dawn523 Posted October 6, 2013 Report Share Posted October 6, 2013 I have the opportunity to expose fired ceramics to the processes of underwater enviroment for 6 months to a year. What do I have to consider for temperture, glazes and clay type? I would like to fire with a cone 6 clay and glazes. Link to comment Share on other sites More sharing options...
Guest JBaymore Posted October 6, 2013 Report Share Posted October 6, 2013 Fresh water or salt water? best, ...................john Link to comment Share on other sites More sharing options...
Pres Posted October 6, 2013 Report Share Posted October 6, 2013 What are you looking for, knowledge of the effects of the environment? Special effects from the action of the water on the ceramic? These questions might lead to further thinking about the possibility of resists, layers of fired and refired glazes at different temps, and other interesting ways of manipulating the ceramic to enhance the effects of the water. Link to comment Share on other sites More sharing options...
dawn523 Posted October 6, 2013 Author Report Share Posted October 6, 2013 Salt water environment. Link to comment Share on other sites More sharing options...
jrgpots Posted October 6, 2013 Report Share Posted October 6, 2013 What a cool opportunity to experiment with long term exposure of ceramics to saline under pressure. Are you looking to experiment with clay bodies in these conditions or find clay bodies and glazes to withstand the environment? If it is only the latter, you may want expand your scope to investigate the effects of pressure and long term exposure of clay bodies to a saline invironment. Link to comment Share on other sites More sharing options...
Kohaku Posted October 6, 2013 Report Share Posted October 6, 2013 There have been functional amphoras pulled up by divers that date back practically to the Trojan war. Link to comment Share on other sites More sharing options...
Chris Campbell Posted October 6, 2013 Report Share Posted October 6, 2013 Also the dishes from the Titanic found mostly intact on the ocean floor. I know there are some in the Maritime Museum in England, but don't know if anyone has commented on their condition glaze wise, etc. Link to comment Share on other sites More sharing options...
Benzine Posted October 6, 2013 Report Share Posted October 6, 2013 There have been functional amphoras pulled up by divers that date back practically to the Trojan war. It would be funny to think, that some of the submerged pottery/ sculptures modern society has discovered, are actually discarded works that those artists didn't want getting out. "I knew I should have smashed them!!!", they say in retrospect. Also the dishes from the Titanic found mostly intact on the ocean floor. I know there are some in the Maritime Museum in England, but don't know if anyone has commented on their condition glaze wise, etc. Even more impressive considering, that not only have they survived the conditions, but they also had to survive the sinking. Link to comment Share on other sites More sharing options...
Bob Coyle Posted October 7, 2013 Report Share Posted October 7, 2013 I think that most "dishwasher safe" commercial available cone 6 ceramic glazes would have no trouble with this enviroment. Are you going to formulate your own glaze? Link to comment Share on other sites More sharing options...
Marcia Selsor Posted October 8, 2013 Report Share Posted October 8, 2013 Hi, I am back!. The amphorae are porrous terra cotta which would provide an anchor for barnacles to grow. Mature glazed pieces like the porcelain from the Ming Dynasty found in shipwrecks is not covered with barnacles. The glaze is clean. Link to comment Share on other sites More sharing options...
PeterH Posted October 8, 2013 Report Share Posted October 8, 2013 I had a faint memory of Peter Hayes soaking things in seawater, and here it is: http://www.peterhayes-ceramics.uk.com/home.asp?id=3 ... esp. look at the Overview, Inspiration & Techniques sections. To quote: Similarly, leaving pieces in the sea at Cornwall or riverbed next to the studio, PS Don't soak anything with tin in it, not good for the aquatic environment. is a crucial part of the making process. The salts in the sea water oxidises the copper and the verdigris transports into the white clay body to give a greeny/blue 'blush' and a natural random element to the work. ... although I cannot say I actually noticed the effect. Being one of the least environmentally resistant forms of pottery raku does seem a good candidate for changing by environmental means. Peter Hayes technique of breaking his pieces into chunks then gluing the fired pieces back together also seems a good way to emphasise minor changes in the surface appearance of the chunks due to variations in firing or weathering. Regards, Peter PS on a completely different tack, I've seen mention of people growing artificial reefs on metal structures. Using small applied voltages (via sacrificial electrodes?) to encourage the growth. [Long-term acidification of the seas is making it harder for molluscs to extract calcium from the sea, a little voltage in the right direction helps.] Link to comment Share on other sites More sharing options...
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