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Everything posted by Wyndham

  1. I think with the right glaze and flux, you should be able to get some interesting effects. The glaze, I would think would need to be a bit fluid and be used as a capping over a more stable base glaze. You might test by glazing a piece with a know glaze then making up a wash with rutile and a frit like 3269 or 3110. Do a line test rutile 25 frit 75 and in 10% increments go to 75 rutile/25 frit. Give it a try. Hope this helps Wyndham
  2. I want to share something I tested many years ago. I was wondering what the difference was between light & dark rutile, mainly because light rutile cost more. On a whim, I put a batch of dark rutile in a bisked bowl and fired it with the other greenware to Cone 06 bisk. The result was light rutile. What does this have to do with the iron we use, well I don't know but I think I might fire some red iron oxide like I did with the rutile and see if there is a difference. I might have to fire the iron at a lower temp, around 1200 f as I'm not sure what temp iron starts to fuse, as I just want it to sinter the iron oxide. I might even mix some bone ash in another test bowl and use these in some test. Btw I had a kiln mishap where my 220 leads into the kiln shorted, so I have some rewiring to do before I can test. not a big issue just a tedious, job I'm putting off for a awhile. Later Wyndham
  3. Glazing is like painting a canvas. You can go to the paint store and by a paint the color you want, paint it on a wall and have a uniform blah color. Red, blue,green, it doesn't matter. You can take those same colors and paint a canvas and have a wonderful landscape. A uniform colored glaze is, to me, a painted wall. Now if there is movement, overlap,texture, then the landscape is starting to emerge. That bowl is not red, if it were, it would be what attracted you to it. Just a thought Wyndham
  4. I'm comfortable with myself but I do admire the life, work and dedication to the glaze development work that Harding Black achieved. I only got to learn a bit from him when I was just starting out in the mid 80's. It was a time when he was in his last few years of working with clay. I could have learned so much more in so many ways had I met him even 5 yrs earlier. The other part of is that we don't always recognize where we are, in those day to day circumstances that look rather common. We only to look back later on the importance 0f those times after they're past. Wyndham
  5. Get a bag of cone 10+ stoneware. Wedge up several batches to do a line test from about 25/75 creek/stoneware then a 50/50 and a 75/25. Just run some test tiles with a stiff white glaze. Fire to cone 6. This should tell you a lot about what you have and what direction to go
  6. As a child growing up in the low country of South Carolina, I would collect pottery shards from open field near our home. I was impressed by the texture impressed into the clay shards and the red & black colors from the firings. It was 40 years later when I took a pottery class at a pottery supply shop in Austin Tx. that I got into clay Gave up my day job sometime later and that was 26 yrs ago, wish now I had started when I was a kid. Wyndham
  7. This has been a great thread on so many levels. There's a lot of information to be learned here. I've come in a bit late to the conversation but thought of something from a article from many years ago. The article dealt with the color of certain iron glazes and one that would change from a deep iron red(Bailey's ) to a light yellow red. The author said to refire to 06 to get a very light colored iron glaze. This was back around 1986-1990 in CM I think but I remember trying it at the time and it did lighten up the color. I have a thought that we might be hitting near a sweet spot in the 1500-1800 f range. Because of the different recipes that elusive bright iron red is different for each kiln and potter. I wonder if a firing that brought the ramp back up after the low 1600-1700 back to 1800 or so and held for some time, before shutting down might not produce some interesting effects. Wyndham
  8. Back in the mid 1970's there was a Cedar mill in Texas that I worked. We ground up dry Cedar stumps into sawdust and extracted the oil with a steam evaporation and cooling system(a still). The waste sawdust was burned to heat the boiler that produced the steam. It had a firebox that sawdust was dragged by chain into a hopper over the firebox. a forced air system with 6- 1in tubes, 3 on a side. These were used to "fluff up" the sawdust and provide some air and a main blower pushed the flame into the boiler box that heated the water to steam. Long before I knew what a celadon glaze was, I found a green glaze slag drip from the iron lip under the boiler box where the flame entered. I think this design could serve as a model for a sawdust fired kiln using squirrel cage blowers and a distribute or manifold air system with a hopper feeder for the sawdust. Wyndham
