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Chris Clyburn

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About Chris Clyburn

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  • Birthday 08/22/1974

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    Ocean Grove, NJ
  1. I would also add a caution: Take a few ceramics classes before diving into building a kiln, and everything else. Get a feel for it, and some hands on knowledge, especially of firing and how ceramic materials work. It is a very fun and rewarding field of study, (though not always financially rewarding unless you have a good head for business...as important or more so than being good at art). It is also very technically and physically challenging, especially when you are talking about architectural ceramics and large scale works. Start small and build a good foundation first, and you will thank yourself later :-)
  2. I'll have to look around and see what's out there online.Some good books however are: Daniel Rhodes: Clay and Glazes for the potter Frank and Janet Hamer: The Potter's Dictionary of Materials and Techniques Joe Finch: Kiln Construction: A brick By Brick Approach Frederick Olsen: The Kiln Book Emmanuel Cooper: 10,000 years of pottery You caught me in the middle of a move, so all of my library is currently packed, this is just what I could remember, I know I'm forgetting some big ones here, but I can't think ...packing on the brain :-) This refers to the firing schedule used. Vitrification of ceramic ware is measured through the use of pyrometric cones (a combination of clay and glaze) that soften and bend at at precise points based on heatwork (a combination of time and temperature) Firings usually occur in stages also known as ramps. For instance a 4 ramp firing would be 100 F /hr to 200 F and hold the temp for 1 hour (or longer this is known as candling and helps dry out any remaining moisture in the clay). Then you'd be on the second ramp say 80 F/hr to 1100 THe third ramp would be 350 F to 1638F with the final ramp being 108 F to 1888. This final ramp is where the main measurement of heatwork occurs. There are reasons for each stage. The first stage or ramp is just below the boiling temperature of water and drives of any remaining moisture without risk of steam expolsions. The second ramp is to burn of any remaining organics and allow any gas to escape, this is done slowly to ensure that there will be now little to no outgassing that will occur during the glaze firing which would cause defects in the glaze such as pitting. The third ramp is to get you to the last 250 Degrees below the final temp at which point it is fired at the rate needed to reach the final maturation temp with the proper amount of heatwork applied. I hope that clears it up. Precisely Any clay can be glazed and fired in one go (known as once-fired) Things to consider are: The clay has to be bone dry, with absolutely no moisture. It should be fired relatively slowly, and you can significantly increase your risk of loss if not careful. Fuel cost specifically. It with a welll insulated kiln it does not take much more fuel to go from lowfire (below cone 1) to mid fire (cone 1-7) from low fire to hifire (up to cone 10) does use a significant amount of fuel.
  3. Just an addendum, I mentioned a cone 6 porcelain as an alternative, but I neglected to state that porcelain is more finicky for hand-building, and significantly more expensive (between $.60 to $.80 per pound as opposed to $.19 to $.40 per pound for stoneware)
  4. You have to be a little patient :-) Clay forums tend to move slowly, kinda like the clay process itself
  5. I think you'd be better off with a more vitrified clay. The less vitrified a clay is, the more fragile it is in my experience. Stoneware would hold up much better especially unglazed, than earthenware under those conditions. Earthenware generally fires at cone 04-01 (roughly 1945 F to 2046 F at a firing rate of 108 F per hour during the final ramp) whereas a typical stoneware body fires at between cone 3 to cone 10 (roughly 2106 F to 2345 F at a firing rate of 108 F per hour during the final ramp) depending on the body, with cone 6 (roughly 2232 F at a firing rate of 108F per hour during the final ramp) being very popular right now. The clay body you listed is rated cone 6-10 which means it would not be truly vitrified until cone 10, and would not be as durable at cone 6 or as white, but it would still be stronger than earthenware. If you found a white stoneware that matured at cone 6 or lower without such a broad firing range, you would be better off something like Highwater's Little Loafer's which is cone5-6 or another similar body (it's late and that's the only white stoneware with a narrow range I could find quickly ..sorry) You might also look at Lagina's paper clays, a cone 6 porcelain or a cone 6 white sculpture clay. The cost difference between earthenware and stoneware when once fired is very little, if you bisque first it become more noticeable but not enough to offset the difference in durability in my opinion
  6. Take a look at this article: http://www.brackers.com/special_pages/rare_earth_elements.cfm It covers using lanthanides as colorants. It includes base glazes for cones 8-9 ox, cones 5-6 ox and cones 9-11 celadon type glazes as well as the suggested proportions for each oxide. This includes a nice pink using 8% erbium and a lavender 5.5% neodymium oxide with 1% 6 Tile Kaolin. I played with these when Ceramics Monthly featured an article about them in the early 2000s and you can get some very interesting and unique effects. Erbium oxide is roughly $15 per 1/4 lb and Neodymium is roughly $10 per 1/4 Most of than lanthanides can be found at Laguna distributors and I thought there was another company US Chemical or something like that (I haven't had a set up to mix my own glazes in about 5 years) that sold them, but I can't seem to remember the exact name of the company anymore, sorry.
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