Jump to content


  • Content Count

  • Joined

  • Last visited

Everything posted by C.Banks

  1. Most copper reds require tin oxide. "Sn does a couple things. First it improves the solubility of Cu. Metals, per se, aren't really very soluble in glaze and if you can't get the metal dissolved, it can't very well be precipitated in any organized fashion. Second, on cooling, Cu tends to attract Sn atoms from the glaze. These atoms sort of "coat" the crystals as they are developed and thus serves to control their size by limiting the attachment of further Cu atoms to the crystal. This behavior is that of a protective colloid and it is of great advantage. Because if the crystals get big, the glaze turns "livery" looking, and the doughnut remains elusive. Third, to the extent that Sn has limited solubility in SiO2 or B2O3 based glassy material, it probably also serves to provide nuclei on which the coloring crystals can grow." A study of the mechanism behind the color in color red glazes by Karl Platt. Zinc is a bit of a wild card in reduction. "Zinc-containing glazes may be quite variable and unpredictable in reduction depending on how carefully you duplicate conditions firing to firing and how uniform the interior of your kiln is." John Hesselberth
  2. I love firing kilns but will never fully trust them.
  3. The little kiln I know runs just fine controlled individually by the dials on the torches. The only time this is useful is below 600 degrees. To keep the kiln from heating too quickly the burners get lit and increased in turns, alternating burners every 30 mins or so 1/4 dial at a time until 3/4 open on both burners. At this point both burners get increased together from 3/4 to 1 and from 1 to 2. They remain at 2 full turns until shutoff or someone wants to control the cooling. The little soft brick kiln heats and cools quickly so it's fun to fire but will fire quickly if not held back with the damper in a somewhat nuetral position after the body reduction. cheers
  4. I respect your honesty. The ability to promote yourself and retain a sense of humility is an admirable quality.
  5. These 1" foam brushes work nicely for applying latex resist.
  6. 'Takers' might be a better term. I didn't necessarily want to pick on the west. I'm not sure what a more accurate umbrella term would be. Capitalism? "Elements of capitalist culture include the mindset of business and corporate culture, consumerism and working class culture. " This qotw for me, brings up a lot more than just cultural appropriation. By choosing a term 'taker' I'm referencing Ishmael. It's been a few years since I read the book but there is no denying that something is wrong with our society and we need to start listening to people like Greta Thunberg who imo deserves a nobel prize for standing up for the planet. I try everyday to be kind to people too - I also try to have patience with people. It's a thing I'm working on.
  7. I was taught at an early age that words have weight and deserve respect. I learned words are special and for a time felt they were responsible for creating the universe. Now I'm open to some cooperation between language and numbers but I'm wandering. The lack of respect in western today language is a frustrating thing to listen to or participate in. I sympathise with her attempts to express strong feelings in a foreign language. I hear someone who feels deeply and wants dearly to be heard and understood. Her words, for me, carry passion not bitter, hurtful vitriol. Generally speaking 'we' in the west don't respect much. I don't have much confidence in our ability to protect what we have never mind speak for the best interest of others. We don't deserve nice things in my opinion. Cultures that have suffered historically such as the Japanese or indigenous of N.A. or Australia or Africa are understandably sensitive to western 'good intentions'. I wish humanity could be more kind to each other but I have little hope for anything so revolutionary in my lifetime. I better got off this high horse. Hypocrisy is a difficult thing to keep in check. My kimono is not your couture is perhaps a more tempered viewpoint.
  8. You are probably more aware of the PCB's than most but I'll leave this: PCBs and the Upper Hudson River Floodplain for consideration. I always thought a Winogradsky column would have been fun to make or study in high school or even jr. high. I'm unsure how much elementary school kids would appreciate the complex microcosm but they are fun to watch grow none-the-less.
  9. and credit to John Fogerty and Creedence Clearwater Revival "In the beginning, "Proud Mary" had nothing to do with a riverboat. Instead, John Fogerty envisioned it as the story of a woman who works as a maid for rich people. "She gets off the bus every morning and goes to work and holds their lives together," he explained. "Then she has to go home." Proud Mary - Songfacts
  10. High Fire Bodies assorted recipes Alfred Grinding Room Recipes Stoneware Claybodies - Part 1: The Basics This is a good conversation. I started with a version of this equal parts recipe. I am now a fan of fireclay too. good luck!
  11. Pete Pinnell discusses cups and how folks handle cups differently at around 22:20. It's a bit more than I need to know about cups but definitely worth the time.
  12. agreed! clear and comprehensive The use of kiln shelves and burner ports in the floor makes a lot of good sense. I expect more than a few of us with dreams of converting old kilns will look to this design.
