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Member Since 07 Apr 2013
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#60617 10 Cool Trends In Contemporary Ceramics

Posted by Wyndham on 11 June 2014 - 02:38 PM

If this is going to represent us as ceramic art in the cultural centers of the future, we have the same of chance of having a thriving pottery craft future, as the dinosaurs surviving their apocalypse.



#60457 Throwing Straight Out Of The Pugger-Yes

Posted by Wyndham on 10 June 2014 - 11:40 AM

It's worth getting use to, like going from a kick wheel to electric. Now if I could only find the recipe for self centering clay :)


#60036 Noob Seeks Advice Building Kiln On The Cheap

Posted by Wyndham on 05 June 2014 - 08:40 AM

You need to learn what clay that's local can do. Some of the most beautiful ceramics are based on low (1800 deg f) clay bodies that are pit fired. Learn what the locals are doing, where they get their clay and how they prep it, then how they fire it. Just because it maybe tourist cr@#@#$p doesn't mean it's not good workable clay, though at a low temp.

Learn how they make their slip for decorating and what wood they use for the firing.

If you look up pit firing you'll see what beauty can be achieved in low temp ware.

After that you can develop your own expression in clay and there maybe other clay beds that can go to higher temps.

Most of the world still uses low temp clay bodies for everyday uses and can be better than higher temp stoneware for certain uses.


#59954 Anyone Else Interested Or Know Anything About Firing Leopard Spot Shinos?

Posted by Wyndham on 04 June 2014 - 08:42 AM

Check out this link.



#59110 What Made Plates Break?

Posted by Wyndham on 23 May 2014 - 03:41 PM

Refiring too quickly will crack/break/ screwup  pieces.

You've got too much heat too quickly and the fired piece can't relieve the stress the heat puts on the piece. There is a temp range between 900-1200 deg f that the glaze.glass and the claybody go through quarts inversion. This is the critical temp but there are other temps lower to consider.

Wide plates & uneven temp will also bust'em up

Long and slow 200 deg/hr to 900 deg then 100 deg/hr till 1200 then back t0o 200deg/ hr to end for refires and still you may loose some.

You don't know how the bisk was made or fired so there might also be issues there as well.

Chalk it up to learning.


#58967 Help - Cone Bending/ Firing Issues

Posted by Wyndham on 21 May 2014 - 01:47 PM

I've had sitter cone fuse and over fire. Seems that the kiln sitter drop bar didn't drop in time and the cone fused holding the kiln sitter rod  from moving. Check to see if the drop bar has any debris.


#58433 Pinhole Doctor Needed – Nasty Case – Diagnosis Required.

Posted by Wyndham on 13 May 2014 - 11:27 AM

The rim of the piece has melted more(usually does) and healed over, where as the rest of the body looks under fired. Maybe a soak at the end of glaze firing for 10 or 15 min might help along with a slower bisk to 04


#56802 The Dangers Of Advice Without Experience

Posted by Wyndham on 16 April 2014 - 07:08 PM

We might need to define "Shortcut" as either a better method based  on  validation and experience of a technique or a shortcut based on an  assumption.without validation.

The shortcut "leave to the expert" can be a two edged sword. My personal experience of experts on the issue of reduction methods for gas kilns leaves a wide path for many different methods and opinions , some good, some not so good.

Education comes at a cost, whether academic and/or sweat equity. It sometimes takes a long time and a lot of clay to find the shortcut.


#56609 The Dangers Of Advice Without Experience

Posted by Wyndham on 14 April 2014 - 01:50 PM

The ER would be empty if people followed your advice, gotta keep those Dr's working. BTW What's the emotocon for a sarcastic,eybrow twisting,self deluding potter?

I've been at mudslinging for 27 years and every shortcut is the longest, hardest lesson to learn



#54192 An Artist's Life (Continued)

Posted by Wyndham on 08 March 2014 - 04:40 PM

They do NEED a painting but the need to survive trumps art.

My concession to function is to make beautiful glazes that allow me the satisfaction of painting but on a different medium.

If we allow ourselves to become devoid of beauty in our lives, whether clay or canvas, we've become the drones of our own creation.

The mugs are too wet for handles so I blather on , too late to start another project, too early to close the shop for the day :).


#52625 You Know You're A Real Potter When....

Posted by Wyndham on 15 February 2014 - 12:18 PM

An artist who is a  painter does not need to weave the canvas or make the paints to be an artist. Same goes for potters and glazing.

Look at the video on the African women potters, not a lot of glazing going on. If I compared my work with these folks, I'm way behind the learning curve.


#52524 Told To Get A "real" Job

Posted by Wyndham on 14 February 2014 - 11:08 AM

Your "advisor" showed his true colors. He and many in the finacial profession look to clients as a food source. Remember they make a living from your money. He wants clients that have "Money".

