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Lets Do The Happy Dance


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I once had a bisque kiln half full of pots that were too damp. They were also stacked on top of the dry pots. It was an interesting experience opening the kiln at ~150degC and seeing them jump around the kiln having some sort of gun battle, or maybe a popcorn party  :huh: They never actually took out any of the dry pots but they were all thick so could withstand the bouncing crowd above.

 

If you are sure it is not your work then I think drmyrtle has a good idea with stacking all your work together. Make a bisque protection box and keep firing it with you work inside  ;)

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While were talking ab out green clay in the kiln,,, I seen a you tube video where this couple had made several Raku pieces about 3 days before they tossed them in a fire pit while snowing with all the pieces outside setting around the bank of the pit... put one in POP and sparks were flying and pieces were dacing... they even said the pieces were still a little green...

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S. Dean, Crusty and High Bridge,  Thank you one and all for your suggestions and concerns.  The drive is quite enjoyable and I listen to classical music, NPR or DVD's from The Great Courses.  I drive a hybrid car and because I also monitor at the studio, on the days that I monitor, the mileage is tax deductible.  I have a wheel at home and a basement studio that lacks only the people I've met over clay and a kiln.  The garage is really only big enough for our 2 cars with minimum clearance and I just will not put a kiln in the basement.  I can't justify parking the cars, which happen to be the second most expensive thing I've ever purchased, in the driveway to accommodate a kiln for firing pots that would provide scant monetary reward.  So after having said all of the above, I also must tell you that the studio is located in a beautiful part of Delaware.  And yes, S. Dean's suggestions above have all been tried. I've taken multiple classes from her, sought advice, helped prepare and clean up after social events both at the studio and at her home.  (I've also worked at an international law firm for many years, so I know how to be a team player, how to identify a bully and know that I can't change anyone but myself.)  Yes, I was also warned not to cross her or to trust her.  So, I'm going to fill my pots with cookie cutter hearts and other happy little freeies that I can give to friends and customers.  The bisque "kiln box" would drive her nuts without a doubt and kinda puts a devil on my shoulder, too.  Making it would probably help my hand building skills.  Happy Thanksgiving.  I've got work to do in the kitchen.  Over and out...

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We all have to deal with water in our firings. Bisque is where most have the most disasters. Mechanical water, Atmospheric water, and chemical water are all possible culprits to cracks, blow ups and major disasters in a bisque fire. I always go slow until after 1100 F. as you have all sorts of things going on in the kiln up until that time. First the atmospheric water has to be driven out(assuming the pieces are bone dry), secondly the chemical water is released, and then organic matter, and finally the quartz goes into inversion. Best to fire slow til then.

 

Many people do not pay attention to water in glaze firings though. If your pieces have not dried sufficiently after glazing, especially on soft bisqueware, you may end up with crawling, pin holing and other glaze defects you would rather not have.

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Pres, You just answered a why did it crawl question for me.  Pots that I had glazed on a rainy afternoon August 2013 had crawling in the contrasting second glaze dip.  I sought answers but there were no consistent answers among the studio potters.  So, should the pots sit for a few days before the second dip or warm under lights or a heat gun? 

 

Also, thanks for discussing the various types of water in bone dry greenware.  Fascinating.

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Pots really don't have to be dried for days or even heated under lamps. If they are damp when put in the kiln, water smoke or candle as you would with a bisque for 30 minutes. Then start your regular firing cycle.

 

Sometimes I get long winded when talking about clay and water, especially in a classroom. Here as most already know the basics of the materials, I just post reminders.

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@Florence: I think it really sad when you work hours on a piece, let it dry slowly, have ideas for the glazing later etc. and then, only because the studio boss is a bit over-self-confident, the piece breaks in the kiln. And I think it sad that you resign to it. Don't!!

Normally, staking pieces in bisque firings should be ok, if they all are really dry. Also air bubbles aren't always exploding. But heating the kiln too fast over 400°C is definitely a "neck-breaker". I can understand that you like to go to the studio, have companionship, can discuss ideas with other potters, but the price you pay (and I don't mean dollars) is too high. Can't you, for instance, find a few more clay passionate in your area, and you as a group would buy and use a kiln together? Or try to find somebody in your area who maybe has already a kiln in the garage or cellar and would be happy to fire your pieces for a few bucks. Put ads in the supermarket or the local newspaper.

 

Evelyne

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I also drive a long distance every week (80 miles each way) to get to a pottery studio that I like. It is worth the trip because of the positive atmosphere in the studio and their ^10 gas kiln that is fired on a regular basis. 

 

I also have a wheel in my basement, along with a very small kiln which I use for bisque firing, but I enjoy the community environment and that makes the 2.5 to  3 hour drive worthwhile - at least for now. 

 

Susan

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@Evelyne  Thank you for your suggestions which I've slept on and continue to think about.  Here in the US, we are in the middle of a wonderful holiday of Thanksgiving and I've had 2 wonderful days with my family and the fun continues tomorrow.  The time here is 10 pm and I'm exhausted in such a good way.  I've been on your web site tonight and again visited the gallery to view examples of your work.  My very favorite pieces are the brown pot, the tan triangle pot sitting on the ball feet, the free form bark and last but not least, the black and white disk with the fish imprints.  Quoting one of my Brit friends, "I'm gobb smacked" and that's a very good thing!

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