  9. Just for a different POV, try placing the wheel on 3 cinder blocks and stand to turn. You can adjust the wheel head height by adding some 1/4 in masonite scrapes under the wheel legs for extra height if needed. I like the wheel head to be at around my belt level. Turning while standing can help with back aches. Hope this helps Wyndham
  10. You have Hewell's Pottery that still produces unglazed earthenware garden pots from the red clay of Georgia. At some earlier time some other pottery could have tried to compete in that biz. Those bee hive kilns were also used a lot for making red bricks, which the south has produced a huge amount. Wyndham
  11. Into the fray. I noticed Pam that you are from New Mexico. I have lived in NM and remember the dust storms, winds and very erratic weather. I would think you have a greater chance of mineral ingestion just from the atmosphere in your local than any clay contamination. Remember that Grants NM(100 miles away) is a uranium mining area, I do, I worked there for a short period of time. Those trucks carrying the ore created dust clouds over the area from the unpaved roads. Remember also the ABomb test that the fallout came from Utah and Nevada Why assume that pottery is the problem instead of looking carefully at your day to day environment. Many here, including myself , have been in clay for 20+ years and have lived a good life, using safe practices that anyone should. My 2 cents and change. Wyndham
  12. You should also have cones in all your firings to validate the final temp that the kiln heat work reaches. Pyrometers/digital controllers are not measuring heat work, as others have said, and can, over a period of time, degrade and give false readings. Cones are a great back up because as your elements age the firing takes longer so you may get to cone 6 with an older set of elements according to the digital controller but a cone may show you passed cone 6 and heading to cone 7 with glazes that may have blistered. Elements wear more the closer you are to the peak firing temp of those element, so it's better to fire at cone 9 than cone 10 for the sake of element life and thermocouple alike( type k thermocouples can get erratic above cone 6 as they age) Keep records of firing times along with cones from each firing to plot the life of the elements and the quality of the glaze firings. Cones are great , cheap insurance. Wyndham
  13. There is such a lack of knowledge about pottery, art, & crafts by the general public that it really doesn't matter. Some believe you are lying to them by telling them pottery is safe to use for placing "Food" on. They run to Walmart for Corelware or dishes from China because local handmade pottery couldn't possibly be safe. It's an altered form of accepting advertizing as an authority figure that knows what's best. I remember a prominent potter saying if one took a functional pot and made it non functional by putting a hole in a mug,( for instance) it was now "Art" His way of trying to bring clay into the art world. I think all this talk about art, craft and bs is about following the money and the Emperor's New Clothes. How do you reconcile the joy of making a really nice mug and finding a really neat glaze that fits it to your personal taste then have someone tell you with great authority, "that's not going to match my wallpaper", without going postal. :blink:src="http://ceramicartsdaily.org/community/public/style_emoticons/default/blink.gif"> All you can do is your personal best and let the rest of the world play their games. 2 cents and change Wyndham
  14. It may not be what you were hoping for but, it's a very attractive yarn bowl. Don't think less of it, we all have preconceived notions of how we want the piece to turn out and sometimes we get happy accidents. As for the epson salts, I don't think that's the issue. Wyndham
  15. I have been a potter for over 25 years most of which I turn standing at the wheel. My height is not as important as the relationship of wheel head to my hands. Smaller vessels like coffee mugs and a bit taller, my hands are resting on the wheel head at right angles or a bit lower and the wheel head is just below belt buckle level. Taller vases need more leverage so I lower the wheel(Brent c) several inches or more. Larger pieces I may make in several sections so each is easy to work with. I use 3 cement blocks on their side to elevate the wheel and add wooden blocks cut from 2x4's or 1x4's to add additional height as needed. I never could find a comfortable stool or chair to sit & turn with, Once I started standing to turn, I never tried to sit and turn again. I started pottery in my 40's so I never became a true production potter, 50 lb in a day is a good days production for me. I think standing has eased back issues as well. hope this helps Wyndham
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