgergarten ceramic students to graduate Ph.D. ceramic candidates in this virtual "classroom". There are huge considerations when you think of it that way. When it comes to anything suggested that could in some way be literally "dangerous" to those kindergarteners.................. that is really intended for the Ph. D. folks at the moment, then extra effort is warranted to make sure that information is qualified in some appropriate manner. This is one reason why sometimes there seems to be "overkill" in some folks making "warnings" about certain aspects of some posts in some threads. It is "good stewardship" of the welfare of those 'lower grade levels'. best, ...............................john
  15. Stoneware Limit Study

    Tom, Because you are a bit new to the ceramics field (speaking here from about 50 years in it when defining that idea of "new" ) there are likely "pieces of the puzzle" that have been looked into a bit and some thoughts have been expressed on them in the past that you might not have been privy to. The ceramics field is SO vast, there is no once central place to go for all of it, and there are so many details that it is nigh on to impossible to keep up with all of it. The idea that pinholes are mainly caused by clay (and the firing of clay) issues has been pretty well discussed by a lot of the "tech weenies" in the studio ceramics community, including a guy you know a bit...... Ron Roy. If I am remembering correctly this was a topic of discussion when Ron, Paul Lewing, and I did a presentation together at NCECA a long time ago called "Beyond Alchemy". Pete Pinnel has talked about it a lot. Ron and John in presentations they have done. John Britt. Many others. As Mea and Pres are saying, you are into an area of what might be termed sort of "academic research". Within that context, the thing that makes such research really solid in the end, is the "back and forth" and the challenging of ideas and assumptions until there is a solid pile of evidence that supports whatever contentions are being postulated about something. And also refining the language to explain it succinctly and effectively. Challenges and "beating the ideas up" by colleagues is a desired aspect of this kind of environment. It just makes the end product more robust. best, .......................john