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bciskepottery

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Everything posted by bciskepottery

  1. My wooden ribs and tools are going on 9 years old . . . just clean them when done, no other special treatment.
  2. Forget about Wikipedia . . . start here: https://euancraig.blogspot.com/2009/03/principles-of-shino.html There are the Japanese shinos . . . very traditional. And, there are American shinos . . . very different, google for Malcolm Davis to see his work on carbon-trapping shinos. You can spend a lifetime in pursuit of shino, google Hank Murrow. Same differences as Japanese raku and American raku. What is offered in stores in pre-mixed containers of all the rainbow's colors are not shinos. Same for their celadons. They are just nice (mostly) looking glazes that have the apparent look of the originals.
  3. Your pictures show a good deal of information: The kiln requires 45 amps; so your circuit will need a 60 amp circuit. Find a good electrician to look over the controller and do your wiring. Max temperature looks to be 2300F -- cone 8, so your top temperature may be cone 6. The kiln sitter is an older, Dawson manual model. Here is the manual for it: http://jenkenkilns.com/JenKenPDF/dawson-PK.pdfIt has three heating levels - low, medium, high. A starting firing schedule is two hours low, two hours medium, then high until your reach temperature. You will need to use cones to determine when you reach temperature. The Jen-Ken site has a number of technical manuals; you might have to skim through them to see which might be helpful as one is not listed for the D-24 model. Check with potters in your area to see if any fire a manual kiln. They can tell you a lot about how to proceed. There are also good books out there on firing an electric kiln that might be helpful.
  4. Potters once fire cone 6 clay with glaze applied to greenware (might even have one or two on the forum who could give some pointers). So, it is possible to eliminate your first bisque. Will take some trial and error to get applications and firing right.
  5. Is your kiln vented? If yes, then leave the top down and peeps in; if not, you might want to leave the top peep out. Lid hinges are really not designed to be propped open. My kiln is, so I leave the top closed and peeps in for both bisque and glaze firing.
  6. Might be more to do with thermal-shock value than absorption -- sitting under a heat-lamp for xx hours a day (followed by a somewhat quick cooling when the heat is turned off or it is put in water for cleaning) is likely stressing the clay body. You might need to go to a flameware clay body or a clay body with kyanite or some similar material to increase its thermal shock capacity.
  7. Lighting may depend on the venue . . . some places (gymnasiums for example) use mercury vapor lights, others use fluorescent, etc. Some shows leave those lights off, others leave them on. The led lights I use are a bright white -- tried the softer color and did not think the wares looked a bright. Mine are mounted under the shelf and illuminate the items below. Just remember to use the same type of color in all your leds for a consistent look.
  8. Well, with the terrific job industry already does with standards -- e.g., this clay body works well between cones 5 and 10 -- I'm sure they'd do a bang up job with plasticity ratings (-1 if the clay has dried out while sitting on the shelf for over 12 months and +10 if made yesterday and still mushy in the bag). Clay arts doesn't seem to do well with standards (just look at the various glaze books and see the variations in limits for safe and durable glazes or see if there common agreement on what is food-safe, etc.). Mostly because clay arts represent the bottom of the user world and carry none of the impact that large volume consumers (e.g., commercial producers) can demand from manufacturers. In short, we get the left overs, are the last to know when composition of materials change, etc. because we are a marginal percentage of their bottom lines. And, on a customer-by-customer basis, they will make a batch to whatever specs we give them, so those who have specific requirements can get what they want -- for example, Mark C. has his distributor mix half his clay to be softer knowing it will be sitting/aging for six months before he uses that part of the supply. Such a rating may be useful to some potters like yourself who want a specific type of clay body for a specific technique, e.g., crystalline growth, but most would not have any idea of how to use that information. And, as the clay ages, the rating is likely to become outdated and/or no longer precise. Standards should be reserved for things that affect health, safety; plasticity does not rise to that level of concern where we ask for and submit to regulation.
  9. Students with a disability (or their minor parents/guardians or school counselor) must inform the instructor if the student needs/expects accommodations. And he/she should have that discussion with you at the start of the class term. For your next class, on the first day specifically ask that any students with a disability that needs accommodations speak to you separately and from there you and the student can jointly work out a plan. But if they don't tell you, and you are not a trained diagnostician, then it can't be your fault later on. Students fail to inform their instructors of their need for accommodation; too many times, my wife (a retired college instructor) found this out when explaining to the student why he/she was failing the course and then student telling her for the first time, "But I am supposed to get an accommodation for longer test periods because of __________."
  10. Here is a good start . . . https://www.amazon.com/Handbuilt-Pottery-Techniques-Revealed-Handbuilding/dp/1438001991Very good how-to book for hand-building. Covers the basics well, including coiling, pinch pots, slabs, tools, etc. And it has a number of projects with which to start. One of the first I bought for myself. Types of clay, etc. -- it depends: where you are located? Do you have a kiln or are you using a community kiln (and those places often have limits on types of clay and glazes), your experience level. Have you taken classes? Pottery and ceramics is not a very exact science or craft -- It depends is an oft used qualifier to any advice given. I am a largely self-taught hand builder, a lot of trial and error. You will find a lot of wheel classes, not too many hand building. But the main thing is to try and learn; you get better over time and with repetition. There are a number of threads on the forum regarding Etsy . . . from the main forum page, go up to the search box in the upper right hand corner, type in Etsy and hit go. The business forum has a number of good discussions on the business side of pottery that might be helpful or developing personal styles . . . or check out the websites and blogs of two members -- Chris Campbell or Mea Rhee (Good Elephant Pottery; you can find lots of good practical advice there.