  13. gotcha' If I remember right the I had closer to 0.5% iron but I was no where near Heino yellow - more yellow/beige.
  14. I can't speak for the high nepheline syenite version but magnesia mattes with custer feldspar can react very well in soda atmospheres. I'm curious why this doesn't like reduction. It sort of looks like something I was testing a while ago although without bone ash, RIO and rutile. All I was after was a nice magnesia matte so was surprised with some lovely results from a soda kiln. Your recipe has a bit more magnesia. I was using around 5% by weight but have versions that work with under 3% with more silica. There are a couple of other differences of course but I'm curious. It looks like an interesting one to try in a soda kiln.
  15. glaze software I've only been mixing glazes for 10 years or so but the moment I downloaded my desktop copy of Insight my life changed. I resisted the molar math because I could melt and see my way through most issues. Local materials also don't necessarily fit well into neat categories. I still rely on results but my adjustments and forays are more precise and less wasteful.
  16. If I'm not mistaken I recently donated this book to one of the local libraries. The Glaze Book (Spiral-bound) by Stephen Murfitt The multi-coloured text on the left hand side of that first picture gave it away.
  17. An older British fellow explained to me once that the clays in the U.K. are different and generally speaking potters use more water as a result. I've never been to the U.K. but watching Phil Rogers, Mike Dodd and others from the U.K. they all seem to work rather wet. At about 9:30 in Phil Rogers explains:
  18. The studio was relocated and the electric kiln never got hooked up again. Combustion sure has a lot to say about just how successful you think you will be
  19. When we were firing in oxidation I was lucky enough to have 3 glazes that I was satisfied with. They fit, played very nicely, behaved on the pot as well as in the bucket. They were complete for the most part. The public liked them and could match pieces from year to year. They took a few years to develop but they were complete in my eyes. This was a few years ago so a decades worth of perspective might offer some insight but I'll leave them for some other year.
  20. After a few tests this clay still requires about the same water. I'm hoping when the studio comes out of winter storage the performance on the wheel might improve. I'm looking at dropping the epk alltogether. I knew it was a bit out of place next to a fireclay.
  21. I hope people continue to realise what a plague plastics are to the world. I suspect folks who care to curb plastic use will appreciate a nice crock or three.
  22. @HulkThe 70's and 80's were a good time to establish a studio. Establishing a pottery today is a bit more...cumbersome. I've always liked Bill van Gilder but never took the time to appreciate the man better so thanks for the video. The influence of Michael Cardew explains more why I like his style. I wonder if he spent any time with Ray Finch in Winchcombe. @Babs10% rutile does seem like a lot. I have a bit of a love-hate relationship wiht rutile/titanium. As you probably are already aware differences in cooling cycles will drastically affect results with rutile/titanium. The most I've seen used in a shop glaze is 6%. The most I've used is closer to 4 in oxidation. That 2% whiting sticks out as almost irrelevant as well. The glaze looks well enough supplied with calcium without it. This is for an electric kiln? I ask because from what I understand zinc is wasted in reduction. *I thought i better try to find the information on zinc again. This clayarts discussion gets into into it a bit. Suffice to "...say that zinc-containing glazes may be quite variable and unpredictable in reduction depending on how carefully you duplicate conditions firing to firing and how uniform the interior of your kiln is." John Hesselberth
  23. This requires some brutal honesty and a merciless hammer. A person once told me there was enough crap pottery in the world she didn't want to add to it. She was a forthright person and I liked her. I sometimes garage sale or cruise thrift stores with potters who find their own work. They smile and handover a few dollars and if necessary say something like "ya' - it's ok" all the while thinking how quickly the hammer will fall. I like these people too. I hope to find something of my own one day and it would be nice to feel as though it deserved a good home away from hammers and rocks and piles of shards.
  24. I borrowed a vl whisper after coming from a motorised kickwheel and had this same experience. There was even an old clayarts discussion about a similiar story. I couldn't find the original but this is a discussion of the discussion. What I found was my wheel speed on centering with this shimpo was too fast - or at least slowing the wheel down while centering helped. I was taught to center as fast as the wheel would go. The kickwheel showed me this speed was not necessary and the slower speed agrees with a vl - at least in my experience. I'm unsure if the sound the motor makes has anything to do with it but I definitely accused it as well. I still don't throw as well on a vl whisper as I do on a nice fly-wheel but I get by well enough.
  • Create New...

Important Information

By using this site, you agree to our Terms of Use.