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Chris Campbell

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  1. Like
    Chris Campbell got a reaction from Bysmerian in Question... Why Bisque Fire To Cone 05 Rather Than Cone 04?   
    I could not agree more with John and Joseph ... once you have your own kiln, try other temps.
     
    Group pottery centers require specific firing temperature RULES in order to guard the sanity of the loaders. If they give an inch they will soon have forty people absolutely needing their own specific firing profiles. Amazing co-incidence is these people seldom volunteer to load and unload kilns ... if they did, they would quickly be setting their own rules.
     
    So ... when you finally get your own kiln ... experiment. Try different temps and firing profiles. Play a little.
    The Cone chart has more than four numbers and which you use all depends on what you want to do next.
  2. Like
    Chris Campbell got a reaction from Bysmerian in QotW: Where does one draw the line between deciding what is a second and what is OK to represent your name?   
    For me it is not pride or ego ... it is in my nature. I simply cannot sell a pot I believe to be a ‘second’ at any price.
    I have learned that for me ... a ‘second’ is a second before bisque. Nothing in a firing is going to save it. No glaze or decoration is going to do magic. No raku voodoo is going to hide it. So I don’t bisque it. No piece is so precious it cannot be made again.
    Set your own standards on what is a second for you, then live with it.
  3. Like
    Chris Campbell got a reaction from Rae Reich in ? Secret Ingredient In Underglaze?   
    Of course there are 'secret ingredients' ... they hire scientists who qualified to design and test their products.
    They spend years improving them so they are simple to use over a wide range of clay bodies at all stages and all firing temps.
    They fire to the colors in the bottle and if you follow directions, exactly like the sample pictures.
     
    If you want to make your own for the learning or for the pleasure, wonderful ... but it is not likely to save you time, trouble or money.
  4. Like
    Chris Campbell got a reaction from Babs in QotW: Where does one draw the line between deciding what is a second and what is OK to represent your name?   
    For me it is not pride or ego ... it is in my nature. I simply cannot sell a pot I believe to be a ‘second’ at any price.
    I have learned that for me ... a ‘second’ is a second before bisque. Nothing in a firing is going to save it. No glaze or decoration is going to do magic. No raku voodoo is going to hide it. So I don’t bisque it. No piece is so precious it cannot be made again.
    Set your own standards on what is a second for you, then live with it.
  5. Like
    Chris Campbell got a reaction from Magnolia Mud Research in QotW: Where does one draw the line between deciding what is a second and what is OK to represent your name?   
    For me it is not pride or ego ... it is in my nature. I simply cannot sell a pot I believe to be a ‘second’ at any price.
    I have learned that for me ... a ‘second’ is a second before bisque. Nothing in a firing is going to save it. No glaze or decoration is going to do magic. No raku voodoo is going to hide it. So I don’t bisque it. No piece is so precious it cannot be made again.
    Set your own standards on what is a second for you, then live with it.
  6. Like
    Chris Campbell got a reaction from Pres in QotW: Where does one draw the line between deciding what is a second and what is OK to represent your name?   
    For me it is not pride or ego ... it is in my nature. I simply cannot sell a pot I believe to be a ‘second’ at any price.
    I have learned that for me ... a ‘second’ is a second before bisque. Nothing in a firing is going to save it. No glaze or decoration is going to do magic. No raku voodoo is going to hide it. So I don’t bisque it. No piece is so precious it cannot be made again.
    Set your own standards on what is a second for you, then live with it.
  7. Like
    Chris Campbell got a reaction from Pres in QotW: Where does one draw the line between deciding what is a second and what is OK to represent your name?   
    Well, it depends. Are you going for a single sale or a repeat customer?
    It’s bad enough when your early ‘good’ work comes back to haunt you ... cannot imagine how horrible it would be to meet a second in the hands of a potter I admire.
  8. Like
    Chris Campbell got a reaction from Kathy P in Clay dries too fast in hands, dry skin?   
    I would suggest trying another, more forgiving clay body. Some are better than others for hand building.
    If you absolutely love this clay, then wet your work surface so any forming or rolling is being done on a damp surface. This works better than directly wetting the clay ... misting sometimes just makes the clay slippery as it does not sink in.
  9. Like
    Chris Campbell got a reaction from Sheryl Leigh in Making A Black Porcelain Slip With Stain   
    "I get a lot of customers asking me about making colored slips with stains, and once I explain what it takes to makes it, with the weighing and mixing and testing and all, they are not excited to do it. I then recommend underglazes and they are happy."