  11. How are you measuring "force" -- by your own feelings while throwing or through some type of device that provides empirical data? In your comparisons, are all particle sizes constant with the only difference being the particle size of fireclay? And all other variables, e.g., wetness, are also constant? Just trying to limit the number of variables at play . . . Wondering, if I gave a student a bag of Standard 181/182 stoneware and told him/her it was a Standard porcelain, would they know the difference? (You could likely pick two clays from any manufacturer, not singling out Standard). We seem to have so many preconceptions of how a clay should behave based on anecdotes or comparisons ("throws like crème cheese") that it may color our judgment or create a set of expectations.
  12. On the Northstar, both rollers work and you can adjust for the thickness of the slab. No shims, I use slab mats.
  13. My first pottery equipment buy was the Northstar portable table top roller. Even slabs, no problems -- going on 7 or 8 years.
  14. First posts must be approved by one of the forum moderators before they appear.
  15. You have found "a" technique, not "the" technique. There are many ways to achieve a distressed look -- and you do not necessarily have to take a wire brush to your clay or use some overseas formulated heavy grog clay. Yes, the clay body can help -- but you can also use clay slips (think layers not single applications; think thin slip and thick slip), different types of brushes for application -- stiff bristles vs soft bristles, long vs short nap, dry vs wet; dry-looking glazes, engobes, oxide and mason stain washes, tools (spackling knives and plaster tools for application, cleaning the blade vs leaving some slip on the harden and give an irregular surface for the next application), and multiple firings to achieve the look (although you can do it with single firings, too). It takes practice and repetition to learn to relax while applying the slips, etc. Sometimes you get lucky -- I remember one day my hand cramped while applying slip and the brush dropped on the slab and gave the most unusual pattern. Many of these techniques require patience -- working with the clay is ready to be manipulated -- you can't force the look. Keep practicing and experimenting. A couple to look at . . . Lana Wilson (she is known for more than magic water) http://lwilso2.otherpeoplespixels.com/home.html Jim Robison http://www.boothhousegallery.co.uk/Also, his book with Ian Marsh "Slab Techniques" Eric Serritella http://ericserritella.com/eric/ https://youtu.be/ueDTA6dPGA4
  16. http://www.woodfirenc.com/ If you like wood fire, you may want to check this out. Opportunities to both fire and meet.
  17. From Mitch Iburg's Etsy site . . . Thrown native California clay Wood Fired to 2150 degrees F. Cooled in a reduction atmosphere No applied glaze Made from an iron rich earthenware harvested near Comptche, CA and used without any additions. This clay is formed by erosion of sedimentary rocks belonging to California's Northern Coast Mountain Range - approximately 60-150 million years old. Screened only to remove large stones and organic matter. Small stones of shale, sandstone, and mudstone in the clay melt out during the firing, creating minor protrusions on the surface and retaining a visceral reference to the landscape and history of its origin. Fired to 2100 f. in a wood burning kiln for 42 hours using Ponderosa Pine and Manzanita. Each piece was loaded in a small bed of rice hulls - a local agricultural byproduct which, when used in the kiln, prevents the work from sticking to the shelves and creates iridescent color and textural variation. All color variation results from naturally occurring iron in the clay and its reaction to temperature and oxygen throughout the firing. Water Tight, Food Safe
  18. Paperclay is another option -- no more, no less. It depends on what you are making and your preferences. I've mostly seen it used in hand-built items and/or sculptural works; have not seen it used for functional wares -- but my experience with it is limited to firing other folks work at a community studio. Just another tool in the toolkit. At greenware stage, it can be quite fragile as most people use it to go for thin walls or make large slabs for brushwork, decals. After bisque, where the paper is burned out, you have . . . regular old bisque clay that is no different, from a composition standpoint, than wheel-thrown or hand-built wares. We know it works well as a mender for greenware and bisque -- clay body in a slurry, some toilet paper, and vinegar mixed to fix cracks, etc.
  19. Electric fence with concertina wire across the top . . . and even that is not a guarantee with school kids.
  20. From Standard's web site: 112 BROWN CLAY - Cone 4-6 Plastic clay for wheel and modeling. The addition of granular manganese gives a speckled surface. The ideal temperature for developing best color tone is cone 5. Good results may be expected in reduction or oxidation firing. Suggested bisque temperature C/04. Shrinkage: 12% at C/4, 12.5% at C/6. Absorption: 4.5% at C/4, 2.5% at C/6. At cone 5 1/2, your absorption rate is probably in the 3% to 3 1/2% range. To vitrify, you would need to go above cone 6 (or do a hold at cone 6), according to their absorption information. Going that high, you will see some difference in color of the clay body.
  21. http://www.bluebird-mfg.com/ If you have not yet done so, try the manufacturer.
  22. Does it matter? I thought you wanted to know how potters defined plasticity? It is what it is to each of us, mostly defined by some point of reference (using a clay body) in our potting experience. Hard to quantify or define what is so very subjective. (Back to the cave.)
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