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Member Since 12 Oct 2012
Offline Last Active Mar 07 2015 12:00 PM

Topics I've Started

Outdoor Work And Freeze-Thawing

04 September 2014 - 10:49 AM

I have a potential opportunitiy to create an outdoor installation.


If I work in clay, I'll obviously need to worry about the resiliency of the piece (it would be installed in a cold climate). I've read a couple articles (here's a short one from Digifire).


Porosity seems to be a key factor. I've seen some mention of closed porosity, however- linked to the idea that addition of fibrous material to the clay body can actually increase resiliency.


One measure that I will take, if I do this, is to make the installation modular (keeping the components smaller).


However, I was wondering if anyone had grappled with this issue, and whether they have any suggestions?


Raku Tiles In The Shower

13 August 2014 - 07:48 PM

Hi all...


I was at a show this past weekend, and a buyer looked at some of my raku work- and wondered if I could make some custom tiles for his bathroom.


I'd see no issue with doing this on surfaces that stayed dry for the most part... but I was hesitant to suggest that he put anything porous like a raku tile in a place it might get wet regularly (like inside a shower stall). I guess I'd worry about Mildew, and about the impact of abrasive cleaners on a regular basis.


I tend to use high-silica 'raku' glazes... so my colors don't tend to fade like some of the classic matte lusters. Maybe if I stuck to glazes that were fully mature at raku temperatures I'd be OK... but I was curious as to what people thought. Maybe there's some sealant I could recommend?


Here are a couple examples from my own kitchen...





Coping With Trim Scrap

06 December 2013 - 05:50 PM

I just finished a three hour, down-to-the-nub studio cleanup, and I'm reminded of how much I hate trim scrap.


Does anyone have a solid system for keeping bits of trim residue from flying all over the place? It's not bad when the pots are on the softer end of leather hard (you can sort of gather up the trim as it comes off your tool)... but I prefer to trim when things have stiffened a bit. Those scrap fragments fly off, landing in difficult to clean nooks in the studio, adding to dust issues.


I've tried positioning a garbage lid off the side of my wheel, which works to a point. Cumbersome though... and I can't be bothered when I'm in a hurry.


I'd love to encounter a few solutions with a bit more elegance.

Raku Firing A Boatload Of Tiles

03 December 2013 - 04:46 PM

I'm working on a couple of tile-inlay projects, and thus looking to firing some 40+ tiles over the next week (most of which are 4*4).


I'd like to streamline and improve the process. There are two areas in particular I'd like to tweak...


1) Maximizing output from each firing.


If I lay the tiles flat, I can get nine tiles on the shelf. I've never tried to use stacked shelves, or fire the tiles on their sides (with support) but I'd consider this if the outcomes would be good. I'd worry that shelves might change the temp gradient or the reduction/oxidation conditions within the kiln, and that side-firing might lead to warping or cracking.


2) Efficiently moving the tiles to the post-fire reduction chamber.


As of now, I'm scootching each tile to the edge, grabbing it with my tongs, and placing it in the reduction bucket. It's a frustratingly slow process... by the time I get all nine tiles bucketed (three to a chamber) I worry that I've missed out on the best of the reduction effects. Picking the tiles up with my kevlar gloves does not speed things up. I've considered placing the reduction chamber next to the kiln and 'flicking' the tiles into the bucket... but I worry about fracturing.


Anyhow, if anyone has grappled with this and has suggestions, I'd love to hear them.





Burping Raku Pots

19 November 2013 - 12:50 AM

Can someone explain- from a chemistry standpoint- why 'burping pots' during a Raku post-fire reduction helps (in theory) helps with the development of colors (oxides, etc.)?


Stands to reason that the influx of O2 would re-oxidize things briefly... but I'm not sure I understand why this would create more vivid color than- for instance- starting the post fire reduction at a cooler temperature.


(Sure seems to work, though- at least in my experience).


For those who don't know, to 'burp' a pot, you briefly open the reduction barrel or can after a pot has been in post-fire reduction for some variable interval of time.