Just as a visualization, make a form, a mug will worlk fine. At some point about soft leather, start carving chunck out of your mug, each repesenting your cost of living, biz cost,(what you would be paying him or her) etc. You will find the more you learn and take charge of instead of  what you pay others , the more you keep for yourself.


I've had student groups come by my studio/gallery from time to time, who are in various art/ceramic classes. They would be better served by these classes incorporating finacial issues in the class and less time spent on the "Myth" of being an artist.


When asked, I tell them the cold hard truth about making a living as an artist, most want to "get by" few want to learn. This goes for every area of making a living.

Learn from this and expect more from many different sources. Do what you love but keep your eyes wide open.

Just my thoughts on a snow covered studio day in NC


#52514 You Know You're A Real Potter When....

Posted by Wyndham on 14 February 2014 - 10:25 AM

When you're so disgusted by a glaze test that turned out so totally off that you smash it in the shard pile, THEN.......

six months later while walking to the kiln you see this GREAT shard on the ground. You race back to your notes only to discover that page is missing.

You put that shard on a shelf to remind you to let the glaze live long enough to talk to you.


To err is human but to lose a great glaze is unforgivable.


#52226 Glaze Formulas Without A Picture

Posted by Wyndham on 11 February 2014 - 04:47 PM

I see a glaze recipe is simply a starting point for me  but instead of a starting point on a line, it's the starting point in a 360 degree radius, which is fine

Recently I was short of frit 3195 for waterfall brown but saw that 3134 + some aluminia would give me a roughly the same results but it came out a bit  different and better for me. This has allowed me several variations that I also like. and I'm seeing iron blues that were not present before.

It has taken more than a few years to understand that recipes are not fired in stone.

Float blue has a nasty habit of pitting on my clay body, so instead of 2 iron.4 rutile,1 cobalt carb; 2,2,2, where the rutile is replaced by titanium and this works better for me. As for others it may be a great or not.

G200 has changed and is going to change again, so be aware and change by testing.

It's snowing here in central NC and I love it.

Later Wyndham


#52082 Substitute For Black Copper Carbonate

Posted by Wyndham on 09 February 2014 - 05:04 PM

 Black Copper carb is Likely a misquote. Black Copper oxide and oxides are usually stronger than carbonate's. Here's what I found


Glaze name: Lubbock Red Black Blue

Cone: 08-06
Firing: Raku
Surface texture: Gloss
Color: Shiny Metallic Red, Blue, Black
Date: 07/19/98

Recipe: (Percent, Batch)

Colemanite                 70.00       70.00

Ball clay                  30.00       30.00

                        --------    --------

Totals:                   100.00      100.00

Also add:

Tin oxide                   1.50        1.50

Copper carbonate            5.00        5.00


Comments: Glaze type: Raku (Reduction) Transparency: OpaqueColor: Shiny

    Metalic Red, Blue, Black and Silver Visual texture: Random colors Flow:

    Slight Date: 07/07/97 Comments: This is one of the most beautiful Raku glazes

    I've ever seen. There is a lot of metalic silver with a little gold and the reds,

    blues, and blacks mingle in with it (they are metallic too). Proper reduction in

    an airtight container is a must. I fire the piece until the glaze is shiny.

    Immediately I place it in a trash can filled with shredded newspaper and throw

    more on top after the piece is in. Then quickly secure the lid over it. Seems to

    work even better if the paper is really blazing good before the lid is put on.    The colors are random but nearly all are always present somewhere if reduced

    properly. I use a galvanized trash can with a lid that fits securely occasionally

    I'll use a sand pit with a metal bucket. *Variations: Can replace Copper Carb 5

    with Black Copper Oxide 2.5 - I have gotten the same results *How long have

    you been using this glaze? About 4 years *Where is it used? Texas Tech

    University *What do you like most about this glaze? The metallic look *Is

    this glaze reliable? Yes *How do different firing temperatures/atmospheres

    affect the glaze? We always do it the same. *How does the glaze behave on

    different clay bodies? Pretty much the same effect. Colors are brighter on white

    clays. *What consistency should the glaze be for pouring/dipping? About the

    consistency of chocolate milk. *How thickly should the glaze be applied to the

    pot? Medium. I use two quick dips. *What is your kiln type and size? We use a

    gas burning Raku kiln. It is about 24 in diameter. The base is made from a

    section of an old electric kiln. There is a hole in the side for the burner. The top lifts off and is made of a wire frame with flame blanket for the insulation. (I

    dont know if flame Blanket is the real name but it is a fiberous white material.)

    *How do you typically fire? We fire the pot till the glazes becomes shiny, then

    kill the burner, lift off the lid and place the pot in containers filled with

    shredded paper. When it ignites (instantly) we throw more paper on top and

    close the lid. We leave it in there about 15 minutes before taking it out to cool.



Hope this helps