    Hmmm .... I can see I need to have a colored clay & slips workshop in your area!
     
  10. Like
    Chris Campbell got a reaction from Marko in Plates - Slump & Hump   
    Another idea is to throw a few hump molds.
    Load the clay on a bat and smooth it on your wheel until you get the inside shapes you want your plates to be.
    Let them set up to leather hard and use to make a few plates.
    When you are done, simply re-cycle the clay.
     
    I like making my molds out of clay because this process does not leave you with a whole bunch of heavy plaster molds or bulky styrofoam molds.
  11. Like
    Chris Campbell got a reaction from Callie Beller Diesel in Here Is How To Get Wax Resist Out Of A Brush   
    In case you have to use up the stuff you already have on hand ...
    a trick from an old Ceramics Monthly was to gently rub some liquid soap into the brush before using it to prevent the wax from sticking in the first place.
  12. Like
    Chris Campbell got a reaction from douglas in Plates - Slump & Hump   
    Another idea is to throw a few hump molds.
    Load the clay on a bat and smooth it on your wheel until you get the inside shapes you want your plates to be.
    Let them set up to leather hard and use to make a few plates.
    When you are done, simply re-cycle the clay.
     
    I like making my molds out of clay because this process does not leave you with a whole bunch of heavy plaster molds or bulky styrofoam molds.
  13. Like
    Chris Campbell got a reaction from D.M.Ernst in Question... Why Bisque Fire To Cone 05 Rather Than Cone 04?   
    I could not agree more with John and Joseph ... once you have your own kiln, try other temps.
     
    Group pottery centers require specific firing temperature RULES in order to guard the sanity of the loaders. If they give an inch they will soon have forty people absolutely needing their own specific firing profiles. Amazing co-incidence is these people seldom volunteer to load and unload kilns ... if they did, they would quickly be setting their own rules.
     
    So ... when you finally get your own kiln ... experiment. Try different temps and firing profiles. Play a little.
    The Cone chart has more than four numbers and which you use all depends on what you want to do next.
  14. Like
    Chris Campbell got a reaction from preeta in Using Slip Soaked Yarn   
    Can you post some images of the look you are aiming for?
     
    I have done this process with yarn, string and lace with porcelain and regular clay. The results are fragile by nature since you are burning away the interior support system and leaving a hollow tube.
     
    One way it is more successful is if you soak the string or yarn in slip then lay it on the surface of a pot as decoration. Multiple layers of slip sometimes result in a loss of definition ... you lose the pattern you wanted to see under the smooth surface of slip.
  15. Like
    Chris Campbell got a reaction from Marko in Here Is How To Get Wax Resist Out Of A Brush   
    In case you have to use up the stuff you already have on hand ...
    a trick from an old Ceramics Monthly was to gently rub some liquid soap into the brush before using it to prevent the wax from sticking in the first place.
  16. Like
    Chris Campbell got a reaction from Benzine in Here Is How To Get Wax Resist Out Of A Brush   
    In case you have to use up the stuff you already have on hand ...
    a trick from an old Ceramics Monthly was to gently rub some liquid soap into the brush before using it to prevent the wax from sticking in the first place.
  17. Like
    Chris Campbell got a reaction from SydneyGee in Submit Your Community Challenge Ideas   
    I'd like to see people choose one form ... Bowl, mug, vase, container, casserole ... And execute the form several times using different techniques ... Throwing, coiling, soft slab building, firm slab building, slump molds, hump mods, pinching, free form ... Whatever. Just test how many ways you can get to where you are going.
  18. Like
    Chris Campbell reacted to glazenerd in Submit Your Community Challenge Ideas   
    I second Chris's idea.
    Nerd
  19. Like
    Chris Campbell reacted to Pres in Submit Your Community Challenge Ideas   
    Or even using the same technique/process in different ways to arrive at the same form. Ex. bowl thrown upside down and right side up, thrown with texture applied before shaping, thrown with texture after shaping, Thrown with double walls, thrown with colored combinations of clay, Thrown in multiple parts, Other variations I am sure are possible.
     
