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Linda Lees

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Everything posted by Linda Lees

  1. Alabama, thanks for your reply. I did get better results when firing greenware. I sourced the sawdust from a sawmill, so I'm not sure how dry it would have been, as you say, it seemed dry. That might explain the glossy, metallic looking marks seen in the photo second from last. I live in a small country town in Australia, so there's not a lot of information available about techniques such as these in the local library or bookstores, but secondhand online is a good idea. Postage from the US to Australia is exorbitant which limits purchasing from there and that's where I'm likely to find the most books. Should the finished result be durable? As you can see from my photos the shine was able to be scrubbed off. This doesn't seem right to me, but I'm not sure of the reason. I'd be grateful for any advice that you can give me on this type of firing. We're into the fire danger period in Australia, so I won't be able to attempt any more firings until mid autumn.
  2. These are the results of my second firing. The pots were not first bisque fired. I spent a lot of time burnishing with a stone and then using terra sigillata. I buffed the sig with a plastic bag before painting on a design, also with terra sigillata, but not burnishing this. I built a small fire and tried to get it really hot. I had the pots sitting by the fire to warm them prior to placing the metal tin on top of the fire, with the pots sitting inside, on a bed of cow manure. I then buried the pots in more manure inside the tin, placed a barbecue plate on top and piled up more wood around it. I kept it burning quite hot for a couple of hours. Measuring the temperature using an infrared thermometer that has an upper limit of 550 degrees celsius (1022 f) it exceeded the limit of the thermometer, giving me a reading of High. After leaving it all to cool down for several hours I removed the pots. As you can see, they were quite glossy, however, they have metallic spots across them. When cleaning the pots, I decided to see if the metallic areas were fixed, or if they would wash off. As you can see in the second picture, the sheen was also removed. Another thing that happened during the firing was that the bottom blew out of one pot and the other had small, raised dimples across the base. I'm assuming that this is from too much direct heat, perhaps I should have had a fire brick or piece of kiln shelf inside the tin for the pots to sit on?
  3. I just thought - does the type of manure used make a difference? I suppose it would, as would the type of wood used for the fire.
  4. Thanks for your response Marcia. I live in a rural area and get my clay through a ceramics club of which I'm a member. The club no longer buys earthenware clay after a couple of accidents where it was fired to stoneware. I was given a small amount of terracotta earthenware that I used for these pots. The one on the right was burnished with a spoon, that's how it has a smoother finish. Three of the pots were burnished using a terra sigillata made from the same earthenware clay. One was burnished with a spoon and on the last one I applied a terra sig made from a white ball clay. In the first firing, for the pattern, I added iron oxide to the terra sig. When this didn't show up very much I used a slip with iron oxide for the pattern in the second firing. I had the pots buried in sawdust right from the start of the firing, is this correct? Or should I wait to add the sawdust? In your firing, did the sawdust come in contact with the pots? The pots were bisque fired to 06. I'm out of earthenware clay, so I've made another couple of stoneware pots from a smooth clay. I've burnished with a spoon and intend also using terra sig made with ball clay. I've gotten some stable manure which contains a lot of sawdust. I was going to try doing the firing without first bisque firing. Hopefully, with a smoother surface, the results might not be as patchy. I'll try firing again on Saturday (Australian time). I'll post the results here.
  5. Thanks Babs, that was my starting point. One of the videos I watched was by her grandson.
  6. Hello, I recently came across a couple of YouTube clips on a firing method used by Pueblo people of the Southwest USA. There appears to be a couple of bits of information that aren't quite clear. If anyone has attempted this type of firing, I'd love some guidance. I made some small pots using earthenware terracotta clay. Four of the pots had terra sigillata made from the same clay applied to them and one I burnished using the back of a spoon. I then bisque fired the pieces, this is the step that I'm not sure I should have done. Several days after the bisque, I applied patterns onto the pots using iron oxide. On the first three I added the oxide to the terra sig and painted it on. The pieces were then placed in a wheel rim, surrounded with sawdust pellets and a metal barbecue plate placed on top. Around this I placed lots of fire wood. I kept the fire burning hot for about three hours. All of this had been done in my pit, and after the three hours I placed sheets of iron on top of the pit to retain the heat. The results were ok, but not what I was after. The pots were a dark brown, not black, and the shine and matte areas were a bit all over the place. The idea is that the areas that are burnished stay glossy and the areas where the oxide is applied should be matte. I had two pots left so I painted the design on these using iron oxide in slip. These pots were placed in a tin, completely covered in sawdust, the barbecue plate placed on top and fired as above. The results for these was much the same as for the first three pots. What I'd like to know is - Should I be bisque firing first? What is best for painting on the design? I did try to contact on of the people from the video, he is a university tutor, but I've not yet received a reply. I've attached a couple of photos, the first one had terra sigillata applied, the second was the one I burnished with a spoon. Any advice gratefully accepted, thanks, Linda
  7. Linda Lees

    Black on Black Firing

    Experimenting with technique used by Pueblo people of southwest USA
  8. Hi Leopold, Did you make the lava glaze? I was looking at that recipe this morning and wondering how it would go. I'd be interested to know what results you got/ cheers, Linda
  9. Hi Rebecca, I’ve been waiting for days where the temperature is under 100 and leaving my firing until overnight. I also use a fan pointed at the controller and have the doors open. Thanks for you response Dick, do you know if there’s anyway around the overheating problem other than what I described above to Rebecca?
  10. Beware of heating it too much. This is the problem I’ve been having with my kiln. I have a Genesis controller attached to an Olympic kiln. I’m in Australia and we’ve had some extremely hot weather lately causing board overheating errors. This happens when the board reaches 158 degrees F. I’ve had to wait for cooler temperatures and fire overnight with a fan pointed at the controller to try to keep it cool. It’s quite a problem when the program stops midway because it’s too hot.
  11. Linda Lees

    IMG 7207

    Thanks for you lovely message Denice. I use ready made, brush on glazes or terra sigillata
  12. No, but I’m open to suggestions. I’ve been known to take more time to come up with a title than the time to make the actual piece
  13. Thank you very much Roberta
  14. From the album: Curves and Crisp Edges

    Slab construction, stoneware with a crackle celadon glaze.
  15. From the album: Curves and Crisp Edges

    Slab construction, stoneware with terra sigilata
  16. Linda Lees

    IMG 7194

    From the album: Curves and Crisp Edges

    This one has become affectionately known as the Avocado.

    © Linda Lees

  17. I have a journal in which I sketch my ideas and keep notes. Once I've made the piece I go back to the journal and record the clay and the glazes used and any other notes that I think I may need, such as suggested ways that I may do things differently next time. I make a lot of slab sculptures and I nearly always will make a cardboard template to work out the pieces that I'll need to cut to complete the work. I assemble the cardboard sculpture using paper tape, photograph it and then pull it apart to use as my template to cut the clay pieces. If they're still holding together I'll file these in a folder with plastic pocket pages. My iPad is always switched on and I store a lot of info in there, I screen capture images that inspire and save them to a folder called Ceramic Inspirations along with the artist's name and the site that I got the pic from. I use an app called Over to type the info onto the image. I also have a couple of sketching apps that I'll use if my paper journal is not handy. I photograph my own completed pieces with the iPad and save them to their own Photos folder, these are just for my own reference. I take better photos with my DSLR for sharing on social media etc.
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