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Everything posted by C.Banks

  1. C.Banks

    Understanding COE

    Thanks for this discussion. I'd post the recipe but it's kinda' drifting away from COE and into claybody specific flux/al/si ratios. Sounds like I might like to try to get away with less silica. Again, I do appreciate the food for thought.
  2. C.Banks

    Understanding COE

    thanks for this I'm only beginning to develop an inkling of how important prticle size is.
  3. C.Banks

    Understanding COE

    I know this can be a complicated subject but I'm curious what the range of acceptance is here. I'm just a semi-educated bumpkin of sorts so when I see rules of thumbs I want to apply them and see how far off I am. The ^10 clay I've been working with for the last year or so is aproximately 70% silica and 24% alumina. So looking at 70/24 I'm curious how far off this clay is. I inherited a small database of college recipes and using the same simple math most of them are closer to 3:1. I'm wondering if my sometimes dimwit is leading me astray somehow here. I appreciate some fo the complexities involved - the rest I muddle through as best I can as the need arises. What I would like to understand better is how accepted is a 3:1 ratio and what some of the implications might be for clays closer to, and lower than, 3:1.
  4. C.Banks

    Firing and cooling kiln

    I know porcelain is special but the idea of fugitive iron spots sounds a bit odd. I've opened a few kilns with tenmokus and iron saturates and never once have I noticed iron volatizing in anyway way. The folks I help sometimes have been unloading kilns for a few more decades and again no mention of iron jumping from pot to pot. As far as I know iron is relatively stable but the world is a big place and I'm short and don't see so well sometimes.
  5. C.Banks

    Likely ruined plaster wedging table

    On the list of things that can go wrong in a studio this is kinda' minor. Our brains will tend to make a situation worse when left to over analyse - at least mine does. Maybe try a thin slab of porcelain on the plaster to take up some of the iron - you could use both sides and see how much or little it leaves behind.
  6. C.Banks

    Clumpy glaze

    :) You're very welcome. I'll wager a stack of cermaic monthlies against that test settling.
  7. C.Banks

    Clumpy glaze

    I took the liberty of fiddling a bit - hope you don't mind. I'm terrible for fixing things that may or may not need fixing. wollastonite 6.00 custer potash feldspar 23.00 epk 22.00 silica 26.00 dolomite 19.00 gerstley borate 4.00 According to hyperglaze this brings the silica up while not lowering the alumina too much. The rest stays about the same. This shifts the si:al ratio by a good margin but it still falls next to some other magnesia mattes I was working with.
  8. C.Banks

    Clumpy glaze

    fwiw, other than potassium + sodium, the recipe falls within the limts set out in Hyperglaze for a cone 10 matte Silica is a bit low though so it may craze a bit.
  9. The bats, along with a population of dragonflies, are essential to the propertys only mosquito control program. The chipmunks get a pass because they are relatively well behaved. The squirells on-the-other-hand, they pretty much get shot on site.
  10. Open, upright, half full buckets of water are death traps for chipmunks and bats. :(
  11. C.Banks

    Why make functional ware?

    I especially like her lack of pretense. I wanted to answer the original question but all I've know is functional ware so it's a bit like asking a bee why all the buzz. When I listened to her talk about St. Ives and the Leachs and Warren Mackenzie I remembered this question and thought her interview worked well as an broad answer to a fundamental question.
  12. C.Banks

    Why make functional ware?

    Clary Illian answers this question and a few others.
  13. Some 'cultural' artifacts should be considered 'sacred'. If they represent an ethnicity's identity/theology I completely understand why people want to restrict their use - even more so for first nations trying to preserve/protect what is left of their cultural heritage. I can only imagine what it mean to identify with symbols that go back for millenia. I was spared the whole church thing but there is a part of me that sometimes wishes for something more meaningful to hold on to. That thing would certainly become precious to me.
  14. C.Banks

    New Potter

    for potters young and old: Clary Illian - The Potters Workbook
  15. two words come to mind immediately: irresponsible and uninformed They need to read a workplace hazardous report on silicosis. Your workers protection agency will certainly have something to say as well. Loading/unloading those shelves will become very problematic. Pottery studio air quality: Jeff Zamek and Anthony Volpe discuss respiratory safety in the ceramics studio. Glass and Ceramic Manufacturers Need to Get Ready for New Silica Standards from april, 2018 OSHA - Protect Yourself Silicosis They really shouldn't be putting people at risk this way.
  16. C.Banks

    CMC versus V Gum T

    decompose would have been a better, less dramatic, term to use :) I'm a fan of Veegum T as a nice addition to certain stoneware clay bodies even at 1%. I'm no clay tech but the difference is obvious.
  17. C.Banks

    Electric Reduction Firing

    My also relatively thin understanding can elaborate a bit to specify excessive, unburnt, oxygen starved hydrocarbons. In carbon based fuel kilns anyway.
  18. C.Banks

    CMC versus V Gum T

    The biggest one for me is CMC is an organic material and will rot.
  19. Matte glazes work for me. Maybe not underfired, saturated/over-supplied glazes but proper magnesia satin-mattes get me touching and feeling.
  20. Try a line blend with a clear or tenmoku or what-have-you.
  21. C.Banks

    Copper spot effect

    Some copper glazes work very well under magnesia mattes with zircopax. The spotting is similar to the 2nd photo but more distinguished. I'm only a bumbling neophyte but as a side note - strontium carbonate will inhibit copper reds in reduction. If I remember correctly 6-7% works to create some interesting green effects in reduction and soda.
  22. I like the idea that art is a communication of sorts. When a nice matte glaze whispers 'touch me' and the simple form asks to be held this communication seperates the average from the exceptional. Maybe in this way functional ware can be seen as art
  23. C.Banks

    Finding stoneware or mid/highfire clay

    Proper plastic clay is sometimes asscoiated with coal seams. Kentucky Geological Services - Clay Veins
  24. Glue chicken-wire to the outside and smash it? Maybe different types of wire?

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