     
    best,
    Pres
  20. Like
    Chris Campbell got a reaction from Jo-Ann in Submit Your Community Challenge Ideas   
    I'd like to see people choose one form ... Bowl, mug, vase, container, casserole ... And execute the form several times using different techniques ... Throwing, coiling, soft slab building, firm slab building, slump molds, hump mods, pinching, free form ... Whatever. Just test how many ways you can get to where you are going.
  21. Like
    Chris Campbell got a reaction from LeeU in Submit Your Community Challenge Ideas   
    I'd like to see people choose one form ... Bowl, mug, vase, container, casserole ... And execute the form several times using different techniques ... Throwing, coiling, soft slab building, firm slab building, slump molds, hump mods, pinching, free form ... Whatever. Just test how many ways you can get to where you are going.
  22. Like
    Chris Campbell got a reaction from Babs in Submit Your Community Challenge Ideas   
    I'd like to see people choose one form ... Bowl, mug, vase, container, casserole ... And execute the form several times using different techniques ... Throwing, coiling, soft slab building, firm slab building, slump molds, hump mods, pinching, free form ... Whatever. Just test how many ways you can get to where you are going.
  23. Like
    Chris Campbell got a reaction from Jo-Ann in Large Platter Broke In Half In Bisque Firing. Anything To Do With It?   
    When I am teaching my colored clay/neriage/nerikome classes, my number one piece of advice is ... SLOW DOWN.
     
    Consider all the things you are asking your clay to do ...
    you have colored it, shaped it into patterns or designs ... it has a hundred places it needs to connect ... you have rolled it, stretched and molded it into your idea of a good form.
    That clay has had it!!!
    Give it time to settle, treat it gently as you go forward.
    You have already invested so much time and attention in the production that it is a shame to lose it all by hurrying the firing.
     
    I don't fire slow, but I never fire colored clay on 'fast'. Medium is good.
    I usually use the ramping programs to fire up and do controlled cooling down to 1100. Electric kilns cool much too quickly for many kinds of work.
  24. Like
    Chris Campbell reacted to glazenerd in Large Platter Broke In Half In Bisque Firing. Anything To Do With It?   
    Quartz inversion is very stressful during bisque firing. After that, COE becomes more of the problem; but unseen problems created during bisque firing will show up during glaze firing. The COE stresses during glaze firing will magnify the problems created during bisque: if any exist. Yes, there will always be movement during inversion temp: but after bisque they do not create problems unless the pieces are extremely large or large surface contact.
    The other problem which applies to large format flat surfaces making contact with the shelf. In this scenario: the top of the piece cools at one rate, and the area making contact with the shelf cools at another due to thermal mass. In this case, a thermal COE issue is created. Around 400F: the air temp in the kiln is correct: but the shelf temp under the piece can be very much hotter. I am sure everyone has opened a kiln around 120F to fetch out pieces. While the piece is very warm: touch a shelf and it burns!! So when firing large flat pieces: it is still advisable to dust the shelf to deal with this issue as well.
    Nerd
     
    Yeah, I know.. information dump...sorry!
  25. Like
    Chris Campbell got a reaction from Westpost in Clear ^6 for Mason Stains   
    If you don't need buckets of it, I highly recommend the Amaco zinc free clear. Colors stay true.
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